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THE LIBRARY. 



THE LIBRARY 

A QUARTERLY REVIEW OF BIBLIOGRAPHY 

AND LIBRARY LORE i / '~3 y 



Edited by J. Y. W. MACALISTER 



IN COLLABORATION WITH 



LEOPOLD DELISLE CARL DZIATZKO 

MELVIL DEWEY RICHARD GARNETT 



NEW SERIES 



Volume III 



LONDON 
KEG AN PAUL, TRENCH, TRUBNER AND CO., Ltd. 

PATERNOSTER HOUSE, CHARING CROSS ROAD, W.C. 

1902 



CHISWICK l'RRSS : CHARLES WHITTINOHAM AM) CO. 
TOOKS COURT, CHANCERY LANK, LONDON. 



CONTENTS. 

PAGE 

Early Pestblatter ...... 3 

An Examination of some Existing Copies of 
Hayward's l Life and Raigne of Henrie IV.' 
By H. R. Plomer 13 

HuMFREY WANLEY AND THE HaRLEIAN LlBRARY. 

By G. F. Barwick ..... 24, 243 

An Open Letter to Andrew Carnegie, Esquire 36 
Bacon's Biliteral Cipher and its Applica- 
tions. By Walter W. Greg . .41 
English Book-Illustration of To-Day. By 

R. E. D. Sketchley . 54, 176, 271, 358 

Notes on Books and Work. By Alfred W. 
Pollard .... 92, 222, 333, 434 

American Notes ...... 98 

The Franks Collection of Armorial Book- 
Stamps. By Alfred W. Pollard. . 115 
Public Lending Libraries for the City of 

London. By Archibald L. Clarke • • 135 
An Early Essay by Panizzi. By William 

E. A. Axon 141 

Lss Matinees du Roi de Prusse. By Lionel 
Giles ........ 148 

Sale Prices of Incunabula, 1 900-1 901 . 164 

Libraries of Greater Britain. By J. R. Boosi 214 
Two Illustrated Italian Bibles. By Alfred 

W. Pollard 227 

The Exemption of Libraries from Local 
Rates. By John Minto .... 256 



vi CONTENTS. 

PAGE 

S. Paul's Cathedral and its Bookselling 

Tenants. By H. R. Plomer . .261 

Careless Cataloguing . . . • .321 
Goldsmith's * Prospect of Society.' By George 

England 327 

On two Lyonnese Editions of the c Ars 

Moriendi.* By R. Proctor .... 339 
The Bibliographical Collections of the late 

William Blades and the late Talbot Baines 

Reed. By W. B. Thorne .... 349 
Edward Edwards. By William E. A. Axon . 398 
Old Plays and New Editions. By Walter 

W. Greg 408 

On the Value of Publishers' Lists. By H. R. 

■ Plomer 427 

To the Subscribers and Contributors to l The 

Library.' By J. Y. W. Macalister . . 440 
Index ........ 442 



THE LIBRARY. 

A REVIEW (QUARTERLY). 

EDITED BY 

!. Y. W. Mac A lister, in collaboration with Leopold Demsle, 
Carl Dziatzko, Melvil Dewey, and Richard Garnett, C.B. 



CONTENTS. 

PAGE 

Early Pestblatter 3 

An Examination of some Existing Copies of Hayward's *Life 

and Raig.ve of Kino Hfnrie IV.' ; by H. R. Plomer . . 13 
Humfrey Wanley and the Harleian Library ; by G. F. 

Barwick .......... 24 

An Open Letter to Andrew Carnegie, Esquire . . -36 
Bacon's Biliteral Cipher and its Applications ; by Walter 

*» • vi REG • . . . . . . . . • Al 

English Book-Illustration of To-Day ; by R. E. D. Sketchley 54 
Notes on 'Books and Work ; by A. W. Pollard ... 92 
American Notes ......... 98 

NOTICE. — All communications respecting Advertise- 
ments in THE LIBRARY should be addressed to the 
Manager, "The Library," 20, Hanover Square, W. 

CATALOGUE OF 

NEW AND SECOND-HAND BOOKS, 

(Post Free) 

Specially suitable for Free Libraries at greatly reduced prices. 
Many current works withdrawn from Library 

in fine condition. 

WILLIAM POTTER, 30, Exchange St. East, Liverpool. 

LEWIS'S MEDICAL and SCIENTIFIC LIBRARY. 

Annual Subscriptions from One Guinea. 

'pie Library include* all the Standard Work* and Current Literature in Medicine. Surgery, 
.inu the Allied Science*. All N>.w Works and New Kmnoxs are added to the Library 
tinmecuiteiv on puLlkatimi. 

" CATALOGUE. WITH CLASSIFIED INDEX OF SUBJECTS. 
Price to Subscribers, 2s. ; to Noii-Sul"»criber*. 5 t. 

A l-i -monthly Li t of Book ^ added to the Library % fret on Application. 

To Book Clubs :— Specially advantageous Terms are arranged with Dock Club* throughout 
the ■•'.■' :Mry generally. 

To Baok Buyers :— All New Medical anl Surgical Work* kept in Stock, and supplied it 
/,*••*:: Dir :c*nt for Cits/:. Order* rc..t ived by Po*t promptly altendcd to. 

Detailed Prospectus post free on Application. 

II. K. LEWIS, 136, COWER STREET, LONDON, W.C. 



ft* 



J \ . 



t. . < J 



III. 



B 




ANONYMOUS DOTTED PRINT OF ST. ROCH. 
FROM THE ORIGINAL IN THE BRITISH MUSEUM. 




Second Series, 

No. 9, Vol, III. January, 190a. 



THE LIBRARY. 



EARLY PESTBLATTER. 1 

3LL students of primitive engraving 
* should be familiar with the delightful 
volume, * Neujahrswunsche des xv. 
1 Jahrhunderts,' issued by Messrs. 
Heitz and Mundel in 1899. They 
have now produced a second series 
of reproductions, uniform in appearance with the 
first, which illustrate the measures prescribed by 
popular devotion to avert the terrors of the plague. 
The remedies consisted almost exclusively in the 
invocation of certain saints, and no one who is ac- 
quainted with the characteristics of popular art in 
the fifteenth century will be surprised at the num- 
ber of prints bearing on the subject of the plague 
which the editor has brought together. The 
introduction shows by statistics, more or less trust- 
worthy, how large a part was filled by the plague, 
and the dread of it, in the life of Europe from 1 347 
to 1 500. The latter half of that period coincides 
with the rise of engraving, both on copper and on 

* * Pestblatter des xv. Jahrhunderts. Herausgegeben von Paul 
Heitz mit einleitendem Text von W. L. Schreiber. Stranburg, 
Heitz & Mundel, 1901.' 



4 EARLY PESTBLATTER. 

wood; and wood engraving, the more popular 
branch of the graphic arts, refledb with wonderful 
completeness, considering the scarcity of extant 
prints, the habits and modes of thought of the 
people who patronized it. Scientific remedies, so 
far, at least, as our documents go, were little in 
demand. There are three type-printed broadsides 
among these facsimiles which recommend a certain 
regimen in time of plague, but only one attempts to 
prescribe for a patient actually infedted. The lead- 
ing idea was that God sent pestilence as a visitation 
for sin, and that His wrath could be mitigated by 
the intercession of His Son, of the Blessed Virgin, 
and of St. Antony, St. Sebastian and St. Roch. 
Other saints invoked at certain times, or in certain 
localities, for the same purpose, were St. Anne, St. 
Adrian, St. Valentine and St. Quirinus. 

Herr Schreiber, the author of the introdudtion, 
has traced with great ingenuity the transference of 
ideas which connects the first group of saints, by no 
very obvious process of reasoning, with the plague. 
The starting-point is the * Tau ' cross, illustrated by 
plate i of the facsimiles. It appears that c Tau ' 
is the Hebrew word for the 'mark* set upon 
the foreheads of certain men appointed to be saved, 
in Ezekiel, ix. 4. The authors of the Septuagint 
version transliterated the word instead of translating 
it, and its identity with the name of T, the Greek 
letter, combined with the shape of that letter, caused 
the idea to get abroad that the mark in question was 
a cross. The same interpretation was applied to the 
c seal ' on the foreheads of God's servants in Rev. 
vii. 3, as may be seen by Diirer's woodcut, and more 



EARLY PESTBLATTER. 5 

especially to the mark of blood upon the lintel, in 
Exod. xii. 23, which preserved the inmates of the 
house from destruction in the tenth plague of 
Egypt. Hence the superstitious idea that the 
letter T marked upon a house aded as a charm 
against plague. But this same T was already a 
symbol of St. Antony the hermit ; hence his in- 
vocation for plague, as well as for * St. Antony's fire/ 
the malady in which his aid was chiefly sought. 

The mark T is also found on some woodcuts of 
St. Sebastian, but the arrow, the instrument of his 
martyrdom, is at the root of the association of this 
saint with plague. The arrow is coupled with 
pestilence in Ps. xci. 5, and God, as the sender of 
pestilence, is accordingly represented with an arrow 
in His hand. Thus we see Him in a famous pic- 
ture by Benozzo Gozzoli at San Gimignano, in 
which the townspeople take refuge under St. 
Sebastian's mantle from the plague of 1464, repre- 
sented by arrows in the hands of the Almighty and 
of destroying angels round Him. Other angels, 
who bear up the mantle, catch the arrows in their 
hands and break them, by the merit of the inter- 
cession of Christ and His mother, who kneel at the 
Father's feet. The same subject, simplified, is 
represented in several woodcuts of this collection, 
in which St. Sebastian does not appear. Christ 
and the Virgin kneel, with suppliants behind them ; 
or the Virgin alone spreads her mantle over her 
votaries, while the saints of the Dominican order 
obtain her intercession by the devotion of the 
rosary. In this set of prints the arrows in the hand 
of the Almighty are three, and one of the wood- 



6 EARLY PESTBLATTER. 

cuts names them expressly as € pestilencz, teurug, 
krycg ' (pestilence, famine, war) in allusion to the 
choice offered to David by Gad (2 Sam. xxiv. 13). 

St. Anne is introduced by reason of her close 
connection with the Virgin, and because a special 
devotion to her followed the elevation of her festival 
to the first rank which Frederick the Wise of 
Saxony obtained from the Pope in 1494. 

The connection of St. Roch with the plague is 
more logical. He was a medical student of Mont- 
pellier, his native town, who gave all his goods to 
the poor, and went to Italy, where the plague was 
raging in 1 348, expressly to devote his labour and 
skill to tending the sick. He at length caught the 
plague himself, though he did not die of it, as 
Herr Schreiber supposes, but lived to return to 
Montpellier. His relics were stolen thence by a 
set of Venetian conspirators late in the fifteenth 
century, for the benefit of Venice, whose trade with 
the Levant entailed a constant risk of infection. 
c Le tres glorieux amy de Dieu, Monseigneur Saint 
Roch, vray preservateur de la peste/ is his full title 
in the quaint proclamation of his festival, beginning 
c Bonnes gens plaise vous scauoir,' on a Parisian 
broadside (plate 25) now at Brunswick. It is 
hardly so quaint as the description of St. Quirinus 
as a marshal (plate 35). 

Herr Schreiber has proved in his indispensable, 
though not infallible, c Manuel de r Amateur ' how 
wide is his acquaintance with early relief-cuts in 
all the collections of Europe. The field from 
which examples have been chosen for this volume 
extends from Vienna to London, from Ravenna to 



EARLY PESTBLATTER. 7 

Stockholm, and many small libraries are represented 
in addition to the more accessible collections in the 
German capitals. The reproductions are not strictly 
confined to works of the fifteenth century, and the 
title of the book is therefore a little misleading. 
The dates assigned to certain examples need re- 
vision, but with this reservation they will be found 
valuable to students of early printing, as well as to 
collectors or judges of prints. They are of the 
size of the originals, and printed on careful imita- 
tions of old paper, while many of them are coloured 
by hand. Whether the success of the colouring 
justifies the labour, and the addition to the cost of 
the book, which it entails, is a question on which 
opinions will differ. The process inevitably sug- 
gests two kinds of doubt : whether all impressions 
of the reproduction are coloured alike, and whether 
all, or any, reproduce with approximate exactness 
the original colouring. I have compared two sets 
of reproductions, and found that they stood the first 
test well. The second test was a comparison of 
one set ot copies with such originals as are at hand 
in the British Museum. Here the result was less 
satisfactory. In plate 14 the fidelity of the colour- 
ing is wonderful ; the facsimile, indeed, would be 
perfeCt, if the original were in perfeCt preservation. 
That, unhappily, is not the case. Several serious 
injuries have been so ably disguised, that the most 
critical eye could not discover that a restorer had 
been at work. The skill and taste exercised in 
filling gaps are beyond praise, if the legitimacy of 
the operation be granted. My own opinion is that 
in a scientific publication the truth should not be 



8 EARLY PESTBLATTER. 

shirked for the sake of decorative effect. In plate i o 
and plate 27 the colours are too pale ; in plate 4 
the flat, ugly tint employed is a dull substitute 
for crimson protedted by a coat of varnish. In the 
plate last mentioned, Raphael's girdle, and the folds 
of his robe gathered up beneath it, have entirely 
disappeared, so that the garment appears far more 
archaic than it does in the original. The colour 
of plate 6 is charming; since the original belongs 
to Herr Paul Heitz himself, I am bound to sup- 
pose that the old ' Briefmaler,' and not the copyist, 
is responsible for arraying Dominicans in pale 
brown and white. A comparison of the * Martyr- 
dom of St. Sebastian ' at Munich (plate 1 8) with a 
collotype from the same original, reveals dis- 
crepancies in the outline of the coloured parts. I 
have a more serious quarrel with plate 19, which 
reproduces a later copy from the same design. The 
block on which this copy is cut is preserved in the 
British Museum with Schreiber 1809 cut on the 
other side ; it is in bad condition, and the modern 
impressions taken from it show numerous breakages 
in the lines. The woodcut at Nuremberg, here 
reproduced, is one of these modern impressions, for 
Dr. Boesch was kind enough to send me a tracing 
of it, which showed the same defeats. These have 
been made good in the reproduction, which is, 
therefore, misleading to the serious student. The 
only genuine old impression from this block is in 
the Wiltshire Collection, now in the Guildhall 
Library, and is coloured. That collection, no 
doubt, was inaccessible at the time when this 
volume was being prepared ; but no such excuse 



EARLY PESTBLATTER. 9 

can be made for the omission of the large c Tau * 
with a crucifix, in the British Museum, which is 
not, as Herr Schreiber states in his * Manuel ' (No. 
931), a 'second state* of the woodcut at Berlin 
(plate 1), but a different, finer, and probably earlier 
woodcut from the same design. The extremities 
of the cross are pointed and without decoration ; 
the nail is absent ; the text is in part different, and 
is printed with the type of Johann Othmar of 
Augsburg. The leonine hexameter, 

c Thau super hos postes signatos cerreat hostes,' 

printed at the head of the British Museum wood- 
cut, proves that the latter was meant to be actually 
pasted on a door as a charm against pestilence. 

A few details in Herr Schreiber's commentary 
on the plates call for correction or supplement. I 
should be at a loss to imagine why he suspected 
plate 6 of being founded on an Italian original, were 
it not for his curious misreading of one of the in- 
scriptions. He has perverted the legend c Sea v'go 
maria mr dei,' cut in a fairly legible imitation of 
cursive script on Our Lady's halo, into * Sea vgo 
ajazia' (' Manuel,' 1012 b), or 'St. Maria von 
Ajazio,' as he now prints it. We may congratulate 
ourselves on a narrow escape from the invention of 
a Corsican school of wood engraving. Alex- 
ander IL' (p. 9) should be * Alexander VL' The 
c St. Sebastian ' (plate 1 o) is copied, as Prof. Lehrs 
has pointed out, with the necessary modifications, 
from the * St. Quirinus ' (plate 35), a delightful 
Flemish engraving, to which the line-block does 



io EARLY PESTBLATTER. 

scant justice. The early Italian engravings in the 
book are inadequately reproduced by the same pro- 
cess. The little c St. Roch * (plate 28) belongs to 
a set of woodcuts at Vienna, of which seven are 
extant, described in the ' Manuel ' under No. 1 1 74. 
Two of these, * St. Acatius * and c St. Jerome/ bear 
a monogram composed of a double A, and there 
seems to be no reason to doubt that they are early 
works of Altdorfer. The whole series is included, 
as such, in the volume of Altdorfer's woodcuts in 
facsimile which Mr. Sturge Moore has edited for 
the Unicorn Press. In addition to Weissen- 
burger's broadside (at Munich) with woodcuts of 
St. Sebastian and St. Roch (plate 31), I should 
have liked to see another, containing a larger wood- 
cut of St. Roch and a Latin poem on his life, with 
the name of the same printer and the date, 1505, 
which is preserved in the Imperial Library at 
Vienna. Another representation of St. Roch, which 
had, perhaps, as good a right to a place in the 
volume as the very beautiful * Schrotblatt ' at 
Ravenna (plate 24), is reproduced as the frontispiece 
to this review from one of the two impressions in 
the British Museum (Schr. 2723). It has neither 
the beauty of line nor the rich decoration of the 
other print ; but the figure of the saint is refined 
and his costume is delicately rendered with all the 
resources of this peculiar method of white-line 
engraving on metal. There is no prayer or in- 
scription, beyond the saint's name, attached to the 
print; but St. Roch appears with his usual 
emblems as patron of the plague-stricken, the angel 
who dressed his wound and the dog that brought 



EARLY PESTBLATTER. u 

his daily loaf, when anguish drove him from the 
pest-house at Piacenza. 

Campbell Dodgson. 

*^* The following notes on the plates containing 
printed texts are kindly contributed by Mr. ProHor : 

No. i . Probably these types are those of Joh. 
Knoblouch of Strassburg, about 1506, but the 
facsimile does not represent the type with sufficient 
clearness (perhaps due to the condition of the 
original) to be certain. 

No. 7. This is printed by Martin Landsberg at 
Leipzig. The combination of short hyphen with 
the later form of b inclines me to date it about 

15*5- 
No. 20. This is rightly assigned to Gunther 

Zainer about 1475-7. 

No. 25. This Paris-printed leaf seems clearly of 
the sixteenth century, and about 1510-15, unless the 
mention in the text of * monseigneur le cardinal de 
Gurce ' be held to fix a date earlier than Sept., 1 505, 
when Perault died. His successor, Lang, was 
created cardinal in 1 5 1 1 . 

No. 3 1 . The types are those used at Nurnberg 
(not Landshut) by Weissenburger; the larger from 
1505 onwards, the other from 1503 to 1508 only. 
Hence the date may be fixed as 1505-8. 

No. 40. This is of some interest typographically. 
The Erfurt type mentioned in the introduction is 
not a real analogy : but the ' Lumen animae,' dated 
1479, July 7th (Hain *i033i) is printed in the 
' typi Reyseriani/ except on the first leaf and at the 
end, where the capitals are mixed with those of a 



12 EARLY PESTBLATTER. 

more gothic fount. In No. 40 both these founts 
of capitals are used intermixed, but the lower case 
is neither that of the ' Lumen animae ' nor that of 
the gothic capitals when used alone (see Type Facs. 
Soc. 1 900 1). It is like no other type known to me 
except the third of the founts of H. Knoblochtzer 
at Strassburg (see facs. in Schorbach and Spirgatis), 
which has a similar h, but differs in other letters, 
such as g. The present sheet probably, like the 
* Lumen animae, 9 is to be assigned to the Reutlingen 
school of printers. 

No. 41. This undated broadside by Hans Schaur 
is of interest as showing a type hitherto, I believe, 
unrecorded. 




■3 



AN EXAMINATION OF SOME 
EXISTING COPIES OF HAYWARD'S 
'LIFE AND RAIGNE OF KING 
HENRIE IV.* 

gOKN the unfortunate Earl of Essex 
was tried for high treason in the year 
1600, one of the counts of the in- 
\ di&ment was that of allowing his 
name to be used in connection with 
a book, at which Her Majesty had 
taken great offence. The book thus referred to 
was Dr. Iohn Hayward's * Life and Raignc of King 
Henrie IV.,' published by Iohn Wolfe the printer 
in 1599, dedicated to the Earl of Essex. While 
there is no doubt that Essex owed his fate to his 
rebellious actions, this book added fuel to the fire, 
and played no small part in influencing his judges. 
Both the author and the printer were punished for 
their rashness, the first being thrown into the 
Tower, where it is believed he remained until the 
Queen's death, while the second was imprisoned 
for some weeks. 

Some interesting documents referring to this 
matter are preserved among the State Papers 
(Domestic Series, 1600). These include the ex- 
aminations of both author and printer by Attorney- 
General Coke, the so-called confessions by Dr. 



14 HAYWARD'S 'LIFE AND RAIGNE 

Hay ward, and the manuscript of a proposed 
* Epistle Apologetically which was never published. 

The examination of John Wolfe the printer is 
perhaps the most valuable of these papers. As 
some of my readers may remember this member or 
the Stationers' Company stands out prominently 
amongst the men of the latter end of the sixteenth 
century, not so much on account of his ability as 
a printer, but from the adtive part which he played 
at a crisis in the history of the Company, and also 
from the position which he held as official printer 
to the City of London. It was John Wolfe who, 
in company with Roger Ward, bade defiance for a 
long time to those who, by securing privileges from 
the crown, were gradually absorbing the whole of 
the trade. Fearless of pains and penalties, he, in com- 
pany with Roger Ward aforesaid and others, boldly 
printed other men's copies, imitating their marks 
and devices without scruple. It was John Wolfe 
who stirred up the opposition and kept it alive 
with fiery speeches, vowing that he would work a 
reformation in the printing trade similar to that 
which Luther had worked in religion. In this he 
would probably have succeeded, but the Company, 
realizing how dangerous a man it had to deal with, 
practically bought him over. Not long afterwards 
John Wolfe is found occupying the post of official 
printer to the City of London, and making searches 
for illegal presses and seditious books. 

He was the printer of the first edition of Stow's 
c Survey of London/ of Greene's c Quip for an 
Upstart Courtier,' of more than one of Gabriel 
Harvey's satires, besides many voyages and travels 



OF KING HENRIE IV.' 15 

and pamphlets on foreign affairs. His address at 
this time was Pope's Head Alley, off Lombard 
Street. 

In his examination Wolfe said that when Dr. 
Hay ward brought him the manuscript of c Henry 
IV. 9 it had neither dedication nor epistle to reader. 
Believing that the book would sell better if it had 
a dedication to some man of honour and reputa- 
tion, Wolfe suggested the name of the Earl of 
Essex, whose military achievements on the con- 
tinent had already gained him fame. Moreover, as 
the book treated of Irish history, and the Earl was 
about to go to Ireland as governor, he was the 
most fit person to whom such a book could be 
dedicated. Accordingly Dr. Hayward wrote a 
short dedication in Latin to the Earl of Essex, and 
also an * Epistle ' to the Reader signed C A. P.* 
The book was then put to press, and was finished 
in February, 1599. The printer went on to say 
that a day or two after the publication he took a 
copy and gave it himself to the Earl of Essex, who 
expressed neither approval nor disapproval of what 
had been done, and though Wolfe waited upon the 
earl several times to know his pleasure in the 
matter, he was never able to see him. Meanwhile 
the book had taken the town. To quote the 
printer's own words, c Never any book was better 
sould or more desired that ever he printed, then 
this book was.' In two or three weeks between 
five and six hundred copies had been sold. But 
the authorities had taken offence. The court party, 
hostile to Essex, had endeavoured to show that 
passages in the book were aimed at the overthrow 



1 6 HAYWARD'S 'LIFE AND RAIGNE 

of the Queen and government, and the printer re- 
ceived an order from the Archbishop of Canterbury 
to cut out the dedication. He declared that he 
immediately obeyed the order, and the remainder 
of the edition, another five or six hundred copies, 
was issued without the dedication, and was all 
sold within a very few days afterwards. As there 
was still a great demand for the book, Wolfe put a 
second edition in hand at Easter, in which many 
things were altered, and for which Dr. Hayward 
wrote an c Epistle Apologetically But before the 
4 Epistle ' was printed and before the whole im- 
pression of fifteen hundred copies was finished, the 
wardens of the Stationers' Company got wind of 
the new edition, and in the Whitsun holidays seized 
the whole stock and delivered it to the Bishop of 
London, by whose order it was burnt, so that not a 
single copy of this second edition ever reached the 
hands of the public. Wolfe himself, as I have 
said, was thrown into prison for several weeks. 

Such was the printer's account of the publication 
of this book. Summed up briefly, it appears that 
the first edition consisted of about twelve hundred 
copies, from half of which the Latin dedication to 
the Earl of Essex was cut out. A second edition 
of fifteen hundred copies was printed but never 
published. 

A contemporary record of this book is preserved 
to us in the letters of John Chamberlain, published 
by the Camden Society. Writing to his friend, 
Dudley Carleton, on the ist March, 1599, he said, 
4 For lacke of better matter I send you three or 
foure toyes to passe away the time. . . . The treatise 



OF KING HENRIE IV.' 17 

of Henry the Fourth is reasonablie well written. 
The author is a young man of Cambridge, toward 
the civil lawe. Here hath ben much descanting 
about it, why such a storie should come out at this 
time, and many exceptions taken, especially to the 
Epistle which was a short thing in Latin dedicated 
to the Earle of Essex, and objected to him in good 
earnest, whereuppon there was commandement it 
sholde be cut out of the booke ; yet I have got you 
a transcript of it that you may picke out the offence 
if you can, for my part I can find no such bugges 
words, but that everything is as it is taken.' 

We have here then a distindt confirmation of 
the printer's statement, and it is clear that the copy 
which Chamberlain sent for the perusal of his friend 
had not got the dedication to the Earl of Essex. 

This statement of Wolfe's is so decisive that it 
proves that Professor Arber's assertion, that three 
editions of the book were issued in 1 599, must be 
mistaken. 

We have also to notice a statement made by 
Mr. W. C. Hazlitt, in his § Colle&ions and Notes, 
1 867-1 876' (p. 205), concerning this book, which 
opens up a much wider field. Mr. Hazlitt there 
says : c Of this exceedingly common book, the 
copies though all purporting to be printed by John 
Wolfe in 1599, vary in date from 1599 to 1630, 
the book having been popular, and having been re- 
issued from time to time with the old imprint re- 
tained.' 

Mr. Hazlitt does not support this statement with 
any evidence, and it is worth no more than can be 
brought in support of it. 

III. c 



1 8 HAYWARD'S 'LIFE AND RAIGNE 

The first part of it is true enough. Copies of 
this book are numerous. The British Museum 
possesses no less than six, and almost every one of 
our large libraries possesses one or more copies of 
it. When we consider the destruction of books 
which has been going on during the last three 
centuries this is very remarkable, and seems to 
prove that the average edition of even the most 
popular books of the sixteenth century, must have 
been only five or six hundred copies, if so much. 

An examination of some seventeen copies shows 
that they agree absolutely in one respedt. Every 
one of them contains the Latin dedication to the 
Earl of Essex. This may be a mere coincidence, 
but at least it is singular that the majority of the 
copies lying in our public libraries should agree in 
this particular. The title and collation of the book 
are as follows : 

c The | First Part | of | The Life and | raigne of 
King Henrie | the IIII. | Extending to the end of 
the nrft | yeare of his raigne. | Written by I. H. | 
[Device.] | Imprinted at London by Iohn Wolfe, 
and | are to be folde at his {hop in Pope's head 
Alley, | neere to the Exchange, 1599.' 

Quarto, Sigs. A-U in fours = 80 leaves, i.e. four 
leaves without pagination + pp. 1 50 + one blank 
leaf. The work begins with the title-page, as 
above, verso blank. The Latin dedication follows 
on A 2, and on the verso is a list of ' Faultes escaped 
in the Printing/ This is succeeded by the Epistle, 
'A. P. to the Reader,' occupying A3-A4. Then 
follows the work, pp. 1-149, the verso of the last 
leaf of the text being occupied by the colophon : 



OF KING HENRIE IV.' 19 

* London : | Printed by John Wolfe and are | to be 
fold, at his (hop in Popes | head alley, neere the | 
Exchange. | 1599/ The last leaf of the volume 
was blank. The text was printed in a small roman 
type, making 35 lines to a full page, with a running 
title, c The life and raigne of K. Henrie the fourth/ 
in bold italic, and catchwords to each page. 

In these particulars all the copies are alike and, 
judged by their general appearance, they might all 
belong to the same edition. But there are curious 
typographical variations in them, which are suf- 
ficient to warrant the question whether they point 
to subsequent reprints, as Mr. Hazlitt suggests, 
or whether they may all be taken as part of the 
twelve hundred copies which Wolfe printed in 

*599- 
To begin with, they may be broadly divided into 

two classes : ( 1 ) those having on the title-page the 

printer's device of the fleur-de-lys, and (2) those 

having in its place a square of printers' ornaments 

on the title-page. 

In the first class there are three varieties, which 

may be thus described, 

(a) With errata unaltered, but with slight 
typographical inaccuracies, such as the spelling of 
the printer's name in the imprint on the title-page 
as c Iohn Woolfe,' and the reversal of the figures in 
the pagination of p. 19 (see British Museum copies, 
G. 4633 (2) and 10805, b. 9). 

(b) With errata unaltered, but with the printer's 
name spelt corredlly on the title-page, and the 
pagination correct throughout (Lambeth Library, 

3*. *• 2 9)- 



20 HAYWARD'S 'LIFE AND RAIGNE 

(c) With errata corre8ed 9 though the .list of 
c Faultes ' is retained on the verso of A 2, with 
printer's name corredtly spelt, and with pages 
corredtly numbered (British Museum, G. 1938, 
uncut ; Lambeth, 312. 36, uncut ; BodL, 4to, H. 
13 Art. Seld.; BodL Wood 486 (6) ; Sion College 
Library ; and Trinity College, Cambridge). 

Undoubtedly a b were among the first issues of 
the work from Wolfe's press. But in c we are 
face to face with considerable alterations. The 
€ Faultes escaped in the printing ' are corredted 
throughout the book, and although the number of 
lines to a full page and the catchwords are the same 
as in the earlier issues, several of the pages have 
been completely reset. To take only two examples, 
on p. 1 02 of the a and b copies, towards the bottom 
of the page, it will be found that the forme had 
shifted and several of the lines are irregular. This 
is corredted in the later issue. So again on p. 119 
of the earlier copies line 10 begins with the word 
4 sorte ' and ends with the word c myght,' whereas 
in the later issue it begins with the word c that ' 
and ends with the word c them,' and for several 
succeeding lines the setting is altered. 

It is interesting to notice that both the British 
Museum and Lambeth copies of this issue are in an 
uncut state. On the covers of the Lambeth copy 
are the arms of Archbishop Abbot. 

The copies found in Series No. 2, having the 
square of printers' ornaments on the title-page, may 
be divided into two classes, thus : 

(a) Those having the imprint on title-page, 
'John Wolfe, and | and [sic] are' etc., and an 



OF KING HENRIE IV.' 21 

ornamental initial of conventional design at the 
commencement of the Epistle to the Reader. 

Copies of these are in the British Museum, G. 
1 196; G. 1846 (2) ; 291 c. 25; and Dyce and 
Forster Library, South Kensington. 

(b) Those with the imprint on the title-page, 
corre&ly printed 'John Wolfe, and | are* etc., but 
with errors in the pagination and with the orna- 
mental initial on A3, the same as in Series i,/>. 
showing two figures, and surrounded with a border. 
Of this there are copies in the Bodleian, Douce 
H. H. 222, the Dyce and Forster Library, South 
Kensington, and Lincoln's Inn Library. In all 
the copies of this series the ' Faultes escaped ' 
have been corrected, and the text shows the reset- 
ting noticeable in copy c of Series No. 1. The 
initials and type also show more signs ot wear in 
these copies. 

It is evident then that Series 2 were printed 
either concurrently with copy c ot the first series 
or subsequently. But does the evidence of the 
copies in Series 2 warrant the statement that they 
were reprints, and that some of them were printed 
as late as 1 630 ? I do not think it does ; on the con- 
trary, I think all the variations which I have shown 
are consistent with the copies all being of the first 
edition of 1 599. The printer has left it on record 
that the book had a much larger sale than he ex- 
pedted, and consequently we may take it that the 
first impression consisted of perhaps five hundred 
copies. Finding that the book was selling so well, 
he in all probability set a second and perhaps a 
third press to work at it, and this would account 



22 HAYWARD'S 'LIFE AND RAIGNE 

for the correction of the errata, and the resetting of 
the type, as well as for the substitution of printers' 
ornaments on the title-page instead of the device, 
and for the use of different initial letters. The 
typographical errors in the imprint and pagination 
were clearly due to the rapidity which the com- 
positors had to use. 

Again the popularity of the book in 1 599 was 
diredtly due to its supposed connection with public 
affairs at that time and to its dedication to the Earl 
of Essex, whose strained relations with the Queen 
were probably well known. But with the death of 
Essex, and the death of the Queen two years later, 
the public interest in the book would naturally 
cease. For the very same reasons there could have 
been nothing to deter any printer who afterwards 
wished to reprint it, from placing his name on the 
title-page. 

But supposing, for the sake of argument, that 
some printer had wished to reprint the work, 
should we expert to find him in possession of 
exadtly similar type to that used twenty or thirty 
years previously and of exadtly the same initial 
letters, head and tail pieces and ornaments as those 
used by Wolfe in 1599 ? I think this highly im- 
probable. 

That the work was reprinted in 1642 we know, 
but it was in duodecimo form, and was only part of 
a book entitled, c The Lives and raignes of Henry 
the Third and Henry the Fourth, Kings of England. 
Written by Sir Robert Cotton and Sr. John Hay- 
ward Knights,' and bore the imprint 'London, 
printed for William Sheares and are to be. sold at 



OF KING HENRIE IV.' 23 

his shop in Bedford Street in Coven [sic] garden 
neere the new Exchange, at the signe of the Bible 
An. 1642/ It was an exadt reprint of the 1599 
edition with the Latin dedication and the epistle 
'A. P. to the Reader/ but the list of 'Faultes 
escaped/ was omitted. 

Altogether, I am of opinion, that all the quarto 
copies found in our various libraries belong to the 
first edition of 1599. The question remains to be 
answered : Is it merely a coincidence that all these 
copies have the Dedication, or did the printer leave 
it to the buyer to cut it out ? Mr. Ethridge, the 
librarian of Lincoln's Inn, to whom my cordial 
thanks are due for kindly allowing me to see the 
copy in that library, suggests that perhaps the 
presence of the list of c Faultes escaped ' on the 
verso of the leaf bearing the Dedication may account 
for its having been retained. 

There was one other person whose peace of mind 
was sadly disturbed by the suppression of this book, 
and that was the licenser, Samuel Harsnett. 

The letters which he wrote at this time show 
that he was almost beside himself with terror at the 
possible consequences of his a&ion. But, as far as 
we know, nothing was done to him. 

H. R. Plomer. 




HUMFREY WANLEY AND THE 
HARLEIAN LIBRARY. 

JUMFREY WANLEY, the ideal 
librarian of his day, was the son of 
Nathaniel Wanley, Vicar of Trinity 
Church, Coventry, a remarkable man, 
whose capacity for minute research 
was shown in his curious book, en- 
titled * The Wonders of the Little World ; or a 
General History of Man.' This quality descended 
in even fuller measure to his son Humfrey, whose 
erudition was accompanied by sounder judgment, 
and who certainly, where books were concerned, 
was quite free from the credulity so conspicuous 
in his father. 

Beginning life as a draper's assistant, Humfrey 
devoted all his spare time to the study of old books 
and manuscripts, and acquired such skill that he 
came under the notice of William Lloyd, Bishop 
of Lichfield, who obtained admission for him as a 
commoner to St. Edmund Hall, Oxford. He left 
the University, however, without taking a degree, 
and after gaining much credit by cataloguing 
manuscripts in Coventry and Warwick, was made 
assistant in the Bodleian Library. The want of a 
degree prevented him from succeeding Dr. Hyde 
as Bodley's librarian, and so from 1699 to 1700, 
we find him engaged in various researches con- 



HUMFREY WANLEY. 25 

nedted with manuscripts. At the end of the latter 
year he became assistant secretary to the Society for 
promoting Christian Knowledge, and then secretary 
from 1 702 to 1 708, when Robert Harley, to whom 
he had been introduced in 1701, employed him to 
catalogue the magnificent Harleian Colledtion of 
Manuscripts. In this work he spent the remaining 
eighteen years of his life, and the following extradts 
from his Diary are seledted to show his concep- 
tion of his duties and the manner in which he 
executed them. The personification of industry, 
he did his utmost to add to the value and complete- 
ness of the colledtion under his charge. 

A note-book which has been preserved with his 
Diary among the Lansdowne Manuscripts in the 
British Museum, shows how he registered the 
whereabouts of manuscripts or books which it 
might be possible to obtain for the Harleian 
Library. From the entries, which number sixty- 
one, the following are seledted to show the wide 
cast of Wanley's net. 

c Notes of things proper for this Library in the 
hands of particular persons. 

c 1. Mr. Price of Withington, in Com. Here- 
ford, has an original pidture of Erasmus ; Sir John 
Price's original history of Cambria; many old 
books. 

' 19. Mr. Stephens (of the Custom house) may 
possess the remainder of the Lord Chief Justice 
Hales things. 

c 50. Mr. Chamberlayne has some Bibles, etc. 

c 52. The old books and manuscripts at Oriel 
College. 



26 HUMFREY WANLEY AND THE 

c 54. Mr. Edlon, of the First Fruits Office, has 
the old book of the statutes of the Savoy 
Hospital/ 

These entries are followed by six closely written 
leaves of addresses and notes of Library business, 
interspersed with indications of the whereabouts 
of rare books and manuscripts. 

His Diary commences in 17 15, after he had 
been eight years in the service of Lord Harley. It 
will be seen in the first years how Wanley and his 
patrons were occupied in endeavouring to acquire 
books, manuscripts, coins, and other objects diredtly 
from the owners by exchange or purchase. 

'March 2nd, 17 14-5. 

c Present my Lord Harley ; myself. This being 
St. Chad's day I acquainted his Lordship that I 
did the last Somer write to Mr. Kimberley, Dean 
of Lichfield, desiring him to induce the Chapter of 
that Cathedral to part with their old Book called 
" Textus S. Ceaddae " to my Lord of Oxford, his 
Lordship therefore giving them money or Books 
to a greater value, but that I had never received 
any answer. Also that it had appeared to me that 
Mr. Dean was absent from Lichfield at the time I 
wrote my letter and long after, so that it might 
probably have missed him. 

c Ordered that this matter be kept in Remem- 
brance untill the meeting of Convocation ; and that 
Mr. Dean Kimberley be then applied unto. 

c I acquainted my Lord that the late Mr. Edward 
Lhwyd, of Oxford, left a large parcel of antient 
manuscripts, Welsh and Irish, together with his 



HARLEIAN LIBRARY. 27 

own collections, papers, stones, medals, etc., which 
are seized by the University for Debt, and may be 
retrieved for about 80 pounds. Ordered that men- 
tion be made of this affair in the letter to Dr. 
Lancaster, and that it be enquired how one of the 
chiefest of Mr. Lhwyd's manuscripts in Welsh got 
(after his decease) into Jesus College Library, and 
what right that College hath unto it. His Lord- 
ship enquiring what is become of Sir Roger 
Twisden's Library, I answered that it is bought by 
Sir Thomas Sebright, but that I cannot as yet learn 
whether Sir Thomas did buy the manuscripts 
together with the Printed Books/ 

'March zist, 1714-5. 

c My Lord Harley brought in a little Russian 
manuscript bought of Mr, Bagford.' 

'Jutie 2nd, 1715. 

c My Lord Harley brought in two warrants 
under the sign-manual of King Charles I., being 
bought of Mr. Bagford.' 

The dealings with Bagford were numerous, but 
chiefly in small things bought by Lord Harley. 

The Diary was suspended from July 18th, 171 6, 
to January nth, 1719-20, when by Lord Harley's 
order it was resumed. From this time onwards 
booksellers, such as Bateman, Bowyer, Gibson and 
Davies, constantly appear with offers of parcels of 
books and manuscripts. 

Under date ofjanuary 1 8th, 1719-20, Wanley notes 
that in con versation with Dr.Sherard he learned that, 



28 HUMFREY WANLEY AND THE 

c His Grace the Duke of Devonshire thinks him- 
self bound not to part with St. Athelwold's book, 
because given him by General Compton, although 
he hath no great value for it. . . . Mr. Smith of 
Venice writes that the Giustinianis will not part 
with their Greek manuscripts, and that he will not 
venture to send any of his own books to England 
yet/ Also, that Mr. L'Isle informed him that, 
'The Patriarch of Antioch hath a private press 
at Aleppo, and there prints Liturgical books/ 

Four days later we have the following interesting 
note: 

' Mr. Neal came and looked over the duplicates. 
. . . He visited me in the afternoon, and among 
other things declared that Mr. Alex. Cunningham 
had offered him 200 guineas to lett the Earl ot 
Sunderland have the preference before all others as 
to the buying of his old Books/ 

In connexion with this we may take the follow- 
ing entry some two years later : 

'April 19M, 1722. 

c This day, about 3 in the afternoon, died Robert 
Spenser, Earl of Sunderland ; which I the rather 
note here because I believe that by reason of his 
Decease some benefit may accrue to this Library, 
even in case his Relations will part with none of 
his Books. I mean by his raising the Price of 
Books no higher now ; so that in Probability this 
commodity may fall in the market; and any 
gentleman be permitted to buy an uncommon old 
Book for less than fourty or fifty Pounds/ 



HARLEIAN LIBRARY. 29 

c March 14M, 1722-3. 

' Mr. Collins came to study in the Heraldical 
Way, A.M. and P.M/ 

This Mr. Collins was a frequent visitor to the 
Library, and is quaintly described in the index to 
the Diary as, 

c Mr. Arthur Collins, a bookseller, of late years 
turned gentleman/ 

'March 20M, 1722-3. 

' Mr. Elliot came and I delivered to him a 
parcel to bind, and 3 more of my Lord's Morocco 
Skins/ 

c April bth^ 1723. 

• Mr. Elliot came to bind some books in the 
closet/ 

From this last entry it would seem that the 
binding at that time was being done on the pre- 
mises, and from other entries it appears that, 
Wanley being dissatisfied with the binders and 
their charges, Lord Harley had purchased the 
skins of morocco, etc., and the binders were sup- 
plied with the material as required. 

'June 14th, 1723. 

4 Mr. Woodman brought two manuscripts to sell, 
one being but an ordinary book of Hours I hur- 
ried off immediately. The other being a pretty 
old Psalter with some Illuminations, I retain to see 
whether it be now as perfect as when I remember 
to have seen it before/ 



1 w^mt * 



30 HUMFREY WANLEY AND THE 

'JufyStA, 1723. 

c Mr, Charles Davis brought a Translation of 
Christins de Pisis Faits of Arms printed in a little 
Folio by Caxton [Westminster, 1489] which he 
left at the very low price of Five Guineas. It will 
cost my Lord nothing to see it however.' 

'July 12M, 1723. 

* Charles Davis came and I returned to him his 
high-priced Printed Book, telling him my Lord 
could give no more than one Guinea for it. He 
said it cost him Three. This I do not believe, but 
in case it did, he should not have asked Five of my 
Lord for it the very next day.' 

c 1 saw Mr. Andrew Hay. . . . He desiring 
that the price of his Manuscripts now in this 
Library may be fixed, I said that I believed my 
Lord would allow him for them Twenty Shillings 
or a guinea a book for them, one with another/ 

'July 13M, 1723. 

€ Mr. Stephens, the Bookbinder, came about the 
four books he left here at 2 Guineas. He (foolish 
man) offer'd me a gratuity to help him off with 
them. I told him he did not know me. 

c I told over the Manuscripts sent in by Mr. 
Andrew Hay and find that they are in number but 
37, which by virtue of our late agreement my 
Lord is to have for as many Pounds or Guineas. 
This I see is a cheap Bargain, the Things being 
much more worth.' 



HARLEIAN LIBRARY. 31 

c My Lord came and gave me the 2 Guineas for 
Mr. Stephens's Books. They are : 

Bartholomxus de Proprictatibus Rerum ... per Petrum Ungarum. 

1482, fol. min. 
Tercntius cum Commcntis Donati & Guidonis. Venetijs per Sim. 

Papiensem. 1494, fol. 
Juvenalis cum Coment Calderini, Vallae & Mancinelli. Venetijs 

x> Joan, de Cereto. 1494, fol. 
VirgiTij Opera cum Maph. Vegij addit 9 & Commentarijs Donati, 

Landini, Calderini. Nurnb. |> Anth. Koberger. 1492, fol. 

A side-light on the book sales of the period is 
afforded by the following entry under date 

* November 2%tA, 1723. 

c Mr. Davis came wanting the numbers of all 
the books I had marked in his Catalogue. I bid 
him stay a little, saying that his Catalogue would 
go to my Lord, and then if he should send me any 
orders about them I could come time enough to 
his Sale, which I dare now say will prove knavish 
enough/ 

The dealings were often for considerable sums, 
e.g. on February 13th, 1723-4, Wanley notes that 
for certain specified parcels of manuscripts and 
printed books c there remains due from my Lord to 
Mr. Gibson £500/ This was chiefly for books 
imported from Italy. 

c February 28M, 1723-4. 

4 Mr. Bravoe came and acquainted me that he 
knows where a Sett of the Journals of Both Houses 
of Parliament do now lie in Pawn and will be sold 
for the money they are Pledged for.' 



32 HUMFREY WANLEY AND THE 

An interesting competition between two of the 
greatest colle&ors of all time is seen in the following 

no e# c March 10M, 1723-4. 

4 Yesterday in the Evening my Lord sent me to 
look upon such of Mr. Browne's books as he is 
willing to buy at his approaching sale; but his 
shop was so full of Gentlemen that I could do 
nothing. This morning I went again and did the 
Business ; but finding that Sir Hans Sloane (who 
first saw the Catalogue) had marked many of the 
Books which my Lord designed to buy, I have 
now written to him, in order to compound the 
matter between them (Sir Hans having formerly 
yielded up his pretensions to my Lord touching 
another valuable parcel :) desiring him to suffer 
my Lord to have at least half a dozen of the books 
contested which his Lordship chiefly wants.* 

On the following day he notes : 

' Sir Hans Sloane called at my Lodgings and ac- 
quainted me that he yields up his pretensions to all 
the books above-mentioned, out of Respedfc to my 
Lord whom he is desirous to oblige and serve upon 
all occasions.' 

Wanley lost no time, for he continues under the 
same date : 

4 A Letter to Mr. Brown, directing him to send 
in all those of his Books which I have marked for 
my Lord, together with the Catalogue/ 

A week later he makes the following quaint and 
very human entry : 

1 March 17M, 1723-4. 
4 Yesterday, in the evening, with my Lord's leave, 



HARLEIAN LIBRARY. 33 

I went to meet Mr. Blackbourne, who proves to 
be a non-juring Clergyman. I waited above 2 
hours, and after he was come I could have no 
private converse with him until it was past 2 in 
the morning. Afterwards, when he saw that we 
might be private, he said that what he had spoken 
of are not his own things. He shewed me an im- 
perfe£t Chartulary of Brads ole or St. Radegunds, 
near Dover : says that 2 Gentlemen, his friends 
(who are not tor selling), have between them 
aboute 997 Manuscripts, including old original 
charters and modern transcripts. He seems to 
hug these things as a great treasure, from which 
he is to be the only gainer, and in order to extract 
the gold from them nas begun to copie before he 
can either Read or understand what he can pore 
out. In order to cure him of these and other 
wants of knowledge, I have invited him hither ; 
shall convince him that his Friends' things are not 
the only Rarities in the World; and, perchance, 
by his means procure my Lord to save them from 
destruction.* 

On the 20th he notes : 

' Mr. Blackbourne came, and I shewed him 
divers fine Charters and Manuscripts. He brought 
with him an old English New Testament in manu- 
script/ 

'May 6M, 1724. 

' A French sort of a Droll came to my lodging, 
saying he was sent to me by Mr. Du Pis of Long 
Acre. He pulled out a 4to Paper manuscript, 
dedicated to Maximilian, Duke of Bavaria, treat- 
in. D 



34 HUMFREY WANLEY AND THE 

ing of Geomancy and other like nonsense, being 
written mostly in German. Monsieur Hump'd 
up the value of it, and often sware it was the finest 
thing in the World. I asked him the price of it 
and looked grum and gravely, which he saw with 
satisfaction, but as soon as his answer of Fifty 
Guineas was out, I replied, that was the book 
mine he should have it for the hundredth part of a 
Quart d'Ecu. The Drol would, however, have 
made remonstrances, but I would hear none ; u il ne 
vaut rien " being my word, so I waited on him 
down stairs, which he took as a piece of ceremony, 
but, indeed, it was to see him out of the House 
without stealing something/ 

c April 23™/, 1724. 

1 Mr. Gibson came, and much discourse we had 
about this present parcel of Books and Manu- 
scripts, now lying at his house, as to the value of 
which we hitherto could not agree. He acquainted 
me that he had waited on my Lord but just now, 
and that he had shewed him that the prices of this 
kind of things is much risen in Italy, although 
lower'd here : that at the price he has descended 
to, he gets very little or nothing ; and that his next 
parcel (which will be a very fine one, and the last 
which he shall import) , he will certainly make his 
Lordship amends to his own content and satisfac- 
tion, and this he affirmed over again to me. 
Hereupon, considering that my Lord has had every 
one of his Manuscripts and many Printed Books at 
prices cheaper than what has been always demanded 
by others, I yielded to his being gratified in this 



HARLEIAN LIBRARY. 35 

his request, and the cargo is to be sent in accord- 
ingly with all speed. (And it was sent in accord- 
ingly.) The Manuscripts must have the date of 
this day, and the Catalogue is in a loose Paper/ 

The Diary, continues in similar style to June 
23rd, 1726, when the last entry runs: 

'This morning my Lord sent hither a parcel 
sent to him yesterday in the evening by Mr. Gib- 
son. It consists of about 25 Manuscripts, whereof 
4 are in Greek, and 5 printed Books. But since 
they are not yet agreed for, it is needless to insert 
any list of them here.' 

Humfrey Wanley died on the 6th of July follow- 
ing, at the age of fifty-four, industrious and a&ive 
to the very end in spite of ill-health. He was 
twice married, but left no children surviving 
him. 

G. F. Barwick. 




36 



AN OPEN LETTER TO ANDREW 
CARNEGIE, ESQUIRE. 

Sir, 

®HE gifts which you are constantly 
making for the extension of public 
libraries in England and America, in- 
dicate that you believe in the library 
as a serious faftor in the educational 
and social life of the community. 
That belief is well grounded. The public library 
is a much more important contributor to educa- 
tional progress and social improvement than is 
generally recognized. Hitherto public libraries in 
Great Britain nave to a great extent been tolerated 
rather than encouraged. Most of them have been so 
starved that they cannot, with their present incomes, 
be thoroughly efficient. I am glad to observe that 
at Dundee and in other places you have stipulated 
for an improved income for maintenance as a con- 
dition of your gifts. 

I understand, however, that your contributions 
are made only for new libraries, and not in any case 
for the improvement of those already in existence. 
You may have good reasons for this, and your 
present limitation may be the best. Nevertheless 
I venture to put before you some views as to the 
things most necessary for the welfare of libraries in 
Great Britain. I do this because, in my opinion, 



LETTER TO ANDREW CARNEGIE. 37 

improvement of the existing libraries is urgently 
needed, and would lead to greater appreciation of 
them. An extension of libraries would naturally 
follow such appreciation. 

The limitation to a penny rate imposed upon 
libraries has confined their energies within a narrow 
range, any desire to improve being met with the 
cry ' No funds/ The amount of work which has 
been accomplished is remarkable — and within their 
limitations most libraries are working efficiently. 
But the range is too narrow. Improved educa- 
tional facilities, and greater appreciation of books 
as an aid to working and living, make it imperative 
that the range of libraries should be widened. 

There are three directions in which (speaking 
generally, for there are notable exceptions) , libraries 
fail to meet the requirements of the public. These 
are : 

1 . Weakness of the Reference Library, and a 

consequent failure to meet the needs of 
the better educated readers, students and 
literary workers. 

2. Inadequate provision for the reading of 

children, and for cultivating the reading 
habit. 

3. Absence of any effort to extend the library 

system to the rural districts. 

The first two failures are due to want of funds. 
Not only has the library to be maintained, but 
unless some generous donor comes forward, a loan 
for buildings has to be raised, entailing an annual 
payment out of the penny rate for interest and re- 



38 AN OPEN LETTER TO 

demption of the loan. What this means will be 
made clear by quoting some figures from the local 
taxation returns for 1898-9. These figures relate 
only to England and Wales. The amounts in 
each case would be larger if Scotland and Ireland 
could be included, but I have not the figures by me. 

The amount spent upon the up-keep of libraries 
for the year was £459,901. Of this sum about 
iC5S> 00 ° went t0 defray the cost of loans, amount- 
ing in the aggregate to £i 9 o62,$yo. 

The liberation of that £55,000 annually would 
make an enormous difference to some of the most 
deserving libraries ; those which have been started 
and carried on entirely by communities endowed 
with a spirit of self-help which they could translate 
into pra&ice. Such a sum added annually to the 
book-purchasing power would provide reference 
libraries of greatly improved character, such as 
would meet the wants of all classes in the com- 
munity. It would also enable the library authorities 
to attack the question of providing reading for 
children on a more adequate scale. The American 
library authorities have grasped the importance of 
a closer union between the school and the library, 
and the desirability of bringing children into re- 
lations with books at an early age. In Great 
Britain the libraries have been timid with regard to 
this matter, for the usual reason — c no funds/ 

The non-extension of the library system to the 
rural districts, is due to absence of effort. This 
work, like technical instruction, must be done by 
the County Councils. But why is it delayed ? 
The years are going by. The rush from the 



ANDREW CARNEGIE, ESQUIRE, 39 

country to the towns is also going on. People 
talk of the dulness of the country. Yet the Public 
Library, which would do much to relieve the 
monotony of rural life by supplying a new line of 
interest and thought, is left non-existent. I am 
not prepared to offer a ready-made scheme for 
extending the library system in this way, but I 
am quite sure that if some County Council would 
engage the services of a good organizing librarian, 
and give him a free hand for four or five years, the 
difficulties would be overcome. The establishment 
of library centres throughout a county would help 
the work of technical instruction by providing 
books and a meeting-place for classes. The sub- 
ject is not at present before the country, and before 
any progress can be expe&ed, something must be 
done to arouse interest in it. Who is to do it ? 
Money and time, coupled with ability, are required. 
The object is a worthy one. 

You have stated that the best gift which can be 
given to a community is a free library, provided 
the community will accept and maintain it as a 
public institution. I am writing this letter in the 
hope of interesting you in the future development 
of libraries in Great Britain. They need to be 
lifted on to a higher plane — to be liberated from 
the toils of poverty. A sum of a little over a 
million sterling would discharge all the debts upon 
the existing buildings. Less than half a million 
sterling would give to every library the equivalent 
of one year's income, which could be made into a 
fund for the purchase of books of permanent value, 
while a comparatively small sum would provide 



4 o LETTER TO ANDREW CARNEGIE. 

the sinews of war for a campaign in favour of an 
extension of the library system to rural districts. 
You are always ready to help to establish new 
libraries by providing a building if the community 
will undertake its maintenance: may I commend 
to your notice as deserving of favourable considera- 
tion those communities which have tried to help 
themselves, and in doing so have pioneered the 
library movement and loaded themselves with 
debts amounting to over a million pounds. 

I am, Sir, 
Your obedient Servant, 

An earnest Librarian. 




4i 



BACON'S BILITERAL CIPHER AND 
ITS APPLICATIONS. 

BERE it not for the controversy which 
has arisen as the result of Mr. Mai- 
lock's article in *The Nineteenth 
Century * for December last, it would 
hardly be necessary to attempt a 
formal refutation of the theory that 
Bacon's biliteral cipher was used by him to write 
a secret history into a number of works published 
during his life-time, and even now one cannot but 
half expect that Mrs. Gallup and her English 
champion will in the end turn upon their assail- 
ants and dub us all fools for taking this latest-born 
of Baconian booby-traps seriously. So far, how- 
ever, the controversy has been largely confined 
to vague generalities concerning the probability or 
improbability of Bacon having written Shakespeare 
or to doubts concerning the truth of the secret 
history, the disputants having, with the exception 
of Mr. Mallock, apparently failed to perceive that 
a priori arguments of this nature cannot by them- 
selves finally disprove a theory which rests upon 
certain clear and verifiable statements as to matters 
of typography. 1 Indeed, so far from the usual anti- 

1 Some have entered the arena for the sole purpose apparently 
of displaying their own astounding ignorance. Thus one letter 
in 'The Times' suggests that the Secret History is an obvious 
American forgery, since kotow is spelt without the u \ This state- 
ment has, I am informed, also appeared in one of the weekly papers. 



42 BACON'S BILITERAL CIPHER. 

Baconian arguments being in any way pertinent in 
the present case, it would be perfectly possible to 
admit the truth of every word in Mrs. Gallup's 
book, and yet to argue that the only thing proved 
was, that some insane person connected with the 
printing trade from about 1590 to about 1630 
introduced into a number of works printed during 
that period a cipher containing a vast mass of in- 
volved and at times unintelligible nonsense written 
in a vile imitation of the Chancellor's style. 

I propose, therefore, to investigate the question 
of the cipher itself, and to determine, so far as may 
be, what possibility there is of its existence, and 
also upon what methods Mrs. Gallup has proceeded 
in deciphering it. 

The cipher is fully described on pages 306 to 309 
of Bacon's ' De Augmentis Scientiarum' of 1624, 1 
and on pages 264 to 269 of the English translation 
by Gilbert Wats of 1640. It consists in having 
two forms of every letter, both capital and minus- 
cule, and using them to form an alphabet of two 
dissimilar things, such as that formed by the dots 
and dashes of the Morse code. In the case of the 
cipher, however, since it is impossible to mark the 
division of the letters, it is necessary that they 
should consist of groups of the same number. 
Since twenty-four letters are needed (/,y, and u 9 v> 
are of course the same), the smallest group which 
will give the requisite number of mutations is five 
(2 6 = 32), and we consequently find Bacon arrang- 
ing his alphabet as follows : 

1 So Mrs. Gallup's facsimile; B.M. copy, 1623. 



BACON'S BILITERAL CIPHER. 43 

A = aaaaa B = aaaab C = aaaba D = aaabb 

E = aabaa F = aabab G = aabba H = aabbb 

I = abaaa K = abaab L = ababa M = <?^?^£ 

N = abbaa O = abbab P = *44&i Ct= abbbb 

R = £4444 S = baaab T = £<?i£4 V = baabb 

W= J«Am X = babab Y = babba Z = A^M 

Bacon then proceeds to give an example of the 
cipher. For this he transcribes a portion of the 
first Epistle of Cicero, into which he inserts or, to 
use his own word, c involves ' the famous € Spartan 
Letter/ the classical example of the c Scytale ' or 
staff cipher. This specimen was cut on a block, not 
set up from ordinary type, and has been reproduced 
in facsimile to illustrate the present article. The 
most casual inspection will at once reveal the 
existence of the duplicate forms of the letters, and 
any schoolboy who has ever amused himself in 
class by concodfcing secret writings, will, with the 
help of the alphabet given above, have no difficulty 
in deciphering it in the course of half an hour or 
so. It is merely a question of noting the forms of 
the different letters, and then deciding which to call 
a and which b. This latter question presents little 
difficulty in Bacon's alphabet, so long as we have a 
sufficiently long cipher-passage to work from, since 
the proportion of a to b forms is 68 to 52 or 17 to 
13, with a tendency in favour of a forms, due to 
their predominance in letters of frequent occurrence, 
A, E, etc. Thus we merely have to call the more 
frequent form a, the less frequent b. 

For comparison with this specimen a passage has 
been reproduced in facsimile from the ' Novum 



^p& dirm omcio, cuMtiwyidtfocmutt; 
caitcnf satisfacio omnmtf: JjWiiwsimm: 





yet mdm>crtdiim$4&4uos cmfoiuU? 
&*$ auk&at% yUgis canst tijidanti* 

PART OF PAGE FROM € DB AUGMINTIS 8CIENTIARUM,' 1623, 

SHOWING USB OF BACON'S CIPHER. 



BACON'S BILITERAL CIPHER. 45 

Organum/ in which Mrs. Gallup finds the same 
cipher. The comparative uniformity of the letters 
will be at once obvious, but we shall be told, and 
told quite truly, that if Bacon did not wish his 
secret to be read at once he could not adopt the 
same glaring differentiations as in his specimen. 
Nevertheless, it must be admitted that there'were 
many grades of concealment possible between the 
very obvious dimorphism of the specimen and the 
type of the other passage here reproduced, in which, 
as regards many of the letters, the most competent 
experts have completely failed to distinguish more 
than one form. 

The position with regard to the founts is as 
follows. It has always been obvious to those 
familiar with old printing that there are two forms 
of most of the italic capitals, a plain form and an 
ornamental form, which were used to a large extent 
indifferently. So, too, with a few of the lower case 
letters, such as v and w. Mrs. Gallup assumes that 
these differences run through the whole alphabet, 
both upper and lower cases. This, however, is pre- 
cisely what nobody has yet succeeded in demonstrat- 
ing, while there is considerable reason to suppose 
that it is not the case. Mr. Mallock proposed to 
institute experiments in the way of photographic 
enlargements of the type, and it appears from a letter 
in 'The Times' of January 3rd, that such experi- 
ments have actually been carried out by Mrs. Dew- 
Smith at Cambridge, and have signally failed to give 
any results supporting Mrs. Gallup's theory. 1 Little 

1 Since the above was written an elaborate typographical in- 
vestigation has been published in 'The Times' of January 6th, 




Vi deS^aurai tanqudnu 
dc re exptoratd, promntiare 
aufifuntifiut hoc ex animi 
fiducia fecerint ,Jme ambi- 



(? Sciential detriment a of- 
, _ Ji fecSrej. VtenbnadSdem-t 

faciendam validi , ita etiam ad inqtd/ttionem exthf 
guendam e> abrumpendam efficatet fuerunt. 3\(e* 
que virttite propria tantkm prqfiterimt , quantum i» 
toe nocuermti quid aliormtvirtutem conuperiiU ) & 
perdiderint. Qui autem contrariam kite vim ingrefli 
fiat, atquenibuprorfiafciripoJJea/Seruerunt,fiie\j 
ex Sopbiftarum Veterum odio, fate ex ammifluSuatio* 
tie, out etiam ex quadamdoSrinacopid, in bane opt' 
monem delapfifint , certe non contemnendat ems ratio- 
tut adduxerunt j teruntamen nee a teri imtijsfenten- 
tiam/uam deriudrunt ,& ftudio quodam j atque of- 
feSatione proueBi, pror/us modum exceferunt. zdt 
mtiquioret ex GracuQ quorum fcripta perierunt) 

PART OF PAOE FROM BACON'S ' NOVUM ORGANUM,' l620, IN WHICH 
MRS. GALLUP FINDS A CIPHER. 



50 BACON'S BILITERAL CIPHER. 

to the really crucial question and see whether those 
letters, the forms of which can be readily distin- 
guished, have been assigned consistently or not in 
the process of transliteration. 

For this purpose I shall divide the facsimile from 
the * Novum Organum/ given by Mrs. Gallup, 
into three portions, first the printed title-pages in 
which the italic fount is largely of the upper case ; 
secondly, 11. 1-47 of the 'Prsefatio* (11. 1-2 1 of 
which appear in the facsimile accompanying the 
present article), of which Mrs. Gallup gives a full 
transliteration; and thirdly, 11. 48-108, which I 
have checked by reconstructing the cipher from 
the deciphered story on p. 86. I number the lines 
of the two title-pages continuously, those of the 
* Prsefatio ' separately. 

To test Mrs. Gallup's method I selected the 
following letters, in which the two forms are 
clearly distinct: A, *A\ £, 6; J, I; M> <5\f; 
Fj V. I also took the two forms of & 9 of which 
the wider and more sloped is assigned in the 
Table to a y the narrower and more upright to b 
fount (see 11. 5 and 7 of the facsimile respectively). 

In the title-pages there are nine upper case italic 
A *s, all belonging to the plain or a fount. Six of 
these are transliterated as a, while two (the first in 
1. 10 and that in 1. 24) are transliterated as b. Of 
the £'s, seven belong to a and three to b fount, and 
all are correctly transliterated. Besides these, how- 
ever, there are three cases of the ligature JE. A 
careful examination of the original has failed to 
reveal any differences in these, both components of 
which belong to the a form. Yet they are trans- 



BACON'S BILITERAL CIPHER. 51 

literated aa 9 ab 9 and ba respectively (11. 3, 12, and 
25). 1 The I\ of which there are nine, all belong 
to the plain fount, which in this case is called b 9 
and are correctly transliterated. M occurs four 
times, always of the plain fount, and no reason is 
apparent wny two should be transliterated as a and 
two as b; this, however, is consistent with the 
Table of Founts. V occurs seven times, always 
plain, and correctly transliterated as a. 

Turning to the first 47 lines of the * Prsefatio/ 
we find the A\ (three times, b fount), E's (three 
times, b fount), J (once, b fount), and M's (four 
times, b fount), all corredtly transliterated. It is, 
however, not so with either the V\ or &% and I 
am glad to be able to illustrate the point from the 
annexed facsimile. V occurs twice, once in its 
plain form in 1. 1, and once in its ornamental in 
1. 8 ; yet, in both cases it is transliterated as a. So 
again it will be noticed that in 11. 5 and 7 occur 
the two forms of Gf, of which that in 1. 5 belongs, 
according to the Table of Founts, to a 9 that in 
1. 7 to b. Yet both are here transliterated a . The & 
occurs sixteen times in the 47 lines we are examin- 
ing ; twelve times in the a form, once incorredtly 
transliterated b> and four times in the b form, twice 
incorrectly transliterated a. 

Lastly, let us take the passage (11. 48-108)9 for 

1 Several inconsistencies of transliteration were noted by Mrs. 
Dew-Smith in her letter before mentioned, but she is mistaken as 
to the question of ligatures. There is no reason why the two 
components should belong to the same form of letter. It is just 
as easy to cast ab as aa on the same body ; but it would necessi- 
tate four forms of the ligature, namely, aa y ab y bb, and ba y instead 
of two forms as in the ordinary type. 



52 BACON'S BILITERAL CIPHER. 

which I reconstructed the cipher. I confess that 
when I did so, I fully expected to find all attempt 
at consistency abandoned; but I was mistaken. 
Four A\ (i a> 3 &)> four J's (2 a, 2 b), and one V 
(6) j are corredtly transliterated. There are five 
ilf*s, one plain, transliterated a> and four orna- 
mental, of which two are incorredtly transliterated 
a. Again there are fifteen a fount &'s 9 of which 
two are incorrectly transliterated 6 9 and seven b 
fount ones, of which four are incorredtly trans- 
literated a. 

Besides these upper case letters there are the 
lower case v and w> which are clearly dimorphous. 
In the ' Prsefatio/ both in the part for which the 
transliteration is given, and that for which I re- 
constructed it, the two forms of v are corredtly 
transliterated. The w, of course, does not occur 
in Latin, but its forms also are corredtly trans- 
literated in the passage from Spenser. 

To sum up, then : not only is no evidence forth- 
coming to make the assumption of two distinCt 
founts for the whole lower case alphabet in the least 
plausible ; not only are the recognisable forms as- 
signed to the two founts in a perfectly arbitrary 
manner, but the forms are in many cases not even 
consistently differentiated in the process of translitera- 
tion. These are points which must be met before 
anyone has the right to assert that Mrs. Gallup has 
made out any prima facie case for her theory. 

One point remains. In the transliteration the 
italic capital S of the word Secundo, occurring in 
the fifth line of the title-pages, has been omitted, 
apparently by accident, certainly without explana- 



BACON'S BILITERAL CIPHER. 53 

tion or authority. Similar omissions may occur 
elsewhere, though I have not noticed them ; one 
case is, however, fully sufficient. If the cipher 
were genuine the deciphering would necessarily 
go wrong from this point, the fa<5t that it does 
not do so is conclusive evidence that the cipher is 
not genuine. 

I do not wish to assert that the book is an in- 
tentional fraud : I do not think it is. On the other 
hand, I have no wish to speculate upon the mental 
condition of any person who proposes to extradt a 
cipher on the absolutely illogical and inconsistent 
method which I have endeavoured to expose above, 
or who is prepared to accept the result of such 
work as meriting serious attention without having 
himself troubled to take the most obvious means of 
testing its accuracy. 

It is unnecessary to call attention to the many 
absurdities involved in the theory of the cipher — 
not among the least of which is the fa£t that the 
insertion of it would have placed Bacon's life in 
the hands of every printer's devil — for if it is pos- 
sible to demonstrate that the cipher does not exist 
anywhere but in Mrs. Gallup's imagination, it is 
obviously useless to dwell upon the improbability 
of its existence. So far, I see little prospeft of the 
fulfilment of Mrs. Gallup's hope, expressed in her 
quotation from Bacon, which adorns the cover of 
her book — a quotation I would print in this wise : 
I am in good hope t^at if th* first reading move an 
ob)e&\on, the second reading w/1/ maie d answer. 

Walter W. Greg. 




54 



ENGLISH BOOK-ILLUSTRATION OF 
TO-DAY. 

I. Some Decorative Illustrators. 

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



ENGLISH BOOK-ILLUSTRATION. 55 

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

To Rossetti the illustration of literature meant 
giving beautiful form to the aspedt of delight, of 
penetration, that had kindled his imagination as he 
read. He illustrated the * Palace of Art 9 in the 
spirit that stirred him to rhythmic expression in 
words of the still music in Giorgione's * Pastoral/ 
or of the unpassing movement of Mantegna's 
* Parnassus. 9 Not the words of the text, nor those 
things precisely affirmed by the writer, but the 
meaning, the spell of beauty that held his mind to 
the exclusion of other images, gave him inspiration 
for his drawings. As Mr. William Michael Ros- 
setti says : * He drew just what he chose, taking 
from his author's text nothing more than a hint 
and an opportunity. 9 It is said, indeed, that 
Tennyson could never see what the St. Cecily 
drawing had to do with his poem. And that is 
strange enough to be true. 

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



56 ENGLISH BOOK-ILLUSTRATION. 

piftured matter-of-fa£t is not illustration, though it 
is convenient and obligatory to call it so. How- 
ever, here one need not consider this, for the deco- 
rative illustrator has usually literature to illustrate, 
and a commission to be beautiful and imaginative 
in his work. He has the opportunity of Rossetti, 
the opportunity for significant art. 

The c Classics ' and children's books divide the 
art of decorative illustrators. Those who have 
illustrated children's books chiefly, or whose best 
work has been for the playful classics of literature, 
it is convenient to consider in a separate article, 
though there are instances where the division is 
not maintainable. Walter Crane, for example, 
whose influence on a school of decorative design 
makes his position at the head of his following im- 
perative. 

Representing the * architectural * sense in the 
decoration of books, many years before the supreme 
achievements of William Morris added that ideal 
to generally recognized motives of book-decoration, 
Walter Crane is the precursor of a large and pro- 
lific school of decorative illustrators. Many fadtors, 
as he himself tells, have gone to the shaping of his 
art. Born in 1846 at Liverpool, he came to Lon- 
don in 1857, an ^ there after two years was 'ap- 
prenticed ' to Mr. W. J. Linton, the famous wood- 
engraver. His work began with 'the sixties, 9 in 
contact with the enthusiasm and inspiration those 
years brought into* English art. The illustrated 
c Tennyson/ and Ruskin's c Elements of Drawing/ 
were in his thoughts before he entered Mr. Lin- 
ton's workshop, and the ' Once a Week * school had 




F^t 



IE* l . •— ; 



a 



_=□ 




FROM MR. WALTER CRANE's ' GRIMM'S HOUSEHOLD STORIES. 
BY LBATB OF MEISM. UACMILLAH. 



58 ENGLISH BOOK-ILLUSTRATION 

a strong influence on his early contributions to 
c Good Words/ * Once a Week, and other famous 
numbers. In 1865 Messrs. Warne published the 
first toy-book, and by 1 869-70 the * Walter Crane 
Toy-book 9 was a fa& in art. The sight of some 
Japanese colour-prints during these years suggested 
a finer decorative quality to be obtained with tint 
and outline, and in the use of black, as well as in 
a more delicate simplicity of colour, the later toy- 
books show the first influence of Japanese art on 
the decorative art of England. Italian art in Eng- 
land and Italy, the prints of Diirer, the Parthenon 
sculptures, these were influences that affedted him 
strongly. * The Baby's Opera * (1877), ^ ' The 
Baby's Bouquet' (1879), are classics almost impos- 
sible to criticise, classics familiar from cover to 
cover before one was aware of any art but the art 
on their pages. So that if they seem less expres- 
sive of the supreme art of Greece, of Germany, of 
Italy, than of the countries by whose coasts ships 
* from over the sea ' go sailing by with strange 
cargoes and strange crews, of that land whence 
come broom-sellers and cradle-songs, it is not in 
their dispraise. As a decorative artist Mr. Crane 
is at his best when the use of colour gives clearness 
to the composition, but some of his most c serious ' 
work is in the black-and-white pages of c The 
Sirens Three/ * Echoes of Hellas/ * The Shep- 
heardes Calendar/ and especially 'The Faerie 
Queene.' The number of books he has illustrated 
— upwards of seventy — makes a detailed account 
impossible. Nursery rhyme and fairy books, chil- 
dren's stories, the myths of Greece, Spenser, Shake- 



OF TO-DAY. 59 

speare, c pageant books ' such as * Flora's Feast ' or 
* Queen Summer/ or the just published * Masque of 
Days/ his own writings, serious or gay, have given 
him subjedts, as the great art of all times has 
touched the ideals of his art. 

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

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



60 ENGLISH BOOK-ILLUSTRATION 

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

Among those associated with the ' Arts and Crafts' 
who have given more of their art to book-decora- 
tion than these men, Mr. Anning Bell is first. He 
has gained the approval even of the most exigent of 
critics as an artist who understands drawing for 




OF TO-DAY. 6 1 

process. Since 1895, when the * Midsummer 
Night's Dream* appeared, his winning art has 
been praised with discrimination and without dis- 
crimination, but always praised. Trained in an 
architect's office, widely known as the re-creator 
of coloured relief for architectural decoration, Mr. 
Anning Bell's illustrative art shows constructive 
power no less than that fairy gift of seeming to 
improvise without labour and without hesitancy, 
which is one of its especial charms. In feeling, and 
in many of his decorative forms, he recalls the art 
of Florentine bas-relief, when Agostino di Duccio, 
or Rossellino or Mino da Fiesole, created forms of 
delicate sweetness, pure, graceful — so graceful that 
their power is hardly realized. The fairy by-play 
of the * Midsummer Night's Dream ' is exadtly to 
Mr. Anning Bell's fancy. He knows better than 
to go about to expound this dream, and it is not 
likely that a more delightful edition will ever be 
put into the hands of children, or of anyone, than 
this in the white and gold cover devised by the 
artist. 

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

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



62 ENGLISH BOOK-ILLUSTRATION 

or with Madeline, * St. Agnes' charmed maid.' Mr. 
Anning Bell's drawings to 'The Pilgrim's Pro- 
gress' (1898) reveal htm in a different mood, as 
do those in * The Christian Year ' of three years 
earlier. His vision is hardly energetic enough, his 
energy of belief sufficient, to make him a strong 
illustrator of Bunyan, with his many moods, his 
great mood. A little these designs suggest Howard 







.-f^fT % 'fb*- 





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

Pyle, and Anning Bell is better in a way of beauty 
not Gothic. 

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



OF TO-DAY. 63 

c Century Guild * artists as decorative illustrators is 
chiefly in the pages of * The Hobby Horse/ I do 
not think either Mr. Selwyn Image or Mr. Herbert 
Home has illustrated books, so in this connexion 
one may not stop to consider the decorative 
strength of their ideal in art. The Birmingham 
school represents Gothic ideals with determination 
and rigidity. Morris addressed the students of the 
school and prefaced the edition of * Good King 
Wenceslas,' decorated and engraved and printed by 
Mr. A. J. Gaskin * at the press of the Guild of 
Handicraft in the City of Birmingham/ with cordial 
words of appreciation for the pictures. These illus- 
trations are among the best Mr. Gaskin has done. 
The twelve full-page drawings to * The Shepheardes 
Calendar/ printed at the Kelmscott Press in 1896, 
mark Morris's pleasure in Mr. Gaskin's work — 
this time seen in Andersen's c Stories and Fairy 
Tales/ If not quite in tune with Spenser's Eliza- 
bethan idyllism, these drawings are distinctive of 
the definite convidlions of the artist. 

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




FROM MR. GASKIK S ' HANS ANDERSEN. 
BY LEAVE OF MR. GEORGE ALLEN. 



ENGLISH BOOK-ILLUSTRATION. 65 

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

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



66 ENGLISH BOOK-ILLUSTRATION 

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

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



OF TO-DAY. 67 

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

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

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



68 ENGLISH BOOK-ILLUSTRATION 

His drawings to c The Confessions of S. Augustine/ 
engraved by Miss Clemence Housman, are in keep- 
ing with the text, not impertinent. Mr. A. Garth 
Jones in the * Quarto ' seemed much influenced by 
Japanese grotesques ; but in illustrations to Milton's 
c Minor Poems 1 (1898) he has shown development 
towards the expression of beauty more austere, 
classical, controlled to the presentment of Milton's 
high thought. His recent 'Essays of Elia' re- 
mind one of the forcible work of Mr. E. J. Sulli- 
van in c Sartor Res art us/ Mr. Sullivan's c Sartor ' 
and c Dream of Fair Women ' must be mentioned. 
His mastery over an assertive use of line and solid 
black, the unity of his effects, the humour and 
imagination of his decorative designs, are not likely 
to be forgotten, though the balance of his work in 
books such as * White's Selborne ' or * The Com- 
pleat Angler,' obliges one to class him with € Open- 
Air' illustrators, and so to leave a blank in this 
article. 

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



OF TO-DAY. 69 

that express his idea of George Meredith's 'Jump 
to Glory Jane' (1890), These designs were the 
result of the appreciation which the editor, Mr. 
Harry Quilter, felt for Mr. Housman's drawings 
to c The Green Gaffer ' in c The Universal Review/ 

Jane the village woman with * wistful eyes 

in a touching but bony face/ leaping with counten- 
ance composed, arms and feet Mike those who 
hang, 9 leaping in crude expression of the unity of 
soul and body, making her converts, failing to 
move the bishop, dying at last, though not in- 
gloriously, by the wayside — this most difficult 
conception has no ' burlesque outline ' in Mr. 
Housman's work, inexperienced and unacademic 
as is the drawing. 

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



jo ENGLISH BOOK-ILLUSTRATION 

'The Were- Wolf/ by Miss Clemencc Housman, 
complete the list of Mr. Housman's illustrations 
to writings not his own, with the exception of 
frontispiece drawings to several books. 

To explain Mr. Housman's reading of 'The 
Sensitive Plant ' would be as superfluous as it would 
be ineffectual. In a note on the illustrations he 
has told how the formal beauty, the exquisite 
ministrations, the sounds and fragrance and sweet 
winds of the garden enclosed, seem to him as ' a 
form of beauty that springs out of modes and 
fashions, 9 too graceful to endure. In his pictures he 
has realized the perfect ensemble of the garden, its 
sunny lawns and rose-trellises, its fountains, statues, 
and flower-sweet ways ; the spirit of the Sensitive 
Plant, the lady of the garden, and Pan — Pan, the 
great god who never dies, who waits only with- 
out the garden, till in a little while he enters, 
'effacing and replacing with his own image and 
superscription, the parenthetic grace . . . of the 
garden deity/ These drawings are very charming. 
Of a talent that treats always of enchanted places, 
where 'reality* is a long day's journey down a 
dusty road, it is difficult to speak without suggest- 
ing that it is all just a charming dalliance with 
pretty fancies, lacking strength. For the strength 
of Mr. Housman's imagination, however, his work 
speaks. His illustrations to his own writings, fairy 
tales, and poems, cannot with any force be dis- 
cussed by themselves. The words belong to the 
pictures, the pictures to the words. The drawings 
to c The Field of Clover ' are seen to full advantage 
in the wood-engravings of Miss Housman. Only 



OF TO-DAY. 71 

so, or in rcproduftion by photogravure, is the full 
intention of Mr. Housman's pen-drawings apparent. 

One may group the names of Charles Ricketts, 
C. H. Shannon, T. Sturge Moore, Lucien Pissarro, 
and Reginald Savage together in memory of c The 
Dial, 9 where the activity of five original artists 
first became evident, though, save in the case of 
Mr. Ricketts and Mr. Shannon, no continuance of 
the classification is possible. The first number of 
'The Dial,* 1889, had a cover design cut on wood 
by Mr. C. H. Shannon — afterwards replaced by 
the design of Mr. Ricketts. Twelve designs by 
Mr. Ricketts may be said to represent the transi- 
tional — or a transitional — phase of his art, from the 
earlier work in magazines, which he disregards, to 
the reticent expression of * Vale Press 9 illustrations. 
In 1 89 1 the first book decorated by these artists 
appeared, * The House of Pomegranates/ by Oscar 
Wilde. There was, however, nothing in this book 
to suggest the form their joint talent was to take. 
Many delightful designs by Mr. Ricketts, somewhat 
marred by heaviness of line, and full-page illustra- 
tions by Mr. Shannon, printed in an almost invisible, 
nondescript colour, contained no suggestion of 
4 Daphnis and Chloe. 9 

The second * Dial 9 ( 1 892) contained Mr. Ricketts' 
first work as his own wood-engraver, and in the 
following year the result of eleven months 9 joint 
work by Mr. Ricketts and Mr. Shannon was shown 
in the publication of c Daphnis and Chloe, 9 with 
thirty-seven woodcuts by the artists. Fifteen of 
the pidtures were sketched by Mr. Shannon and 
revised and drawn on the wood by Mr. Ricketts, 




LEAVE OF MESSES. KEGAH PAUL. 




■Y LIAVI OP MIISK3. 



74 ENGLISH BOOK-ILLUSTRATION. 

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

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



Jtyf^H 






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Ir otK 


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WW \X^^ 


ii ffijy irrfti'iffl'Nf w 




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FROM MESSRS. RICKETTS AND SHANNONS ' DAPHNIS AND CHLOE. 
(MATHEWS AND LANE.) 
> IV THBIK LEAVI AND THE PUBLISHERS*. 



?b ENGLISH BOOK-ILLUSTRATION 

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




FROM MR. RICKETTS ' CUPID AND PSYCHB. 

■ 1PRODUCBD BY HIS PERMISSION. 

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

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



OF TO-DAY. 77 

Some of these are in c The Dial/ as also designs for 
William Adlington's translation of 4 Cupide and 
Psyches' in 'The Pageant/ 'The Dial/ and 'The 
Magazine of Art/ The edition of the work pub- 
lished by the new Vale Press in 1897, is not that 
projected at this time. It contains roundel designs 
in place of the square designs first intended. These 
roundels are, I think, the finest achievement of 
Mr. Ricketts as an original wood-engraver. The 
engraving reproduced shows of what quality are 
both line and form, how successful is the placing 
of the figure within the circle. On the page they 
are what the artist would have them be. Witn 
the beginning of the sequence of later Vale Press 
books— -books printed from founts designed by Mr. 
Ricketts — a consecutive account is impossible, but 
the frontispiece to the ' Milton ' and the borders and 
initials designed by Mr. Ricketts, must be mentioned. 
As a designer of Book-covers only one failure is set 
down to Mr. Ricketts, and that was ten years ago, 
in the cover to 'The House of Pomegranates/ 

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



7% ENGLISH BOOK-ILLUSTRATION 

'The Centaur/ 'The Bacchant,* 'The Meta- 
morphoses of Pan,' * Siegfried ' — young Siegfried, 
wood-nurtured, untamed, setting his lusty strength 
against the strength of the brutes, hearing the bird- 
call then, and following the white bird to issues 
remote from savage life — these are subjects realized 
by the imagination of Mr. T. Sturge Moore. 




FROM MR. STURGE MOORE'S ' THE CENTAUR. 
REPRODUCED BY PERMISSION OF MR. RICKETTS. 

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



OF TO-DAY. 79 

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

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



80 ENGLISH BOOK-ILLUSTRATION 

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

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



OF TO-DAY. 8 1 

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

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

HI. G 



82 ENGLISH BOOK-ILLUSTRATION 

Mariner,' or, in his Chaucer illustrations — Con- 
stance on the lonely ship— that he shows his grasp 
of the subjedl, than by any expression of the spiritual 
terror or loneliness of the one living man among 
the dead, the solitary woman on strange seas. 

Few decorative artists express themselves habitu- 
ally in c wash ' rather than by line. Among those 
who rarely use the pen Mr. Weguelin and Mr. 
W. E. F. Britten must be named. Mr. Weguelin 
has illustrated Anacreon in a manner to earn the 
appreciation of Greek scholars, and his illustrations 
to Hans Andersen have had a wider and not less 
appreciative reception. His drawings have move- 
ment and atmosphere. Mr. Britten illustrated 
poems on the months by Mr. Swinburne in the 
c Magazine of Art* in 1892-3, and since that time 
his version of c Undine,' and illustrations to Tenny- 
son's c Early Poems,' have shown the same power of 
graceful composition and sympathy with his subjedt 

R. E. D. Sketchley. 



BIBLIOGRAPHY. 

(To September, 1901.) 

Amelia Baubrlb. 

Allegories. Frederic W. Farrar. 8°. (Longmans, 1898.) 

20 illust. 
The Day-Dream. Alfred Tennyson. 8°. (Lane, 1901. 
* Flowers of Parnassus.') 
R. Anning Bell. 

The Golden Treasury of Art and Song. Edited by R. £. Mack. 
4 . (Nister, 1890.) 18 illust in colour. 



OF TO-DAY. 83 

Jack the Giant-Killer and Beauty and the Beast. Edited by 
Grace Rhys. 3a . (Dent, 1894. Banbury Cross Series.) 35. 

The Sloping Beauty and Dick Whittington and bis Cat. Edited 
by Grace Rhys. 3a . (Dent, 1894. Banbury Cross Series.) 

—35. 

The Christian Year. 8°. (Methuen, 1895.) 5. 

A Midsummer Nights Dream. 4 . (Dent, 1895.) 13, head 

and tailpieces, borders. 
Keats' Poems. Edited by Walter Raleigh. 8°. (Bell, 1897. 

Endrmion Series.) 65. 
English Lyrics from Spenser to Milton. 8°. (Bell, 1898. En- 
dymion Series.) 20, head and tailpieces. 
Pilgrim's Progress. 8°. (Methuen, 1898.) 39. 
LamVs Tales from Shakespeare. 8°. (Fremantle, 1899.) I S- 
Keats' Odes. 8°. (Bell, 1901.) 15, from Endymion Series. 
Grimm's Fairy Tales. Edited by Marian Edwardes. (Dent, 

1 90 1.) 102. 
W. E. F. Britten. 

Undine. Translated from the German of Baron de la Motte 

Fouqu6 by Edmund Gosse. 4 . (Lawrence and Bullen, 

1896.) 10 illust. 
The Early Poems of Alfred Lord Tennyson. Edited by John 

Churton-Collins. 8°. (Methuen, 1901.) 10. 
Percy Bulcock. 

The Blessed Damoxel. Dante Gabriel Rossetti. 8°. (Lane, 

1900. * Flowers of Parnassus. 9 ) 8 illust. 

A Dream of Fair Women. Alfred Tennyson. 8°. (Lane, 

1902. «F. of P.*) 9. 
Herbert Cole* 

Gulliver's Travels. 8°. (Lane, 1900.) Profusely illustrated. 
The Ruhaiyat. 8°. (Lane, 1 90 1. € Flowers of Parnassus.') 

9 illust 
The Nut-Brown Maid. A new version by F. B. Money- 

Coutts. 8°. (Lane, 1901. C F. of P.') . 9. 
A Ballade upon a Wedding. Sir John Suckling. 8°. (Lane, 

1901. <F. of P.') 9. 

The Rime of the Ancient Mariner. S. T. Coleridge. 8°. 

(Gay and Bird, 1900.) 6. 
Philip Connaed. 

The Statue and the Bust. Robert Browning. 8°. (Lane, 

1900. ( Flowers of Parnassus.') 9 illust. 
Marpessa. Stephen Phillips. 8°. (Lane, 1900. 'F.xofP.') 7. 



84 ENGLISH BOOK-ILLUSTRATION 

Walter Crane 

The New Forest. J. R. Wise 4 . (Smith, Elder, 1863.) 
63 illust. engraved by W. J. Linton. (A new edition, pub- 
lished bv Henry Sotheran, 1883, with the original illust. and 
12 etchings by Heywood Sumner.) 
Stories from Menu I. Mrs. De Haviland. 12°. (William Hunt, 
1864.) 6. 
Walter Grants Toy-Books. Issued in single numbers, from 1865- 

1876. 
— Collected Editions y all published in 4 , by George Routledge, 
and printed throughout in colours. 

Ir alter Crane's Pifiure Book. (1874.) 64 pp. 
The Marquis of Car abas' Picture Book. ( 1 874.) 64 pp. 
The Blue Beard Pifiure Book. (1876.) 32 pp. 
Song of Sixpence Toy-Book. (1876.) 32 pp. 
Chattering Jack's Pifiure Book. (1876.) 32 pp. 
The Three Bears Piffure Book. (1876.) 32 pp. 
Aladdin's Pifture Book. (1876.) 24 pp. 
The Magic of Kindness. H. and A. Mayhew. 8°. (Cassell, 

Petter and Galpin, 1 869.) 8 . 
Sunny Days, or a Month at the Great Stowe. Author of c Our 
White Violet.* 8°. (Griffith and Farran, 187 1.) 4, in 
colours. 
Our Old Uncle's Home. « Mother Carey/ 8°. (Griffith and 

Farran, 1871.) 4. 
The Head of the Family. Mrs.Craik. 8°. (Macmillan, 1875.) 6. 
Agatha's Husband. Mrs.Craik. 8°. (Macmillan, 1875.) 6. 
The Quiver of Love. A Colle&ion of Valentines, Ancient and 
Modern. 4°, (Marcus Ward, 1876.) Illust. in colour by 
Walter Crane and Kate Greenaway. 
Carrots. Mrs. Molesworth. 8°. (Macmillan, 1876.) 7. 
Songs of Many Seasons. Jemmett Browne. 4°. (Simpkin, 
Marshall, Pewtress, 1876.) Illust. by Du Maurier, Walter 
Crane, C. W # Morgan. 1 by Walter Crane. 
The Baby's Opera. 4°. (Routledge, 1877.) 1 1, and illustrative 

decorations on every page. In colours. 
The Cuckoo Clock. Mrs. Molesworth. 8°. (Macmillan, 1877.) 7- 
Grandmother Dear. Mrs. Molesworth. 8°. (Macmillan, 1878.) 7. 
The Tapestry Room. Mrs. Molesworth. 8°. (Macmillan, 



1879.) 7, 
leBt 



The Baby's Bouquet. 4 . (Routledge, 1 879.) 1 1, and illustrative 
decorations on every page. In colours. 



OF TO-DAY. 85 

A Christmas Child. Mrs. Moles worth. 8°. (Macmillan, 

1880.) 7. 
The Necklace of Princess Fiorimonde. Mrs. De Morgan. 8°. 

(Macmillan, 1880.) 8, and devices. 
Herr Baby. Mrs. Molesworth. 8°. (Macmillan, 1881.) 7. 

Also a 4 edition with 12. 
The First of May. A Fairy Masque. Walter Crane. Fol. 

(Henry Sotheran, 1881.) 52 designs. Text in artist's 

manuscript. 
Household Stories. Translated from the German of the Brothers 

Grimm by Lucy Crane. 8°. (Macmillan, 1882.) 11, and 

illustrative head and tailpieces and initials to each story. 
Rosy. Mrs. Molesworth. 8°. (Macmillan, 1882.) 7. 
Christmas Tree Land. Mrs. Molesworth. 8°. (Macmillan, 

1884.) 7. 
Walter Crane's New Series of Pi^hire Books. 4 . (Marcus Ward, 

1885-6.) 
Slate and Pencihania. — Little £htcen Anne. — Pothooks and 
Perseverance. 24 pages each, printed in colours. 
The Golden Primer. J. M. D. Meiklejohn. 8°. (Blackwood, 

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

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

Downey, 1885.) 24. 
"Us." Mrs. Molesworth. 8°. (Macmillan, 1885.) 7. 
The Sirens Three. Walter Crane. 4 . (Macmillan, 1886.) 41 

pages of pictures, with text in artist's manuscript. 
The Baby's Own JEsop. 4 . (Rout ledge, 1886.) 56 pages 

of pidures and text in artist's manuscript. In colours. 



Echoes of Hellas. The Tale of Troy and the Story of Orestes 

With introdudory essay ; 
sonnets by Prof. George C. Warr. Fol. (Marcus Ward, 



from Homer and Aeschylus. With introdudory essay and 



1887.) 82 illustrative decorations. 
Four Winds Farm. Mrs. Molesworth. 8°. (Macmillan, 

1887.) 7. 
Legends for Lionel 4°. (Cassell, 1887.) 40 pages of pictures, 

text in artist's manuscript In colours. 
A Christmas Posy. Mrs. Molesworth. 8°. (Macmillan, 

1888.) 7. 
The Happy Prince f and other tales. Oscar Wilde. 4 . (Nutt, 

1888.J Illustrated by Walter Crane and Jacomb Hood. 3 

by Walter Crane. 



86 ENGLISH BOOK-ILLUSTRATION 

The Book of Wedding Days. Quotations for every day in the 

year, compiled by K. £. J. ReicL etc. 4 . (Longmans, 1889.) 
The Rettery Children. Bars. Moleswortb. 8°. (Macmillan, 

1889.) 7. 
Florets Feast A Masque of Flowers. Walter Crane* 4 . 

(Cassell, 1 889 .) 40 pages of pidures, with text in artist's 

manuscript, in colours. 
The Turtle Dovis Nest. 8 # . (Routledge, 1890.) 87 illust. by 

Walter Crane, W. McConnell, Harrison Weir and other 

artists. 
Renascence. A Book of Verse. Walter Crane. Including 

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

Mathews, 1891.) 39 designs, some engraved on wood by 

Arthur Leverett. 
A Wonder Book for Girls and Boys. Nathaniel Hawthorne. 

(Osgood, Mcllvaine, 1892.) 60 designs in colours. 
The Tempest. 8 illust to Shakespeare's c Tempest.' Engraved 

and printed by Duncan C. Dallas. (Dent, 1893.) 
Two Gentlemen of Verona. 8 illust. to Shakespeare's c Two 

Gentlemen of Verona.' Engraved and printed by Duncan 

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

(Kelmscott Press. 1894.) 23 illust. by Walter Crane. 

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

4 . (David Nutt, 1894.) Frontispiece and devices. Also an 

edition in 1897. 8°. 
Merry Wives of Windsor, 8 illust. to Shakespeare's c Merry 

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

Dallas. 4 . (George Allen, 1894.) 
The Vision of Dante. Miss Harrison. 8°. 1894. 4. 
Tie Faerie Sfueene. In 3 volumes. Edited by Thomas J. 

Wise. 4°. (George Allen, 1895.) 90, and headings and 

tailpieces to each Canto. 
§{ueen Summer, or the Tourney of the Lily and the Rose. 

Walter Crane. 4 . (Cassell, 1896.) 40 pages of pi&ures 

with text in artistes manuscript. In colours. 
The Shephearfs Calendar. Edmund Spenser. 4 . (Harper 

and Bros., 1898.) 12, and other devices. 
Triplets^ comprising 'The Baby's Opera,' 'The Baby's 

Bouquet,' and 'The Baby's Own .flSsop.' Walter Crane. 

(Routledge, 1899.) Printed by Edmund Evans. 4 . 



OF TO-DAY. 87 

A Floral Fantasy, in an Old English Garden. Walter Crane. 

8°. (Harper, 1899.) 40 pages of pictures with text in 

artist's manuscript. 
H. Granville Fell. 

Our Lad/s Tumbler. A Twelfth Century legend transcribed 

for Lady Day, 1894. 4 . (Dent, 1894.) 4 Must. 
Wagners Heroes. Constance Maud. 8°. (Arnold, 1895.) 8. 
M Baba and the Forty Thieves. 32 . (Dent, 1895. Banbury 

Cross Series.) 36. 
The Fairy Gifts and Tom Hickathrift. 32 . (Dent, 1895. 

Banbury Cross Series.) 36. 
The Book of Job. 4 . (Dent, 1896.) 22. 
The Song of Solomon. 4 . (Chapman and Hall, 1897.) 12, and 

decorations. 
Wonder Stories from Herodotus. Re-told by C. H. Boden and 

W. Barrington D' Almeida. 8°. (Harper and Brothers, 

J 900.) 12, and decorations. 
A. T. Gaskin. 

A Book of Pittured Carols. Designed by members of the 

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

4°. (George Allen, 1893.) Illust. by C. M. Gere, A. J. 

Gaskin, Henry Payne, Bernard Sleigh, Fred. Mason, and others. 
Stories and Fairy Tales. Hans Andersen. 8°. (George Allen, 

1893.) 100. 
A Book of Fairy Tales. Re-told by S. Baring Gould. 8°. 

(Methuen, 1894.) 20. 
Good King Wenceslas. Dr. Neale. 4 . (Cornish Brothers, 

Birmingham, 1895.) 6. 
The Shepbearts Calendar. 8°. (Kelmscott Press, 1896.) 12. 
C. M. Gere. 

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

Bullen, 1893.) 6 illust. 
The Imitation of Christ. Thomas a Kempis. Introduction by 

F. W. Farrar. 8°. (Methuen, 1894.) 5. 
A Book of Piftured Carols. See A. J. Gaskin. 
J. J. Guthrie. 

JVedding Bells. A new old Nursery Rhyme by A. F. S. and 

£. de Passemore. 4 . (Simpkin, Marshall, 1895.) 7 illust. 
The Garden of Time. Mrs. Davidson. 8°. (Jarrold and Sons, 

1806.) 38. 
An Album of Drawings. FoL (The White Cottage, Shorne, 

Kent, 1900.) 20 from various magazines. 



88 ENGLISH BOOK-ILLUSTRATION 

Laurence Housman. 
Jump-to-G lory Jane. George Meredith. 8°. (Swan, Sonnen- 

schein, 1892.) 44 designs and text in artist's manuscript. 
Goblin Market. Christina Rossetti. 8°. (Macmillan, 1893.) 

Title-page, decorations and 12. 
Weird Tales /rem Northern Seas. From the Danish of Jonas 

Lie. 8°. (Kegan Paul, 1 893.) 1 2. 
The End of Elfin-town. Jane Barlow. 8°. (Macmillan, 1894.) 

Title-page, decorations and 8. 
A Farm in Fairyland. Laurence Housman. 8°. (Kegan 

Paul, 1894.) Frontispiece, title-page and 12. 
The House of Joy. Laurence Housman. 8°. (Kegan Paul, 

1895.) Frontispiece, title-page and 8. 
Green Arras. Laurence Housman. 8°. (Lane, 1896.) 

Frontispiece, title-page and 4. 
All-Fellows. Laurence Housman. 8°. (Kegan Paul, 1896.) 7. 
The JVerc-Wolf. Clemence Housman. 8°. (Lane, 1896.) 6. 
The Sensitive Plant. P. B. Shelley. 4 . (Aldine House, 

1 898.) 12, in photogravure. 
The Field of Clover. Laurence Housman. 8°. (Kegan Paul, 

1898.) Frontispiece, title-page and 10, engraved by Clemence 

Housman. 
Of the Imitation of Christ. Thomas a Kempis. 8°. (Kegan 

Paul, 1898.) 5. 
The Little Land. Laurence Housman. 8°. (Grant Richards, 

1899.) 4- 
A. Garth Jones. 

The Minor Poems of John Milton. 8°. (Bell, 1898. Endymion 

Series.) 46 illust., and decorations. 
Cblia Levetus. 

Verse Fancies. Edward L. Levetus. 8°. (Chapman and Hall, 

1898.) 7 illust. 
Songs of Innocence. William Blake. 32°. (Wells, Gardner, 

and Darton, 1899.) *4- 
W. B. Macdougall. 

Chronicles of Strathearn. 8°. (David Philips, 1 896.) 1 5 illust. 
The Fall of the Nibelungs. In Two Books. Translated by 

Margaret Armour. 8°. (Dent, 1 897.) 8 in each book. 
Thames Sonnets and Semblances. Margaret Armour. 8°. 

(Elkin Mathews, 1897.) 12. 
The Book of Ruth. Introduction by Ernest Rhys. 4 . (Dent, 

1896.) 8. 



OF TO-DAY. 89 

Isabella, or the Pot of Basil. John Keats. 4 . (Kegan Paul, 

1898.) 8. 
The Shadow of Love and other Poems. Margaret Armour. 8°. 

(Duckworth, 1898.) 2. 
Fred. Mason. 

A Book of PiBured Carols. See A. J. Gaskin. 

The Story of Alexander. Robert Steele. 4 . (David Nutt, 

1894.) 5 illust. and headings. 
Hum of Bordeaux. Robert Steele. 8°. (George Allen, 1 895.) 

6, and headings. 
Renaud of Montauban. Robert Steele. 8°. (George Allen, 

T. jSSi &0,.. 

The Centaur. The Bacchant. Translated from the French of 

Maurice de Gu£rin by T. Sturge Moore. (Vale Press, 

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

Press, 1 90 1.) Wood engraving on title-page. 
L. Fairfax Muckley. 
The Faerie §>ueene. Introdudion by Prof. Hales. 4 . (Dent, 

1897.) 3 vols. Frontispiece, many decorations and 24. 
Henry Ospovat. 

Shakespeare* s Sonnets. 8°. (Lane, 1899.) 10 illust. 

Poems. Matthew Arnold. 8°. Edited by A. C. Benson. 

(Lane, 1900.) 16, and illustrative decorations. 
Charles Rickktts. 

A House of Pomegranates. Oscar Wilde. 4 . (Osgood, 

McUvaine, 1891.) 13 illust. by Charles Ricketts, 4 by 

C. H. Shannon. 
Poems , Dramatic and Lyrical. Lord de Tabley. 8°. (Mathews 

and Lane, 1893.) 5* 
Dapbnis and ChUe. Longus. Translated by Geo. Thornley. 

4°. (Mathews and Lane, 1893.) 37 woodcuts drawn on 

the wood by Charles Ricketts from the designs of Charles 

Ricketts ana Charles Shannon. Engraved by both artists. 
The Sphinx. Oscar Wilde. 4 . (Printed at the Ballantyne 

Press, 1894.) 9. 
Hero and Leander. Christopher Marlowe and George Chapman. 

8°. (Vale Press, 1894.) 7, designed and engraved on wood 

by Charles Ricketts and Charles Shannon. 
Nymphidia and the Muses Elizium. Michael Drayton. 8°. 

(Vale Press, 1896.) Frontispiece engraved on wood. 



9 o ENGLISH BOOK-ILLUSTRATION 

Milton's Early Poems. 8°. (Vale Press, 1896.) Frontispiece 

engraved on wood. 
The Excellent Narration of the Marriage of Cupide and Psyches. 

Translated from the Latin of Lucius Apuleius, by William 

Adlington. 8°. (Vale Press, 1897.) 6 wood engravings. 
The Book of Tbely Songs of Innocence and Songs of Experience. 

William Blake. 4 . (Vale Press, 1897.) Frontispiece, en- 
graved on wood. 
Blake's Poetical Sketches. 4 . (Vale Press, 1899.) Frontis- 
piece engraved on wood. 
Henry Ryland. 

Holy Gladness. Words by Edward Oxenford and Music by 

Sir John Stainer. 4 . (Griffith, Farran, 1889.) 8 illust. in 

colour by Henry Ryland, and illust. by Louis Davis and 

others. 
Reginald Savage. 

Der Ring des Nibelungen. Described by R. Farquharson Sharp. 

4 . (Marshall, Russell, 1898.) 5 illust. 
Charles Shannon. 
See Charles Ricketts. 
c House of Pomegranates,' c Hero and Leander,' c Daphnis and 

Chloe.' 
Byam Shaw. 

Poems by Robert Browning. 8°. (Bell, 1897.) 20 Must. 
Tales from Boccaccio. Joseph Jacobs. 4 . (George Allen, 

1899.) 20. 
The Predicted Plague^ etc Hippocrates Junior. 8°. (Simpkin, 

Marshall, 1900.) Many illust. (chiefly vignettes) by Byam 

Shaw and others. 
The Chiswick Shakespeare. 8°. (Bell, 1899, etc.) 6, and 

decorations in each volume. 
Bernard Sleigh. 

The Sea-King's Daughter, and other Poems* Amy Mark. 

Printed at the Press of the Birmingham Guild of Handicraft. 

(G. Napier, Birmingham. Tylston and Edwards, and A. P. 

Marston, London, 1895.) 4 illust. and 35 decorated pages, 

engraved by the designer and L. A. Talbot. 
A Book ofPi&ured Carols. See A. J. Gas kin. 
Heywood Sumner. 

The Avon from Naxby to Tewkesbury. FoL (Seeley, Jackson 

and Halliday, 1882.) 21 etchings. 
Cinderella : A Fairy Opera. John Farmer and Henry Leigh. 



OF TO-DAY. 91 

4 . (Harrow, J. C. Wilbee; London, Novello, Ewer, 
1882.) 17 illust. 

Sin tram and bis Companions. Translated from the German of 
De la Motte Fouqu£. 4 . (Seeley, Jackson and Halliday, 
1883.) Frontispiece and 21. 

The Now Forest. J. R. Wise. See Waltor Crane. 

Undine. 4 . (Chapman and Hall, 1888.) 16. 

Tbe Besom Maker, and other country Folk Songs. Collected 
by Hey wood Sumner. 4 . (Longmans, 1858.) Frontis- 
piece and 25 decorated pages, with text in artist's manuscript. 

Jacob and tbe Raven. Frances M. Peard. 8°. (George Allen, 
1896.) 15, and illustrative decorations. 
J, R. Weguelin. 

Lays of Ancient Rome. Lord Macaulay. 8°. (Longmans, 
1 88 1.) 41 illust. 

Anacreon : with Thomas Stanley's translation. Edited by 
A. H. Bullcn. 8°. (Lawrence and Bullen, 1892.) 11. 

Tbe Little Mermaid and other Stories. Hans Andersen. Trans- 
lated by R. Nisbet Bain* 4 . (Lawrence and Bullen, 1893.) 
61. 

Catullus : tvitb tbe Pervigilium Veneris. Edited by S. G. Owen. 
8°. (Lawrence and Bullen, 1893.) 8. 

The Wooing of Malkatoon. Commodus. Lewis Wallace. 8°. 
(Harper and Bros., 1898.) Illustrated by J. R. Weguelin 
and Du Mond. 6 to Commodus by J. R. Weguelin. 
Patten Wilson. 

Miracle Plays. Our Lord's Coming and Childhood. {Cathe- 
rine Tynan Hinkson. 8°. (Lane, 1895.) 6 illust. 

A Houseful of Rebels. Walter C. Rhoades. 8°. (Archibald 
Constable, 1897.) 10. 

Selections from Coleridge. Andrew Lang. 8°. (Longmans, 
1898.) 18. 

King John. Edited by J. W. Young. 8°. (Longmans, 1899. 
Swan Shakespeare.) 9. 
Paul V. Woodroffe. 

Songs from Shakespeare 9 s Plays. Edited by E. Rhys. 4 . 
(Aldine House, 1898.) 12 illust. 

Tbe Little Flowers of St. Francis of Assist. 8°. (Kegan Paul, 
1899.) 8. 

Tbe Confessions of St. Augustine. 8°. (Kegan Paul, 1900.) 
Title-page by Lawrence Housman, illus. by P. V. Woodroffe. 
Engraved upon wood by Miss Housman. 



9 2 




NOTES ON BOOKS AND WORK. 

a)HE new volume of Mr. Slater's Book- 
I Prices Current, which 'The Library' 
has received from Mr. Elliot Stock, 
' is, as usual, full of interest. In the 
, opinion of some good judges the drop 
of i %s. 3</. in the average price per 
lot realized in 1900 (£2 6s. zd. as against £2 igs. $d, 
in 1899) was due not so much to books of the 
same quality realizing smaller prices, as to would- 
be sellers of important books holding them back 
for better times. By the beginning of last season 
sellers and buyers had apparently ceased to concern 
themselves about such trifles as income tax, and the 
result of the holding back of the previous year is 
seen in a new record which is not likely to be 
broken very quickly. In 1900 only £87,929 was 
realized by 38*151 lots; in 1901, though the 
number of lots only increased to 38,377, the sums 
paid for them leapt up to £130,275, °r an average 
of £2 7 s - IO/ t- P cr l ot i an increase of fourteen per 
cent, on the record of 1 899, and of thirty-three on 
that of last year. Neither librarians nor collectors 
of moderate means can take much pleasure in this 
rapid advance, in so far as it means that higher 
prices are being paid for the same books. It 
seems to bring us nearer to the dread day when 
collecting will become fashionable with company 



NOTES ON BOOKS AND WORK. 93 

• 

promoters as it once was with dukes, and the pur- 
chase of new tools and playthings be impossible 
for those who most care for them. Fortunately, 
in bookish matters, company promoters are not 
imaginative. They may follow a fashion, but 
they will never lead it. So the quiet bookman, 
who starts a new variety of the hobby, will always 
have his chance. 

Mr. Slater's preface this year is unusually brief, 
but he notes the occurrence of an exceptional 
number of little known books, requiring special 
descriptions. As usual he reproduces some blunders 
of the original cataloguers which might easily have 
been corrected, the assignment, for instance, of a 
c V6rard* to 1471, and the attribution of a book 
printed in 1491 to Ratdolt's press at Venice. Such 
mistakes, even were they more numerous than they 
are, might easily be forgiven ; but our long-standing 
grievance that Mr. Slater in his index ignores some 
of the chief elements which give old books their 
value, remains still unredressed. Among the in- 
teresting bindings sold last year were an example 
of German silver-work (19 18), a Grolier (1662), 
a Mearne (1192), an Andre Boule (732), and a 
couple of examples of the work of Roger Payne. 
But none of these binders are allowed a place in 
Mr. Slater's index. Reinforced at the end of the 
session by the Pirovano sale, the fifteenth century 
books were about up to the average both in 
number and interest, but Mr. Slater ignores their 
printers altogether. 'The Library* has protested 
so often against these omissions that it is proposed 
to print an index to the incunabula in our next 



94 NOTES ON BOOKS AND WORK. 

number in the hope of persuading Mr. Slater to 
imitate it in future volumes. His work is so 
useful and so firmly established, that it is a pity 
it should continue to negle£t obvious wants. 

English library scholarship was enriched in No- 
vember last by the publication of Mr. J. W. Clark's 
admirable monograph on The Care of Books (Cam- 
bridge University Press, i8j.), and it is creditable 
to the book-buying public that already there is 
talk of a second edition. No librarian who is in- 
terested in the history of his craft, and no student 
of English monastic and college architecture can 
afford to leave this very thorough piece of work 
unread. Its sub-title, c An Essay on the Develop- 
ment of Libraries and their Fittings, from the 
Earliest Times to the End of the Eighteenth Cen- 
tury/ fairly indicates its scope ; but even this hardly 
prepares one for the admirable detail with which 
it is worked out. Mr. Clark has been indefatig- 
able in visiting the old libraries of England and 
the Continent, and his book is crowded with illus- 
trations of the utmost value, almost all of them 
specially made for his book. The great hall of 
the Vatican Library is shown as the best modern 
representative of the libraries of ancient times ; the 
early monastic libraries are illustrated by numerous 
architectural plans, by a pidure of a carrell from 
Gloucester Cathedral (with Mr. Clark reading in 
it), and by views of the Cathedral libraries at Lin- 
coln, Salisbury, Noyon, Rouen ; early fittings from 
the library of S. Walburga at Zutphen, Trinity 
Hall, and the University of Leyden, and several 



NOTES ON BOOKS AND WORK. 95 

pictures from manuscripts. For the later arrange- 
ments, when the low desks, on which books were 
laid on their sides, were replaced by tall book- 
cases, we have illustrations from Corpus Christi 
College and Merton, Oxford, from Durham Cathe- 
dral and the University Library, Cambridge. The 
different methods of chaining books is explained 
with a thoroughness which would have delighted 
Mr. Blades. For the third period of development, 
in which books instead of being placed at right 
angles to windows were ranged along the walls, we 
have pictures from the Escorial, where the system 
seems to have originated, from the Ambrosian 
library at Milan, from the Bibliotheque Mazarine 
at Paris, from Bodley and from Wren's libraries at 
Lincoln Cathedral, Trinity College, Cambridge, 
and St. Paul's Cathedral. Lastly, from the numer- 
ous illuminations in manuscripts of the fifteenth 
century showing authors at work in their studies 
or libraries, a judicious selection has been made, 
which sufficiently illustrates the great variety of 
reading-desks, book-trays, and other appliances by 
which scholars did their best to make themselves 
comfortable. To talk of Mr. Clark's illustrations 
instead of his text may seem a poor compliment, 
but those who know most of the history of libraries 
will recognize how well the examples here named 
cover the ground, and Mr. Clark has been inde- 
fatigable in explaining them in all their detail. 
Of the light which his work sheds on the progress 
of education, as testified by the increase of libraries 
and books, there is no room to speak here. His 
monograph well deserves the hearty welcome it 



96 NOTES ON BOOKS AND WORK. 

has received, and is likely to remain the standard 
work on the subject for the rest of the century. 

It is only possible this month to note that the 
second volume of M. Claudin's Histoire de Hm- 
primerie en France has been issued to subscribers, 
and is as interesting and important as its pre- 
decessors. It may be hoped that the c The Library * 
will give a full account of it next quarter. As a 
result of his studies for these two volumes M. 
Claudin has just issued a Liste chronologique des Im- 
primeurs parisiens du quinziime stick. By a kind of 
heroic carelessness Madden was able to assert that 
sixty-six printers worked in Paris in the fifteenth 
century — a total obtained by reckoning the partners 
in firms individually, by including publishers who 
never printed at all, provincial printers who never 
printed at Paris, and sixteenth-century printers 
who did not print till after 1500. Critically tested 
his sixty-six Paris printers of the fifteenth century 
reduce themselves to thirty-nine. Mr. Prodior's 
investigations enabled him to raise this number to 
fifty-two, and to these M . Claudin has now added, 
Simon Botticher, at the College de Narbonne 
(148 1 ), Guillaume Provost (1494), Robert Gour- 
mont (1498), and Jean Meraussc and Narcisse 
Brun (1500), and some anonymous firms. On the 
strength of his total of sixty-one presses he claims 
that Paris was next to Venice the most important 
centre of printing in Europe during the fifteenth 
century. His list contains also the announce- 
ment of the discovery by M. Renouard, that the 
real name of the Jean du Pre, who stood so high 



NOTES ON BOOKS AND WORK. 97 

among the early Paris printers, was Jean Larcher, 
the Etienne Larcher of Nantes, to whom some of 
his types passed, being his brother. 

Just as these notes are being sent to press there 
comes to hand a volume of Selefted Essays and 
Papers of Richard Copley Christie, edited with a 
memoir by Dr. William Shaw (Longmans, 12s.). 
The book contains several of Mr. Christie's con- 
tributions to the c Quarterly Review/ and other 
magazines, on the scholars of the Renaissance and 
kindred themes ; his masterly article on the 
Chronology of the Early Aldines, from c Biblio- 
graphical with papers on the c Marquis de Morante 
and his library,' c The Bignon Family, a dynasty of 
librarians, 9 c Elzevier Bibliography/ and other 
bookish topics. Dr. Shaw's memoir is sympathe- 
tically written, and especially interesting for its 
account of Mr. Christie's work as Chancellor of 
the Diocese of Manchester, from which he took 
his familiar title. Mr. Cree contributes some 
notes on Mr. Christie's books, and a photograph is 
given of the library at Ribsden, together with a 
print of Mr. Christie's bookplate and two portraits, 
neither of them so pleasing as the painting by Mr. 
Kennington, from which a photogravure was given 
in c The Library ' for March, 1 900. 

Alfred W. Pollard. 



hi. h 




9 8 



AMERICAN NOTES. 

American Library Association. 
8HE twenty-third meeting of the 
American Library Association at 
Waukesha, Wis., July 4th to 10th, 
recorded 460 delegates from thirty- 
four different States : 1 48 were men, 
312 women; 174 were chief li- 
brarians, 167 assistants, 35 trustees or other officers. 
Actual attendance was much larger because many 
librarians and assistants in that section attended the 
meeting without joining and paying the $2 fee. 
They were cordially welcomed, for the chief pur- 
. pose of the A.L.A. is to advance library interests, 
not to swell its register or increase its income. 
The opinion now practically universal among the 
members was confirmed, that the most successful 
meetings must be held away from the distractions 
of cities. We come together chiefly to see each 
other. There is more pleasure and profit in meet- 
ing the old members in the same profession with 
many common interests, than in meeting the best 
city's choicest society for the first time. A round of 
social functions takes time and distracts attention 
from the main business, but we have learned that 
some of the most profitable hours are those spent 
together in walking, driving, or visiting some place 
of interest. The result is a practical decision that 



AMERICAN NOTES. 99 

meetings shall be held at some summer resort where 
there is ample and good accommodation for a 
large company and where both in sessions and 
social functions, in business and pleasure, the li- 
brarians will mingle with each other rather than 
with those whom most of them will never see 
again and with whom they have comparatively 
little in common. The system of state and club 
meetings has finally worked itself out very satis- 
factorily. At the close of the heavy year's work, 
at the natural time for rounding out the season, the 
A.L.A. holds the great annual meeting of the year. 
This comes just before the full season at the resorts, 
when everything is fresh and attradtive. It is, of 
course, impossible to find accommodation for 500 
people at one place in the height of the season and 
we must go there before the crowd or after. The 
state associations seem to have found the early fall, 
before the adtive year's work begins the best time 
for their annual meeting. In mid-winter the New 
York and other large city library clubs hold their 
chief meeting of the year with a cordial invitation 
to country members so to time their city visits, as 
to be present. And finally, along about Easter 
there are one or more meetings like that held for 
several years at Atlantic City, in which the li- 
brarians of a half dozen neighbouring cities join 
with the Pennsylvania and New Jersey library as- 
sociations for three or four days, including one 
Sunday, at the seashore. With national and state 
associations, city clubs and some inter-state meet- 
ings, there is danger that even a good thing may 
be overdone. Librarians are as a rule much too 



ioo AMERICAN NOTES. 

busy with their local work to attend too many 
meetings. The system which has worked itself 
out gives practically about once a quarter a chance 
to get fresh inspiration and enthusiasm from con- 
ference with one's fellows. For more than this 
there is hardly time. 

New York (State) Library Association. — The new- 
est and most successful form of meeting is that 
devised by the New York State Library Association 
two years ago, under the name c Library Week/ by 
which is meant the annual meeting at Lake Placid 
in the c heart of the Adirondacks,' one of the most 
famous places in America because of the peculiar 
tonic properties of the air, which is saturated with 
the odours of balsam and pine from the great 
wilderness of 4,000,000 acres. Under wise manage- 
ment the best results come from a permanent meet- 
ing place. Members know exadly where and how 
they are going, and their entertainers learn each 
year better how to care for them. Attendance, in- 
fluence and satisfaction seem to result from selecting 
a permanent place for the annual gathering. The 
claims were presented for New York as the me- 
tropolis, for Albany as the capital, with the great 
work of the state library as the chief attraction, for 
Utica and Syracuse as central cities, for Niagara 
Falls and the Thousand Islands because of their 
scenic beauties. But the accessibility of Lake 
Placid to Canada and a half dozen adjoining states, 
the attractions of the Lake Placid Club, which 
offered its privileges, together with the co-operation 
of the railway in making the annual half rate ticket 
good for a month for those who wished to combine 



AMERICAN NOTES. 101 

a holiday with the meeting, resulted in a unani- 
mous vote for Placid as the permanent meeting 
place. The association goes on Saturday, lives 
together at the Club till a week from the following 
Monday, holding from six to ten sessions during 
the time. Evenings are entirely given to general 
meetings; mornings and afternoons are given up 
to committees or sections, and to the informal in- 
tercourse which accomplishes as much good as set 
papers and discussions, and to social and outdoor 
life. Other meetings are announced when the 
weather is rainy ; a whole week (instead of the 
usual two or three days), allowing ample time for 
both business and recreation. At the recent 
meeting fifteen different states besides Canada and 
Newfoundland were represented, and it was com- 
mon comment with those who have been present 
that no meetings ever held have given more prac- 
tical help. It is probable that some place will be 
selected in the west where another library week 
can be held for those who find the distance too 
great to reach Lake Placid. 

Gifts. — There seems to be no limit to the grow- 
ing generosity toward public libraries. The report 
to the A.L.A. at Waukesha showed 402 gifts, 
aggregating $19,786,465.16. Of course the un- 
paralleled gifts of Andrew Carnegie have greatly 
swelled this total, but it is clear that no move- 
ment has ever received so much approval and so 
little opposition as the persistent effort to provide 
the best reading for the largest number at the least 
cost by means of free public libraries. 

Library Schools. — The library schools are growing 



102 AMERICAN NOTES. 

stronger and better year by yean In the parent 
school, that of New York State, of the 50 students 
this fall 49 are college bred, a record unprecedented 
where a college education is not an absolute re- 
quirement for admission. These represent the best 
universities and colleges of the country, and an in- 
creasing number of strong men each year shows 
that the profession is claiming the attention of the 
very best graduates of our best institutions. 

The new summer library school, started this year 
at Chautauqua, was reported by Dr. Vincent to 
have made the most successful beginning of any of 
the scores of schools connected with that great 
work. Forty different pupils came from 20 dif- 
ferent states and worked with great enthusiasm 
throughout the course. A novel and most satis- 
factory feature was the division of the work between 
Chautauqua and the James Prendergast Library, 20 
miles away at the other end of the beautiful lake. 
Miss Mary Emogene Hazeltine, the librarian, is the 
resident dire&or of the school, Mr. Melvil Dewey 
as director being able to spend only a limited time 
at Chautauqua. The class were furnished, without 
charge, with steamer tickets, so that on the days 
when they had their instrudtion at Jamestown, they 
had the morning's ride of 20 miles, with a return 
in time for supper at night. The success of the 
school of course insures its permanence. 

The growing importance of the supervisory 
work in the library profession is evidenced by the 
decision of the New York State School, to offer 
special facilities to those who wish to train them- 
selves for state or commission work, instead of 



AMERICAN NOTES. 103 

giving their time to a single library. The same 
thing is true in school work where the best teachers' 
colleges now offer courses designed for superin- 
tendents and inspectors instead of teachers. 

Travelling Libraries. — The travelling library 
movement continually gains in extent and import- 
ance. Almost every mail brings inquiries to the 
New York State Library as to its method and 
larger, longer experience. To meet this demand, 
it has just issued ' Home Education, bulletin 40, 
on the Field and Future of Travelling Libraries,' 
by Melvil Dewey, in which a score or more of its 
modern applications are briefly treated, and a 
4 Summary of Travelling Library Systems/ by 
Myrtilla Avery, giving the full details of the New 
York system, with reproductions of its blanks and 
forms, and notes on all other systems of which 
they have record. This bulletin of 155 pages is 
sent post paid at 25 cents, and is the most com- 
prehensive treatment of this subject that has yet 
appeared. 

Library Institutes. — At the recent annual meet- 
ing of the New York Library Association, held 
each year during the last full week of September at 
the Lake Placid Club in the Adirondacks, the 
most important action was the decision to divide 
the state into six to ten library districts, in each of 
which should be held, under the auspices of the 
association, a conference or institute for librarians 
and assistants of that district. In opening the dis- 
cussion, Melvil Dewey, director of the New York 
State Library, said : 

The establishment of the library institute will 



104 MR. MELVIL DEWEY 

mark a distinct new era in library development. 
The animal with its power of locomotion is an in- 
finitely higher organization than the vegetable, 
which cannot travel. The marvellous develop- 
ment of modern civilization is largely dependent 
on quick and inexpensive means of communication. 
Our table at every meal draws on the most distant 
parts of the globe for contributions. Almost every- 
thing is mobilized, and travels far and near before 
it has fully performed its function. 

The greatest step in the history of education and 
of civilization was the invention of printing, which 
gave us the travelling book. Till that time a 
volume was as costly as a village, and, chained to 
its shelf or pillar, was consulted only with infinite 
labour and expense, the poor scholar often walking 
for days to get access to the wisdom locked up in 
its precious pages. With the marvellous cheapness 
of duplication brought about by printing, the 
travelling book revolutionized education. Then 
followed gradual development through centuries 
up to the remarkable work of the last decade, 
done through travelling libraries. The money 
spent on these colledtions of books moving about 
from place to place has accomplished more good 
than the same amount used in any other way. Few 
realize how rapidly this new idea has spread, and 
how many successful applications of the principle 
are being made. We have now in the press a volume 
of nearly 200 pages on the field and future of 
travelling libraries, with a summary of the New 
York and other systems, so far as we were able to 
get authoritative information. This volume is de- 



ON LIBRARY INSTITUTES. 105 

signed to give needed information to the many 
inquirers in every state and country who have 
heard of the wonderful work accomplished by this 
new agency, which is still only at the beginning of 
its possibilities. 

The travelling book and the travelling library 
have paved the way for the third step, the travelling 
librarian. Great service can be rendered by a 
single librarian ; but as with the chained books of 
the middle ages and the old libraries from whose 
doors no volume emerged, so those who would 
benefit from the librarian must go to him. We 
have now fairly started the new idea of the peripatetic 
librarian who shall for a short time carry his skill, 
advice, and sympathy to the small local library ; 
to the study, club, or school, or wherever there is 
a company of those needing his services, and yet 
unable to leave their homes and their work to 
reach his official headquarters. We call him a 
library inspector. To do this work well requires 
special gifts possessed by few; but I can hardly 
think of any field of greater usefulness for one 
whose temper, taste, and training fit him for it. 
We have profound respect for the great oppor- 
tunity for usefulness before the modern librarian, 
but one who can go from place to place, and in a 
hundred localities sow seed which will bring forth 
intellectual fruit is raising himself to the second 
power, and doing a work greater by far than is 
vouchsafed to those of us who stay at home. 

The next great institution to be mobilized is the 
library school. This is a new factor. Eighteen 
years ago this summer I submitted to the national 



. 



106 MR. MELVIL DEWEY 

library meeting in Buffalo the proposal to open 
such a school at Columbia. Four years later the 
first class was admitted. We planned for only ten, 
and for a few weeks 9 course. Double the number 
came and unanimously requested that the length of 
course be doubled. At the end of the first year it 
was clear that a permanent and important new pro- 
fessional school had been founded. In fifteen years 
our students have gone to 791 different positions, 
in almost forty different states and a half dozen 
foreign countries. Several other schools have been 
established by them, and not only librarians and 
educators, but the general public have accepted 
without question the new method of preparation 
for librarianship, for we have proved that by it 
much better results can be obtained with a given 
expenditure of time and money. In a period of 
five years we had over 1,600 preliminary applica- 
tions from those who at least thought they wished 
to take the course. Our limitations of space 
allowed us to accept on an average only one out of 
twenty, a record we have never known equalled 
by any professional school. 

It was clear that there were hundreds of librarians 
and assistants in the country anxious to make their 
services more efficient in promoting the public 
welfare through libraries, but unable to give either 
the time or money for this two years' course. For 
them the summer library school has been devised 
and offers in its six weeks' course such assistance 
and direction as is pra&i cable in so short a time. 
We closed the other day the first session of the 
summer library school at Chautauqua, of which I 



ON LIBRARY INSTITUTES. 107 

have been general diredtor, while the chief burden 
has fallen on Miss Hazcltine, of Jamestown, as 
resident diredtor. Our experience was significant. 
Texas, Montana, Florida, and eighteen other states 
sent over forty pupils, or double the number ex- 
pedted. Some gave their own time, paid their 
own expenses, and rode for four nights in their 
eagerness to get the assistance offered. The enthu- 
siasm and earnestness was marked, and Dr. Vincent 
and the Chautauqua officials assure us that of the 
scores of schools and classes established in connec- 
tion with their marvellous institution, none has 
started with so great promise as this year's class 
library school ; and yet, we who know most of the 
good it did, expedt to double that usefulness. 

But there are many earnest workers who cannot 
at present afford even the time and expense for the 
six weeks' summer course. We are doing what 
we can by correspondence, to help them, guide 
their reading, solve their difficulties, and encourage 
them to look forward to adtual residence in one of 
the well-equipped schools. But the demand im- 
mediately before us is to mobilize this library in- 
struction. Mahomet must go to the mountain. 
We can learn much from the experience of the 
public school system, for the library movement, 
curiously, is duplicating in many respedis the steps 
by which the schools grew into the great system 
which has become so much a part of our life that 
it is difficult for this generation to conceive of a 
civilized community without a public school. Yet 
I know men who in their younger years were adtive 
members of the public school society in New York, 



108 MR. MELVIL DEWEY 

which did just such missionary work as we and 
other library associations are doing to-day in edu- 
cating the public to a fuller appreciation of the 
value of schools and of their claim for public sup- 
port. My dear old friend, Henry Barnard, who 
died the other day in Hartford, has told me often 
how in his early manhood he visited the legislatures 
of twenty-seven different states, and urged upon 
them the establishment of school systems at public 
expense, because of the good that would come to 
the community at large. This seems as strange to 
us as would an argument that we should have post 
offices, or drainage in cities, or highways main- 
tained at public cost. We in the library world 
are now traversing the same path, by the same 
steps, but with much greater rapidity, for the suc- 
cess of the school experiment has made it vastly 
easier to convince the public that a free library 
system pays. Our travelling library school idea 
corresponds to the teachers 9 institute, and I can 
thus far find no better name for it than library 
institute. Long study has evolved a plan that 
gives admirable practical results, and we can modify 
and adapt that plan as experience di&ates in reach- 
ing our scattered librarians with that information 
and inspiration which can be given only by per- 
sonal contadt. 

Let us consider a few specific points. 

As to frequency : once a year in each district is 
probably as often as we can wisely get together. 

As to length of sessions : we must content our- 
selves with a single week, and probably, in many 
cases, shall have to pave the way with conferences 



ON LIBRARY INSTITUTES. 109 

of only two or three days ; but when we call it a 
library institute, it implies, at least, a small faculty 
and a definite course of instruction, and anything 
less than a week will hardly merit a name dignified 
by so much good work. Our library workers can 
not be absent very long from their regular duties, 
but obviously it would be easier to spare them from 
the libraries than the teachers from the schools. 
Very likely we shall have to repeat the school ex- 
perience, and when our institutes are fully estab- 
lished and under state supervision, the legislature 
will apply the school institute law which requires 
every teacher, unless prevented by illness, to be 
present at the institute held in his locality each 
year, and compels his trustees to pay the full salary 
during institute week. This is obviously just, for 
if such attendance makes his services much more 
valuable to the public, it is only fair that it should 
be as a part of his official duties. 

As to place : we must seledt centres where from 
twenty to one hundred librarians, assistants, trustees, 
and others specially interested in library work can 
be brought together most quickly and cheaply. 
Transportation is now so simplified, and librarians 
are so much less numerous than teachers, that in 
our state six well-chosen centres would be better 
than the sixty involved in having an institute in 
each county. 

As to work to be done, we must feel our way, 
but certain things are reasonably clear. We must 
put into our brief sessions whatever is found 
practically most helpful, not only in cataloguing 
and classification, and in bibliography and reference 



no MR. MELVIL DEWEY 

work, but also in all the hundred details connected 
with daily administration. 

As to instructors : the first need is to develop 
an institute faculty. Here, as elsewhere, no ex- 
cellence of idea or perfection of organization will 
give the best results unless we have behind it 
all an earnest human soul, with not only a desire 
to help, but with a rare capacity for giving both 
instru6Hon and inspiration. Many librarians, very 
successful in their own local work, would have but 
a limited value on an institute faculty. Many great 
scholars are poor teachers. Not one in a thousand 
has a genius for this special work. When we find 
a man or woman whom nature has specially fitted 
for these duties he is too valuable to be employed 
in regular library duties. We can find a hundred 
people who can carry on a local library where we 
can find one ideal institute instructor. Our faculty 
must, therefore, be not merely some successful 
librarians of the district in which the institute is 
held, but it should be made up of a few with 
genius for this work, seleded from the whole state 
or country, and this faculty should go, week after 
week, to new localities, carrying not only its 
peculiar personal gifts, but also the unequalled 
experience to be gained only in meeting manifold 
library difficulties and problems, week after week, 
and broadening the knowledge of how practical 
help can best be given. If we require six districts 
this means six weeks for our own state. A half 
dozen states could unite in organizing and maintain- 
ing a faculty better than any one state could hope 
to do alone, and by giving a week to each district 



ON LIBRARY INSTITUTES. in 

each year this faculty would be able to meet the 
wants of all the co-operating states. 

It should be the work of New York to pioneer 
this movement. When we have a faculty and 
course in successful operation the idea will spread 
from state to state, and grow with the demand till 
it reaches from the Atlantic to the Pacific. Till 
we can secure endowments, which ought to be 
forthcoming for work of so great pradtical value, 
we cannot offer large salaries to the men and 
women we most want to condudt these institutes. 
But those best fitted for this peculiar work must of 
necessity have in their nature enough of the mis- 
sionary spirit, so that they will count quite as 
valuable as the returns in bankable funds, the 
larger returns in the pleasure of serving one's 
fellows, in feeling that they have raised themselves 
to the second power and multiplied their useful- 
ness according to the number of library workers, 
who, because of their instruction and inspiring 
friendship are doing better work, each in his local 
field. 

It is probably better that the initiative be taken 
by this voluntary Association ; but, as in the school, 
when we have shown the public that the idea is 
practical and profitable, there will be no difficulty 
in meeting necessary expenses from the public funds. 
The sums appropriated annually for education are 
almost incredible, and yet for no other purpose is 
money granted with so little opposition. If we ask 
the public to support an experiment we are apt to be 
denied. But, as a labour of love, those of us who 
have given our lives to what we believe the most 



ii2 LIBRARY INSTITUTES. 

practically useful profession can well afford for a 
few years to give thought and labour to launching 
the next important factor in educational develop- 
ment, the library institute. It was just twenty-five 
years ago that a hundred of us at the Philadelphia 
Centennial began aftive efforts in what we fondly 
termed the modern library movement. During 
this quarter century we have been growing steadily 
stronger, our work has grown broader, the demand 
of the public is yearly greater. Had any one of us 
dared prophesy in 1 876 that more than $1 5,000,000 
would have been given the past year for libraries 
in addition to the vast sums from the public purse, 
and that a single city would begin building no less 
than sixty-five branch libraries, he would have 
been laughed at as a dreamer. But we have waited 
patiently for this day. The time is ripe and we 
ought to aft. Let us remember the practical 
wisdom embodied in the Fabian Society motto : 
" For the right moment you must wait most 
patiently as Fabius did when warring against 
Hannibal, though many censured his delays. But 
when the right moment comes you must strike 
hard, as Fabius did, else your waiting will have 
been in vain and fruitless." 



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THE LIBRARY. 

THE FRANKS COLLECTION OF 
ARMORIAL BOOK-STAMPS. 

§OME little time after the death of 
Sir Augustus Wollaston Franks the 
Library of the British Museum ac- 
quired, through the kindness of his 
successor in the Keepcrship of Medi- 
eval Antiquities, Mr. C. H. Read, 
some three hundred books, of the sixteenth, seven- 
teenth, and eighteenth centuries, bearing on their 
bindings armorial book-stamps. For lack of a 
better word these three hundred books have been 
dignified in the heading of this article by the title 
of a * collection,' but it is due to the great reputa- 
tion of Sir Wollaston Franks as a collector to say 
that he himself would probably have smiled if he 
had heard them called so. As all bookish people 
know, one of his real hobbies was the collection of 
book-plates, his countless specimens of which 
passed at his death to another department of the 
British Museum, that of Prints and Drawings, 
where considerable progress has been made in 
describing and cataloguing them. By the side of 
his thousands of book-plates these three hundred 




n6 THE FRANKS COLLECTION 

or so old books with armorial stamps on their 
covers are a merely subsidiary collection, sufficient 
to illustrate the method of marking ownership, 
which book-plates first rivalled and then, alas, 
almost entirely superseded. 

The £s 00 which Sir Wollaston Franks gave for 
the copy of the c Ptolemy ' of 1490, with the 
badge of Mary Queen of Scots, recently the sub- 
ject of one of the Bibliographical Society's Mono- 
graphs, shows the spirit in which he would have 
pursued the collection of armorial bindings had he 
taken it up seriously. As it was, he seems to 
have given a standing order to several booksellers 
to send him any books or odd volumes, of which 
the chief value lay in the stamped arms, and 
which they were willing to sell for a small 
sum, and to have taken his chance. There are 
worse ways of collecting than this, for a book- 
seller who knows that he can always place a book 
of a certain class with a customer, will often be 
content to buy it at a venture for a small price and 
pass it on at once at a few shillings' profit without 
examining it very carefully or inquiring too 
curiously into its market value. As will be seen 
from some of the books soon to be mentioned, this 
was certainly the experience in this instance of Sir 
Wollaston Franks, and the foregoing depreciation 
of the specimens he thus got together must be 
understood as written solely to prevent his name in 
the title of this article from raising expectation too 
high. 

Before describing any individual specimens, it 
may be worth while to say a few words about 



OF ARMORIAL BOOK-STAMPS. 117 

book-stamps in general. Compared with book- 
plates, of which the literature during the last ten 
or twelve years has grown with such rapidity, they 
have as yet received very little attention outside 
France, where Guigard's c Armorial du Biblio- 
phile' in its second edition (1892) gives as full 
information about most French examples as can 
reasonably be desired. In the third volume of 
( Bibliographical Mr. W. Y. Fletcher wrote an 
interesting article on ' English Armorial Book- 
stamps/ and it is much to be wished that he could 
be persuaded to print in full his notes on the sub- 
ject, which are certainly more complete — or less 
incomplete — than those in the possession of any- 
one else. A few years ago the Grolier Club of 
New York held an exhibition of books bearing 
these marks of ownership, and printed a small 
catalogue of it, which I have not had the advan- 
tage of seeing. Other information, as far as I 
am aware, can only be obtained by painful search 
in books of heraldry and genealogy and in 
biographies. 

Towards the close of the age of manuscripts, it 
became a fairly common practice, more especially 
in Italy, for book-lovers to cause their arms to be 
painted as part of the decoration of the first page 
of text. In the last years of the fifteenth century 
book-plates came into use in Germany, and during 
the next hundred years were slowly adopted both 
in France and England. But until the sixteenth 
century was far advanced the commonest way of 
marking possession of a book in England remained 
that of inscribing the owner's name on the title-page 



n8 THE FRANKS COLLECTION 

or a fly-leaf. Thus all the books in the large libraries 
of Archbishop Cranmer and Lord Lumley bear their 
names, ' Thomas Cantuariensis ' and ' Lumley ' in 
the handwriting of their secretaries or librarians. 
One or two instances are found of names printed 
or written on book-edges. That of € Anna Regina 
Anglic/ i.e. Anne Boleyn, on a vellum presentation 
copy of Tyndale's New Testament of 1534, is a 
well-known example of this. On the outside of 
books names are found from a very early period ; 
but in the fifteenth century and the early years of 
the sixteenth they are the names, not of the owners 
of the volume, but of the bookbinder, as in the 
case of Conrad of Strasburg, Johann Richenbach, 
and Andr6 Boule. Everyone, however, knows 
the inscriptions which the three great collectors, 
Grolier, Maioli, and Lauwrin put on their books. 
As the sixteenth century grew older the names or 
initials of the owner, with sometimes a date added, 
are found on a fair number of bindings. In 
Germany such names and dates were frequently 
branded in black on pigskin bindings. In other 
countries the names are, as a rule, stamped in 
gold. As late as the eighteenth century Lord 
Oxford used to stamp his name, ' Robert Harley,' 
on his books, in addition to his arms. 

Coming at last to armorial book-stamps, we find 
that from the fifteenth century onwards books were 
often impressed with the royal arms. These were 
used both as marks of possession and also, at least 
in England (as noted by Mr. Davenport in his 
article on ' Some Popular Errors as to old Bindings * 
in vol. ii. of this magazine), as decorative designs on 



OF ARMORIAL BOOK-STAMPS. 119 

the trade bindings of loyal stationers. Crowned 
initials and royal badges are often found, and these 
nearly always mark royal ownership. When this 
use of armorial book-stamps was first adopted by 
collectors beneath the royal rank is not easy to 
say. Grolier is said to nave occasionally placed 
his arms on his books, but I believe that until 
about 1560, the practice did not become at all 
common even in foreign countries, and in England 
it was probably some ten years later. It is, per- 
haps, worth noting that in France the fashion 
must undoubtedly have received a great impetus 
from the sumptuary law of 1 577, which restricted 
the use of the elaborate ' fanfare ' style of ornament- 
ing books to those in royal ownership. The 
splendid bindings of a few of the books of Jacques 
Auguste de Thou (associated, rightly or wrongly, 
with the name of Nicolas Eve) must all have been 
executed before this date. Thereafter he adopted 
the plain morocco covers decorated only with the 
stamps of his arms with which all book-lovers are 
familiar. Other collectors followed his example, 
and in their respective kinds both the strong, mas- 
sively stamped books of De Thou, and the more 
finely grained red moroccos of later French book- 
men, in which the tiny stamp of arms has a 
Legasconesque delicacy of finish, offer examples of 
simple decoration which the wealthiest collector 
may well imitate. 

Of books bearing the arms of French collectors 
upwards of one hundred and fifty were brought to- 
gether by Sir Wollaston Franks, but the English 
stamps, which number rather over a hundred, must 



120 THE FRANKS COLLECTION 

engage our first attention. One of the earliest of 
these is a small stamp of the arms of Archbishop 
Parker, forming the centre of a rather decorative 
binding, obviously of English work. The book it 
is found on is a copy of Beza's Latin New Testa- 
ment, printed at London by Vautrollier, in 1574, on 
the yellow paper occasionally used during the middle 
of the sixteenth century, presumably as less trying 
to the eyes than the ordinary 
white. Parker's patronage of 
John Day is well known, but 
in view of the likelihood of 
this being a presentation copy 
to the Archbishop from Vau- 
trollier, it would be rash to 
credit Day with the binding of 
this volume, which is, moreover, 
not quite so original as Day's 
work at its best. 

Two other books in the 
Franks collection are connected 
by their stamps with Parker's royal mistress. 
One of these bears the well-known Falcon badge 
which Elizabeth adopted in imitation of her 
mother. This is found on a copy of Etienne 
Dolet's 'De Latina lingua' printed at Basel in 
1539. I do not know if the point has been raised 
and settled as to whether this badge was used by 
Elizabeth, both as queen and as princess, but there 
is at least nothing to prevent our supposing that this 
treatise of Dolet's was one of Elizabeth's school- 
books and thus often in her hands. It is at least a 
point in favour of such a supposition that the badge 




OF ARMORIAL BOOK-STAMPS. 121 

in this case is sharper and fresher than on any other 
book I have ever seen. The other Elizabethan 
book in the collection is even more interesting, for 
its covers are embossed with the portrait-stamp of 
the queen reproduced as a frontispiece to this article, 
and no other instance of the use of the stamp is 
recorded. The book is the Plantin Greek Testa- 
ment of 1583, an edition which the queen would 
be very likely to possess. But whether this copy 
was ever in her library we have no means of decid- 
ing, the alternatives of presentation to and presenta- 
tion by, of ownership by the original of the portrait 
or by some loyal subject, being very equally balanced. 
The stamp in this case is slightly raised, and is the 
earliest instance of a cameo stamp on any English 
binding. 

The only other sixteenth-century English ar- 
morial stamps in the collection are two examples of 
the stamp used by William Cecil, Lord Burleigh, 
one in gold on a copy of the Greek Testament of 
Erasmus printed at Basel in 1570, the other in 
silver on a Hebrew Bible issued from the press of 
Plantin in 1583. It is certainly a very decorative 
stamp, but I must confess to preferring to it the 
simple inscription * William ' and * Mildred Cicyll ' 
on a binding which entered the Museum with the 
old Royal Library. In the present colledtion a 
little Lyons Virgil printed by Gryphius in 1571, 
though with a decorative instead of an heraldic 
stamp, bears the initials, * W. P.,' of an English 
owner, a book-plate of * The Right Honble. Robert 
James L d Petre, Thorndon in Essex,' combined 
with a manuscript note, dated 1589, enabling us to 



122 THE FRANKS COLLECTION 

identify W. P. with William Pctrc the second 
Baron (1575- 1607). The note, apparently written 
when Petre was fourteen years old, records that the 
book was acquired by exchange with a certain 
Dominus Bigge. 




ARMS OF LORD BURLEIGH. 



Passing to the seventeenth century we may 
notice first two books which bear the Towneley 
arms, Nichols's translation of Thucydides printed 
at London in 1550, and the * Scholia in quatuor 
Evangelia* of Lyons, 1602. The arms are stamped 
in silver instead of the more usual gold, and alone 
of all the book-stamps with which I am acquainted 



OF ARMORIAL BOOK-STAMPS. 123 

they bear a date, that of the year 1603. Readers 
familiar with Mr. Hardy's excellent little treatise 
on Bookplates may remember that the Towncley 
plate which forms its frontispiece bears the date 
1702, just a century later. The two marks of 




TOWNELEY ARMS. 



ownership are really, however, separated by a 
somewhat smaller interval, for while 1702 is no 
doubt the date of the plate (such dated plates 
being unusually common at the beginning of the 
eighteenth century), the 1603 of the book-stamp 
is probably the birth-date of Christopher Towne- 
ley, the antiquary, who was born at Towneley 



I2 4 THE FRANKS COLLECTION 

Hall, Lancashire, on 9th January, 1 603, old 
style. 

We come now to an interesting group of books, 
once in the possession of Ralph Sheldon, the 




AUGUSTINE VINCENT'S BADGE. 

seventeenth-century antiquary. The first of these 
bears not his own arms but those of Augustine 
Vincent, the Windsor Herald, which two years 
ago attracted attention from being found, stamped 
in blind, on the splendid copy of the first Folio 
Shakespeare presented to him by William Jaggard, 



OF ARMORIAL BOOK-STAMPS. 125 

one of its publishers. 1 In the present instance they 
are impressed in gold on Estienne de Cypres* 
' Genealogies de soixante et sept tres nobles 
Maisons ' printed at Paris in 1506. Augustine 
Vincent died in 1626, and his son sold his books 




ARMS OF RALPH SHELDON AND HIS WIFE. 

to Ralph Sheldon, who on his death in 1684 be- 
queathed his manuscripts to the College of Arms. 

1 This copy, in the possession of Mr. Coningsby Sibthorp, of 
Sudbrooke Holme, Lincoln, to whose family it has belonged for 
more than a century, is fully described by Mr. Sidney Lee on 
p. 171 of his 'Shakespeare^ Life and Work.' By a curious 
coincidence the copy he describes on the previous page is one, 



126 THE FRANKS COLLECTION 



The printed books apparently remained for some 
time in the possession of the family, for this volume 
bears a Sheldon book-plate, and Sir Wollaston 
Franks was able to purchase two other books with 
Ralph Sheldon's book-stamp, Campian's c Historia 
Anglicana ' (Douay, 1632), and the * Prophecies' 
of Nostradamus (London, 1672). On both of 
these the Sheldon arms are quartered with those 

of Ralph's 




(Henrietta Maria, 
daughter of Thomas 
Savage, Viscount 
Rock Savage), and 
both books have 
written in them the 
motto, c In Poster- 
um,' apparently in 
Ralph's autograph. 
A third book, 
Greenway's transla- 
tion of the ' Annals ' ' 
of Tacitus (London, 
1640), bears on its 
title-page the autograph of 'Geo. Sheldon,' and 
on the cover the Sheldon arms as here shown. 

The next two volumes we may note are Thomas 
Mason's ' Of the Consecration of Bishops in the 
Church of England' (16 13), and the ' Works* of 
King James I. (161 6), both of them bearing the 
Hatton arms. From their dates these must there- 



ARMS OF GEORGE SHELDON. 



now owned by the Baroness Burdett-Coutts, which formerly 
belonged to Ralph Sheldon, who bought Vincent's library. 
Presumably both copies at one time belonged to him. 



OF ARMORIAL BOOK-STAMPS. 127 

fore have belonged not to Elizabeth's favourite, 
whose arms are figured in Mr. Fletcher's article, 
since he died in 1591, but to a son of his cousin of 
the same name, of Clay Hall, Barking. This third 
Christopher Hat ton was baptized and probably 
born in 1605, and was a prominent man during the 
reign of Charles I., by whom he was created Baron 
Hatton in 1643. He was responsible for an 
edition of the Psalms with prayers attached (1644), 
which went by the name of Hatton's c Psalter/ and 
was philosopher enough to be able to make himself 
happy with his ' books and fiddles ' while a Royalist 
exile. 

A few of these early seventeenth-century books 
possess bindings interesting for other reasons besides 
their marks of ownership. Thus, a fine Hebrew 
folio is decorated not only with the arms of John 
Williams, Bishop of Lincoln, but with some strik- 
ing examples of the handsome, if heavy, corner- 
pieces in vogue in the reign of James I. On a 
copy of Brent's * History of the Council of Trent * 
the arms of Berkeley look all the better for being 
inclosed in a handsome scroll-work centrepiece. 
So again we find both fine cornerpieces and a good 
central stamp on the three volumes of the works of 
that learned divine William Perkins (London, 
161 2), which bear also the initials H. L. beneath a 
coronet. The owner was presumably Henry Yel- 
verton, created Viscount Longueville in 1690, to 
whom also belonged a copy of the 1660 edition of 
More's 'Explanation of the Grand Mystery of 
Godliness/ On the Perkins volumes his coroneted 
initials were plainly added as an afterthought, 



128 THE FRANKS COLLECTION 

while a much smaller M. Y., inclosed in the 
cornerpieces as part of the original design, suggests 
that the volume had in the first instance belonged 
to Mary Yelverton, the wife of the Judge of Court 
of Common Pleas who died in 1630. 

The works of Perkins were popular in the seven- 
teenth century, and Sir Wollaston Franks acquired 
another edition of them, that of 1626, bearing the 
arms of one of the descendants of Thomas Smythe, 
Farmer of the Customs in the reign of Elizabeth, 
whose arms combined with those of his wife, Alice 
Judde, were figured by Mr. Fletcher. The coat 
now in question may have belonged either to his 
grandson, Thomas, who was not created Viscount 
Strangford until two years after the publication of 
the book, or to the Viscount's brother, the ambassa- 
dor to the Court of Russia, who fitted out an Ar&ic 
expedition, and has his munificence commemorated 
in the name of ' Smith's Sound/ 

A copy of the 1 6 1 7 edition of Spenser's * Faery 
Queen/ bearing the initials M. C. beneath a 
coronet, offers another example of a mark of owner- 
ship attached by a descendant of the original 
possessor. Who M. C. was is explained by the 
pretentious inscription on a book-plate inside the 
cover, which proclaims itself the property of " The 
Right Honb 1 " Mary, wife of Charles, Earle of 
Carnarvon & Sister of James, Earle of Abingdon/' 
The Earl of Carnarvon here named was the second 
earl, Charles Dormer, who died in 1709, and his 
countess was the daughter of Montague Bertie, 
Earl of Lindsey, by his second wife Bridget, 
Baroness Norreys of Rycote. This descent ac- 



OF ARMORIAL BOOK-STAMPS. 129 

counts for the inscription on the title-page, ' Nor- 
reys, 1 647/ and we may conclude that the volume 
was at one time owned either by the Baroness 
Norreys or her first husband. The book-plate of 
the Countess of Carnarvon is here reproduced as 




BOOK-PLATE OF THE COUNTESS OF CARNARVON. 

presumably a rather early example of a lady's plate 
in the heraldic style. It certainly does not deserve 
the honour for its artistic merits, the design and 
engraving being as poor as the inscription is foolish. 
Copies of a Commelinus Tacitus (1595) and a 
Horace, Persius and Juvenal (London, 1614-15) 
bear the arms of John Maitland, created Viscount 



130 THE FRANKS COLLECTION 

Lauderdale in 1 6 1 6 ; those of the Earl of Hunting- 
don are found on a Camden's ' Britannica ' of 1 627 ; 
those of William Covert of Sussex, on the 1 6 1 5 
edition of the works of Gervase Babington ; those 
of Chetwynd, on Matthew of Westminster's c Flores 
Historiarum' (Frankfort, 1601) ; those of Wilmer 
on Stowe's * Survey of London/ 161 8. Further 
investigation would no doubt yield a tale as to each 
of these volumes, but we may not linger over 
them. We must stop, however, to note that the 
arms of Archbishop Laud, on a copy of his * Rela- 
tion of a conference with Fisher the Jesuit/ do not 
clearly indicate that this was his own library copy, 
since an inscription (apparently in his own hand- 
writing) informs us that the book was c presented 
by y e author to S r Jo. Bramston, Ch[ief] Ju[stice] 
ot the K[ing's] B[ench]/ a book-plate of one of 
whose descendants, ' Thomas Bramston, Esq., of 
Skreens,' is found in the volume. In the same 
way, in the next century, we find Speaker Onslow 
possessed of a copy of Locke's * Letters concerning 
Toleration/ presented to him by Thomas Hollis, 
and bearing some of the donor's favourite emblems, 
the cap of liberty, the owl of Minerva and a pen, 
with the motto ' Placidam sub libertate quietem/ 
There is no special reason to suppose that either 
Archbishop Laud or Hollis intended these volumes 
originally for their libraries, and after having had 
them bound with that intention subsequently gave 
them away. It may, of course, have been so, but we 
should not entirely exclude the supposition that 
books were also sometimes impressed with the 
arms or device of the donor, in order to remind 



OF ARMORIAL BOOK-STAMPS. 131 

the recipient of the source whence the gift came, 
just as we find gift-plates alongside of the more 
usual book-plates denoting personal ownership. 

Owing to the library of Sir Kenelm Digby 
having been seized after his death in France under 




the inhospitable French law which gave to the king 
the chattels of strangers dying in his country, books 
with his arms are not often found in England. 
Sir Wollaston Franks was, therefore, fortunate in 
obtaining three volumes thus decorated, two of 
them showing his coat with that of his first wife, 



1 32 THE FRANKS COLLECTION 

Venetia Stanley on an escutcheon of pretence, as 
figured in Mr. Fletcher's article, while the third 
bears his coat impaled with hers, and is much 
more finely cut. 

The arms of the Duke of Albemarle are found 
on the 1634 edition of Harington's * Orlando 
Furioso,' those of the Earl of Arlington on a copy 
of a Spanish religious work, * Trabajos de Iesus , 
printed at Madrid in 
1647, those of Lord 
Cornwallis, with a 
cipher imitated from 
that of Charles II., 
on a 1669 edition of 
the Book of Common 
Prayer. Other seven- 
teenth - century col- 
lectors of minor note 
might be mentioned, 
but we must pass on 
now beyond the Re- 
volution of 1 688, and 
sir kenelm digby's arms. notice a few coats of 
later date. A copy of 
Dry den's * Miscellany Poems ' of 1 702 bears the arms 
of Charles, Lord Halifax ('the Treasurer'), as well . 
as a book-plate dated with the same year, 1702, a 
Roman History of 1695 and a Prayer Book of 
1700 carry two different stamps of the arms of 
John, Lord Somers; there are three books with 
the stamp and name of Robert Harley, Earl of 
Oxford, and three with the Carteret arms. Of 
these last two, Hammond's * Sermons ' and the 






OF ARMORIAL BOOK-STAMPS. 133 

4 Divi Britannici,' both published in 1675, bear the 
c bloody hand' that marks a baronet, while a 
Horace of Paris, 1567, shows Lord Carteret's arms 
as a peer. On Sanderson's ' Nature and Obligation 
of Conscience ' (1722) we have another instance of 
a lady's book-stamp, that of Cassandra Willoughby, 
Duchess of Chandos ; the arms and book-plate of 
the Duke of Montagu are found on a copy ot 
Bishop Berkeley's famous treatise oh the virtues ot 
tar-water ( 1 744) ; lastly, a Utrecht Callimachus ot 
1 697 is adorned with tne arms of Sir Philip Syden- 
ham, Bart., and with the book-plate of John 
Wilkes, who, if a demagogue, was a demagogue of 
classical tastes. 

These eighteenth-century books and their owners 
are somewhat less interesting than the earlier ones 
to which most of this article has been devoted, and 
in attempting to enumerate them it is difficult to 
avoid the style of a catalogue. The danger is all 
the greater when we turn to the French books, for 
here Guigard has been before us, and there is no 
purpose to be served by making extracts from his 
pages. As might be expedled, the collection con- 
tains more than one specimen of the books of De 
Thou, in which the British Museum was already 
fairly rich. Among other notable stamps of the 
sixteenth and seventeenth centuries we may men- 
tion that of Antoine de Leve, Abb^ de 1 Isle en 
Barrois, on three books published between 1574 
and 1624; of Estampes de Valency on a book of 
1557; of Peiresc (on a * Harpocrationis Di&ion- 
arium,' 1614), and of Louis Philippeaux, Seigneur 
de la Vailliere. Of later date are those of the 



x 



134 ARMORIAL BOOK-STAMPS. 

Comtesse de Verrue, Beatrix de Choiseul, La 
Rochefoucald, President Seguier, Turgot, Mon- 
tausier, Marie Leczinska, and a host of others too 
numerous to mention. 

The German books are few and apparently un- 
important, the Italian mostly ecclesiastical, those 
from the Low Countries mostly school-prizes. 
There are also two or three Spanish books, all the 
more welcome because Spanish bindings are so 
seldom met with in England, and a few fairly good 
specimens of the bookbinder's craft without armo- 
rial stamps. But the English books are the main 
feature of the collection. 

Alfred W. Pollard. 




'35 



PUBLIC LENDING LIBRARIES FOR 
THE CITY OF LONDON. 

gT has been officially stated that the 
day population of the City of London 
amounts to 350,000. The compara- 
tively insignificant night population 
has now fallen to considerably below 
30,000. The fact of this lessening 
in number of permanent inhabitants has hitherto 
been regarded as a reason for not extending the 
operation of the Public Library Acts to a locality 
conspicuously capable of bearing the light fiscal 
burden those Acts impose. Within the last few 
years, however, the committees of several municipal 
libraries, willingly or unwillingly, have fallen in 
with the idea that the loan of books should not be 
limited to the permanent residents of the city, town 
or parish in which the library is situated. The 
reasons for this extension of borrowing facilities to 
a circle wider than the mere inhabitants are suf- 
ficiently obvious. The workers who form the day 
population of a district are summoned from their 
homes to help create the wealth on which rates and 
taxes are levied, and they thus form an important 
factor in the general prosperity of the community. 
The foregoing conditions, prevalent in greater or 
less degree in other parts of the metropolis, reach 
their maximum of intensity, so far as the workers 



136 PUBLIC LENDING LIBRARIES 

are concerned, in the City of London. It is the 
very prosperity of the City which has driven its 
working population far a-field for cheaper housing, 
as it long since drove employers beyond the City 
limits for pleasanter and more luxurious homes 
than Cheapside could afford. The locality where 
work is done and wealth created is thus the link 
which remains between two now distindt popula- 
tions which formerly lived side by side. When 
the City of London is anxious to assert its claims as 
against the County Council, or to maintain its re- 
presentation in Parliament undiminished, much is 
made of the importance of the day population. 
It was entirely for this end that the day-census 
was instituted. If the day population is important 
for the assertion of municipal rights and privileges, 
it is unreasonable to ignore it when the question is 
no longer one of rights but one of duties. Among 
municipal duties the provision of public libraries is 
now increasingly recognized as holding an import- 
ant place. It is unworthy of the greatest city in 
the world to tell its workers that they may provide 
these and other luxuries for themselves in the 
already heavily-rated districts in Outer London to 
which they have been driven for cheaper homes. 

I have said that the principle of extending the 
loan of books to day workers is now becoming 
generally recognized. There has been an attempt 
at this recognition in the city, but a very halting 
one. It is not to the credit of the Corporation 
that their Library at the Guildhall, which claims 
to be the public library of the City of London, has 
kept itself entirely aloof from this reform. Useful 



FOR THE CITY OF LONDON. 137 

in its reference department (though this, too, needs 
expansion in many classes of literature), the Guild- 
hall Library is a by-word for inactivity, so far as 
the borrowing of books is concerned. The loan ot 
them is strictly limited to members of the Corpora- 
tion and their domestic servants. Mr. Thomas 
Greenwood, in his c Public Libraries ' (4th edition, 
1 891, p. 340), enters a plea on behalf of a less 
ridiculously restricted lending department for the 
city in connection with the Guildhall institution ; 
but he pleads as if the poor Corporation were in 
the financial position of some struggling suburb. 
He appeals to private munificence for £25,000 or 
£50,000 for this objeCt ; but private donors, 
whether generous or wealthy, or both, are inclined 
to keep their hands in their pockets when public 
corporations, the reverse of poor or starving, fail to 
do their clear duty. The whole attitude of the 
City of London Corporation has been that the 
Guildhall Library is their own peculiar and per- 
sonal property ; of their gracious clemency they 
admit the public to consult the volumes, but they 
will not be concerned with such common or trifling 
affairs as the loan of books to those who help to 
make the wealth of the City. Such an attitude is 
not one with which well-wishers to the Corporation 
can easily be contented. 

It is pleasant to turn to other institutions in the 
City that have made an attempt to supply the 
deficiency thus created. All three of them are 
situate on its borders, and are purely local in their 
work. The St. Bride Foundation Institute serves 
the western border ; the Cripplegate Institute the 



138 PUBLIC LENDING LIBRARIES 

northern distrid; and the Bishopsgate Institute 
that part of the City which adjoins the great East 
End. For income they are dependent not on a 
public rate, but on moieties of wealthy local 
charities. Their work far exceeds the scope of 
the ordinary public library, as concerts and ledures, 
educational and entertaining, form part of it, and 
there is a regular nightly programme of these 
throughout the winter. 

So far as their purely library work is concerned, 
it in no way differs from those institutions under 
the Ads. The St. Bride Institute has a valuable 
colleftion of works on the art of printing. The 
two other institutes (Bishopsgate and Cripplegate) 
were pioneers in the matter of open access. Un- 
happily the public in the shape of rough boys and 
girls who visit the Bishopsgate Institute have not 
proved worthy of the trust reposed in them. 
Clandestine borrowing, which we will not stig- 
matize by the name of theft, has been frequent. 
Consequently access to the shelves by readers is to 
be at an end. 

But what must be said about the centre, or 
heart of the City ? Here the employes and assist- 
ants are of a higher social rank and intelligence 
than those provided for at Bishopsgate and Cripple- 
gate. The majority of them are employed at desk 
work which requires the closest application and 
accuracy if even moderate success is to be won. 
The cares of life do not sit so lightly on their 
shoulders as on those of the young men and women 
who frequent the Institutes we have named. But 
public lending library round the chief business 



FOR THE CITY OF LONDON. 139 

centre there is none. That the need exists is 
evident : the Bank of England has its own 
library ; the clerks in insurance offices club together 
and have large joint subscriptions at Mudie's. 
They must read ; many of them get home too late 
and leave too early to borrow from the local public 
library of their own neighbourhood, if there be 
one ; consequently one enterprising firm of book- 
sellers alone has several branches in the neighbour- 
hood of Cornhill, for the clerks who cannot borrow 
will buy what they can. A fair number of em- 
ployers and a few of the more highly paid of the 
employed are members of the London Institu- 
tion ; but the entrance fee and annual subscription 
thereto attached are by no means light, and as no 
particular professional advantage accrues to the 
City man who becomes a member of that time- 
honoured outpost of literature in Finsbury Circus, 
he will think twice before making an annual out- 
lay of two or three guineas. 

There can be little doubt, therefore, that members 
of all classes of the working community of the City 
of London would be thankful for the establishment of 
good lending libraries. It is not as if the adoption 
of the A6ts would be likely to prove a difficult 
matter. Opposition to the measure, if it were 
properly advocated, would probably be trifling. 
As all who have had the conduct of a public 
library campaign well know, the bitterest opponent 
is the small tradesman who finds himself heavily 
rated and taxed in proportion to his means. He 
considers the library rate his ' last straw ' of 
financial burden. Literally, indeed, it is no more 



i 4 o PUBLIC LENDING LIBRARIES. 

than a straw, but the clever agitator against the 
movement knows well how to marshal his argu- 
ments, and wins over the misanthropic shopkeeper 
to help in rejecting the proposal. There are 
struggling men in the City as elsewhere, but, rich 
or poor, the majority of them are open-minded. 
Merchants of the type of the Chuzzlewits or 
Scrooge belong to a class that has long since be- 
come insignificant. 

Again, thanks to the general abundance of money 
in the City, the question of funds for providing 
buildings need cause no apprehension. Of course, 
if private benefadtors chose to step in, their dona- 
tions would be welcome; but, as has been said 
already, private munificence is not likely to be 
forthcoming until the proper public authorities 
take the first step. 

Archibald L. Clarke. 




i4i 



AN EARLY ESSAY BY FANIZZI. 

f{IR ANTONIO PANIZZI occupies 
so remarkable a position in the annals 
' of British bibliography that, I think, 
the readers of ' The Library ' will be 
interested in a notice of one of his 
early contributions to literature, un- 
recorded by Mr. Louis Fagan, his biographer. 

Panizzi reached England after a romantic escape 
from the Two Sicilies, where his Liberalism had 
brought him into disfavour with the authorities, 
and his first efforts at gaining a living were made 
in Liverpool, where he was a successful teacher of 
the Italian language. There was plenty of literary 
interest in the town by the Mersey, and the place 
which was the home of William Roscoe, the his- 
torian of the Medicis, and of William Shepherd, 
the biographer of Poggio, could not be indifferent 
to the talent and charm of Panizzi. There he 
met Brougham, to whom was due both his London 
professorship and his introduction to the British 
Museum — with what memorable results for Eng- 
lish scholarship is a matter of history. 

A memorial of his intercourse with the literary 
coterie of Liverpool is to be found in ' The 
Winter's Wreath ' of 1828. This was one of the 
annuals that were so fashionable in the earlier half 
of the nineteenth century. It was, however, rather 
more serious in character than some of its con- 



H2 AN EARLY ESSAY BY PANIZZI. 

temporaries, and was published yearly from 1828 
to 1832. We are, however, only concerned with 
the first issue : 

Thi Winter's Wriath ; a colk&ion of original contribu- 
tions in prose and verse. London : published by Geo. B. 
Whittaker, J. Hatchard and Son, and George Smyth, Liverpool, 
1828. i2mo. Pp. xi. 400. With nine plates. 

The preface signed A. H. explains that c the 
object originally was to present a volume to young 
persons in which nothing injurious in example or 
sentiment should be introduced ; to blend instruc- 
tion with amusement, and to unite what is too 
often separated, although not necessarily, principle 
with taste. 9 These laudable, if not novel, inten- 
tions resulted in an interesting volume. Many of 
the articles were anonymous, but those of which 
the authorship is acknowledged include contribu- 
tions by William Wordsworth, Hannah More, 
Charlotte Grant of Laggan, John Bowring, Felicia 
He mans, William Roscoe, Jane Roscoe, and W. 
S. Roscoe. More notable still is the fine transla- 
tion by Macaulay of Filicaja's noble ode on the 
deliverance of Vienna. 

After this glance at the general character of the 
c Winter's Wreath/ we may turn to the contribu- 
tion of the Italian exile, to whom fate had assigned 
the task of converting the British Museum into a 
national library of which all lovers of literature 
are justly proud. c Un Improwisatore sotto un 
governo dispotico,' is the title of the article, which 
is wholly in Italian. Although the art is not 
entirely unknown in other tongues, the structure 
of the Italian language lends itself more readily to 



AN EARLY ESSAY BY PANIZZI. 143 

improvisation than perhaps any other modern form 
of speech. A ' Sonetto a rime obbligate ' is one 
in which fourteen words are supplied to the poet 
as compulsory rhymes, and his task is to fill up 
each line and to weave them all into a poem. 
Even without these obligatory restraints the sonnet 
is not always successful, and with them the poet 
may be said to be dancing in chains. This is not 
always a graceful performance, but it is certainly 
remarkable that anyone should be able to do it at 
all. It is of such a sonnet that Panizzi gives the 
serio-comic history. At the birth of * I/Aiglon ' 
all the intellect of Italy was expelled to pay 
tribute to the infant King of Rome, and there 
were persons found to sing the praises of the son 
of the man who had despoiled Italy of her art 
treasures and had decreed Rome, Florence. Turin, 
and Genoa to be parts of the French Empire. At 
this time some young men were supping together 
at Parma; one of the group, Jacopo Sanvitale, 
aged about twenty, was already well known for his 
talent as an improvisatore. Fourteen odd and in- 
congruous words were contributed by the assembled 
friends, and arranged as the rhymes of the o&ave 
and sestet of a sonnet, and he was begged to make 
them into a poem on the birth of the King of 
Rome. As they expected something clever the 
young men took down as well as they were able 
the words as they fell from the lips of the poet. 
Here is the sonnet : 

( Io mi caccio le man nella parrucca 
Per la rabbia che propio il cor mi tocca, 
Se compro vatc i vaticinj scocca, 



144 AN EARLY ESSAY BY PANIZZI. 

E un regio Mida canticchiando stucca : 
Poi m'arrovello se Firenze o Lucca 
Chitarrino strimpella o tromba imbocca, 
Per un bimbo che in culla si balocca, 
E sallo Iddio s'avra poi sale in zucca. 
Egli e del conio. e dell' istessa zecca 
Che rammenta la rana che s'impicca, 
Perche 1' astro del di moglie si becca. 
Ecco che 1' ugne in sen d' Italia ficca, 
E le trae sanguinose, e'l sangue lecca 
Ei che par la potea libera e ricca.' * 

4 A jest's prosperity lies in the ears of him that 
hears it/ and Sanvitale's burlesque sonnet was soon 
all over Parma. Amongst those who did not see the 
humour of the joke was the prefeft, who reported 
the matter to Paris, and as a consequence Sanvitale 
was arrested in the middle of the night, and im- 
prisoned in the fortress of Fenestrelle. After an 

1 This cannot be regarded as a model of poetic lucidity, and I 
have invoked the aid of my friend Sig. Azeglio Valgimigli on its 
obscurer passages. To turn it into an English sonnet would be a 
hopeless task, and a rough prose version must suffice. ' I thrust 
my hands into my wig, through the rage that gnaws my heart. 
If you approve he hurls anathemas at you, whilst a royal Midas 
humming, tires you out. Then I am puzzled if at Florence or 
at Lucca a guitar is scraped or a trumpet is blown for a baby that 
is frolicking in his cradle. God knows if he will have any sense 
(salt in bis pumpkin). He is of the same stamp and the same 
mint that brings to my memory the frog who hung himself 
because the sun was taking a wife. Behold he thrusts his claws 
into Italy's bosom and draws them out again smeared with blood 
— he that could have made her free and opulent.' The allusion 
to the frog is explained by a fable of a batrachian who. having 
heard that the sun was about to marry, fell into the melancholy 
refle&ion that if one sun could cause so much suffering by drying 
up the marshes there was no further hope for the creatures of 
frogland if there arose children of the sun inheriting the strength 
and nature of their father. 



AN EARLY ESSAY BY PANIZZI. 145 

imprisonment of twenty-seven months Sanvitale 
managed to escape. In the daytime the prisoners 
were allowed to walk about the castle, but at night 
the drawbridge was raised and each man had to 
retire to his cell. No visitors were allowed unless 
furnished with a special permit, and no one had 
access to the castle except the country folk, men 
and women, who came to sell the produce of their 
gardens to the prisoners. Sanvitale, who was a 
beardless, smooth-faced, and not tall young man, 
obtained the dress of a peasant girl, and thus attired 
and carrying a basket on his head he marched out 
under the eyes of the zealous warders and sentries. 
His friends were waiting at a short distance to 
meet him, and after a time he reached Milan, 
which was the capital of the kingdom of Italy. 
But though now outside the * French Empire* he was 
not out of danger. He lived very quietly, but one 
night went to the theatre with tne daughter of his 
landlady, and whilst there heard his name men- 
tioned Dy persons as to whose kindly intentions he 
felt grave suspicions. The girl was nearly fainting 
at the danger in which he was placed. He advised 
her to imitate a fainting fit, and made this a 
pretext for taking her aside into the fresh air. As 
he was leaving he asked the police officials to take 
care of a hat which he left on his seat, as a token 
of intended return. Sanvitale quickly and uncere- 
moniously left the lady. As soon as possible he 
obtained a bogus passport, and in the pretended 
character of a physician reached Como. Dr. 
Micheli allowed his landlord to suppose that he 
belonged to a family of distinction, and that an 

III. L 




146 AN EARLY ESSAY BY PANIZZL 

austere father had temporarily banished him be- 
cause he would not give up a girl whom he desired 
to marry but of whom his parents disapproved. 
As Dr. Micheli was also a student and a poet, 
his solitary and apparently misanthropic existence 
needed no further explanation. The landlord was 
further impressed by the books he found in the 
rooms of his lodger, and especially by a polyglot 
Bible, the unknown characters of which suggested 
the thought of communication with the world of 
spirits. The landlord fell ill, and when the country 
doftor was sent for it was found that he was some 
distance away on a visit. The landlady begged Dr. 
Micheli to prescribe for her husband. Sanvitale 
now found himself a veritable midecin malgri lui> but 
put a good face on the matter;, and had the good 
luck to see his patient quickly on the way to 
recovery. When the village dodlor returned he 
requested an introduction to his learned and skilful 
colleague, and being a man of less learning and 
talent, did not penetrate the secret, but, on the 
contrary, was full of generous admiration of the 
stranger, and whenever a difficult case occurred he 
recommended his patients to apply to Dr. Micheli. 
The poor poet lived in daily terror of increasing 
the death-rate, but the fall of Napoleon released 
him from exile, and removed one of the dangers to 
the health of Como. 

Panizzi assures the reader that his narrative is 
not fidlion but sober fa£t. Jacopo Sanvitale was a 
real person, who was afterwards secretary of the 
University of Parma ; but became suspedted during 
the rule of the Austrians, and was again imprisoned 



AN EARLY ESSAY BY PANIZZL 147 

in 1822 and 1823. It would certainly be difficult 
to find another sonnet, good, bad or indifferent, so 
fruitful in scenes of tragi-comedy as that of which 
Panizzi has made himself the sympathetic his- 
torian. 

William E. A. Axon. 





■ 4 8 



LES MATINEES DU ROI DE PRUSSE. 

HN old literary problem has been re~ 
" vived by Sir William Whittall'i 
publication of a transcript and trans- 
lation of what is known as the Smyrna 
MS. of the once famous work * Les 
Matinees du Roi de Prusse.' The 
existence of this manuscript, or we should per- 
haps say of the copy of it taken by Sir William 
Whittall's grandfather, had long been known from 
the * M£moires ' of Marshal Savary, with whose 
narrative the account given in the introduction to 
this new edition is in substantial agreement. When 
the Emperor Napoleon was exiled to Elba, Savary 
begged leave of the French Government to ac- 
company him. His request was not granted, and 
he was himself imprisoned. Escaping with diffi- 
culty, he found a temporary refuge at Smyrna, 
where one of the leading English merchants, Mr. 
Charlton Whittall, showed him great kindness. 
Despite all the perils he had passed through, Savary 
brought with him to Smyrna, concealed — so the 
story goes — on his own person, a manuscript which 
he had stolen from Frederick the Great's writing- 
table in the palace of Sans Souci when he was 
accompanying Napoleon on his visit there. Ap- 
parently, manuscripts of the ' Matinees ' abounded 
in Frederick's old study, as M. le Baron de Meneval, 



MATINEES DU ROI DE PRUSSE. 149 

one of Napoleon's secretaries, also claimed to have 
purloined on the same occasion a copy, which 
afterwards formed the basis of the edition pub- 
lished in 1863. Savary, however, seems to have 
known nothing of his fellow pilferer, and to have 
been equally ignorant of the fadfc that a printed 
edition of the ' Matinees ' had been published in 
Paris as recently as 1801, and that the book had 
been well known throughout Europe and also in 
the United States since 1766 or 1767. To him 
the copy he had stolen at Sans Souci was the only 
one in existence. The revelations it offered of the 
real character of Frederick the Great were too 
startling and terrible to be given to the world, and 
in permitting Mr. Whittall to take a transcript he 
bound him by a promise (which, without any 
obvious inducement to do so, he also imposed upon 
himself) that so long as either of them lived the 
book should not be made public. His story was 
implicitly accepted by the Whittall family, Mr. 
Whittall, and apparently his grandson also, being 
firmly convinced that this manuscript thus strangely 
brought to Smyrna was the only authentic copy of 
the ' Matinees/ and that its subsequent publication 
was due to the treachery of a clerk who had inad- 
vertently been allowed to see the transcript. Of 
the numerous editions printed in the eighteenth 
century neither Mr. Whittall nor Sir William 
seems ever to have heard, and their testimony is, 
perhaps, all the more to be regarded for this absence 
of any attempt to fit it in with other fafts. 

So little has been heard of the ' Matinees du Roi 
de Prusse ' during recent years, that it may be well 



150 LES MATINEES DU 

to give. a few extradh from the book itself to show 
its real character. Before he has written more 
than a few lines, the author discloses the frankly 
cynical attitude to which he adheres throughout : 
' Sachez pour toujours qu'en fait de Royaume Ton 
prend quand on peut, et Ton n'a jamais tort que 
quand on est oblige de rendre/ 

This maxim strikes the keynote of the policy 
enforced, which has self-aggrandisement for its only 
aim, and disregards all moral scruples ; and it is in 
this tone that the author discusses one subject after 
another, applying to each the supreme test of 
expediency. This is how he begins his discourse 
on religion : 

4 La Religion est absolument nlcessaire a un tot, c'est une 
maxime qu'on serait fou de disputer ; et un Roi est maladroit 
quand il permet que ses sujets en abusent, mais aussi un Roi n'est 
pas sage d'en avoir. . . . Voulons-nous faire un traitl avec une 
Puissance ? si nous nous souvenons seulement que nous sommes 
chrltiens, tout est perdu, nous serons toujours dupes. Pour la 
guerre, c'est un mltier ou le plus petit scrupule gitcrait tout ; en 
effet, quel est Phonnfite homme qui voudrait la faire, si Ton n'avait 
pas le droit de faire des r&gles qui permettent le pillage, le feu et le 
carnage ? Je ne dis pas cependant qu'il faille afficher l'impiltd, 
mais il feut penser selon le rang qu'on occupe. Tous les rapes 
qui ont eu le sens commun ont eu des systemes de Religion propres 
a leur agrandissement. Et ce serait le comble de la folic, si un 
prince s^ttachait a de petites miseres qui ne sont fakes que pour 
le peuple.' 

In the third Matinee, treating of Justice, we 
have the following remarks : 

( Ne vous laissez pas £blouir, mon cher neveu, par le mot de 
Justice; c'est un mot qui a differ ens rapports et qui peut etre 
expliqul de difffcrentes manures. Voici le sens que je lui donne. 
La Justice est Pimage de Djeu, qui peut done atteindre a une si 



ROI DE PRUSSE. 15* 

haute perfe£Hon ? N'est-on pas mftmc assez raisonnable, quand 
on se dfeistc du projet insensl de la possidcr cntiircment ? ' 

The same strain is continued throughout : the 
political dodtrine which Frederick recommends to 
his nephew, though not so far removed from what 
some governments pradtise at the present day, has 
probably never been advocated with such frankness 
as in the following passage : 

* J*cn tends par le mot de Politique, qu'il faut toujours chcrcher 
a duper les autres ; c'est le moyen, non pas d'avoir de l'avantage, 
mats de se trouver au pair ; car soyez sur que tous les {tats du 
monde courent la mime carridre j or, ce principe pos£, ne 
rougissez pas de faire des alliances dans la vue d'en tirer vous scul 
l'avantage ; ne faites point la faute grossiere de ne pas les aban- 
donner quand vous croirez qu'il y a de votre interfit, et surtout 
continuez vivement cette maxime : que de depouiller ses voisins, 
c'est leur oter les moyens de vous nuire.' 

Frederick (if we accept his authorship of this 
astounding pamphlet) is not a whit less reticent 
when he comes to speak of his own private tastes 
and inclinations : 

' La nature m'a donnl des penchans assez doux, j'aime la bonne 
chere, le vin, le caft, et les liqueurs, cependant mes sujets croyent 
que je suis le prince le plus sobre. Quand ie mange en public, 
mon cuisinier allemand fait le diner, je bois de la bierre, et deux 
ou trois coups de vin. Quand je suis dans mes petits appartemens, 
mon cuisinier fran^ais fait tout ce qu'il peut pour me contenter, 
et j'avoue que je suis un peu difficile, je suis pres de mon lit, et 
c'est ce qui me rassure sur tout ce que je bois.' 

At the end of the fourth Matinee this system 
of worldly wisdom is summed up : 

( Je vous fais connaitre, mon cher neveu, l'homme a mes 
d£pens ; croyez qu'il est toujours livr£ a ses passions, que l'amour- 
propre fait sa gloire et que ses vertus ne sont appuyies que sur son 



152 LES MATINEES DU 

int£r£t. Voulez-vous passer pour heros ? approches hardiment 
du crime j voulez-vous passer pour sage ? contrefaites-vous avec 
art.' 

Such was the work which (to take the first dated 

edition of which we know) was published in 1 766 

in a thin odtavo, bearing the imprint •Berlin/ The 

question which we would once more discuss is, 

Was it authentic? Carlyle naturally rejedted it 

with all the scorn of which he was master. 

Nothing less congruous to his conception of 

Frederick's character can well be imagined. In 

1863, on the other hand, Lord Adton reviewed the 

evidence for its authenticity in the c Home and 

Foreign Review/ of which he was then editor, and 

pronounced decisively in its favour, following up 

this pronouncement by an edition of the text from 

a transcript (we have always to deal with transcripts, 

never with originals) of the copy which Savary's 

rival thief, Meneval, professed to have stolen at Sans 

Souci in 1806. The evidence which Lord Alton 

adduced may be briefly summarized as follows: On 

the death of M. Humbert de Bazile, who had been 

the secretary of the great BufFon, a private diary of 

the former was published, containing a detailed 

account of a journey undertaken by BufFon's son to 

St. Petersburg, and of his reception by Frederick 

the Great on his way back through Berlin. Not 

only was the traveller handsomely treated by the 

King, but he was intrusted with a manuscript 

which he was to submit to his father on his return 

to Paris. This document, concerning which 

Frederick was so anxious to obtain the opinion 

of M. de BufFon, was, according to M. Humbert, 



ROI DE PRUSSE. 153 

no other than the notorious * Matinees/ Until the 
publication of M. Humbert's memoirs, it had not 
been known that the younger Buffon visited Berlin 
on his return journey, and hostile critics had not 
been slow to point out how unlikely it was that 
Frederick should have given this youtn an audience 
and intrusted him with such an important manu- 
script. But here we have the explicit testimony 
of Buffon's private secretary, who heard the young 
man tell the story, and who himself handled the 
manuscript immediately after its arrival from Berlin. 
This was Lord Adton's chief positive argument 
for the authenticity of the c Matinees ' ; much of 
the rest of his article he devoted to the conten- 
tions of Herr C. Samwer, who had endeavoured , 
to establish their spuriousness on the ground of 
the disappearance of the original manuscript, and 
such points as that the style is inferior to the 
King's, the opinions contrary to those on which 
he aded, the mistakes in cnronology and in es- 
timating the internal condition of Prussia such as 
he could not have been guilty of. Though no 
doubt effective in the mass, most of these points are 
highly debatable. We must not forget that while 
Frederick was a very great king, he was also a very 
conceited and amateurish man of letters. To make 
a hit in literature would certainly have seemed to 
him quite as good an objedt of ambition as to win 
a battle, and if the whole book reads very like the 
production of a clever literary hack, this is very 
much what it would be like if Frederick himself 
had written it. On the other hand, we have to 
deal with the theory that far from being the work 



154 LES MATINEES DU 

of the king, the * Matinees ' were compiled and 
circulated at the instigation of the French Govern- 
ment and by some writer in their pay with the 
express objedt of bringing Frederick and his policy 
into suspicion and contempt. This is the view 
taken by Herr Samwer, who quotes two letters 
written by Grimm to the Duchess Louise Dorothea 
of Gotha in 1765, when the c Matinees ' were being 
circulated in Paris ; with the first he sends a copy 
of the pamphlet ; in the second he says : ' Je serais 
tente de croire que c'est un ecrit qu'on aurait es- 
camote au Grand Frederic avant qu'il ait pu y 
mettre de la correction, et qu'on a ensuite falsifie 
en le faisant parler avec une pretendue sincerite 
bien hors de toute vraisemblance, car la premiere 
des qualites d'un prince qui aurait ces principes 
serait de les cacher avec la plus profonde dissimula- 
tion, et il faudrait le supposer insense des qu'on le 
croirait auteur de ces " Matinees." ' Much the same 
position is taken up by M. Spoil, the editor of the 
1885 edition, who observes with some truth: * On 
denonce ainsi une politique ; on la recommande 
autrement.' But after all Grimm clearly gave it 
as his opinion that Frederick was the author at any 
rate of the first draught of the book, however much 
it may have been altered afterwards. Yet Samwer 
argues that because Grimm did not mention any 
private Frenchman as the author, his reticence, in- 
spired by fear of the police, was due to his con- 
viction that the French Government had instigated 
the forgery. Surely this is a far-fetched and un- 
warranted interpretation of Grimm's words. The 
c Matinees/ according to Samwer, are the work of 



ROI DE PRUSSE. 155 

a man who knew extremely little of Prussia or of 
the King's person. But, as Lord Adton points out, 
Herr Cauer (who is also against the authenticity) 
says that the c Matinees ' are really of value, because 
the author is well-informed respe6ting the person 
of Frederick the Great. The truth is that each 
different critic declares himself for or against the 
authenticity of the c Matinees ' according to his 
previously formed judgment of the King's cnaradter. 

The objedtions raised by Lord Adton in reply to 
Herr Samwer's theory arc: (1) that the book, if 
inspired by the French Government, would in all 
probability have appeared during the Seven Years' 
War and not after it ; (2) it would not have been 
circulated so clandestinely that it was difficult to 
get a copy; (3) Frederick would have made a 
public protest and complained of the forgery, 
whereas he remained perfedtly silent ; (4) Grimm 
himself says it is certain that the author had never 
been in France. But the mainstay of Lord Adton's 
position is the unimpeachable testimony of M. 
Humbert. BufFon himself believed the work to 
be authentic, and if we accept M. Humbert's ac- 
count as substantially corredt, it is difficult to see 
how it could be otherwise. 

It is worth while noticing that even Frenchmen, 
who had every motive to attribute this Machiavel- 
lian treatise to the Prussian King, especially when 
embittered by defeat in 1870, are by no means 
unanimous on the point. M. Spoil, for instance, 
the latest French editor, thinks that the hand of 
Voltaire (to whom the work was very universally 
attributed soon after its appearance) can be unmis- 



156 LES MATINEES DU 

takably recognized in its caustic pages. He holds 
a very high opinion of its literary merit, speaking 
of it as c ce merveilleux pamphlet/ and as quite 
outside the range of a mere dabbler in literature 
like Frederick the Great. Nevertheless, he con- 
siders that the portrait drawn of the great captain 
in the ( Matinees ' is in the main just and accurate. 
Now, in view of the famous quarrel between Vol- 
taire and Frederick, this theory of the authorship 
is at first sight attradtive ; but it appears that Vol- 
taire was already reconciled with his former master 
before the ' Matinees ' came into circulation. More- 
over, he would scarcely have put into Frederick's 
mouth the words concerning himself in the fourth 
matinee. 

This being the problem, it has seemed worth 
while to inquire whether an examination of the 
different editions can throw any light on it. 1 On 
the supposition that Frederick was the true author, 
and that he was anxious to obtain the opinion of 
men of letters on his work, we may reasonably 
expedt to find many variations in the text, due to 
the King's revision. On the supposition that the 
work was written in France to bring Frederick 
into discredit, it is not likely that the text would 
be altered from purely literary considerations after 
it had once been published. Now, to which of 
these suppositions do the texts of the early editions 
lend credibility? The British Museum possesses 

1 I should like to say that the idea that some results might be 
obtained by comparing the different texts was suggested to me by 
Mr. Alfred Pollard, who has also given me material help in carry- 
ing it out. 



ROI DE PRUSSE. 157 

six different French editions of the 'Matinees/ 
either bearing the imprint of the eighteenth cen- 
tury or conjedturally assigned to it, besides one of 
the year 1801, five published in the last half of 
the nineteenth century, and several translations. 
After careful collation of the texts it is apparent 
that the earliest edition known, namely, that dated 
' Berlin, 1766,' must be placed in a class by itself; 
its text differs considerably from that of the other 
editions printed in the eighteenth century. These, 
on the other hand, have a certain family resem- 
blance; they obviously trace their descent from 
the same draught which, either in manuscript or 
in print, has received slight variations. The 1766 
edition clearly represents a different draught, so 
frequent and notable are the variations. More- 
over, it alone of the eighteenth century editions 
has six matinees, the others omitting that which 
deals with the army. The 1801 edition 1 has seven 
matinees ; but in the sixth again we find consider- 
able variations; and the seventh, which treats of 
' Finance, 9 is obviously a later addition, such as one 
might expedt to find in a fresh issue of a book that 
had achieved such extraordinary vogue. This 
added matinee consists chiefly of a somewhat 
tedious 'M£moire du Conseil, bristling with an 
array of fadls and figures. 

When we come to the editions of the latter half 
of the nineteenth century, our attention is claimed 

1 It is curious to notice that the publisher of this 1801 edition, 
like Savary some years afterwards, seems to imagine that he is the 
first in the field, for he ignores all the editions which had pre- 
ceded his. 



158 LES MATINEES DU 

by the one dated 1863, which is based on the 
manuscript supposed to have been copied at Sans 
Souci by M6ncval. On this text Lord Afton had 
already thrown suspicions, which are fully borne 
out by close examination and comparison. Prof. 
Ranke showed that the manuscript in the archives 
at Berlin, which Meneval might have copied, is 
not in Frederick's handwriting, does not corre- 
spond with M£neval 9 s text, and is more complete 
and verisimilar. To this we may now add that 
the Meneval text contains marked divergencies 
both from the earliest edition and the other group, 
though it is nearer to the latter, like which it only 
has five matinees. What is more, the additions of 
new matter are comparatively copious, and the 
whole shows unequivocal signs of having been re- 
written and polished. The French is less faulty, 
and the sentences are rounded off so as to lose the 
char adteris tic bluntness of the original. On the 
whole, it must either represent the latest of several 
versions, or, as is more probable, have been ex- 
tensively * edited/ 

The Franco-Prussian War naturally called forth 
a new crop of reprints in Paris, which, no doubt, 
appeared for the express purpose of annoying Bis- 
marck and his countrymen. These do not follow 
the earliest edition, but rather the slightly fuller 
text of the later group. But the portrait drawn 
by Frederick of himself, coarse and unflattering 
though it was, did not appear sufficiently repellent 
to the patriotic French editor of the 1871 edition, 
who, besides other little alterations, proceeded to 
discover an entirely new matinee labelled ' Des 



ROI DE PRUSSE. 159 

Moeurs et de la Galanterie'; this figured as the 
sixth, although in all previous editions the sixth 
had for its subjedt c Le Militaire.' It will not 
surprise anyone to learn that this newly-discovered 
Matinee turned out to be the most shamelessly 
cynical and revolting of the lot. But such a palp- 
able forgery need not detain us. 

So far, the comparison of the various texts has 
gone to support the genuineness of the work ; for 
the variations are frequent and considerable, sug- 
gesting successive revisions of a kind which a 
forger would not be likely to attempt. It only 
remains for us to extend our examination to the 
new edition based on Savary's manuscript, and to 
see if it can be classed with any of the others. 
Half an hour's work will convince the most scep- 
tical that it agrees very closely throughout with 
the 1 766 edition, which has hitherto stood alone 
in a class by itself. Even such discrepancies as 
there are may, with tolerable certainty, be ascribed 
to the carelessness of a copyist. For an example 
we may take the sentence in the first Matinee: 
'Quand aux filles, elles puisent du privilege i la 
mode/ where c puisent ' is merely a misreading of 
the 'jouisscnt* found in the edition of 1766. The 
similarity of the two texts becomes the more 
striking when it is seen to extend even to obvious 
mistakes : e.g., at the end of the sedtion c Origine 
de notre Maison/ we have the following sentence : 
4 Je vois bien, mon cher ncveu, que je vous laisse 
dans l'obscurit6 sur notre origine, Ton pretend que 
ce Comte de Zohem-zollern etait d'une grand 
maison, mais, dans le vrai, personne ne s'est pourvu.' 



160 LES MATINEES DU 

In both editions this sentence ends in the same 
abrupt and unintelligible manner. The last words 
give no sense as they stand, and Sir William 
Whittall is reduced to translating them : ' But to 
speak the truth, nobody knows.' One of the un- 
dated eighteenth century texts supplies the lacuna 
with the words : c Avec moins de terres.' Another 
offers the variant : ' Personne n'a paru dans le monde 
avec moins de titres.' The * M^neval ' edition 
reads : * Personne ne s'est pousse avec moins de 
titres/ 

Here it is obvious that the original draught was 
defedtive, that the texts of what we may call 
Group B. have corredted it with or without au- 
thority, while our two A texts, that is the 1766 
edition and Mr. Whit tail's, reproduce it as it stood. 
When we add that Mr. Whittall's manuscript 
agrees with the 1766 edition in containing the 
sixth Matinee, and in substantially the same form, 
the close connection between these two texts is 
placed beyond dispute. 

An examination of the opening passage as it 
stands in Mr. Whittall's version, in the edition of 
1766, and in what appears to be the earliest of the 
B texts, 1 may enable us to take yet a further step. 

1 This is a sexto-decimo, without date or imprint. The title- 
page bears merely the words ( Matinees Royales,' which in one 
copy in the British Museum are printed in red, in another in black. 
After the title-page comes a leaf containing a * Table des Matieres,' 
the verso being paged iv. The text occupies seventy-one num- 
bered pages, ending with an erratum : c P. 18, L 17 ', pour tttes lisex 
titres.' The last page is blank. An undated engraved edition, 
seemingly intended to be taken for a facsimile of a draught in 
Frederick's own handwriting, is clearly later than this. 



ROI DE PRUSSE. 161 

We quote the passage as it stands in the Whittall 
version and put the variants in parentheses, calling 
those of the 1 766 edition A 2 , and the others B. 

1 Dans le temps du dlsordre et de la confusion (B les temps de 
d&ordre et de confusion) on vit llever (B s'llever) au milieu des 
nations barbares, un commencement de souveraintl nouvelle. 
Les Gouvernements (B Gouverneurs) de diffSrens pays secou£rent 
le joug, et bientot devenus assez puissans pour se faire craindre 
par (B de) leurs maitres, ils obtinrent des privileges, ou pour 
mieux dire, pour (B par) la forme d'un (B du) genou (A* B 
genouil) a terre (B en terre) ils importjrent (A*6 emporterent) 
lc fonds (B fond). Dans le nombre de ces audacieux, il y en a 
plusieurs qui ont jettl le fondement (B les fondemens) des plus 
grandes monarchies, ou (B et) peut-£tre mtme (B a bien compter 
for mime) tous les Empereurs, Rois et Princes de notre temps 
(B Princes souverains) leur doivent leur Itats (sic ; A* doivent 
leur £tat ; B doivent ib leurs 6tats). Pour nous, nous sommes a 
coup sur dans ce cas. Vous rougissez (A* rougirez), allez, je vous 
pardonne (A*B je vous le pardonne), mais ne vous avisez plus de 
faire l'enfiuit, et sachez pour toujours, qu'en fait de Royaume Ton 
prend quand on petit, et Ton n'a jamais tort que quand on est 
oblig£ de rendre. Reprenons, et que ceci soit dit en passant. 9 

The last sentence, c Reprenons, et que ceci soit 
dit en passant ' (which reads clumsily so near the 
beginning of the book), as also a foolish assertion 
in the next paragraph that there had been Neros 
among the Hohenzollerns, disappear in B, never to 
return. Moreover, excepting the corredtions in the 
first line, as to which later editions flufhiate, all the 
improvements made in the B text held their place. 
It thus seems clear that the B text is the later, and 
it only remains for us to notice the few cases in 
which the 1766 edition (A 2 ) differs from the Whit- 
tall text. The first of these is the spelling genouil 
for genou. As the modern form is genou , we are 
tempted to think that the Whittall reading is the 

in. M 



1 62 LES MATINEES DU 

later. But Littr£ informs us that when the spell- 
ing genouil held the field, the pronunciation was 
already genou. It is clear, therefore, that the 
author of the * Matinees ' wrote genou phonetically, 
and the printers corrected it to genouil, which sug- 
gests that the Whittall text is derived from a 
draught which printers had never touched, and 
the comparison of import irent and emporthrent in the 
next line points the same way. Again, lew itats 
in the Whittall text is clearly wrong, and that it 
appears as leur itat in A 2 and as leurs itats in B, 
seems to show that here again the Whittall text 
reproduces an original error which the printed 
editions corredted in two different ways. Two 
lines later, rougirez in A 2 may trouble us, but not 
for long, as it is corredted in the * Errata * to rou- 
gissez. That A 2 agrees with B in the improve- 
ment, je vous le pardonne for je vous pardonne, once 
more implies that the Whittall text is earlier, and 
we get a fresh and most striking confirmation of 
this in the fad that in line 4 the reading Gouverne- 
ments in which A 2 agrees with the Whittall text as 
against B, is altered in the errata to Gouverneurs, 
which is found in all subsequent editions. 

We have thus discovered in the first place two 
distindt draughts, A and B, and, secondly, two dis- 
tindt stages of the earlier draught, with an editor 
who makes alterations as the book goes through the 
press. Two results seem to follow. The Savary- 
Whittall text, as representing an earlier stage of 
the first draught than any other printed text, must 
necessarily have been taken, as Savary asserted, 
from an original manuscript. Secondly, this manu- 



ROI DE PRUSSE. 163 

script must have been the King's; for (1) it is 
inconceivable that successively introduced variants 
of the nature of those we have set down should be 
the work of a forger ; (2) as soon as we admit, as 
we now must, that Savary's text was really taken 
from a manuscript, it is impossible to dispute the 
truth of the rest of his story. Here then we have 
an edition of the * Matinees ' derived diredtly from 
a manuscript found on Frederick's writing-table. 
But on the assumption that they were compiled 
and circulated by the French Government, we 
should in the first place not expedt to find the 
original manuscript in existence at all — it would 
naturally have been destroyed in order to conceal 
the fraud ; or if it were in existence, the very last 
home where we should look for it, would be the 
palace of the libelled king himself. 

Thus the Whittall family seem justified of the 
confidence they reposed in the French nobleman's 
story, and Frederick the Great may be regarded as 
the real author of these c Matin&s,' as they stand 
in the first edition of 1766, or this new edition. 
It is necessary to make this qualification owing to 
the impossibility of deciding to what extent they 
were enlarged and corrupted in later editions by 
other hands. We may suggest, as at least a possible 
view, that the manuscript which Savary pocketed 
at Sans Souci was the very one brought to Paris by 
Buffon fils^ and afterwards returned to the King, 
and that the numerous small improvements in what 
we have called the B text were made in con- 
sequence of the French savant's friendly suggestions* 

Lionel Giles. 



1 66 SALE PRICES OF 

back. But the pound limit undoubtedly excludes 
a good many of the later publications of the 
fifteenth century from Mr. Slater's survey. 

As regards England, her incunabula being so 
few, a generous view has been taken of them, so as 
to include all books printed by Wynkyn de Worde 
and Pynson, irrespective of the century in which 
they appeared. 

It should be noted that in order not unduly to 
elevate printers at the expense of their fellow- 
workers, an asterisk has been placed against the 
names of books whose value may be supposed to 
be mainly derived from their illustrations. 

ENGLAND. 

Caxton. 1482. Polychronicon. Very imp. [4820.] £55. 
Caxton. [1487-8.] The Ryall Book. [6781.I £1,550. 
Lettou and Machlinia. [1482.] Littleton. Tenures. [831.] 

£400. 
Wynkyn. [1496?] Bartholomaeus. Dc Propr. Rerum. [805.] 

I 217 " 
Wynkyn. 1526. Whittinton. De Heteroclitis. [914*] 

£5 15'- 
Wynkyn. 1527. Legenda Aurea. Imp. [5072J £19 10s. 

Wynkyn. 1528. Di&es and Sayings. [790.] £35. 

Wynkyn. 1530. Hormannus. Vulgaria. [820.] £25. 

Wynkyn. s.a. R. Wakefield. Syntagma. [3735.] £62. 

Pynson. 1493. Dives et Pauper. [5829.] £ I0 °- 

Another copy. Very imp. [792.] £ib 10s. 

Pynson. 1499. Promptorium Parvulorum. [6813.] /205. 
Pynson. 1500. Sarum Missal. 10 leaves. [852.] £*4 10s * 
Pynson. [r. 1509.] Carmelianus. *Carmen de Sponsalibus. 

[767.] £160. 
Pynson. 15 10. Intrationum excellentissimus liber. [823.] 

Another copy. [3705.] ^14 ioj. 

Pynson. 1522. Henry VIII. Assertio Sept. Sacram. [812.] 

£ l °- 



INCUNABULA, 1900-1901. 167 

Pynson. 1528. Copy of the letters wherein Henry VIII. made 

answer to Luther. [4875.] /50. 
St Albans. 1483. Chronicle of St. Albans. 4 leaves. [775. ] 

£5 5'. 

FRANCE. 

Pakis. 

Gering, Friburger and Crantz. 1476. F. de Platea. Trad. 

Restitutionum. [873.] £$ 5*. 
Du Prf. 1492. Breviarium ad usum Parisiensem. [6740.] 

Du Pr6. [1496 ?] Meschinot. "Lunettes des Princes. [846.] 

Marchant. 1494* Expositio Canonis Missae. [863(5).] $ of 

£16. 
Levet. s.a. Exempla sacrae scripturae. [1843.] £1 $s. 
Levet. s.a. Ockham. De Sacramento Altaris. [863(1).] -J- of 

^16. 

Mittelhus. 1494. Traftatus Corporis Christi. [863(2).] -f of 

/16. 
[Mittelhus.] s.a. Trad, de exist. Christi in altaris Sacramento. 

[863(4).] iof/16. 
Verard. 1487. *Psalterium. [6657.] £ 2O0 » 
Vlrard. [1494?] "Tristan de Leonnois. Imp. [6827.] 

£24 10s. 
Verard. s.a. "Manuel des Dames. [838.] £100. 
Vfrard. s.a. Defcnsorium Curatorum. [5820.] £2ijs 9 6d. 

Dijon. 

Petrus Metlinger. 1491. Jean de Cireyo. Privilegia Ordinis 
Cisterciensis. [ 3308.] £2 1 . 

Lyons. 
[Anon. s.a.] Juvenalis et Persius. [6253.] £\ 15*. 

Toulouse. 

[H. Mayer.] 1494. Bartholomaeus. El libro de proprietat- 
ibusrerum. [1235.] £12. 



1 68 SALE PRICES OF 

GERMANY. 

Augsburg. 
G. Zainer. 1473. Aegidius Romanus. De Regimine Prin- 



cipum. [733.] £2 10s. 
Ratdolt. 1 488. Astrolabium. [85.] £2 71. bd. 
Ratdolt. 1491- Bonatus. Liber Astronomicus. [6148.] £5. 

Another copy. [202.] £2 14*. 

Ratdolt. 1494. *Passau Missal. Imp. [850.] £10 10s. 

Basel* 

M. Wensler. 1486. Gratianus. Decretum. [6226.] £4 41. 
M. Furter. 1493. *Der Ritter vom Turn. [Q04.] /41. 
Bergmann. [1497O Brant. *Stultifera Navis. [61 52. J 

LI I0 '- 
Bergmann. 1498. Another edition. [6562.] £7. 

Cologne. 

Zell. [1468?] Cyprianus. De duodecim abusivis saeculi. 

[6178.] £s 15s. 

Zell. [1470 ?] Nider. Expositio Decalogi. [2385.] £3. 

Zell. [1473 «] P- <*e Bromyard. Opus tnvium. [2359.] 

^3 3'- 
[Printer of Sarum Breviary. s.a.] Homiliarius. (Claimed to be 

conne&ed with Caxton.) [2924.] £29. 

Koelhoff i. 1483. Bartholomaeus. De proprietatibus rerum. 

[6223.] £7 15/. 

Koelhoff ii. 1499. *Cronica van Coellen. [5792.] £60. 

Anon, s.a.] Nider. Formicarii liber. [3692.] £4. 12s. bd. 

Anon. s.a.] Seneca. De remediis fortuitorum. [3714.] 

£2 8,. 

ElCHSTADT. 

Reyser. s.a. Psalterium B. Brunonis. [6337.] £9 10s. 

Mainz. 

Schoeffer. 1470. S.Jerome. Epistolae. [1247.] £18 10s. 
Schocffer. 1474. Turrecremata. Expositio super Psalteria. 

[6395.] £i5- 
Schoeffer. 1483* *Missale Moguntinense. [849.] £38. 

Reuwich. 1406. Breydenbach. *Peregrinationes. [758.] 

£60. 

Another copy. [5751.] j£ 120. 



INCUNABULA, 1 900-1 901. 169 

Nuremberg. 

Koberger. [c. 1474.] s.a. Walter Burley. Vitae philoso- 

phorum. [829(1).] £ of £7 5/. 
Koberger. H77- Biblia Latina. [174*] £6 iox. 
Koberger. 1478. Biblia Latina. [6126.] /12. 
Koberger. 1491. *Schatzbehalter. [6695.J /22. 
Koberger. 1493. Schedel. *Chronicon Nurembergense. 

[6696.] £23. 

Another copy. [5021.] /19 iox. 

Another copy. Imp. [3070J £4. 171. W. 

Hochfeder. s.a. Thomas a Kempis. Opera. [6390.] 

&17S.6J. 

REUTLIlfOEN. 

Otmar. 1485. Bonaventura. Sermones de tempore et sandis. 

[ l 9V-] £3*S'- 

Rostock. 

Per fratres domus Viridis horti, 1476. LaAantius. Opera. 
[6800.] £17. 

Speier. 

[J. and C. Hist, s.a.] *Historia Virg. Mariae exemplis 
naturalibus comprobata. [84a] £39. 



Strassburo. 

Mentelin. 
R Printer. 



elin. [1468?] S.Jerome. Epistolae. [3147*] £u. 
inter, s.a. Jacobus Magnus. Sophologium. [829 (2).] 

i of £7 5 X - 
R Printer. [1474 ?] Dionysius de Burgo in Valerium Maximum. 

[2020.] £l I2X. 

Eggestein. [1468 ?] Biblia Latina. [6125.] £26. 
Eggestein. [1475 U Ludolphus. De Terra San&a. [5936.] 

[Husner. s.a.] Boccaccia *De Casibus virorum illustrium. 

[3*98] £*4 5'. 
Priiss. [c. 1485.] Bidpai. *Dire&orium humanae ritae. 

[748.] £24. 
Priiss. i486. Biblia Latina. [2830.] /6 iox. 
[Priiss. 1480.] J. de Capua. *Diredorium humanae vite. 

[6569.] /17 iox. 
Anon. 1485. Jac de Voragine. Legenda Aurea. [131 1.] 

Anon. 1485. Jerome. Vitae Patrum. [1 13.] £4. 4/. 



170 SALE PRICES OF 

Ulm. 

J. Zainer. [1474 ?] Albertus Magnus. De Adhacreodo Deo. 

C 2 348J £3 I0 *- 
J. Zainer. 1480. *Biblia Latina. [3295.] £21. 
L. Holle. 1482. Ptolemy. *Ca§mographia. [6658.] £68. 

ITALY. 

Bologna. 

U. de Rugeriis. 1 48 1 • Vine. Bandellus. De conceptione B. V. M. 
Bound by Derome. [61 15.] £15. 

Brescia. 

Bon. de Boninis. 1487. Dante Commedia. [1558.] £14 $s. 

Another copy. [6577.] £27 I ox. 

Another copy. [2001.] £40. 

Fbrrara. 

Bellfbrtis. 1 493. *Compilatio Alfragani. [6338.] /i x • 
Rossi. 1497. Foresti. *De Claris Mulieribus. [6588.] £39. 

Another copy, with two other books. £34. 

Rossi. 1497. S' Jerome. Epistole Volgan. Imp. [814.] 
£40. 

Florence. 

Nic. di Lorenzo. 1481. Dante. Commedia. 2 engrav. [1556.] 

[Miscomini.] 1485. Pacificus Maximus. De componendo 

hexametro. [6638.] £15 iox. 
Miscomini. 1492. Savonarola. *Dello amore di Jcsu. [6675.] 

Miscomini. 1492. Savonarola. *DelP humilita. [6679.] 

^39- 
Miscomini. 1492. Savonarola. *Della Oratione. [6684. £11. 

Miscomini. 1493. J.daCessole. *Giuocho di Scacchi. [6571.] 

£ I2 3- 

Another copy. Imp. [1191*] Z 2 3- 

[Miscomini. s.a.] Savonarola. *Della Humilita. [6678.] 

£10 iox. 
[Libri.] 1488. Homer. Very imp. [6236.]. /12 iox. 
[Libri. 1496 ?] Savonarola. *Predica dell 9 arte del bene morire. 

Cropped. [6682.] £<). 



INCUNABULA, 1900-1901. 171 

[Libri,eto] For Vivuoli, 1496. Savonarola. Predichc [6690.] 

Z7- 
Libri. 1496. Simone da Cascia. *Evangelii con Expositions 

[6697.] £305. 
[Libri ?] 1496. Savonarola. Sopra el Psalmo lxxix. [3341*] 

/6 1 os. 
[Libri. 1499*] Savonarola. *Expositione sopra il psalmo xxx. 

[6688.] £15. 



[Libri. s.a.] Savonarola. *Contra li Astrologi. [6669.] ^35. 
[Libri. s.a.] Savonarola. *Della oratione mcntalc. [6686.] 



[Libri. s.a.] Savonarola. * Delia Oratione. [6603.] 



fSSs. 
[Libri. s.a.] Savonarola. Epistola ad uno amico. [6687.] 

£ 12 - 
Buonaccorsi. 1490. Jacopone da Todi. *Laude. [6609.] 

Buonaccorsi. 1495* Savonarola. *Compendio di Revelatione. 

[6670.] £40. 
Buonaccorsi. 1 496. Benivieni. *In defensione della do&rina di 

Frate Hieronymo. [6694.] ^35. 
[Buonaccorsi.] For Pacini. 1496. Savonarola. *Compendio di 

Revelatione. [667 1 .] £42. 
Morgiani and Petri. 1491. +Calandri. De Arithmetica. [6566.] 

^34- 

Another copy. Imp. [1377.] £7* 

Morgiani and Petri. 1493. Libro da Compagnia di Battuti. 

[6032.] /70. 
Morgiani and Petri. 1495. S. Bernard. *Sermoni. [6549.] 

jTn 2s. td. 
Morgiani and Petri, [c. 1495.] Savonarola. *Sopra i died 

comandamenti. [6674.] £29 10s. 
[Morgiani and Petri. s.a.] Savonarola. Della Oratione 

Mentale. Cropped. [6685.] £$. 
Morgiani for Pacini. 1496. Savonarola. * Della Vita Christiana. 

[6077.] £10 1 ox. 
Morgiani for Pacini. 1496. Savonarola. *Della vita viduak. 

[6676.] £14. 

Morgiani. [1497.] Savonarola. Predichc fa&o lanno del 1496. 

[6689.] £ 5 . 
[Morgiani. s.a.] Capranica. +Arte del ben morire. [6568.] 

p75. . 
[Morgiani. s.a.] Bonaventura. Meditatione. [6559.] £z°- 



1 72 SALE PRICES OF 

[Tubini. s.aj Savonarola. * Predict delP arte del bene morire. 

[6681.] ^+2. 
[Tubini. s.a.j Savonarola. *Dyalogo dclla vcrita prophetica. 

[6672.] £150. 
[Tubini. s.a.] Savonarola. *Expositione del Paternoster. 

E 6 ^-] £ l 7- 
[Anon. s.aj Savonarola. *DeIla Humilita. [668a] £4. 

Milan. 

P. de Lavagna. 1479. Somma Pacifica. Copper-plates. [665a] 

£SS. 

Another copy. Imp. [6649.] £l l 7 s * ^ 

C. Valdarfer. 1476. Fidelfo. Hecatostichon. [6227.] £$. 
Pachel and Scinzenzeler. [c. 1483.] Attavanti. *rsalmi peni- 

tentiale. [6656.] £20. 
Pachel. 1493* B. de Bustts. Mariale. Imp. [1185.] 

Ulrich Scinzenzeler. 1497* Lucian. De veris narrationibus. 

E3684.] /2 2X. 
U. Scinzenzeler. 1498. Sidonius Apollinaris. Poemata. [3716.3 

£ns. 
H. Scinzenzeler. 1494* S. Bernard. *Sermoni. [6548.] 

£5 7'- <>d. 
Le Signerre. 1496. Gafuriue. Pra&ica Musice. [1565.] 

MODENA. 

Richizola. 1490. +Legenda trium regum. [6628.] £20. 
Richizola. s.a. Pittorio. *Domenicale. [ ? ] £19 51. 

Padua. 

Barth. de Val de Zoccho. 1472. Boccaccio. Fiammetta. [1934.] 

£10 i$s. 
Barth. de Val de Zoccho. 1474. Hierocles. In aureos versus 

Pythagorae. [1246.] £1 5s. 
Another copy. [3678.] £2 i6x. 

Parma. 
A. Portilia. 148 1. Pliny. Nat. Historic [6329.] £$. 



INCUNABULA, 1 900-1 901. 173 

Rome. 

Sweynheym and Pannartz. 1469. Bessario. Adv. Cilumnia- 

torem Platonis. [6122.] L\S*» 
Han. c. 1470. Justinus. Epitoma. [6252.] £6 51. 
Lignamine. 1481. +Opuscula P. dc Barberiis. [6544.] /15 iax. 
[Riessinger and Herolt, c. 1482.] +Opuscula P. dc Barberiis 

[6S43.] £27 iox. 
Plannck. 1491. *Mirabilia Rome. [6641.] £18. 
Plannck. 1498. Turrecremata. +Meditationes. [6701.] 

£ I0 S- 
Plannck. 1500. *Mirabilia Rome, [6642.] £i7. 

P. di Tuere. 1490. Ptolemy. +Cosmograpnia. [0659.] /20. 

[Silber.] 1499. Savonarola. Examinatio et processo. [6693.] 

OS- 

Turin. 

J. Suigus and N. de Benedi&is. 1492. Pelk*. Arithmetica. 

[6653-] lS9- 

Venice. 

J. de Spira. 1469. Cicero. Epistolae ad Familiares. Imp. 

[61 71.] £106. 
V. de Spira. [c. 1472.] Georgius Trapezuntius. Libri Rheto- 

ricorum. [1867.J £3 7x. bd. 
Jenson. 1471. Aemitfi Probi de vita imperatorum. [1268.] 

£5 5'- 
Jenson. 147 1. Quintilian. Institut. Orat. [6339.] £14 iox. 

Jenson. 1472. rfiny. Historiarum Naturalium libri. [874.] 

£*4 iox. 
'enson. 1475. Augustine. De Civitatc Dei. [61 13.] £8. 
enson. 1476. Bibfia Latina. [3664.I £13. 
enson. 1480. Thomas Aquinas. De veritate Cath. fidei. 

[•6389.] £8 iox. 
Valdarfer. 1471. Cicero. Orationes. [6172.] £<). 
Renner. 1482. Biblia Latina. Imp. [173.] £1 iax. 
J. de Colonia, etc. 1475-78. Tudeschis. Super aecretalia, etc. 

[ 6 3«0 M- 

J. de Colonia and J. Manthen. 1477* Asconius. Commentarii 

in Ciceronis Orat.. etc. [61 11.] ^5 15X. 
J. de Colonia and J. Manthen. 1477- Bonaventura. Brevilo- 

quium. [1941.J £1 4*. 
Ratdolt. 1480. * Fasciculus Temporum. [1224.] £2 i8x. 
Ratdolt. 1482. 'Euclid. [4095.] £18 iox. 



174 SALE PRICES OF 

Ratdolt. Euclid. Imp. [6583.] £16 it, bd, 

— - - Another copy. Imp. [1221.] ,£11 iot. 

Ratdolt. 148a. J. deSacrobusto. Sphaera Mundi, [1609.] £2 iaj. 

— — Anothercopy. [37"-] £1 14/. 

Ratdolt. 1482. Pomponius Mela. Geographia. [6334.J 

£6 lis. 6rf. 
Ratdolt. 1483. Alphonsi Tabulae. 1484. Liber Quadri- 

parttti Ptolomei. [84..] ^3. 
Ratdolt. 148$- Alchabitius. [159.] £1 71. 
Juvenis Gucrinus. 1477. Lucan. Pharsalia. Bound by Payne. 



[6276.I £412*. 6* 

3. Walch. 



G. Walch. 1479- Fasciculus Temporum. [1279.] £2 18/. 
O. Scotus. 1484. Dante. Commedia. [1557.J £d 15*. 
P. de Ptasiis. 1491. Dante. 'Cooiedia. [6578.] £26. 

Anothercopy. [6180.] j£i6. 

B. de Bcnaliis. i486. Bcrgomensis. Supplementum Chronica- 

"»"»• t744-J i> lot. 
B. de Bcnaliis and Codeca. 1491. Dante. 'Commedia. 

[>559-] fa 1 *'- 
Codeca. 1489. Bonaventura. 'Meditatione. [6558.] £ib. 
Codeca. 1490. *Fiore de Virtu. Imp. [6585.] /lO lot. 
Codeca. 1491. 'Martha c Magdalena. [6607.] £4.5. 
Codeca. 1493. 'Cantalycii Epigrammata, [6567.] /12 5/. 
Codeca. 1494. Catherina da Siena. Dialogo. [6570.] £1$ 10s. 
Codeca. 1494. J. de Voragine. 'Legendario. [6709.]" £101. 
Codeca. 1495. Crescentius. *Dc Agricultura. [6570.] ^36. 

J Codeca.] 1496. 'Fiore di Virtu, imp. [6587.] fit. 
. and G. de Grcgoms. 1493. Kctham. 'Fasciculo de Medicina. 

Imp. [6610.] £61. 
B. Ri/.o de Novara. 14.91. Foresti. 'Chronica. [6589.] £1$. 
B. de Zanis. 1496. Plutarch. Vitae. [1272.] £4 10s. 
B. de Zanis. 1499. Jac. de Voragine. Legendario de San&i. 

Imp. [1312.] £"• 
Hertzog. 1493. Horae - [ 6 59+0 £X>S- 
T.B. dcSessa. 1491. Vergerius. 'DeMoribus. [6704.] ^23. 
Ragazzo. 1490. 'Fiore di Virtu. [6586J £vj. 
Ragazzo for Giunta. 1491. 'Vita de Sand Padri. [6706.] 

£100. 

Another copy. Imp. [6705.] £34, 

Another copy. Imp. [1428.] £27. 

Manf. de Bonellis. 1495. 'Libro del Maestro. [6631.] £61. 
Bevilacqua. 1498. 'Biblia Latina. [6552.] £y tot. 



INCUNABULA, 1900-1901. 175 

J, Emerich. 1495* Bcrnardi Sermones. [6547.] £5 i8x. 
J. Emerich for Giunta. 1497. *Breviarium Romanum. [6563.] 

Aldus, 1495-8. Musaeus. [6646.] /40. 

Aldus. 1498. Psalterium Graecum. Imp. [2391.] £4 iox. 

Aldus. 1499. *Hypnerotomachia. Bound by Derome. [6333.] 

Another copy. [5793.] £ 122 - 

Another copy. [6572.J £30. 

Aldus. 1500. Catherine of Siena. Epistolac. [1553.] £615*. 
[Anon.] 1494. Giustiniano. +Do£trina della vita monastica. 



[Anon.] [1494?] *Monte de la Oratione. [1585.] /io 51. 

~ linus. * Delia confessione. [654&J /n. 

[Anon.] 1500. Bonaventura. +Meditatione. [0559.] £30. 



Anon. 1494?] Bernardinus. 



Verona. 

[Alvise. s.a.] Lucan. Pharsalia. [3683.] £1 Js. 

B. de Boninis. 1483. Valturius. *Opera. Q0702.] ^50. 

Vicbnza. 

Koblinger. 1480. L. de Utino. Sermones aurei de Sandis. 

1480. £1 2i. 
L. de Basuea and G. de Papia. 1491. Euclid. Cropped. 

[1222.] £4. 

OTHER COUNTRIES. 

BrOnn. 

[Stahel and Preinlein.] 1488. J. de Thwrocz. Chronica Hun- 
garica. [903.] £65. 

GOUDA. 

Leeu. 1482. Dialogus Creaturarum. [788.] £24. 

Lou VAIN. 

J. de Westphalia, s.a. Cicero. De officiis. [6173.] £4 ys. 

Seville. 

Ungut and Stanislaus. 1499* Cronica del Rey don Rodrigo. 
[5805.] £260. 




i 7 6 



ENGLISH BOOK-ILLUSTRATION OF 
TO-DAY. 

II. Some Open-Air Illustrators. 

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



ENGLISH BOOK-ILLUSTRATION. 177 

have had no traceable effedt on modern open-air 
illustration. Nor are the landscape drawings in 
works such as * Wayside Poesies/ or * Pidtures 
of English Landscape/ at the beginning of the 
style or styles — formal or pidluresque — most in 
vogue at present. Birket Foster has no followers ; 
the pensive landscape is not suited to holiday ex- 
cursion books; and, though Mr. J. W. North is 
among artists of to-day, as a book-illustrator he 
has unfortunately added little to his fine record of 
landscape drawings made between 1864 and 1867. 
One cannot include his work in a study of con- 
temporary illustration, though it is a pleasure 
passed over to leave unconsidered drawings that 
in c colour/ in effedts of winter-weather, of leaf- 
thrown light and shade amid summer woods and 
over the green lanes of English country, are de- 
lightfully remote from obvious and paragraphic 
habits of rendering fadls. 

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

III. N 



178 ENGLISH BOOK-ILLUSTRATION 

Royal Scottish Academy, whose illustrative work 
ended with the publication of Mrs. Oliphant's 
4 Royal Edinburgh ' in 1 890. The one subject 
for regret in connexion with Sir George Reid's 
landscape illustrations is that the chapter is closed. 
He makes no more drawings with pen-and-ink, 
and the more one is content with those he has 
made the less does the quantity seem sufficient. 
Those who know only the portraits on which Sir 
George Reid's reputation is firmly based will find 
in his landscape illustrations a new side to his art. 
Here, as in portraiture, he sees distindtly and re- 
cords without prejudice the characteristics of his 
subjedt. He renders what he sees, and he knows 
how to see. His conception being clear to him- 
self, he avoids vagueness and obscurity, finding, 
with apparent ease, plain modes of expression. A 
straight observer of men and of the country-side, 
there is this directness and perspicuity about his 
work, whether he paints a portrait, or makes pen- 
drawings of the village worthies of * Pyketillim ' 
parish, or draws Pyketillim Kirk, small and white 
and plain, with the sparse trees beside it, or great 
river or city of his native land. 

But in these pen-stroke landscapes, while the 
same clear-headed survey, the same logical re- 
cord of fads, is to be observed as in his work as 
a portrait painter, there is besides a charm of 
manner that brings the indefinable element into 
one's appreciation of excellent work. Of course 
this is not to place these drawings above the por- 
traits of Sir George Reid. That would be absurd. 
But he draws a country known to him all his life, 



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OF TO-DAY. 179 

and unconsciously, from intimate memory, he sug- 
gests more than actual observation would discover. 
This identification of past knowledge with the 
special scrutiny of a subject that is to be drawn 
is not usually possible in portraiture. The ' por- 
trait intime ' is a question of occasion as well as of 
genius. 

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

It is as difficult to praise these drawings in- 
telligibly to those who have not seen them, as it is 
unnecessary to enforce their charm on those who 
have. Unfortunately, a reproduction of one of 
them is not possible, and admirable as is the draw- 
ing from ' Royal Edinburgh/ it is in subjedt and 
in treatment distindt from the c Gushetneuk ' and 
c North of Scotland ' illustrations. The c Twelve 
Sketches of Scenery and Antiquities on the Great 
North of Scotland Railway,' issued in 1883, were 
made in 188 1, and have the same characteristics as 



i 



180 ENGLISH BOOK-ILLUSTRATION 

the c Gushetneuk * landscapes. The original draw- 
ings for the engraved illustrations in c The Life of 
a Scotch Naturalist/ belonging to 1 876— drawings 
made because the artist was c greatly interested ' in 
the story of Thomas Edward — must have been of 
the same delicate force, and the splendid volumes 
of plates illustrating the c River Clyde/ and the 
c River Tweed/ issued by the Royal Association 
for the Promotion of the Fine Arts in Scotland, 
contain more of his fine work. It was this society, 
that, in the difficult days following the artist's 
abandonment of Aberdeen and lithography for 
Edinburgh and painting, gave him the opportunity, 
by the purchase of two of his early landscapes, for 
study in Holland and in Paris. There is some- 
thing of Bosboom in a rendering of a church in- 
terior such as c The West Kirk/ but of Israels, who 
was his master at the Hague, there is nothing to 
be seen in Sir George Reid's illustrations. They 
are never merely pifturesque, and when c too many 
men ' arc c freakish ' in their rendering of archi- 
tecture, the drawings of North of Scotland castles 
— well founded to endure weather and rough times 
of war — seem as real and true to Scottish romance 
as the clear descriptions of rock, and kirk and 
lighthouse top, seen with true sight by the Ancient 
Mariner, are in Coleridge's poem. 

The print-black of naked boughs against pale 
sky, a snow-covered country where roofs are white, 
and the shelter of the woods is thin after the 
passing of the autumn winds — this black and white 
is the black and white of most of Sir George Reid's 
studies of northern landscape. To call it black and 



OF TO-DAY. 181 

white is to stretch the odtave and omit all the 
notes of the scale. Pure white of plastered masonry, 
or of snow-covered roof or field in the bleak win- 
ter light, pure black in some deep-set window, in 
the figure of a passer-by, or in the bare trees, are 
used with the finesse 01 a colourist. Look at the 
c Pyketillim Kirk ' drawing in € Johnny Gibb.' 
Between the white of the long church wall, and 
the black of the little groups of village folk in the 
churchyard, how quiet and easy is tne transition, 
and how true to colour is the result. Of the 
Edinburgh drawings the same may be said ; but, 
except in facsimile reproduction, one has to know 
the scale of tone used by Sir George Reid in order 
to see the original efFeft where the printed page 
shows unmodified black and white. In c Holyrood 
Castle ' the values are fairly well kept, and the 
rendering of the ancient building in the deep 
snow, without false emphasis, yet losing nothing of 
emphatic efFeCt, shows the dominant intellectual 
quality of the artist's work. 

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



1 82 ENGLISH BOOK-ILLUSTRATION, 

native, the understanding that is beyond know- 
ledge. The difference between them only proves 
the essential similarity in the elements of their art ; 
but that, like most paradoxes, is a truism. Mr. 
Parsons is, of course, thoroughly English in his 
art. He has the particularity of English nature- 
poets. Pastoral country is dear to him, and home- 
steads and flowering orchards, or villages with 
church tower half hidden by the elms, are part of 
his home country, the country he draws best. It 
is interesting to compare his drawings for * The 
Warwickshire Avon* with the Scottish artist's 
drawings of the northern rivers. The drawings 
of Shakespeare's river show spring trees in a mist 
of green, leafy summer trees, meadowsweet and 
hayfields, green earth and blue sky, and a river of 
pleasure watering a pleasant country. If a man can 
draw English summer-time in colour, with black 
and white, he must rank high as a landscape pen- 
draughtsman. Mr. Alfred Parsons has illustrated 
about ten books, and his work is to be found in the 
pages of c Harper's Magazine/ and of c The English 
Illustrated ' in early days. Two books, the c Old 
Songs' and 'The Quiet Life/ published in 1887 
and 1890, were illustrated by E. A. Abbey and 
Alfred Parsons. The drawings of landscape, of 
fruit and flowers, by Mr. Parsons, the Chippendale 
people and rooms of Mr. Abbey, fill two charming 
volumes with pidtures whose pleasantness and happy 
art accords with the dainty verses of eighteenth- 
century sentiment. 'The Warwickshire Avon/ 
and another river book, ' The Danube from the 
Black Forest to the Sea/ illustrated in collaboration 




ELMS BY BIDFORD GRANGE. BY ALFRED PARSONS. 

REPRODUCED FROM QUH.LER COUCH'S 'THE WARWICKSHIRE 

AVON.' 

BY LIAVt OF OSGOOD, U«1LVA1HE AND CO. 



1 84 ENGLISH BOOK-ILLUSTRATION 

with the author, Mr. F. D. Millet, belong to 
1892. The slight sketches — passing-by sketches — 
in these books, are among fortunate examples of a 
briefness that few men find compatible with grace 
and significance. Sketches, mostly in wash, of a 
farther and more decorated country — c Japan, the 
Far East, the Land of Flowers and of the Rising 
Sun, the country which for years it had been my 
dream to see and paint' — illustrate the artist's 
'Notes in Japan/ 1895. In the written notes are 
memoranda of actual colour, of the green harmony 
of the Japanese summer — harmony culminating in 
the vivid tint of the rice fields— of sunset and 
butterflies, of delicate masses of azalea and drifts of 
cherry-blossom and wisteria, while in the drawings 
are all the flowers, the green hills and gray hamlets, 
and the temples, shrines and bridges, that make 
unspoilt Japan one of the perpetual motives of 
decorative art. Illustrations to Wordsworth — to a 
scledted Wordsworth — gave the artist other oppor- 
tunities to render the England of English descriptive 
verse. 

It is convenient to speak first of these painter- 
illustrators, because, in a sense, they stand alone 
among illustrative artists. Obviously, that is not to 
say that their work is worth more than the work of 
illustrators, who, conforming to the laws of c pro- 
cess, 9 make their drawings with brain and hand 
that know how to win profit by concession. But 
popularisers of an effective topographical or archi- 
te&ural style are indiredtly responsible for a large 
amount of work besides their own. In one sense 
a leader does not stand alone, and cannot be con- 



OF TO-DAY. 185 

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

Though not a painter, Mr. William Hyde works 
' to colour ' in his illustrations, and is generally 
successful in rendering both colour and atmosphere. 
He has done little with the pen, and it is in wash 
drawings, reproduced by photogravure, that he is 
best to be studied. Of his early training as an en- 




1 86 ENGLISH BOOK-ILLUSTRATION 

graver there is little to be seen in his work, though 
his appreciation of the range of tone existing between 
black and white may have come from working with- 
in restridtions of monotone, when the colour sense 
was growing strong in him. At all events he can 
gradate from black to white with remarkable minute- 
ness and ease. His earliest work of any importance 
after giving up engraving, was in illustration of 
'L'Allegro ' and C I1 Penseroso/ 1895, and shows his 
power already well charadterized. There are thir- 
teen illustrations, and the opportunities for render- 
ing aspedts of light, from the moment of the lark's 
morning flight against the dappled skies of dawn, 
to the passing of whispering night- winds over the 
darkened country, given in the verse of a poet 
sensitive as none before him to the gradations of 
lightness and dark, are realized. So are the haw- 
thorns in the dale, and the towered cities. But it 
is as an illustrator of another towered city than that 
imagined by Milton, that some of Mr. Hyde's most 
individual work has been produced. In the etch- 
ings and pictures in photogravure published with 
Mrs. Meynell's c London Impressions ' — London 
beneath the strange great sky that smoke and 
weather make over the gray roofs, London when 
the dawn is low in the sky, or when the glow of 
lamps and lamp-lit windows turns the street dark- 
ness to golden haze, is drawn by a man who has 
seen for himself how beautiful the great city is in 
4 between lights/ His other work is superficially 
in contrast with these studies of city light and 
darkness; but the same love for 'big* skies, for 
the larger aspedts of changing lights and cloud 



OF TO-DAY. 187 

movements, are expressed in the drawings of the 
wide country that is around and beyond the Cinque 
Ports, and in the illustrations to Mr. George 
Meredith's c Nature Poems.' Our illustration is 
from a pen drawing in Mr. Hueffer's book, c The 
Cinque Ports.' There is no pettiness about it, and 
the * phrasing ' of castle, trees and sky shows the 
artist. 

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

Coming to artists who are illustrators, not on 
occasion but always, there is no question with 
whom to begin. It is true that Mr. Pennell is 
American, but he is such an important figure in 
English illustration that to leave him out would be 
impossible. He has been illustrating Europe for 
more than fifteen years, and the forcible fashion of 
his work, and all that he represents, have influenced 
black-and-white artists in this country, as his master 
Rico influenced him. In range and facility, and in 
getting to the point and keeping there, there is no 
open-air illustrator to put beside Mr. Pennell. 
Apparently, he is never bewildered, is always ready 
and able to draw, always interested and always 




ENGLISH BOOK-ILLUSTRATION. 189 

interesting. Surely there was never a mind with a 
greater faculty for quick study ; and he can apply 
this power to the realization of an architectural 
detail, or of a cathedral, of miles of country with 
river curves and castles, trees, and hills and fields, 
and a stretch of sky over all ; or of a great city 
street crowded with traffic, of new or 'old buildings, 
of Tuscany or of the Stock Exchange, with equal 
ease. To attempt a record of Mr. PennelFs work 
would leave no room for appreciation of it. As 
far as the English public is concerned, it began in 
1885 with the publication of c A Canterbury Pil- 
grimage/ and since then each year has added to 
Mr. Penneirs notes of the world at the rate of two 
or three volumes. The highways and byways of 
England— east, west, south and north — France 
from Normandy to Provence, the cities and spaces 
of Italy, the Saone and the Thames, the c real ' 
Alps and the New Zealand Alps, London and 
Paris, the Cathedrals of Europe, the gipsy encamp- 
ment and the Ghetto, Chelsea and the Alhambra 
— Mr. Pennell has been everywhere and seen most 
things as he went, and one can see it in his 
drawings. 

He draws architecture without missing anything 
tangible, and his buildings belong to cities that 
have life — and an individual life — in their streets. 
But where he is unapproachable, or at all events 
unapproached among pen-draughtsmen, is in draw- 
ing a great scheme ot country from a height. If 
one could reproduce a drawing such as that of the 
country of Le Puy in Mr. Wickham Flower's 
* Aquitaine/ 01 , better still, the etching of the same 



i 9 o ENGLISH BOOK-ILLUSTRATION 

amazing country, one need say no more about Mr. 
Pen n ell's art in this kind. Unluckily our page is 
too small. This strange and lovely landscape, 
where curving road and river and tree-bordered 
fields are dominated by two image-crowned rocks, 
built about with close-set houses, looks like a de- 
sign from a dream fantasy worked out by a master 
of definite imagination. One knows it is not. 
Mr. Pennell is concerned to give fafts in effective 
order, and here he has a subject that afFedts us 
poetically, however it may have afFedted Mr. Pennell. 
His eye measures a landscape that seems outside 
the measure of observation, and his ability to grasp 
and render the chara&eristics of adtuality serves him 
as ever. It is an unforgettable drawing, though 
the skill displayed in the simplification and relation 
of fafts is no greater than in other drawings by the 
artist. That power hardly ever fails him. The 
c Devils of Notre Dame ' again stand out in memory, 
when one thinks generally of Mr. Pennell's draw- 
ings. And again, though it seems as if he were 
working above his usual pitch of conception, it is 
only that he is using his keenness of sight, his 
logical grasp of form and power of expression, on 
matter that is expressive of mental passion. The 
man who carved the devils, the men who crowned 
the rocks of Le Puy with the haloed figures, created 
fadts. The outrageous passion that made these evil 
things made them in stone. You can measure 
them. They are matter-of-fa6t. Mr. Pennell has 
drawn them as they are, with so much trenchancy, 
such assertion of their hideous decorativeness, 
their isolation over modern Paris, that no drawings 




THE HARBOUR, SORRENTO. BY JOSEPH PENNELL. 
FROM HOWELL'S "ITALIAN' JOURNEYS." 



.AVE OF MR. HEINEMANN. 



OF TO-DAY. 191 

could be better, and any others would be superfluous. 
It is impossible to enumerate all Mr. Pennell has 
done and can do in black-and-white. He is a master 
of so many methods. From the sheer black ink 
and white paper of the c Devils/ to the light broken 
line that suggests Moorish fantastic architecture 
under a hot sun in the c Alhambra ' drawings, there 
is nothing he cannot do with a pen. Nor is it 
only with a pen that he can do what he likes and 
what we must admire. He covers the whole field 
of black-and-white drawing. 

After Mr. Pennell comes Mr. Herbert Railton. 
No architectural drawings are more popular than 
his, and no style is better known or more generally 
' adopted ' by the illustrators of little guide-books 
or of magazine articles. An architect's training and 
knowledge of structure underlies the picturesque 
dilapidation prevalent in his version of Anglo- 
gothic architecture. His first traceable book-illus- 
trations belong to 1888, though in 'The English 
Illustrated/ in c The Portfolio/ and elsewhere, he 
had begun before then to formulate the style that 
has served him so admirably in later work with 
the pen. The illustrations to Mr. Loftie's c West- 
minster Abbey 9 (1890) show his manner much as 
it is in his latest pen drawings. There is a lack of 
repose. One would like to undecorate some of the 
masonry, reveal the austere lines under the pre- 
valence of pattern. At the same time one realizes 
that here is the style needed in illustration of pic- 
turesquely written books about picturesque places, 
and that the stone tracery of Westminster, or the 
old brick and tiles of the Inns of Court, are more 



1 92 ENGLISH BOOK-ILLUSTRATION 

interesting to many people in drawings such as 
these than in actuality. But Rico's ' broken line ' 
is responsible for much, and not every draughtsman 
who adopts it direft, or through a mixed tradition, 
has the architedtural knowledge of Mr. Railton to 
support his deviations from stability. Mr. Railton 
is the artist of the Cathedral Guide ; he has drawn 
Westminster, St. Paul's, Winchester, Gloucester, 
Peterborough, and many more cathedrals, inside and 
out, within the last ten years. In illustrations to 
books where a thread of story runs through his- 
torical fa£t, books such as those written by Miss 
Manning concerning Mary Powell, and the house- 
hold of Sir Thomas More, the artist has collaborated 
with Mr. Jellicoe, who has put figures in his streets 
and country lanes. 

There are so many names in the list of those 
who, in the beginning, profited by the initiative 
of Mr. Pennell or of Mr. Railton that generally 
they may be set aside. Of artists who have made 
some position for themselves, there are enough to 
fill a long article. Mr. Holland Tringham and 
Mr. Hedley Fitton were at one time unmistakable 
in their Railtonism. Mr. Fitton has illustrated 
cathedral books, and in later drawings by Mr. 
Tringham exaggeration of his copy has given place 
to a more diredt record of beautiful buildings. 
Miss Nelly Erichsen and Miss Helen James are 
two ladies whose work is much in request for 
illustrated series, such as Dent's ' Mediaeval Towns/ 
Miss James' drawings to c Rambles in Dickens' 
Land' (1899) showed study of Mr. Railton, which 
is also observable in other books, such as c The 



OF TO-DAY. 193 

Story of Rouen.' At the same time, she carries 
out her work from individual observation, and 
gets an effedt that belongs to study of the subje6t, 
whether from adtuality or from photographs. Miss 
James and Miss Erichsen have collaborated in 
certain books on Italiap towns, but architectural 
drawing is only part of Miss Erichsen's illustrative 
work, though an important part, as the illustrations 
to the recently-published c Florentine Villas ' of 
Mrs. Ross show. Illustrating stories, she works 
with graceful distinctness, and many of the draw- 
ings in the c Story of Rome ' — though one re- 
members that Rome is in Mr. Penneirs province — 
show what she can do. 

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

III. o 



194 ENGLISH BOOK-ILLUSTRATION. 

among writers who illustrate. Since 1889 he has 
published a dozen books and more. In c Royal 
Winchester 9 — the first of these — he is illustrator 
only. 'The Brighton Road 9 of 1892 is the first 
of the road-books, and the illustrations of the road 
as it was and is, of town and of country, have 
colour and open air in their black-and-white. 
Since then Mr. Harper has been from Paddington 
to Penzance, has followed Dick Turpin along the 
Exeter road, and bygone fashion from London to 
Bath, while accounts of the Dover road from 
Southwark Bridge to Dover Castle, by way of 
Dickens 9 country and hop-gardens, and of the 
Great North Road of which Stevenson longed to 
write, are written and drawn with spirited observa- 
tion. His drawing is not so pi&uresque as his 
writing. It has reticence and justness of expression 
that would not serve in relating tales of the road, but 
which, together with a sense of colour and of what is 
pi£torial, combines to form an effedive and fre- 
quently distin&ive style of illustration. The drawing 
reproduced is from Mr. Harper's forthcoming book 
on the Holyhead road, and is chosen by the artist. 
Mr. Barrett has written and illustrated the 
' highways and byways and waterways ' of various 
English counties, as well as a volume on the battle- 
fields of England, and studies of ancient buildings 
such as the Tower of London. He is always well 
informed, and illustrates his subjedt fully from pen- 
and-ink drawings. Mr. F. G. Kitton also writes 
and illustrates, though he has written more than 
he has drawn. St. Albans is his special town, and 
the old inns and quaint streets of the little red 



196 ENGLISH BOOK-ILLUSTRATION 

city with its long cathedral, are truthfully and 
dexterously given in his pen drawings and etchings. 
Mr. Alexander Ansted, too, as a draughtsman of 
English cathedrals and of city churches, has made 
a steady reputation since 1894, when his etchings 
and drawings of Riviera scenery showed ambition 
to render tone, and as much as possible of colour 
and atmosphere, with pen and ink. Since then he 
has simplified his style for general purposes, though 
in books such as ' London Riverside Churches ' 
(1 897), or 'The Romance of our Ancient Churches * 
of two years later, many of the drawings are more 
elaborate than is common in modern illustration. 
The names of Mr. C. E. Mallows and of Mr. 
Raffles Davison must be mentioned among archi- 
tectural draughtsmen, though they are outside the 
scope of an article on book-illustration. Some of 
Mr. Raffles Davison's work has been reprinted 
from the ' British Architect/ but I do not think 
either of them illustrates books. An extension of 
architectural art lies in the consideration of the 
garden in relation to the house it surrounds, and 
Mr. Reginald Blomfield's c Formal Garden ' treats 
of the first principles of garden design as distinct 
from horticulture. The drawings by Mr. Inigo 
Thomas, whether one looks on them as illustrating 
principles or gardens, are worth looking at, as 
€ The Yew Walk ' sufficiently shows. 

The sobriety and decorum of Mr. New's archi- 
tectural and landscape drawings are the antithesis of 
the flagrantly picturesque. I do not know whether 
Mr. Gere or Mr. New invented this order of land- 
scape and house drawing, but Mr. New is the chief 



OF TO-DAY. 



197 



exponent of it, and has placed it among popular 
styles of to-day. It has the effect of sincerity, and 




BY F. INIGO THOMAS. 

FROM BLOMFIELD'S 4 THE FORMAL GARDEN.' 

BY LEAVE OP MESSRS. UACMILLAH, 

of respectful handling of ancient buildings. Mr. 
New does not lapse from the perpendicular, his 
hand does not tremble or break off when house- 
walls or the ridge of a roof are to be drawn. His 



198 ENGLISH BOOK-ILLUSTRATION 

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

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



OF TO-DAY. 



199 



irregular house-frontage of country high-streets 
are his subject. Illustrating Shakespeare's country, 
' Sussex,' and * The Wessex of Thomas Hardy,* 




BY I. H. NEW. 

FROM WHITE'S ' SELBORNE.' 

BY LEAVE OP ME, LANK. 



brought him into regions of the country-town ; 
but the most important of his recent drawings are 
those in * The Natural History of Selborne,' pub- 
lished in 1900. The drawing of * Selborne Street' 
is from that volume. 



200 ENGLISH BOOK-ILLUSTRATION. 

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

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



202 ENGLISH BOOK-ILLUSTRATION 



BIBLIOGRAPHY. 

(7# September, 1901.) 

Alexander Ansted. 

The Riviera. Etchings and vignettes, with notes by the artist. 

Fol. (Seeley, 1894.) 20 etched plates, 44 vignettes. 
Episcopal Palaces of England. Canon Venables and others. 4 . 
(Isbister, 1895.) Etched frontispiece and 104 illust. (7 full 

page.) 
London Riverside Churches. A. E. Daniell. 8°. (Constable, 

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

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

York Minster. The Very Rev. Dean Purey-Cust. 14 illust 
(11 f. p.) 

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

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

Carlisle Cathedral. Chancellor R. S. Ferguson. 1 1 f. p. 
The Romance of our Ancient Churches. Sarah Wilson. 8°. 

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

The Tower. C. R. B. Barrett. Etchings and vignettes with 

descriptive letterpress. Fol. (Catty and Dobson, 1889.) 

13 etched plates, 13 vignettes. 
Essex : Highways, Byways and Waterways. C. R. B. Barrett. 

8°. (Lawrence and Bullen, 1802-3.) 2 series. Series I. 

99 illust. (13 etched plates.) Series II. 128 illust. (13 

etched plates.) 
The Trinity House of Deptford Strand. C. R. B. Barrett. 4 . 

(Lawrence and Bullen, 1893.) 18 illust. (1 etched plate.) 
Barretts Illustrated Guide. 8°. (Lawrence and Bullen, 

1892-3.) 9 numbers. 
Somersetshire : Highways , Byways and Waterways. C. R. B. 

Barrett. 4 . (Bliss, Sands and Foster, 1894.) 167 illust. 

(6 etched plates.) 
Charterhouse, in Pen and Int. By C. R. B. Barrett. Preface 



OF TO-DAY. 203 

by George E. Smythe. 4 . (Bliss, Sands and Foster, 1895.) 

43 illust. (1 f. p.) 
Surrey : Highways, Byways and Waterways* C. R. B. Barrett. 

4 . (Bliss, Sands and Foster, 1895.) 140 illust. (5 etched 

plates.) 
Battles and Battlefields of England. C. R. B. Barrett. 8°. 

(Innes, 1896.) 102 illust. (2 f. p.) 
D. z . Cameron. 

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

Streatficld. 4 . (Nimmo, 1895.) 4 etchings. 
Scholar Gipsies. John Buchan. 8°. (Lane, 1896. The 

Arcady Library.) 7 etchings. 
Nelly Erichsen. 

The Novels of Susan Edmonstone Ferrier. Introduction by 

R. Brimley Johnson. 8°. (Dent, 1894.) 6 vols. 17 f. p. 
The Promised Land. Translated from the Danish of Henrik 

Pontoppidan by Mrs. Edgar Lucas. 8°. (Dent, 1896.) 

29 illust. ( 14 f. p.) 
Emanuelj or Children of the Soil Translated from the Danish 

of Henrik Pontoppidan by Mrs. Edgar Lucas. 8°. (Dent, 

1896.) 29 illust. (17 f. p.) 
Medieval Towns. 8°. (Dent, 1 898-1901.) 

The Story of Assisi. Lina Duff Gordon. 50 illust., chiefly by 

Nelly Erichsen and Helen James. 25 by Nelly Erichsen. 

(3 f- P-) 11 by Helen James (if. p.) 
The Story of Rome. Norwood Young. 48 illust., chiefly by 

Nelly Erichsen. (10 f. p.) 
The Story of Florence. Edmund G. Gardner. 45 illust., 

chiefly by Nelly Erichsen. (20 f. p.) 
Hedley Fitton. 
English Cathedral Series. 8°. (Isbister, 1 899-1 901.) 

Worcester Cathedral. The Rev. Canon Teignmouth Shore. 
9 f . p. 

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

Hereford Cathedral. The Very Rev. Dean Leigh. 11 
illust. (10 f. p.) 
John Fullbylove. 

The Piduresque Mediterranean. 4°. (Cassell, 1899.) Illustra- 
tions by twelve artists, including John Fulleylove, C. W. 

Wyllie, Alfred East, J. MacWhirter. 68 by John Fulley- 
love. 



I. 



204 ENGLISH BOOK-ILLUSTRATION 

Oxford. With notes by T. Humphry Ward. FoL (Fine Art 

Society, 1889.) 30 plates and 10 lllust. in introduction. 
In the Footprints of Charles Lamb. See Herbert Railton. 
Pidures of Classic Greet Landscape and Architecture. With a 

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

1 897.) 40 plates. 
F. L. B. Griggs. 

Seven Gardens and a Palace. £• V. B. 8°. (Lane, 1900.) 
illust. by F. L. B. Griggs and Arthur Gordon* 5 by 
\ L. B. Griggs. 

Stray Leaves from a Border Garden. Mary Pamela Milne- 
Home. 8°. (Lane, 1901.) 8 f. p. 
The Chronicle of a Cornish Garden. Harry Roberts. 8°. 

(Lane, 190 1.) 7 f . p. 
Charles G. Harper. 

Royal Winchester. Rev. A. G. L'Estrange. 8°. (Spencer, 

Blackett and Hallam, 1889.) 37 illust. (22 f. p.) 
The Brighton Road. C. G. Harper. 8°. (Chatto and 

Windus, 1892.) 90 illust. by C. G. Harper, and from old 

prints and pictures. 60 by C. G. Harper. (29 f. p.) 
From Paddington to Penzance. C. G. Harper. 8°. (Chatto 

and Windus, 1893.) 104 illust. (34 f. p.) 
The Marches of Jrales. C. G. Harper. 8*. (Chapman and 

Hall, 1894.) 114 illust by C. G. Harper and from portraits. 

95 by C. G. Harper. (24 f. p.) 
The Dover Road. C. G. Harper. 8°. (Chapman and Hall, 

I ^95.) 57 illust. by C. G. Harper, and from old prints and 

pictures. 48 by C. G. Harper. (12 f. p.) 
The Portsmouth Road. C. G. Harper. 8°. (Chapman and 

Hall, 1895.) 77 illust. by C. G. Harper, and from old prints 

and pictures . 44 by C. G. Harper. (12 f. p.) 
Some English Sketching Grounds. C. G. Harper. 8°. (Reeves, 

1897.) 44 illust. (18 f. p.) 
Stories of the Streets of London. H. Barton Baker. 8°. (Chap- 

man and Hall, 1899.) 38 illust. by C. G. Harper, and from 

portraits. 30 by C. G. Harper. (15 f. p.) 
The Exeter Road. C. G. Harper. 8°. (Chapman and Hall, 

1899.) 69 illust. by C. G. Harper, and from old prints. 51 

by C. G. Harper. (20 f. p.) 
The Bath Road. C. G. Harper. 8°. (Chapman and HalL 

1899.) 75 illust by C. G. Harper, and from old prints and 

pictures. 64 by C. G. Harper. (19 f. p.) 



OF TO-DAY. 205 

The Great North Road. C. G. Harper. 8°. (Chapman and 
Hall, 1900.) 2 vols. Vol. I. 59 illust. by C. G. Harper, 
and from old prints and pictures. 45 by C. G. Harper. (17 
f. p.) Vol. II. 73 illust. 55 by C. G. Harper. (13 f. p.) 
William Hyde. 

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

5f. p. 
Milton's V Allegro and II Penseroso. 8°. (Dent, 1 896.^ 1 7 f. p. 
Lonaon Impressions. Alice Meynell. FoL (Constable, 1098.) 

3 etchings, 21 photogravures. (14 f. p.) 
The Nature Poems of George Meredith. 4 . (Constable, 1898.) 

Etched frontispiece and 20 photogravures. 
The Cinque Ports. Ford Madox Hueffer. 4 . (Blackwood, 
1900.) 33 illust. (20 f. p., 14 in photogravure.) 
Helen M. James. 
Medieval Towns. 8°. (Dent, 1 898-1901.) 

Toledo. Hannah Lynch. 40 illust, chiefly by Helen James. 

(16 f. p.) 
The Story of Nuremberg. Cecil Headlam. 32 illust., chiefly 

by Helen James. (6 f. p.) 
The Story of Rouen. Theodore Andrea Cook. 67 illust., 

chiefly by Helen James and Jane E. Cook. (9 f. p.) 
The Story of Moscow. Wirt Gerrare. 35 illust., chiefly by 

Helen James. (10 f. p.) 
The Story of Perugia. Margaret Symonds and Lina DufF 

Gordon. 41 illust., chiefly by Helen James. (13 f. p.) 
The Story of As si si. See Nelly Erich sen. 
Rambles in Dickens' Land. Robert Allbut. 8°. (Freemantle, 
1899.) 17 f. p. 
Frederick G. Kitton. 

St. Albans j Historical and Picluresque. C. H. Ashdown. 4 . 
(Elliot Stock, 1893.) 70 illust., chiefly by F. G. Kitton. 

(15 £ p.) 
St. Albans Abbey. The Rev. Canon Liddell. 8°. (Isbister, 

1897. English Cathedral Series.) 9 illust (7 f. p.) 
John Guille Millais. 

Game-Birds and Shooting Sketches. J. G. Millais. 4 . (Sotheran, 

1892.) 33 plates, 31 illust., chiefly woodcuts. 
A Breath from the Veldt. J. G. Millais. 4 . (Sotheran, 1895.) 

149 illust. (24 plates.) 
British Deer and their Horns. J. G. Millais. 4°. (Sotheran, 

1897.) 185 illust, mostly by the author. (20 plates.) 



206 ENGLISH BOOK-ILLUSTRATION 

Pheasants. W. B. Tcgctmcicr. 8*. {Cox, 1897.) lf > iUust * 

by J. G. Millais, etc (1 f. p. by T. G. MiUais.) 
The fFildfowler in Scotland. J. G. Millais. 4 . (Longmans, 

1901.) 10 plates, 50 illust (13 f. p.) 
Edmund H. New. 

The Compleat Angler. Izaak Walton and Charles Cotton. 

Edited by Richard Le Gallienne. 8°. (Lane, 1896.) 200 

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

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

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

(Methuen, 1898.) 23 drawings from photographs. 
Shakespeare's Country. Bertram C. A. Windle. 8°. (Methuen, 

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

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

30 illust., including initials. 
Sussex. F.G.Brabant. 8°. (Methuen, 1900.) 12 f. p. 
The Malvern Country. Bertram C. A. Windle. 8°. (Methuen, 

1 90 1.) 11 f. p. Chiefly drawings from photographs. 
Alfred Parsons. 

Old Songs. 4 . (Macmillan, 1889.) 102 drawings by E. A. 

Abbey and Alfred Parsons. 40 and initials by Alfred 

Parsons. 
The Quiet Life. Certain Verses by various hands : Prologue 

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

1890.) 82 drawings by E. A. Abbey and Alfred Parsons. 

43 by Alfred Parsons. (9 f. p.) 
A Seleclion from the Sonnets of William Wordsworth. 8*. 

(Osgood, Mcllvaine, 1891.) 55 illust and initials. (24 

f.pO 

The Warwickshire Avon. Notes by A. T. Quiller-Couch. 

8°. (Osgood, Mcllvaine, 1892.) 94 illust., title-page and 

headpiece. (25 f. p.) 
The Danube from the Black Forest to the Sea. F. D. Millet. 

8°. (Osgood, Mcllvaine. 1892.) 133 illust. by Alfred 

Parsons and the author. 01 by Alfred Parsons. (41 f. p.) 
The Wild Garden. W. Robinson. 8°. (Murray, 1895. 

5th edition.) 90 wood-engravings. (14 f. p.) 



OF TO-DAY. 207 

The Bamboo Garden. A. B. Freeman-Mitford. 8°. (Mac- 

millan, 1896.) 9 illust. (Initial, tailpiece, and 7 f. p.) 
Notes in Japan. Alfred Parsons. 8°. (Osgood, Mcllvaine, 

1896.) 119 illust. (36 f. p.) 
Wordsworth. Andrew Lang. 8°. (Longmans, 1897. Se- 

le£Hons from the Poets.) 17 illust., and initials to each 

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

A Canterbury Pilgrimage. Elizabeth Robins Pennell. 8°. 

(Seeley, 1885.) 30 illust. (7 f. p.) 
Tuscan Cities. W. D. Howells. 4 . (Ticknor, Boston, 

1886.) 67 illust., chiefly by Joseph Pennell. (11 f. p.) 
The Saone. P. G. Hamerton. 4 . (Seeley, 1887.) J 48 illust. 

by Joseph Pennell and the author. 102 by Joseph Pennell ; 

24 by J. Pennell after pencil drawings by P. G. Hamerton. 

(16 f. P .) 

An Italian Pilgrimage. Elizabeth Robins Pennell. 8°. 

(Seeley, 1887.) 30 f. p. 
Our Sentimental Journey through France and Italy. Elizabeth 

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

1889.) 2 3 iU ust - ( 20 £ P-) 
Our Journey to the Hebrides. Elizabeth Robins Pennell. 8°. 

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

1889.) 48 illust by Joseph Pennell, Alfred Parsons, etc. 
Charing Cross to St. PauPs. Justin McCarthy. Fol. (Seeley, 

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

With a pra&ical chapter by J. G. Legge. 4 . (Fisher 

Unwin, 1891.) 90 illust. (16 f. p.) 
Play in Provence. Joseph and Elizabeth Robins Pennell. 8°. 

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

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

(Fisher Unwin, 1892.) 154 illust. by Joseph Pennell, and 

drawings by A. Randolph Ross, A. D. F. Hamlin, etc 

(18 f. p.) Also a cheaper edition, ( Handbook of English 

Cathedrals,' 1893. 
To Gipsyland. Elizabeth Robins Pennell. 8°. (Fisher Unwin, 

1893.) ^ 2 illust. (35 f. p.) 



208 ENGLISH BOOK-ILLUSTRATION 

The Devils of Notre Dame. 18 illust., with descriptive text by 
R. A. M. Stevenson. FoL ( c Pall Mall Gazette,' 1894.) 

Cycling. The Earl of Albemarle and G. Lacy Hillier. 4°. 
(Longmans, 1 894. The Badminton Library.) 49 illust. by 
the Earl of Albemarle, Joseph Pennell, and George Moore. 
21 by Joseph PennelL (12 f. p.) 

Tantalhn Castle. Elizabeth Robins Pennell. 8°. (Constable, 
Edinburgh, 1 895.) 33 illust. bv W. L. Wyllie, W. Hathercll, 
Joseph Pennell, A. S. Hartrick, and D. B. Nevin. 24 by 
Jfoseph Pennell. (7 f. p.) 

The Makers of Modern Rome. Mrs. Oliphant 8°. (Mac- 
millan, 1895.) 71 illust by Henry P. Riviere and Joseph 
Pennell, and from old engravings. 53 by Joseph PennelL 

(7 t PO 

The Alhambra. Washington Irving. Introduftion by Eliza- 
beth Robins Pennell. 8°. (Macmillan, 1896.) 288 illust 
(24 f. p.) 

On the Broads. Anna Bowman Dodd. 8°. (Macmillan, 
1896.) 20 illust. (24 f. p.) 

Climbs in the New Zealand Alps. E. A. Fitzgerald. 8*. 
(Fisher Unwin, 1896.) 25 illust. by Joseph Pennell, H. C. 
Willink, A. D. McCormick, etc. (8 f. p. by Joseph Pennell 
from paintings). 

Highways and Byways in Devon and Cornwall. Arthur H. 
Norway. 8°. (Macmillan, 1897.) 66 illust. by Joseph 
Pennell and Hugh Thomson. 50 by Joseph Pennell. (18 

f. P .) 

Aquitaine y a Traveller's Tales. Wickham Flower. 4 . (Chap- 
man and Hall, 1897.) 24 illust. (22 f. p.) 

Over the Alps on a Bicycle. Elizabeth Robins Pennell. 8*. 
(Fisher Unwin, 1898.) 34 illust. (18 f. p.) 

Highways and Byways in North Wales. A. G. Bradley. 8°. 
(Macmillan, 1898.) 96 illust. by Hugh Thomson fend Joseph 
Pennell. 87 by Joseph Pennell. (13 f. p.) 

Highways and Byways in Yorkshire. Arthur H. Norway. 8°. 
(Macmillan, 1899.) no illust. by Joseph Pennell ana Hugh 
Thomson. 102 by Joseph Pennell. (14 f. p.) 

Highways and Byways in Normandy. Percy Dearmer. 8*. 
(Macmillan, 1900.) 153 illust. (17 f. p.) 

A little Tour in France. Henry JameS. 8°. (Heinemann, 
1900.) 94 illust (44 f. p.) 

The Stock Exchange in 1900. W. Eden Hooper. 4*. (Spottis- 



OF TO-DAY. 209 

woode, 1900.) Illust. by Joseph Penncll and Dudley Hardy. 

7 by Joseph Pennell. 3 proof plates. 
Highways and Byways in the Lake District. A. G. Bradley. 

8°. (Macmillan, 1901.) 86 illust. 
East London. Walter Besant. 8°. (Chatto and Windus, 1901.) 

54 illust. by Joseph Pennell, Phil May and L. Raven HilL 

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

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

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

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

213 illust. by Herbert Railton and Hugh Thomson. 140 by 

Herbert Railton. 
The Essays of Elia. Charles Lamb. Edited by Augustine 

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

etchings. 
Selecl Essays of Dr. Johnson. Edited by George Birkbeck Hill. 

8°. (Dent, 1889. The Temple Library.) 2 vols. 3 etch- 
ings in each vol. Figures by John Jellicoe. 
The Poems and Plays of Oliver Goldsmith. Edited by Austin 

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

6 etchings by Herbert Railton and John Jellicoe. 3 by 

Herbert Railton. 
Pericles and Aspasia. W. S. Landor. 8°. (Dent, 1 890. The 

Temple Library.) 2 vob. 1 etching in each vol. 
Westminster Abbey. W. J. Loftie. Fol. (Seeley, 1890.) 75 

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

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

2 vols. 3 etchings in each vol. 
The Poetical Works of Thomas Lovell Beddoes. Edited, with a 

memoir, by Edmund Gosse. 8°. (Dent, 1891. The 

Temple Library.) 2 vob. 1 etching in each vol. 
In the Footsteps of Charles Lamb. Benjamin Ellis Martin. 8°. 

(Bentley, 1891.) 11 full page illust. by Herbert Railton and 

John Fulleylove. 6 by Herbert Railton. 
The Collefied Works of Thomas Love Peacock. Edited by Richard 

Garnett. 8°. (Dent, 189 1.) 10 vob. 4 etchings. 
Essays and Poems of Leigh Hunt. Selected and edited by R. 

Brimley Johnson. 8°. (Dent, 1891.) 2 vob. 5 etchings. 

III. P 




210 ENGLISH BOOK-ILLUSTRATION 

Dreamland in History. The Very Rev. Dean Spence. 8°. 
(Isbister, 1891.) 59 illust. engraved by L. Chefdeville. 

(7 f. P.) 
The Peak of Derbyshire. John Leyland. 8°. (Seeley, 1891,) 

20 illust. by Herbert Railton and Alfred Dawson. 16 by 

Herbert Railton. (8 f. p.) 
Ripon Millenary. 4 . (W. Harrison, Ripon, 1892.) 140 

illust. by John Jellicoe, Herbert Railton and others, also from 

old prints. 32 by Herbert Railton. (10 f. p.) 
The Inns of Court and Chancery. W. J. Loftie. Fol. (Seeley, 

1893.) 57 illust. 42 by Herbert Railton. (10 f. p.) 
The Household of Sir Thomas More. Anne Manning. 8°. 

(Nimmo, 1896.) 26 illust by John Jellicoe and Herbert 

Railton. 12 by Herbert Railton, figures by John Jellicoe. 

J9f-P-) 

The Haunted House. Thomas Hood. Introduction by Austin 

Dobson. (Lawrence and Bullen, 1896.) 63 illust. (21 f. p.) 

Text in artist's manuscript. 
Cherry and Violet. Anne Manning. 8°. (Nimmo, 1897.) 

26 illust. by Herbert Railton and John Jellicoe. 
Hampton Court. William Holden Hutton. 8°. (Nimmo, 

!8970 43 illust - (3 2 f - P-) 
English Cathedral Series. 8°. (Isbister, 1897-9.) 

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

St. Paul's Cathedral. The Rev. Canon Newbolt. 12 f. p. 

Winchester Cathedral. The Rev. Canon Benham. 7 f. p. 

Wells Cathedral. The Rev. Canon Church. 15 illust. 

(14 f. p.) 
Gloucester Cathedral. The Very Rev. Dean Spence. 13 f. p. 

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

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

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

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

Ripon Cathedral. Tho Ven. Archdeacon Danks. 16 illust. 
(14 f. p.) 

Our English Minsters. Series I. and II. Very Rev. Dean 
Farrar and others. 8°. (Isbister, 1893, J ^970 IUust by 
Herbert Railton and others, including Alexander Ansted, 
Hedley Fitton, John Jellicoe, W. Lapworth, W. H. Robin- 
son and Holland Tringham. (Colleded edition of c Eng- 
lish Cathedral Series.') 



OF TO-DAY. 211 

The Maiden and Married Life of Mary Powell and Deborah's 

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

by John Jellicoe and Herbert Railton. 
The Old Chelsea Bun Shop. Anne Manning. 8°. (Nimmo, 

1899.) 10 illust. by John Jellicoe and Herbert Railton. 
Travels in England. Richard Le Gallienne. 8°. (Grant 

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

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

vols. 176 illust. by J. G. Keulemans, Herbert Railton and 

E. J. Sullivan. 59 by Herbert Railton. (23 f. p.) 
The Story of Bruges. Ernest Gilliat Smith. 8°. (Dent, 1901. 

Mediaeval Towns.) 57 illust., chiefly by Edith Calvert and 

Herbert Railton. 23 by Herbert Railton. (9 f. p.) 
BoswelVs Life of 'Johnson. Edited by A. Glover. Introduction 

by Austin Dobson. 8°. (Dent, 1901.) 100 illust. and 

portraits. 
Sir George Reid. 

The Selected Writings of John Ramsay. Alexander Walker. 

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

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

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

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

North of Scotland Railway. 12 heliogravure plates with 

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

(David Douglas, 1882.) 
George Jameson e y the Scottish Van Dyck. John Bulloch. 4 . 

(David Douglas, 1885.) 2 heliogravure plates. 
Royal Edinburgh. Mrs. Oliphant. 8°. (Mac mil Ian, 1890.) 

60 illust. (22 f. p.) 
F. Inigo Thomas. 

The Formal Garden in England. Reginald Blomfield and F. 

Inigo Thomas. 8°. (Macmillan, 1892.) 74 illust. by F. 

Inigo Thomas and from old prints. 46 by F. Inigo Thomas. 

(19 f. p.) 
Charles Whymper. 

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




212 ENGLISH BOOK-ILLUSTRATION 

1885.) 31 illust. engraved on wood by E. Whymper. 
(6 f. p.) 

Our Rarer Birds. Charles Dixon. 8°. (Bentley, 1888.) 
20 illust (1 f. p.) 

Big Game Shooting. Clive Phillipps-Wolley and other writers. 
8°. (Longmans. 1895. The Badminton Library.) 2 vols. 
150 illust. by Charles Whymper, J. Wolf and H. Willink. 
67 by Charles Whymper. (22 f. p.) 

The Pilgrim Fathers of New England and their Puritan Succes- 
sors. John Brown. 8°. (Religious Tradt Society, 1895.) 
15 illust. (9 f . p.) 

Icebound on Kolguev. A Trevor-Battye. 8°. (Constable, 
x 895') 7° illust by J. T. Nettleship, Charles Whymper 
and the author. 5 f. p. by Charles Whymper. 

The Hare. The Rev. H. A. Macpherson and others. 8*. 
(Longmans, 1896. Fur, Feather and Fin Series.) 9 illust 
by G. D. Giles, A. Thorburn and Charles Whymper. 2 f. p. 
by Charles Whymper. 

On the World's Roof. J. Macdonald Oxley. 8°. (Nisbet, 
1896.) 4 f. p. 

In Haunts of Wild Game. Frederick Vaughan Kirby. 8°. 
(Blackwood, 1896.) 39 illust. (15 f. p.) 

In and Beyond the Himalayas. S. J. Stone. 8°. (Arnold, 
1896.) 16 f. p. 

Travel and Big Game. Percy Selous and H. A. Bryden. 8°. 
(Bellairs, 1897.) 6 f. p. 

Lost and Vanishing Birds. Charles Dixon. 8°. (John Mac- 
queen, 1898.) 10 f. p. 

Off to Klondyke. Gordon Stables. 8°. (Nisbet, 1898.) 8 
f . p. 

The Rabbit. James Edmund Harting. 8°. (Longmans, 
1898. Fur, Feather and Fin Series.) 10 illust. by A. Thor- 
burn, G. £. Lodge, S. Aiken and Charles Whymper. 2 
f. p. by Charles Whymper. 

Exploration and Hunting in Central Africa. A. St. H. Gibbons. 
8°. (Methuen, 1 898.) 8 f. p. by Charles Whymper. 

The Salmon. Hon. A. E. Gathorne Hardy. 8°. (Longmans, 
1898. Fur, Feather and Fin Series.) 8 illust. by Charles 
Whymper, some after Douglas Adams. 

Homes and Haunts of the Pilgrim Fathers. Alexander Mac- 
kennaL 4 . (The Religious Tradt Society, 1899.) 94 
illust. from original drawings and photographs. (20 f. p.) 



OF TO-DAY. 213 

Bird Life in a Southern County. Charles Dixon. (Scott, 

1899.) 10 f. p., and portrait of author. 
The Cruise of the Marcbesa to Kamscbatka and New Guinea. 

F. H. H. Guillemard. 8°. (Murray, 1899.) *39 iN ust - 

by J. Keulemans, Charles Whymper and others. Engraved 

by E. Whymper. 
Among tbe Birds in Northern Shires. Charles Dixon. 8°. 

(Blackie, 1900.) 41 Must. (1 f. p.) 
Shooting. Lord Walsingham and Sir Ralph Payne-Gallwey. 

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

illust. by Charles Whymper, etc., and from photographs. 26 

by Charles Whymper. 




214 



LIBRARIES OF GREATER BRITAIN. 

Public Library of New South Wales. 

3N the Report of the Trustees of this 
Library for the year 1 900, it is stated 
that all the books received during the 
year were catalogued, and the titles 
printed on slips by the Library staff 
month by month, these slips being 
made available to the public, and the printed 
Catalogue of the Library being in this way kept 
up to date. The different supplements which 
have been printed by the Library staff during the 
past five years are now to be combined into one 
live years' Supplement (1896-1900), and when this 
volume of about 1,200 pages has been printed 
off, the type will be distributed and another five 
years' Supplement on the same plan commenced. 
In 1900 the Subject Index for the 80,000 books 
received during the years 1 869-1 895 was finished, 
this, with the Supplement, making the Subject 
Index for the whole Library complete from its 
formation up to the end of the century. The 
books have been grouped under about 6,000 sub- 
ject headings, comprising about 300,000 entries, 
estimated to make a volume of 800 pages. As 
regards the increased accommodation required by 
this State Library, it is to be regretted that accord- 
ing to latest advices no decision has yet been 



LIBRARIES OF GREATER BRITAIN. 215 

reached. The Trustees regard with anxiety the 
probable effedfc of this delay on Mr. D. S. Mitchell, 
who has intimated his intention of bequeathing to 
the Library his splendid collection of Australasian 
literature, and has naturally been expedting the 
realization of the promises made to him more than 
three years ago, when he was assured that the 
Government would lose no time in complying 
with the conditions of his gift. This idea of a 
new building dates back from 1879, when four 
sites were sele&ed as suitable for the purpose ; but 
the question has for various reasons been con- 
tinually postponed. Recently the Trustees have 
had plans and specifications prepared, taking into 
account the probable requirements of the Library 
for the next twenty years. These demand an area 
of two acres of land, and the site unanimously 
recommended is that of Cook Park, which was 
one of the four seledfced in 1879, and was originally 
granted as a site for the Australian Subscription 
Library by Governor Darling in 1827, a gift dis- 
allowed by his successor. The latest report of the 
Library shows that the number of volumes on the 
shelves on the 31st December, 1900, was 149,840, 
and that the average number of volumes issued 
daily was 2,121. 

General Assembly Library, New Zealand. 

The Government of New Zealand appears to 
show considerable interest in the Parliamentary 
Library at Wellington, which has recently been 
transferred to more commodious premises. The 



216 LIBRARIES OF 

Librarian, Mr. Charles Wilson, who succeeded to 
the office in February last, has issued a highly 
satisfadtory report on the work of the Library 
generally, and submits several suggestions for ex- 
tending its usefulness in future. Although the 
Library is used mainly by members of the Legisla- 
ture, the public is accorded the privilege of admis- 
sion for the purposes of study and reference, upon 
the recommendation of a member of Parliament or 
of the Chairman of the Committee. Having 
ample funds at its command, the Committee is 
enabled to procure all the latest works in the 
various classes of literature. During the year dealt 
with in the Report, the Library received an annual 
appropriation of £600, ^^ a specfjj vo t e of £500, 

which, together with various other small amounts, 
brought the receipts up to £1,321, out of which 
only £667 was expended, thus leaving a balance 
in hand of over £650. Few libraries can boast of 
so good a financial position, and the New Zealand 
Parliament is to be congratulated on having pro- 
vided for the use of its members a thoroughly 
well organized and carefully sele&ed Library of 
works of reference as well as general literature, 
embracing books on law, sociology, science, educa- 
tion, medicine, biography, voyages and travels, 
history, etc. 

Library of Parliament, Tasmania. 

What may possibly be described as the briefest 
Report on record is the annual statement of the 
Tasmanian Librarian of Parliament. It occupies 



GREATER BRITAIN. 217 

in all (exclusive of the titles of new works) eleven 
lines of print, in which, however, there is one 
statement which should not pass without notice. 
We learn that 'by order of the Chairman and 
authority of the Government a quantity of old 
newspapers, and the accumulation of several years, 
was sold, and the proceeds, less expense ot sale, 
amounting to £3 3/., paid into the Treasury.' It 
is to be hoped that care has been taken to preserve 
complete files of all the Papers of the State, as they 
contain so much valuable information regarding 
the history, progress, and development of the 
colony, which cannot be obtained elsewhere. 
There are many institutions, not only in Australia, 
but in other parts of the Empire, that would have 
been only too glad to have obtained such a collec- 
tion of old newspapers, as it is now a generally 
recognized fa£t that too much care cannot be 
bestowed on the preservation of these historical 
records. 



Public Library of Victoria. 

The progress of the Public Library in Mel- 
bourne was more pronounced during the year 1 900 
than it has been for some years past. The additions 
to the shelves were more numerous, and there was 
a substantial increase in the number of visits paid 
to the Library. An important feature has been 
the attempt to complete, as far as possible, the 
Collection of Vi&orian Newspapers, and the Copy- 
right Aft in this respedt has been stridtly enforced. 
In his report the Librarian, Mr. E. La T. Arm- 



2i 8 LIBRARIES OF 

strong, states that most of the newspaper pub- 
lishers in the State show a willing compliance with 
the provisions of the Adfc ; but in some cases great 
trouble has been given to the Library officers, and 
in a few instances legal proceedings had to be 
instituted before the papers could be obtained. It 
is, however, satisfadtory to note from the Report 
that of the 23,177 newspapers that it is estimated 
the Library should have received, all except three 
were actually obtained. A large number of the 
early issues of the leading papers have recently 
been presented to the Library, and some valuable 
files of the ' Port Phillip Herald/ ' Port Phillip 
Patriot/ and the c Port Phillip Gazette/ published 
before the separation of Vidfcoria from New South 
Wales, have been purchased from the c Melbourne 
Athenaeum/ It is interesting to note that the 
' open access ' system has been on its trial for some 
little time past in the Lending Library, and that 
the result is stated to have been highly satis- 
factory. During the year 1900 there were nearly 
7,000 adtual borrowers on the roll, and 140,000 
volumes were issued. Two volumes only are 
stated to have been unaccounted for at the stock- 
taking at the end of the year, and these were of 
trifling value. The total number of volumes in 
the Melbourne Public Library at the end of the 
year 1900 was 178,900, and it is estimated that 
the total number of visitors in all departments 
was 500,000. 



GREATER BRITAIN. 219 



Victoria Public Library, Western 

Australia. 

The most recent report regarding the position 
of this Library clearly indicates that it is making 
rapid progress. It is stated that it now contains 
about 44,000 volumes, and that the daily average 
of readers is nearly 400 — a highly satisfactory 
return when it is considered that the population 
residing within reach of the advantages of the 
institution numbered no more than 50,000. The 
need of increased space is already being felt, and, 
judging from the liberality of the Government in 
the past, there is every reason to believe that 
means will be supplied for finding the necessary 
accommodation for so well-managed an institution 
in the future. An important feature of the 
management is that all the binding work is done 
on the premises ; and in this the Library is far in 
advance of its wealthy competitors in the Eastern 
States, which so far are dependent upon outside 
help in this direction. 



Parliamentary Library of Queensland. 

The number of volumes in the State Library at 
the end of June, 1901, was 31,835, showing an 
increase of 1,340 over the preceding year, of 
which 310 volumes had been acquired by pur- 
chase. During the year many important questions 
have engaged the attention of the Committee, such 
as the selection of books; the question of the 



220 LIBRARIES OF 

dispatch of new works from England by post 
instead of as cargo by steamer, an arrangement 
which will obviate delay in the receipt of new 
books, and in the opinion of the Committee will 
entail no greater cost, but which will enable 
members of Parliament to have new books at the 
earliest possible date. It is further in contempla- 
tion to extend the utility of the Library by grant- 
ing special privileges to the public, a course which 
would meet with general approval. The new 
Catalogue has been issued in three volumes, and 
carries the work of indexing to the latter part of 
the year 1900. 

Durban (Natal) Public Library and 

Reading Room. 

The Durban Public Library issue no printed 
Report, but through the courtesy of Mr. W. 
Osborn, its Librarian, I am enabled to supply a 
few particulars regarding its present position for 
the year ending 30th June, 1901. The subscrip- 
tions of members amounted to £678, the books 
purchased numbered 794, and the daily average of 
the attendance of the public was 589. The per- 
centage of fidtion issued during the year was 
seventy, as compared with seventy-one in the pre- 
vious year. The Library now possesses over 12,000 
volumes, and appears to be well supplied with 
newspaper and periodical literature. In addition 
to the Durban Public Library, the only other 
Library in the colony possessing over 5,000 volumes 
is that of the Natal Society at Pietermaritzburg, 



GREATER BRITAIN. 221 

also known as the Public Library, which, accord- 
ing to recent returns, contained 11,500 volumes, 
and received a Government grant of £35°- As 
compared with the Libraries of the Cape Colony, 
those of Natal so far do not show to advantage ; 
but with the advent of a new era in the history of 
South Africa, public interest in connexion with 
the literary progress of the country will no doubt 
increase, and greater efforts be made to provide 
for the intellectual development of the people. 




NOTES ON BOOKS AND WORK. 

a)HE place of honour in these Notes 
must be assigned to the announce- 
ment of the formation of a New 
Palatograph teal Society, as to which 
a private circular has just been sent 
out signed by Sir Edward Maunde 
Thompson, Mr. G. F. Warner, and Dr. Kenyon. 
The response to this circular has been as enthu- 
siastic as was to be expected, and it will prob- 
ably be published about the time this magazine 
appears, with a largely increased list of influential 
signatures. As to the work of the former Palaeo- 
graphical Society there is little need to speak. 
Before it was temporarily dissolved in 1895 it had 
issued two series of admirable facsimiles, illustrating 
the handwriting in both classical and medixval 
manuscripts, which have proved of the utmost 
value to students, and have been largely drawn on 
for illustrations in more popular works. The new 
society (which will inherit its predecessor's balance, 
as well as its prestige) is being formed in conse- 
quence of the fresh discoveries of classical manu- 
scripts in Egypt, and of the increased interest taken 
in the local schools of English handwriting and in 
illuminations. It is proposed that, like its pre- 
decessor, it shall be limited to about 300 members 
subscribing one guinea, that its publications shall be 
issued only to its members, and that after working for 



NOTES ON BOOKS AND WORK. 223 

a few years it shall again dissolve itself, until fresh 
discoveries, or an increased interest in any branch 
of its subje6t, shall call for fresh facsimiles. In- 
tending subscribers should send in their names at 
once to Mr. Warner at the British Museum. 

After a rather dull autumn and February, the 
March booksales at Sotheby's are arousing keen 
interest and keener competition among bookmen, 
both English and American. The Orford sale on 
March 14th must have given great satisfaction to its 
promoters, as though the bindings, which formed 
its chief feature, were distindtly second class, the 
prices paid were liberal in the extreme. Those 
fetched by some of the books bearing royal arms 
can only be accounted for by the persistence of the 
belief that royal arms denote royal ownership, 
which is by no means the case. Two books, 
indeed, in this very sale demonstrate the fallacy, 
since along with the arms were stamped in one 
case the initials of Nathaniel Bacon, in another a 
W. Y. Arms and initials were clearly stamped at 
the same time, and thus we have a clear proof of 
the purely ornamental charadter of the former. 

In the miscellaneous sale which began on March 
17th prices again ruled high, the most extravagant, 
next to those paid for the two cropped c Indul- 
gences ' from Caxton's press, being the two hundred 
and twenty odd pounds paid for the copy of Lamb's 
c The King and Queen of Hearts,' which the in- 
dustry of Mr. E. V. Lucas tracked down from a 
reference in a partly unpublished letter from Lamb 
to Wordsworth, and which he has just published in 



224 NOTES ON BOOKS AND WORK. 

a dangerously good facsimile. Despite the fad that 
a youthful critic has just informed me that he 
considers the verses as c ripping,' c The King and 
Queen of Hearts' will hardly add to Lamb's re- 
putation even as a writer of children's books, and 
the sum paid seems purely whimsical, more especi- 
ally when compared with the sixty guineas at which 
the hammer was allowed to fall on the copy of 
Goldsmith's first draft of ' The Traveller,' though 
the failure of the catalogue to bring out the true 
chara&er of this may partly account for the price 
at which it slipped through. 

As the name of the present writer appears in a 
niche of its title-page and it is published by the 
publishers of this magazine, Mr. Fletcher's hand- 
some volume on ' English Book-Colle&ors ' must 
pass without the welcome which 'The Library' 
would otherwise have been glad to offer to it. But 
it may at least be permitted to me to speak from 
my own knowledge of the unwearying pains which 
Mr. Fletcher bestowed on his work, an afternoon's 
visit to the British Museum being often devoted to 
settling a single small point, or the correction of 
some trifling error in previous authorities. Not 
many librarians who have retired at the ripe age of 
sixty-five have produced such handsome and im- 
portant books as Mr. Fletcher has placed to his 
credit during the last few years. All good book- 
lovers must hope that he may yet put them under 
still further obligations. 

Alfred W. Pollard. 



YERHON' S VERTICAL SYSTEM ( 

TIMES.— ' By thii 

■implicit^. ■ 

The CERES Letter-filing System 
can be had in Boxes, Drawers, Cabi- 
nets, Standing Desks, Writing Tables, 
etc, for private, professional and com- 
mercial uae ; also in Despatch Cases 
for travelling. 

CERES FILING CABINETS. 

The moit practical application of the tyiteni on 
■ large Kale. Stocked in three forms : 
(a) Single Column (a. ihown) with and wlth- 
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(c) Slx'drawer*, with Hoping top making 
Standing De.k 

"NJ.-I.Mmt'' T*l 
etc.'. filled with 
Carrtifendatce or inttrvitw solicited. 

An Introduction to the Syi 
is the 

CERES 

REMINDER. 

Stands on Desk or Table, and 

keeps Papers in order and 

free from dust. 

The Blank Card* of the Dividing GllidM 
cu be headed (and : 
awarding, to individtt 



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Movable Cards : in Cloth, 101 
Leather (imitation), with lock, 
dark Mahogany, with lock, 341. 

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INITIAL-PAGE OP PART II. OF THB MALERMI BIBLE, 
( ANIMA MIA,' 1493 (REDUCED). 



Second Series, 

No. 1 1, Vol. III. July, 1902. 



THE LIBRARY. 

TWO ILLUSTRATED ITALIAN 
BIBLES. 

5) WO years ago * The Library ' re- 
corded the almost simultaneous dis- 
covery in Italy of two copies of a 
previously unknown edition of the 
Italian translation of the Bible by 
NiccoloMalermi, printed by 'maestro 
Guigliclmo da trino de Monferato nominato Anima 
Mia' at Venice in 1493. By the kindness of Mr. 
Voynich, the discoverer of one of the copies, two 
woodcuts from the Bible were printed with the 
note ; but one of the books had already passed to 
the library of the Prince d'Essling and the other 
to the Berlin Print Room, and it was thus im- 
possible to make any detailed comparison of the 
illustrations in the new find with those in the 
already known editions published by Lucantonio 
Giunta in 1490 and subsequent years. Within 
the last few weeks a third copy has been acquired 
by the British Museum, which has also since 
1897 possessed the first Giunta edition, and a few 
notes based on a careful collation of the two may 
perhaps be found interesting. 




228 TWO ILLUSTRATED 

The first edition of Mai er mi's Italian version of 
the Bible was printed by Jenson, who finished it 
on August i st, 1470, apparently the same year in 
which the translator entered the monastery of 
S. Michele in Murano, near Venice, at the age of 
forty-eight. .He was then stated to be c natus 
quondam spe&abilis et generosi viri domini Philippi 
de Malerbis, de Venetiis'; but nothing else is 
known of his family or early life, and the sub- 
sequent records only refer to his transfer from one 
monastery to another. Besides the Bible he also 
translated into Italian the lives of the saints from 
the 'Golden Legend* of Jacobus de Voragine, 
with additions of his own. This book also was 
printed for him by Jenson, and published in 1475. 

Malermi's translation of the Bible was a great 
popular success, at least nine, and probably ten 
editions being printed during the fifteenth century, 
and the British Museum possessing six others 
issued in 15 17, 1546, 1553, 1558, 1566, and 1567. 
By a curious chance another translation, by an 
anonymous author, must have been already in the 
press while Jenson was printing Malermi's first 
edition. It appeared exactly two months later, on 
O&ober 1st, 1471, without the name of its printer, 
but in the types of Adam of Ammergau. That 
two rival translations of the Bible were thus among 
the firstfruits of the Italian press is one of the fadts 
which Protestant controversialists are not apt to 
emphasize. It is probable, as Dr. Garnett, I think, 
has suggested, that Venice, which was wont to 
show great independence in its relations with the 
Papal Court, was the only city in Italy in which a 



ITALIAN BIBLES. 229 

vernacular Bible would have found a publisher. 
The earliest Italian Bible printed in any other 
Italian town does, indeed, appear to be one with 
Dore's illustrations, published at Milan at some 
date between 1866, when the illustrations first 
appeared in English and French Bibles, and 1880, 
when it attained a third edition. No doubt the 
Holy See had little enthusiasm for vernacular 
Bibles, and the Italian governments, which were 
more susceptible than Venice to the feeling of 
Rome, did nothing to encourage them. But dis- 
couragement, whether we approve of it or not 
(and the subsequent religious history of Europe 
shows that the Roman obje&ion to unannotated 
vernacular texts was not wholly unfounded), is 
very different from prohibition, and next to the 
eighteen prae-Reformation German editions, the 
ten printed at Venice during the fifteenth century 
offer the most convincing proof that, except in the 
a£tual presence of heresy, vernacular translations 
enjoyed a practically unimpeded circulation long 
before the leaders of the Reformation made free 
access to the Scriptures one of their main demands. 
It is remarkable, indeed, that during the middle 
of the sixteenth century, when the Inquisition was 
tightening its hold on Venice, and the c Index Lib- 
rorum Prohibitorum * had come into being, the 
Italian Bibles printed there increased notably. The 
British Museum possesses five editions of Malermi's 
version published in the twenty-two years 1546- 
1567, six of Brucioli's published in the twenty 
years 1 532-1 551, two of Santi Marmochino's, 
printed respectively in 1538 and 1545, a total of 




230 TWO ILLUSTRATED 

thirteen editions published within thirty-six years, 
now on the shelves of a single library. After 
1567 there is another tale to tell. Until the Milan 
edition already mentioned, Geneva, Nuremberg, 
Leipsic and London are the only imprints to be 
found on Italian editions of the Scriptures. In the 
face of what she considered heretical interpreta- 
tions, the Church of Rome would no longer trust 
her people with vernacular Bibles; but it is one 
of the small services which Bibliography can render 
to History to note that this had not been her policy 
so long as the Scriptures were desired for edification 
and not for controversy, and the popularity of the 
Malermi Bible is so decisive a proof of this that it 
would be unfair to leave it unmentioned. 

The main object of this article is far removed 
from the weighty question of religious policy on 
which we have incidentally touched. The first 
edition of the Malermi Bible is a very rare book, 
and the British Museum, sad to say, possesses no 
copy of it. The only copy in England of which 
I know is in the John Rylands Library at Man- 
chester, and this possesses six coloured illustrations 
representing the six days of Creation, the colouring 
being so heavy as nearly, though not quite, to ob- 
scure the fadt that it is imposed upon woodcuts. 

In the years 1470- 1472 there are fairly numerous 
examples of woodcut borders and initials being 
used in books printed at Venice, not as substantive 
decorations in themselves, but as outlines for the 
guidance of illuminators. We may probably take it 
that the six designs in the first Malermi Bible, 
which do not seem to occur in all copies, were of 



ITALIAN BIBLES. 231 

this character, and were not intended to stand by 
themselves. The first Venetian woodcuts not in- 
tended to be coloured are found in books printed 
by Erhard Ratdolt, and their use spread very 
slowly until nearly 1490. Thus the Malermi 
Bibles of 1477, 1481, 1484 and 1487 are all in- 
nocent of woodcuts, though there are blank leaves 
and spaces left in some of them, which may have 
been intended for illumination. 

There seems to have been a project of making 
the * Biblia cum postillis Nicolai de Lyra/ pub- 
lished by O&avianus Scotus in 1489, into a hand- 
some illustrated book ; but if this was so the project 
was soon abandoned, as the illustrations come in 
little patches at different points at which the book 
may have been put in hand on different presses, 
and between these points there are long stretches 
without any piftures at all. Thus not only the 
first Italian Bible, but the first Bible printed in 
Italy in which illustrations form an important 
feature, is the edition of Malermi's version printed 
in Oflober, 1490^^ ^Giovanni Ragazzo for Luc-, 
antonio Giunta. If long delayed, this was a fine 
enough Look to be worth waiting for. It is in 
double columns, measuring 250 x 76 mm. apiece, 
and each containing sixty-one lines of a respectably 
round type about the size of pica. For convenience 
of printing rather than of binding it is divided 
into two parts (the second beginning with the 
Book of Proverbs), which are always, as far as I 
know, found united in a single volume. Part I. 
contains: (i.) a frontispiece made up (within a 
border) of six cuts measuring 56 x S7 mm * each, 



232 



TWO ILLUSTRATED 



representing the six days of Creation, obviously 
influenced by the illuminations with underlying 
woodcuts of the 1471 edition; (ii.) a pictorial 
initial N for the * Nel principio * of Genesis ; 
(iii.) 208 small woodcuts or vignettes, measuring 
about 45 x 7$ mm., of which 199 are different 
and 9 are repetitions. Part II. contains a large 
picture and border for the opening chapter of 
Proverbs, and 175 small cuts, of which 166 are 











1 ^^ pU|[y 






mm 



8. JEROME. FROM THE MALBRMI BIBLE. 
VENICE, CIUNTA, I49O. 

different and 9 are repetitions. Deducting the 
repeats, but counting the initial and each of the 
Creation woodcuts separately, we have thus a grand 
total of 373 different designs, almost all of them 
well drawn, though many have been sadly mangled 
by the wood-cutter. 

It is to the credit of the Venetian public that 
Giunta's edition of this big book sold quickly. 
For reasons hereafter to be given I think it possible 
that a reprint with some additional cuts was pub- 
lished as early as 1491. We know for certain 



ITALIAN BIBLES. 



233 



that a new edition (printed again by Giovanni 
Ragazzo) was ready for sale in July, 1492. Like 
most reprints of illustrated books this aimed at an 
appearance of greater liberality at a comparatively 
small expense. Thus in the book Genesis there 
are 27 woodcuts in 1492 against 16 in 1490, a too 
realistic pifture of Potiphar's wife tempting Joseph 
being judiciously omitted, while twelve new subjects 
are added. In Exodus we have 29 cuts against 25, 




AN AUTHOR AT WORK. FROM THE MALERMI BIBLE. 

VENICE, CIONTA, I49O. 

four new ones being added, while on the other 
hand the representations of the Burning Bush (in 
which a dog is shown barking at the Almighty) 
and of the slaying of the firstborn are withdrawn 
and replaced without appropriateness by cuts taken 
from Deuteronomy ix. and Leviticus x. In Levi- 
ticus one cut (that to chap, vii.) is changed and a 
new one added to chap, xviii. In Numbers an 
illustration of the zeal of Phineas in chap. xxv. 
is omitted, and two new cuts added to chaps, xxix. 
and xxxiii. ; in Deuteronomy we have six new cuts 



234 TWO ILLUSTRATED 

and a repeat. To these 26 additions (against two 
omissions) in the Pentateuch, we have to add 14 
more (against one repeat omitted) from Joshua to 
Kings. From Chronicles to Acts the woodcuts in 
the two editions are substantially the same, six cuts 
being changed, while one is omitted. In the 
Epistles, besides two changes, there are 12 addi- 
tions, but these are mostly either repeats or taken 




8. JEROME. FROM THE MALERMI BIBLE. 
VENICE, 'ANJMA MIA,' I493. 

from other books. In the Apocalypse and the 
Life of St. Joseph, with which the book ends, the 
illustrations in the two editions agree. The number 
of different cuts (deducting 1 2 and 9 respectively 
for repetitions) is 240 in Part I. and 178 in 
Part II., or a total of 418 different cuts against 
373 in the 1490 edition, the increase being prac- 
tically confined to the books Genesis, Exodus, 
Deuteronomy and the Epistles. 



ITALIAN BIBLES. 



235 



Turning now to the * Anima Mia ' edition of 
1493, three copies of which have recently come to ! 
light after its existence had remained unsuspected 
for generations, we have only to place it side by side 
with one of the Giunta texts to find that it is a not 
too scrupulous attempt to cut into the profits of the ( 
firm which was first in the field. The worst evil . 
of the publishing trade at the present day is that if ! 




AN AUTHOR AT WORK. FROM THE MALRRMI BIBLE. 
VENICE, 'ANIMA MIA,' 1493. 

one publisher strikes out a new line, whether in 
the form of his books, or the prices at which 
they are issued, or by bringing into notice some 
hitherto neglected author or subject, one or more 
of his competitors immediately try to put similar 
editions on the market, and to offer purchasers 
a little more for their money. The result is that 
the first publisher finds his profits sensibly 
diminished, while the second very probably burns 



236 TWO ILLUSTRATED 

his fingers. Few modern publishers, however, 
would plagiarize quite as freely as did c Anima 
Mia ' in his new Bible. Not only did he copy 
Giunta closely in the form and size of his book, 
the arrangement of the page and the size of the 
illustrations; but in a great number of cases he 
allowed his artists to take precisely the same sub- 
jects for illustration, and even to copy the designs 
themselves quite closely, sometimes by the lazy 
method which by imitating the model on the block 
of wood, without first reversing it, caused the 
printed picture itself to appear in reverse. 

A curious question now arises as to which of the 
Giunta editions ' Anima Mia ' eledted to copy from. 
That of 1490 was clearly not the one chosen, since 
among ' Anima Mia's ' pictures we find illustrations 
to Genesis xiii., xv., xvii., xx., xxiv., and xxvi., 
none of which were illustrated in the 1490 edition, 
while pi&ures on the same subje&s are found in 
that of 1492. Again, in the four books of Kings 
the 1493 edition agrees with the 1492 in having 
forty-nine cuts as against forty-three in the original 
edition of 1490. More conclusive still is the evid- 
ence of a mistake in Joshua ix. 9 where it is impos- 
sible that the artist can have had before him the 
pretty little cut of the Gibeonites as hewers of 
wood and drawers of water, which is one of our 
illustrations. By 1492 the block for this had 
apparently been damaged and is replaced by a 
larger cut (56 mm. in height), representing a King 
and two councillors, apparently taken from some 
other book. The 1493 illustrator was, no doubt, 
puzzled by this, and for lack of anything better 



ITALIAN BIBLES. 237 

repeated a cut of Moses and Miriam from Exodus. 
Clearly he had not in this case the 1490 edition 
before him. But neither am I at all sure that he 
had that of 1492. While he copies six of the new 
pictures in Genesis he omits six others ; in Exodus, 
Numbers and Deuteronomy he agrees with the 
1490 edition against that of 1492 ; in Judges, 
Ruth and Kings with 1492 as against 1490; in 
Genesis, Leviticus and Joshua, partly with one, 
partly with the other. In two other cases he steers 




JOSHUA AND THE GIBEONITE9. FROM THE MALERMI 
BIBLE. VENICE, GIUNTA, I49O. 

a middle course. The 1490 artist had illustrated 
far too realistically both the temptation of Joseph 
and the sin which called forth the zeal of Phineas. 
In the 1492 edition these subjects are very wisely 
omitted. In that of 1493 they appear, but in a 
modified form. My own theory to account for 
these discrepancies is that between 1490 and 1492 
— presumably in 149 1 — Giunta published yet 
another issue of the Bible, adding a few illustra- 
tions, but not so many as in 1492, and substituting 
two new cuts of the subjects unpleasantly illustrated 



2 3 8 



TWO ILLUSTRATED 



in 1490, which he subsequently thought well to 
pass over altogether. Such an intermediate edition 
would supply a model which would explain all the 
early illustrations in the edition of 1493, and would 
also allow a more reasonable time to * Anima Mia' 
to get them made, and his book printed, than the 
nine months which separate the editions of July, 
1492, and April, 1493. 'Anima Mia,' however, 
was by no means wholly a plagiarist, as is proved by 




* EXCEPT THE LORD BUILD THE HOUSE. FROM THI 
MALBRMI BIBLE. VENICE, * ANIMA MIA,' I493. 

the fa£t that while in his first volume the 236 
illustrations stand midways numerically between 
the 215 and the 252 of the two Giunta editions of 
1490 and 1492 ; for his second volume he provided 
no fewer than 208 against the 176 and 187 of his 
predecessors, the new cuts being fairly evenly dis- 
tributed through the different books, while their 
artistic merit is of average quality. 

It is by this touchstone of artistic merit, and not 
by considerations of quantity that the comparative 
claims of the two rival editions must be decided ; 



ITALIAN BIBLES. 239 

and on the whole there can be no doubt that both 
for originality of design and for the highest merit 
in execution the palm must be given to the artists 
and craftsmen employed by Giunta. Unfortunately 
in both editions large numbers of the woodcuts 
were intrusted to cutters quite incompetent to deal 
with such delicate work. Giunta's illustrations to 
the Gospels are quite painfully bad, while those of 
' Anima Mia ' are here only mediocre, his worst 




'THE FOOL HATH SAID IN HM HKART. FROM THB 
MALEKMI BIBLB. VENICE, GIUNTA, I49O. 

craftsman having been employed on some of the 
middle books of the Old Testament. His worst 
work is almost as bad as the worst of Giunta's, 
though less painful, as not introducing the figure of 
Christ. The proportion of mediocre cuts is far 
greater, and of these we give a generously chosen 
example in that prefixed to Psalm Hi. It should 
really be an illustration, it may be imagined, to the 
text, • Except the Lord build the house their labour 
is but vain that build it,* but in any case it is 
strikingly inferior to the brilliant cut in the 1490 



240 



TWO ILLUSTRATED 



edition, which illustrates the heading * Dixit in- 
sipiens * with all possible cogency. 

Lastly, his best work, though really good, is not 
so good as that of his predecessor. One reason for 
this is, no doubt, that part of the space available in 
the column was occupied by the little border- 
pieces which, though offering a pleasing setting to 
the pictures, diminish the space available for illus- 




THE ENTRY INTO THE ARK. FROM THE MALERMI 
BIBLE. VKNICE, ' ANIMA MIA,' I493. 

tration by nearly a quarter. The effect of this is 
especially noticeable when the 1493 artist is copy- 
ing his predecessor, the necessity for ( selection ' 
sometimes leading to the omission of important 
parts of the composition. But at the outset of both 
volumes, before the work began to be hurried, 
there is plenty of originality, and excellent use is 
made of the space at the designer's disposal. The 
cut of the animals entering the ark here shown is 



ITALIAN BIBLES. 



241 



delightful, and in that of Jacob deceiving Isaac we 
seem to feel instinctively the blindness of the old 
man, who stretches out his hand to feel for the 
dish his false son is bringing him. As the 1493 
edition is so little known compared with that of 
1490, both our remaining illustrations are taken 
from it. The first, the frontispiece to the second 
volume, shown at the beginning of this article, 



1 ^^^^^^^ffl 




JACOB DECEIVING ISAAC. FROM THE MALERMI 
BIBLE. VENICE, ' A MM A MIA,' I493. 

compares very favourably with the similar design 
in the earlier edition. The second, the picture of 
S. Jerome in the Desert, is one of the best things 
in the book, both in design and cutting; but it 
differs from everything else in it, and may possibly 
belong to some other set. 

It may have been noted that in writing of the 
edition of 1490 I have not thought it necessary to 
write of the various theories which have been built 

111. R 



242 ILLUSTRATED ITALIAN BIBLES. 

on the little letter * b ' with which many of the 
cuts are signed, e.g., that of ' an author at work ' 
reproduced on p. 233. It is now generally acknow- 




S. JEROME IK THE DESERT. FROM THE MALERMI 
BIBLE. VENICE, ' ANIMA MIA,' 1493. 

ledged that it is the mark, not of any designer, nor 
even perhaps of any individual woodcutter, but 
merely of the workshop in which the little blocks 
were cut. 

Alfred W. Pollard. 




243 



HUMFREY WANLEY AND THE 
HARLEIAN LIBRARY. 

II. 

1 will be remembered that before he 
entered the service of Lord Harley, 
Wanley was for a short time assistant 
in the Bodleian Library. It was 
during this period that, in obedience 
to the orders of the Curators, he 
drew up in November, 1697, a report upon the 
condition of the Library. It is a lengthy docu- 
ment preserved among the Lansdowne MSS. in 
the British Museum, and deals with most of the 
details of Library administration in those days. 
The following extracts show a few of the difficulties 
that had to be met : 

' That the statute be considered, Whether the 
strings of printed folios may be cut off or not ? 
For students neglecting to tie them, at the laying 
up of a book, when that book is to be used again, 
'tis ten to one but it plucks down and bruises one 
or two more.' 

The next proposal leaves a wide field for the 
exercise of the librarian's discretion ! 

' That heretical and other books of dangerous 
subjects, be laid up together and delivered only to 
men of a staid temper and gravity.' 



244 HUMFREY WANLEY AND THE 

In regard to binding he suggests : 

'That for the future no book be bound up in 
Sheeps leather which breeds worms/ 

The c worms ' here mentioned are probably 
grubs produced by damp, and not the 'book- 
worm/ which usually attacks dry books, and es- 
pecially those bound in boards, as Mr. Blades 
points out in the interesting chapter on the subject 
is his c Enemies of Books/ 

Wanley states very minutely the various points 
for consideration in making and printing the cata- 
logue of printed books, and then proceeds to discuss 
methods of dealing with the MSS., in which he 
displays characteristic thoroughness, and advises 
that the c account should be very nice in distin- 
guishing authors, their genuine and supposititious 
works. . • . Telling what pictures or notes are in 
the book deserving to be made publick. . . . 
Whether it were ever printed or not; if it be 
printed whether it agree or disagree with the 
printed editions, and such like ; and this full 
account, fairly written, should be placed at the 
beginning of the book/ 

His next observation is quaint and curious : 

'The way of scrawling the title of the book 
upon the back of it, is but a very scurvy one, 
many times there is not room for £ of the con- 
tents, and the birds pick off that which is there, if 
it be not rubbed off when the book is used/ 

We can pidture to ourselves the birds of spring 
hopping into the quiet old library through the 
open window, but why they should pick off the 
scrawled title does not seem obvious until we 



HARLEIAN LIBRARY. 245 

remember the pounce box, and see the powdered 
cuttle-fish bone or silver sand, which birds seek so 
eagerly, glittering in the •scrawl/ 

In the following remarks on the advantages of 
an orderly arrangement Wanley's zeal as a librarian, 
desirous above all things for the honour of his own 
library, rather outruns ideal honesty : 

• First no stranger shall come to the Library but 
we shall be enabled forthwith to show him a book 
in his own language, and if he be a scholar, the 
sight of Archive B will amaze him, and he must 
needs from such a shew, conclude the Bodleyan 
Library to be the noblest in the world; which 
tho* it be not true, yet people will guess accord- 
ing to what they see, and if others who have more 
and choiser rarities will not shew them to strangers 
and travellers, we shall certainly get all the credit. 
As for countrey Gentlemen and Ladies, the sight 
of so many fair books will give them all the con- 
tent imaginable/ 

The letter of introduction from Dr. George 
Hicks, through which Wanley entered Lord 
Harley's service, is preserved among the Welbeck 
MSS. It is addressed to Robert Harley, under date 
of 23rd April, 1703, and says : 

4 This gentleman is Mr. Wanley of whom I 
spoke to you. He has the best skill in ancient 
hands and MSS. of any man not only of this, but, 
I believe, of any former age, and I wish for the 
sake of the public that he might meet with the 
same public encouragement here, that he would 
have met with in France, Holland or Sweden, had 
he been born in any of those countries/ 



246 HUMFREY WANLEY AND THE 

About two years later there is an interesting 
letter from Wanley to his cousin, the Rev. Samuel 
Wanley, of Banningham, Norfolk, in which he 
shows a keen interest in the genealogy of his 
family, and asks for particulars about the family 
coat-of-arms to confirm the one he inherited from 
his father. As regards the origin of the family he 
says that an entry in the Herald's Office, 1682, by 
Mr. Andrew Wanley, bearing the same arms, 
states that c his ancestors came from Basil in Switzer- 
land/ but that c Mr. Dale (one of the Pursuivants 
at Arms) told me he was a little before in 
Gloucestershire, when he visited these Wanleys, 
from whom he learnt that they were descended 
from a taylor at Amsterdam ; which is a different 
account from what they themselves caused to be 
register'd in the Heralds Office/ Further on he 
makes this somewhat original observation : ' I 
should also be extremely glad of an account of 
some of the most remarkable particulars relating to 
the lives of some of our ancestors : because the 
reflexion upon their examples makes a deeper im- 
pression upon us than that of others ; and 'tis from 
them that I had rather learn and practise what to 
do and what to lett alone/ 

Under date of 20th November, 1703, Wanley 
writes to Robert Harley: * My chiefest concern 
is about the Cottonian Library. I know not what 
has been done by S r . Christopher Wren, since you 
was pleas'd to shew me the new-made wooden case 
for half the books under Julius. 1 I presume now 

1 The cases of MSS. in the Cottonian Library were surmounted 
by busts. 



HARLEIAN LIBRARY. 247 

only to put your Honour in mind (if it be not so 
order'd already) that since each shelf is to be as long 
again as they are now, that it may be convenient to 
cause a little wooden block or hay to be made, 
which standing upright next after the last book of 
any shelf not full will keep them all from falling.' 
4 Another thing which I presume to acquaint you 
with, is, that S r . Symonds D'Ewes being pleas'd to 
honor me with a particular kindness and esteem, I 
have taken the liberty of enquiring of him whether 
he will not part with his Library. And I find that 
he is not unwilling to do so, and that at a much 
easier rate than I could think for. I dare say that 
'twould be a noble addition to the Cottonian 
Library, perhaps the best that can be had anywhere 
at present. It your Honour shall judge it im- 
practicable to persuade Her Majesty to buy them 
for the Cotton Library, in whose coffers such a sum 
as will purchase them is scarcely perceivable: 
Then, Sir, if you shall have a mind of them your 
self, I will take care that you shall have them 
cheaper than any other person whatsoever. I 
know that many have their eies upon this collection, 
but none as yet have ask'd the price of them: I 
have ventured to do so, and have great reason to 
believe, that when ever they are sold, I shall go a 
good way toward making the bargain. If your 
Honour shall be willing to buy them (and they 
will not cost much) 'twil be easy take (sic) such a 
catalogue of the whole as may satisfie you of their 
worth, tho* you do not see them beforehand, but if 
you was there yourself you would be much better 
satisfied. I am desirous of having this collection 



248 HUMFREY WANLEY AND THE 

in Town for the public good, and rather in a public 
place than in private hands, but of all private 
gentlemen's studies, first yours. I have not spoken 
to any body as yet of this matter, nor will not, till 
I have your answer, that you may not be fore- 
stall'd. I presume to send the enclosed letter from 
Dr. Osiander to (as I am told) one of the K. of 
Prussia's new Bishops, only as a piece of news, that 
you may observe the K. of Sweden's inclination as 
to a toleration of Calvinism, or an union among 
Protestants.' 

In the early part of the eighteenth century 
there was a great revival in the general interest in 
antiquities, and the movement culminated, in 
London, in the present Society of Antiquaries, of 
which Wanley was one of the founders and which 
still preserves his portrait by Thomas Hill, 171 1 
( c Archaeologia,' Vol. L, p. xxxv). It is interesting 
to find Wanley adive in the formation of one, 
probably the first at that period, of the small 
antiquarian societies in London. A memorandum 
by him (Harleian MS. 7055) tells how on Friday 
the 5th of December, 1707, c Mr. Talman, Mr. 
Bagford and Mr. Wanley mett together and agreed 
to meet together each Friday in the evening by 
six of the clock upon pain of forfeiture of sixpence. 
Agreed that we will meet each Friday night at the 
Bear Tavern in the Strand till we shall order other- 
wise.' 

c Agreed that the business of this Society shall be 
limited to the subject of antiquities; and more 
particularly to such things as may illustrate or 
relate to the history of Great Britain.' 



HARLEIAN LIBRARY. 249 

* Agreed that by the subjeft of Antiquities and 
history of Great Britain we understand such things 
only as shall precede the reign of James the first, 
King of England/ 

On the 9th of January following the Society 
removed to the Young Devil Tavern in Fleet 
Street, and the records of the meetings continue up 
to the 20th of February. 

The Talman above mentioned was John Talman, 
a notable artist and antiquary, who was made 
Direftor of the Society of Antiquaries at the first 
eleftion of officers, 17 17-18. Bagford was, of 
course, the renowned book-hunter, whose name is 
at once a glory and a byword in the annals of 
bibliography. The number was speedily increased 
by the accession of the famous Norfolk antiquary 
Peter Le Neve, the first President of the Society 
of Antiquaries, Elstob, the Anglo-Saxon scholar, 
Madox, the historian of the Exchequer, and other 
notable antiquaries. 

In the interesting account of the establishment 
of the Society of Antiquaries prefixed to Vol. I. of 
c Archaeologia ' there is a reprint of the vast scheme 
of work which Wanley thought such a society 
might accomplish — a scheme which would tax 
the energies for many generations of a large body 
of antiquaries, each possessing the zeal and untiring 
energy of Wanley. 

Before leaving the c Bear Society* it may perhaps 
be worth mentioning that the Devizes * Bear Club/ 
a charity which in 1869 was clothing and educat- 
ing a considerable number of poor boys, had its 
origin in a small antiquarian society established at 



250 HUMFREY WANLEY AND THE 

the Bear Inn in that town in 1756. The funds 
were derived in the first instance from the accumu- 
lated fines of fourpence for every absence from the 
weekly meetings. 

The following extra&s from Wanley's memo- 
randa concerning the Harleian Library, preserved 
among the Welbeck MSS., speak for themselves : 

• It may be noted that old manuscripts do not 
fall but rise in their price, so much as to save the 
interest of the money laid out upon them. For 
first the trade of the book writers and illuminators is 
at an end, few copies of old books being transcribed, 
since printing is more cheap and more commonly 
used. Then fires or other calamity of war, or 
robbery, still diminish the number of old books, 
even those which are secured in public libraries, 
and much more those which lie in private families ; 
so that they still grow more and more scarce. 
Manuscripts also in tra6t of time grow yet more 
ancient. Thus we know of books which have 
been used by learned men one hundred or two 
hundred years ago, that have now gained so much 
additional age since their time, and are conse- 
quently so much more valuable than they were one 
or two hundred years since, especially considering 
how many ancient books have perished in the 
meantime. These considerations induce many of 
the nobility and gentry to secure old manuscripts 
at any rate when they appear, whose example 
being imitated by others of the commonalty, a 
greater demand is made for these things than can 
be supplied ; so that old manuscripts are not only 
rendered very dear thereby, but are likely to be 



HARLEIAN LIBRARY. 251 

always dearer and dearer as long as they can 
last. 

c 2. I have heard my noble Lord Oxford 
say that before he bought Sir Simonds 
D'Ewes's study his books stood him in 
about ........ 1000 

'Among these books many are manu- 
scripts, besides the rolls and journals of 
parliament. 

4 The said Sir Simonds D'Ewes's cost 
£500 besides incidental charges amounting 
in all as I guess to about . . . -55° 

c Bishop Stillingfleet's manuscripts cost as 
I remember . . . . 175 

* The heraldical manuscripts of Spicer 
Wilkie, &c, bought of Mr. Foresight, cost 
(if I remember rightly) . . . . 85 

'The heraldical manuscripts of Parker, 
bought of Shires, cost about . . . 35 

4 The heraldical manuscripts of Mundy, 
&c bought of Mr. Corny ns, the painter, cost 60 

c The parcel bought of Mr. Aymon will 
cost (when the rest is brought home about 200 

c The letters and papers and books bought 
of Mr. Paul, Mrs. Shank, and Mr. Baker, 
cost (with carriage) about . . .102 

c The drawings and prints bought of Mr. 
Kemp with other library service done by 
him, amounts to about .... 50 

c The books, charters, rolls, parchments, 
and papers, bought of me, Mr. Bagford, 
and all others I reckon at . . . . 1000 



252 HUMFREY WANLEY AND THE 

* 39 presses for books, written and printed^ £ 
at JT 3 i o s. each 136/ 10s 

€ 1 5 presses with pigeon holes for charters 246 
at 6/ 10s each 97/ iar . 

c 3 deeper presses for very large manu- 
scripts at about 4/ each 12/.. 

* Paid (as I may conjefture) to me for 
library service and to the bookbinders, sup- 
pose ....... 1000 

4 The parcel bought of Mr. Le Neve/ 
cost 30/ . . . . . . 70 

* The parcel bought of Mr. Strype cost 
40/ 



4573 



' Besides the great sum above-mentioned, which 
has been paid out of pocket and the interest thereof, 
it may be remembered that this library has been 
enriched by divers benefactions which could not 
have been purchased with money, or at the'best, with- 
out the further expense of great sums. The chief of 
these were brought in by Colonel Henry Worseley 
at two donations ; by Dr. Hickes, Mr. Anstis, Dr. 
Stratford, my Lord Harley, Mr. George Holmes, 
Sir Gilbert Dolben, Mr. John Kemp, and myself, 
not to mention any of those who have given no 
more than a single book, excepting Sir Thomas 
Hobby. Nor that highly valuable parcel of books 
and papers used by the Commissioners of Public 
Accounts which I suppose, cost nothing. 

• This computation made 27 July 17 15 by Hum- 
frey Wanley. 



HARLEIAN LIBRARY. 253 

c Memorandum, that Dr. Bentley borrowed the 
books above-mentioned, the sixth day of August 
1716, and not 1715. 

c that when he put down 63, c 24 he had the 
book 63 d 24 in his hand, and meant that book. 

'that whereas he chargeth himself as having 
borrowed five (sic) books in Latin, and one Graeco- 
Latin, he received but five books in all which he 
honestly restored/ 

The following letter to Lord Harley shows our 
librarian in a new guise : 

'1716-17 January 3. Cambridge. My coming 
hither was to kill two birds with one stone ; to see 
my poor spouse, and to buy the mourning you was 
pleased to give me. I began the last first, by fix- 
ing upon a cloth at my honest friend Mr. Mort- 
lock's before I saw her ; although I did afterwards 
consult her touching the trimming. The tailor 
had the cloth that same hour, and all things got 
ready as soon as might be; and still I am here. 
The boy brought Scrub this morning as I bade 
him, but I would not go, the tailor having disap- 
pointed me, and broken his promise. The waist- 
coat, indeed was ready for me, but I looked I know 
not how in it ; it is very short (although he hath 
had cloth sufficient) and the ends of the sleeves 
hold not out to their proper place by three inches 
at least. I could not but look at myself as a sort 
of Punchinello, or an overgrown boy in it. The 
tailor is as vain, and proud and conceited as the 
most fantastical man of the business ; he has, how- 
ever promised to alter, but I perceive is very 
angry. This ridiculous man's caprice keeps me 



254 HUMFREY WANLEY AND THE 

here till Saturday although I have done my 
business.' 

The next letter is Wanley's report to Lord Harley 
upon the completion of vol. i. of the catalogue of 
his library. 

* 171 7 June 16. Wimpole. On Friday after- 
noon last I concluded, and shut up the first volume 
of your shorter Catalogue ; and yesterday I sent 
the whole to Mr. Baker; that I may have his 
help against the anonymous or pseudonymous 
authors, especially those of Cambridge. 

( I could have wished that you had followed my 
advice with relation to Bishop Barlow's books in 
the Bodleian and Queen's College Libraries at 
Oxford. I attribute the no regard had unto it 
to be the natural consequence of my obscurity in 
writing; for I believe you apprehended, my re- 
quest was, to send your whole catalogue to Oxford, 
when finished, and at the same time my mind was 
only to give the titles of their anonymous and 
pseudonymous books without letting them see a 
line of the same. Mr. Baker has received it, and 
sent me the enclosed. He does not know that I 
know Mr. Dean Kennet who has been my ac- 
quaintance above these twenty years. I shall finish 
the alphabet to your catalogue as soon as I can, 
and soon after I will enter upon an index to the 
same : which I promise you beforehand shall be a 
good one ; and this I say as having little assistance 
from either University, but standing upon my own 
bottom. 

c As to Mr. Baker, I think soon to send him a 
letter, and one of your duplicate bibles of a.d. 



HARLEIAN LIBRARY. 255 

1 537, not by way of gift, in your name, but by way 
of loan and friendship, and then I will answer the 
enclosed, and desire him to save himself trouble. 

' In the meantime, I again offer to your Lord- 
ship's consideration your business with Mr. Anstis, 
Mr. Mickleton and Mr. Warburton of Hexham, 
or else your affairs will fall to the ground. I 
know you are busy now, but if you invite Mr. 
Mickleton to dine with you some day it will quit 
cost. He lodges at his chambers in Coney Court 
in Gray's Inn No. 14. Why may not you make 
this man your friend and take his things ? He 
loves you and your family, and at this present 
time has a great cargo by him. I forbear the 
detail of his things at this time, because I would 
have him surprise you (as I was surprised this day 
was a seven night) with a free offering. It grows 
late ; all the servants are gone abroad to take the 
air except one whom I have retained at is. price 
to carry this to the Tiger immediately so that I 
have no more time/ 

I cannot more fittingly conclude this selection 
than with an extraft from a letter of Thomas 
Bacon, the artist, dated 22nd July, 1726. 

€ As soon as I heard of the death of Mr. Wanley 
I wished the bearer hereof, Mr. Andrew Matte, 
to succeed him in your service. . . . As for his 
learning he has never made it a profession, but I 
believe he has enough for a librarian, and as for 
skill in manuscripts I know not how far he has 
improved under Bridges, but you must never ex- 
pert to find one equal to Wanley.' 

G. F. Barwick. 




256 



THE EXEMPTION OF LIBRARIES 
FROM LOCAL RATES. 

ijHAT institutions supported by rates 
1 1 should have to pay rates in respect of 
the buildings occupied by them seems 
to be an anomaly calling for im- 
mediate remedy. No good purpose 
can possibly be served by levying one 
rate in order to pay another. In the case of 
libraries there is a distinct hardship, inasmuch as 
the rate that can be raised for their support is a 
strictly limited one, whereas no such limitation 
obtains in other departments of local or municipal 
enterprise. Until, however, libraries are exempted 
from rating by express Act of Parliament, the 
means at their disposal for securing exemption 
should be utilized as far as possible. 

The writer has had frequent inquiries addressed 
to him as to how exemption may be obtained, and 
it has occurred to him that a concise statement of 
the conditions that must be complied with before 
exemption can be obtained may be helpful to other 
librarians. 

Exemption from payment of local rates is to be 
obtained through the medium of an Act passed in 
1843, entitled ' An Act to exempt from County, 
Borough, Parochial, and other local rates, land and 
buildings occupied by scientific or literary societies.' 



LIBRARIES AND LOCAL RATES. 257 

The A6t may be cited as 6 and 7 Vi6t. ch. 36. 
The decision of the House of Lords in the Man- 
chester case has established the fad — which the 
non-legal mind might consider not to be in need of 
much demonstration — that libraries are * literary 
institutions/ Libraries, accordingly, come under 
the scope of the Aft above cited, on complying 
with certain conditions specified therein. These 
conditions are : 

(1) That the library shall be supported wholly 
or in part by annual voluntary contributions. 

(2) That the library shall not, and by its laws 
may not, make any dividend, gift, division, or bonus 
in money unto or between any of its members. 

(3) That the library shall obtain the certificate 
of the Registrar for Friendly Societies to the effe6t 
that it is entitled to the benefit of the Aft. 

As considerable diversity of praftice exists in the 
interpretation of the conditions, it may be found 
advisable to consider each condition separately. 

(1) Voluntary Contributions. — The decision in the 
case of the Overseers of the Savoy v. The Art 
Union of London in 1896, in which the word 
( voluntary ' was held to mean ( gratuitous, 9 and not 
to apply to a case in which an advantage is obtained 
in return for the money paid, must be taken in 
conjunction with the decision in the case of 
Birmingham New Library v. Birmingham Over- 
seers in 1849. I" the last-mentioned case it was 
held that annual subscriptions are voluntary con- 
tributions, within 6 and 7 Vift. ch. 36, if they 
commence of the party's 'own choice, and are so 
continued, and may be withdrawn at pleasure, i.e., 

in, s 



258 EXEMPTION OF LIBRARIES 

without subjecting the party to any legal liability 
or forfeiture except that of being deprived of the 
benefit of the society. The first-mentioned decision 
is held to be conclusive by the Chief Registrar 
in England. According to the Lord Advocate's 
Depute in Scotland, the Assistant Registrar for 
Friendly Societies, voluntary contributions must 
consist of annual subscriptions in money. Con- 
tributions of books, no matter to what extent, are 
not considered contributions in the meaning of the 
Aft. 

If then exemption is to be obtained, the library 
seeking exemption must obtain annual money sub- 
scriptions from a number of persons interested in 
the welfare of the library, who do not expeft to 
obtain any direft personal advantage from sub- 
scriptions so given. 

(2) Rules. — A clause must be inserted in the 
rules or bye-laws of the library to the efledt that 
( No dividend, gift, division, or bonus in money 
may be made unto or between any of the members 
of the library/ 

It is not sufficient that there never has been a 
dividend, and that the making of such a dividend 
would be hostile to the aims of the library. 
Exemption cannot be obtained unless the library 
has amongst its laws an express prohibition against 
dividend, etc. 

(3) The Registrar's Certificate. — Three copies of 
all laws, rules, and regulations for the management 
of the library, signed by the chairman and three 
members of the Committee of Management, and 
countersigned by the Clerk to the Committee, 



FROM LOCAL RATES. 259 

must be submitted in England to the Chief Regis- 
trar for Friendly Societies, 28, Abingdon Street, 
London, S. W. ; in Scotland, to the Assistant Regis- 
trar for Friendly Societies, 3a, Howe Street, Edin- 
burgh ; and in Ireland to the Assistant Registrar, 
16, Dame Street, Dublin, for the purpose of ascer- 
taining whether the library is entitled to the benefit 
of the Aft. A copy of the last year's financial 
statement of the library, containing details of the 
names of subscribers and the amounts subscribed, 
ought also to be sent to the Registrar, along with 
his fee of one guinea. Should the Registrar refuse 
to certify, he must state in writing the grounds on 
which the certificate is withheld. In that event, 
the library should submit the rules or bye-laws to 
the Court of Quarter Sessions for the Borough or 
County in which the library buildings are situated, 
along with the reasons assigned by the Registrar 
for not granting the certificate ; and the Court of 
Quarter Sessions is empowered by the Aft to grant 
a certificate, if said Court sees nt, which shall be 
binding on all parties concerned. Power is, how- 
ever, granted to any person or persons assessed to 
the rate from which the library has been exempted, 
to appeal from the decision of the Registrar in 
granting a certificate. Such appeal must be laid 
before the Court of Quarter Sessions within four 
calendar months after the first assessment of such 
rate made after such certificate shall have been 
filed with the Clerk of the Peace as provided by 
the Aft. The decision of the Court of Quarter 
Sessions is conclusive and binding upon all parties. 
The intention of the framers of the Aft evidently 



260 LIBRARIES AND LOCAL RATES. 

was that the certificate granted by the Registrar 
should be, of itself, sufficient to exempt from assess- 
ment, until such time as said certificate was re- 
duced on appeal to the Court of Quarter Sessions. 
Unfortunately, it is not made quite clear in the A3 
that the certificate has been granted by the Registrar 
after he has satisfied himself that the other two 
conditions (as to voluntary contributions, and bye- 
law against dividend) have been complied with. 
It has, accordingly, been held that a certificate of 
exemption is not conclusive proof of the right 
thereto. It is only one of three conditions pre- 
cedent to exemption, and is not conclusive even 
although the time limited for appeal against it has 
expired. If, however, a library has obtained annual 
voluntary contributions as described above, inserted 
in its rules a clause against dividend, etc., and 
obtained the certificate of the Registrar, such 
library need not fear to contest any adtion that 
may be raised by a local assessing body for pay- 
ment of rates. 

Some libraries are assessed on a nominal sum 
only, but there is no reason why a library should 
pay rates at all, if it complies with the conditions 
above mentioned, and if the buildings are devoted 
exclusively to the purposes of the library. It ought 
not to be difficult for the library authority to obtain 
say a dozen annual subscribers of a guinea each to 
the funds of the library. Such subscriptions should 
be devoted to the purchase of books, and would 
form a welcome addition to the scanty income of 
most rate-supported libraries. 

John Minto. 




26 1 



S. PAUL'S CATHEDRAL AND ITS 
BOOKSELLING TENANTS. 

WHATEVER else may be said of 
William Laud, Archbishop of Can- 
terbury, he deserved the thanks of 
the citizens of London for the steps 
he took, as Bishop of London, to 
improve the state of S. Paul's 
Cathedral. Its condition during the reigns of 
Elizabeth and James was a scandal to the city. 
Houses and mean sheds had been built round it on 
all sides, even on the very steps leading to its gate- 
ways, while the interior was the haunt of profligates 
of all kinds, goods were bought and sold in it, its 
aisles were a common highway for porters and 
hucksters, brawling and swearing were going on 
all day long ; in short, the place was more like a 
street in Seven Dials than the interior of a place of 
worship. Contemporary notices of its deplorable 
condition were numerous and have been admirably 
condensed in Mr. Sparrow-Simpson's ' Chapters in 
the History of Old St. Paul's' (1881). 

Laud determined to end this state of things, and 
prevailed upon the king to issue a commission to 
certain persons to carry out the reforms. Amongst 
other things it was decided to clear away the 
shops and sheds which had been built around the 
Cathedral. Notice was accordingly served upon 



262 S. PAUL'S CATHEDRAL AND ITS 

the tenants to surrender their leases and quit the 
premises by a certain time. In one or two instances 
compensation was given, but in the majority of 
cases the tenants were allowed the value of the 
materials, and that was all. It was no easy thing 
to get the tenants out. They pleaded the difficulty 
of finding new homes, and begged for an extension 
of time, so that, although the first steps were taken 
as early as 1631, it was several years before the 
work of demolition could begin. 

Meanwhile, briefs were issued and collections 
levied from all and sundry towards the repair of the 
cathedral, and it is on record that the Dean and 
Chapter of S. Paul's were ordered on no account 
to renew the leases of two persons in S. Paul's 
Churchyard who had refused to contribute. 

Amongst the papers which have been preserved 
relating to this important improvement, three are 
here printed as being of especial interest to students 
of the history of printing and bookselling in London. 
The first is a list of the printers of the city of London 
who contributed towards the repairs, the second 
a list of the houses and shops upon the north side 
of the Cathedral, between the Great North Door 
and the church of S. Faith's, which were con- 
demned, while the third is supplementary to the 
second and shows by whom the vaults under the 
Cathedral were used, and gives a list of the land- 
lords to whom the condemned property belonged. 

The list of printers seems to be one of the many 
drafts made by Sir John Lambe with a view to 
regulating printers and printing, which took final 
form in the drastic Aft of 1636. It differs very 



BOOKSELLING TENANTS. 263 

little from those which Mr, Arber has printed in 
the third volume of his ' Transcript * ; but, unlike 
them, it has the merit of a definite date, c November 
xij — 1630/ Subsequently, and in much darker 
ink, the various sums contributed by each printer 
4 To S. Pauls ' were added, and the date of these 
additions may be inferred by the deletion of 
Stansby's name and the substitution of Bishop's, 
the latter being written with the same ink as the 
contributions, presumably either in 1634 or 1635. 
There is also a third and very shaky hand notice- 
able in the reference to * Widow Sherleaker ' and 
to John Norton's partnership with Oakes. The 
letters placed in the left-hand margin against some 
of the names are puzzling. 

Turning now to the amounts placed against some 
of these names as contributions to the repairs of the 
Cathedral, a curious point arises. Do they represent 
money received from the printers, or merely an 
assessment levied upon the printers ? In support of 
the latter theory, it may be noticed that the King's 
Printers have no amount set against them, whilst 
William Jones, who had proved himself on several 
occasions a contumacious person, is entered for the 
largest sum. 

The second paper here printed gives a list of the 
tenants occupying the row of shops and houses on 
the north side of the Cathedral as well as the trades 
carried on in them. These buildings were probably 
very much like those still standing in Holborn, and 
varied in size from ' a little hole ' to what is de- 
scribed as a ' large house,' that is, a tenement of 
several floors. The trades represented were as 



264 S. PAUL'S CATHEDRAL AND ITS 

follows : seven booksellers, two bookbinders, three 
clasp makers, one pins, points and walking staves, 
one ale house, one paper sellers, one scrivener and 
one barber. Of the booksellers thus displaced the 
most important was Henry Seile of the Tiger's 
Head. Amongst the books he issued may be 
noticed John Barclay's ' Argenis,' the second edition 
of which, published in 1636, is interesting from 
the copperplates by L. Gaul tier and C. Mellan ; 
Abraham Cowley's ' Love's Riddle, a pastoral 
comedy,' written by the author at the age of 
thirteen while he was a scholar at Westminster 
School, and his ' Poeticall Blossoms ' ; Decker's 
tragi-comedy, 'Match mee in London,' 1631; 
Donne's 'Juvenilia,' 1633; Ford's 'Fancies Chast 
and Noble,' 1638, and Massinger's 'New way to 
pay old debts,' 1633. 

Seile carried his sign of the Tiger's Head into 
Fleet Street ' over against St, Dunstan's Church,' 
or, as it is given in some imprints, ' between the 
Bridg and the Conduit,' where he continued 
publishing for many years. 

Edmund Weaver and Edward Brewster were 
chiefly publishers of theological literature, but both 
were important men in the trade, Weaver being 
Master of the Company in 1637, and Brewster the 
c Treasurer of the English Stock.' The last-named 
died in 1 647, when he was living in S. Bride's parish. 

Jasper Emery was the publisher of Brathwait's 
c Survey of History' (1638). Arnold Ritherdon 
died either before his removal from S. Paul's 
Churchyard or very shortly afterwards, as among 
the State Papers is a petition from his widow 



BOOKSELLING TENANTS. 265 

asserting that his inability to find other premises, 
except at a much higher rental, had caused his 
death, and that he had left her in very poor circum- 
stances, and praying for relief. 

In connexion with the third of these papers, 
evidently the praftice of letting the vaults to book- 
sellers did not cease at this time, because it will be 
remembered that at the time of the Great Fire 
they were full of books, and that it was the pre- 
mature opening of the doors, before the contents 
had time to cool, that resulted in their destruction. 
It is interesting to note George Thomason's name 
amongst those who stored books there. 

I. 

c The Names of the Master Printers of 
London, with the sums contributed by 

SOME OF THEM TO THE REPAIR OF St. PAULS 

Cathedral (c. 1634). 

November xij — 1630. 

The names of the master printers of London. 

Imprimis, Robert Barker 

and 
The Assignes of Joh: Bill 



printers to 
His 

Majesty. 
To S. Pauls 



ffelix Kingstone \ 20 u 

Adam Islippe J 2o u 

n Thomas Purfoot .... 6 U 

Richd Byshop 

suspend, w William Stansby l 8 H 

1 Deleted in MS. and Rich. Byshop's name written over it. 



266 S. PAUL'S CATHEDRAL AND ITS 

n. John Beale. blind and riche . . 6 n 

f. p. John Dawson i$ n 

f. Thomas Harper 20 1 * 

Miles Fflesher 6 H 

f. w. Robert Young 1 5 1 ' 

f. John Legate 15 1 * 

George Miller 6 H 

f. Augustine Matthcwes • . . • 8 U 

n. Nicholas Oakes 1 5 U 

f. p. William Jones 40 1 * 

f. w. George Purslowe 8 U 

f. w. Bernarde Alsope 2o r ' 

f. Thomas Cotes 20 u 

Richard Badger 

2. f. Widdow Aldee io u 

2. f. Widdow Griffin io u 

Jo. Haviland io li 

Jo. Norton — l he was ptener with 
Oakes for yeares ending in 
Odlober last. 
1 Widdow Sherleaker lives by 
printing of pidtures. 

Rob. Ra worth ? 

Ri Hodgkinson ? 

How many presses/ 

(Dom. State Papers, Chas. I., v. 175, 45.) 
1 These notes are in a different handwriting. 



BOOKSELLING TENANTS. 267 

II. 

4 A LIST OF SUCH SHOPS AND HOUSES AS DOE JOYNE 
TO THE CHURCH OF St. PAUL UPON THE NORTH 

Side beginning at the Great North 
Doore. 

1. Upon the left hand a booksellers shop and a 
large house over it, wherein lives Edmund Weaver, 

2. Next unto that at the very entrance into the 
Petty Canons, is an ale house, being a shead ad- 
joyning to the library of ye said church. The ale- 
keepers name is Parker, 

3. Upon the right hand is a little shead being a 
booksellers shop, his name Luke Fawne. 

4. Adjoyning to that is another booksellers shop 
of an ordinary largenes, his name Edward Bruister. 1 

5. A little hole next to him wherein one sells 
pins poyntes and walking staves. 

6. Next to that is the corner shop, which is a 
booksellers, his name Nicolas Fussell and over the 
shops of number 3. 4. 5. 6 dwelleth one of the 
petty canons his name Mr. Jennings; to whom 
also the house doth belong that you goe under in 
the narrow passage. 

7. Unto which adjoyneth a little bookseller's 
shop, his name Jaspar Emery. 

8. Is the sign of the Tigers- Head, a bookesellcrs 
shop, over which 2 shops of number 7 and 8 
dwelleth Henry Seile. 

9. A small bookeseller's shop, his name is Am- 
brose Ritherdon. 

1 The sign of this house was the ' Crane.' 



268 S. PAUL'S CATHEDRAL AND ITS 

10. A paper sellers shop, and over those shops 
of number 9 and 1 o is the paper sellers house, his 
name is Edward Pidgeon. 

1 1. Next to him is a scrivener named Matthew 
Billing whose dwelling house and shop are together. 

1 2. A small barber's shop his name Tiffin. 

13. A book binders shop, his name Bennet. 

14. A clasp-maker's shop, his name Edward 
Boddington, over which shops of number 12. 13. 
and 1 4 is the house of Edward Brewster, bookseller 
whose shop was number the fourth. 

15. A large book binders shop, his name John 
Rothwcll. 

1 6. A clasp makers shop and house his name 
George Greene. 

17. The dwelling house of the clarke of St. 
Fayths parish, his name George Browne. 

18. A clasp-makers house, his name Kendall. 

19. Kendall his shop, and a rome or two over 
it, next adjoyning to St. Fayths church doore, 
where lives an old widdow, which is the last/ 

(Dom. State Papers, Charles I., vol. 310, No. 35.) 



III. 

c Notes of booksellers, etc, using vaults under 
St. Paul's, and of landlords of adjoining 
property. 

There are two vaults vnder St. Pauls Church 
on the North side imployed to profane vses. 

1. The first contains within it 2 Warehouses of 
Bookes imployed by Henry Seile and Luke Fawne 



BOOKSELLING TENANTS. 269 

booksellers, and a Celler of Beere, woode, coales, 
etc., imployed by Mr. Jennings. The entrance 
into this Vault is at the greate North doore of the 
Church on the right hand and is rented out by the 
Petty-Cannons. 

2. The 2d vault containes 5 or 6 Warehouses 
of Bookes imployed by Mr. Heb, Mr. Thomason, 
Mr. Fussell, Mr. Martin, Mr. Bowler Booke- 
sellers: the rest of that vast room is used as a 
Celler by Kendall a clasp-maker. The entrance 
into this vault is in the corner over against St. 
Pauls Crosse and is rented out by the parish of 
St. Faythes. 

The names of the Land-lords of the Shops and 
Howses adjoyning to the Church of St. Paul vpon 
the North side beginning at the greate Doore. 
Mr. Bayley a Gentleman Landlord to 

Bruisters Howse. 

Billings House and shop. 

Tiffins shop. 

Bennets shop. 

A clasp makers shop. 

Pidgeons house and shop. 

Ritherdons shop. 

Henry Seiles shop. 

Mr. Nyghtingale one of the petty-cannons, land- 
lord to Bruister's shop. 

Freeman a leather-seller landlord to 
Emmerys shop. 
FfusselFs shop. 
The little shop where pinnes are sold. 



270 S. PAUL'S CATHEDRAL, ETC. 

Petty-cannons landlords to 

Henry Seiles howse. 
Mr. Jennings house. 
Ffawne's shop. 

The parish of St. Faithes Landlord to the Howses 
and shops from Bruisters house to St. Faithes 
Church-doore. 

A Knight in the Country whose name I cannot 
learne is Landlord to Weaver's fayre house and 
shop. 

Neither can I heare who is Landlord to Parker's 
Ale-Howse/ 

(Dom. State Papers, Charles L, vol. 281, No. 38.) 

H. R. Plomer. 




27 1 



ENGLISH BOOK-ILLUSTRATION OF 
TO-DAY. 

III. Some Character Illustrators. 

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



272 ENGLISH BOOK-ILLUSTRATION 

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

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



OF TO-DAY. 273 

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

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

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

III. T 



\ 



274 ENGLISH BOOK-ILLUSTRATION. 

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



276 ENGLISH BOOK-ILLUSTRATION 

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



OF TO-DAY. 277 

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

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



278 ENGLISH BOOK-ILLUSTRATION 

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



OF TO-DAY. 279 

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

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



280 ENGLISH BOOK-ILLUSTRATION 

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



OF TO-DAY. 281 

work, the expression of an intellectual conception. 
He sees, too, with patience. If he isolates a figure, 
one feels that figure has stepped forward into a 
clear place of his imagination as he followed its 
way through the crowd. If he sets a pageant on 
the page, or some piece of turbulent action, or 
moment of decision, the aCtors have their indi- 
vidual value. He thinks his way through pro- 
cesses of gradual realization to the final picture of 
the characters in the play or poem. One writes 
now with special reference to the illustrations of 
the comedies of Shakespeare — so far, the illustra- 
tive work most exigent to the intellectual powers 
of the artist. Herrick's verse, full of sweet sounds 
and suggestive of happy sights, c She Stoops to 
Conquer, 9 where all the mistakes are but for a 
night, to be laughed over in the morning, the lilt 
and measure of c Old Songs/ and of the charming 
verses in 'The Quiet Life/ called for sensitive 
appreciation of moods, lyrical, whimsical, humor- 
ous, idyllic, but — intellectually — for no more than 
this. As to Mr. Abbey's technique, curious as he 
is in the uses of antiquity as part of the pleasure of 
a fresh realization, clothing his characters in tex- 
tiles of the great weaving times, or of a dainty 
simplicity, a student of architecture and of land- 
scape, of household fittings, of armoury, of every 
beautiful accessory to the business of living, his 
clever pen rarely fails to render within the con- 
vention of black and white the added point of 
interest and of charm that these things bring into 
actuality. Truth of texture, of atmosphere, and 
tone, an alertness of vision most daintily expressed 



282 ENGLISH BOOK-ILLUSTRATION 

— these qualities belong to all Mr. Abbey's work, 
and in the Shakespearean drawings he shows with 
greater force than ever his ' stage - managing 9 
power, and the corre&ness and beauty of his 
' mounting. 9 The drawings are dramatic; the 
women have beauty and individuality, while the 
men match them, or contrast with them as in the 
plays ; the rogues are vagabonds in spirit, and the 
wise men have weight, the world of Shakespeare 
has been entered by the artist. But there are 
gestures in the text, moments of glad grace, of 
passion, of sudden amazement before the realities 
of personal experience, that make these active, 
dignified figures of Mr. Abbey 'merely players, 9 
his Isabella in the extremity of the scene with 
Claudio no more than an image of cloistered 
virtue, his Hermione incapable of her undaunted 
eloquence and silence, his Perdita and Miranda 
and Rosalind less than themselves. 

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



OF TO-DAY. 283 

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

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

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



284 ENGLISH BOOK-ILLUSTRATION 

technique, though, in the case of Mr. Paget, one 
alludes only to pen-drawings such as those in c Old 
Mortality/ and not to his Sherlock Holmes and 
Martin Hewitt performances. The art of Mr. Pegram 
and of Mr. Townsend is akin. Mr. Pegram has, 
perhaps, more sense of beauty, and his work sug- 
gests a more complete vision of his subject than is 
realized in the drawings of Mr. Townsend, while 
Mr. Townsend is at times more successful with the 
activities of the story ; but the differences between 
them seem hardly more than the work of one hand 
would show. They really collaborate in illustra- 
tion, though, except in Cass ell's survey of * Living 
London,' they have never, I think, made drawings 
for the same book. 

Mr. Pegram served the usual apprenticeship to 
book-illustration. He was a news-illustrator before 
he turned to the illustration of literature ; but he 
is an artist to whom the reality acquired by a 
subject after study of it is more attractive than the 
reality of aftual impressions. Neither sensational 
nor society events appealed to him. The necessity 
to compose some sort of an impression from the 
bare fads of a fa6t, without time to make the best 
of it, was not an inspiring necessity. That Mr. 
Pegram is a book-illustrator by the inclination of 
his art as well as by profession, the illustrations 
to ' Sybil,' published in 1895, prove. In these 
drawings he showed himself not only observant of 
facial expression and of gesture, but also able to 
interpret the glances and gestures of Disraeli's 
society. From the completeness of the draughts- 
man's realization of his subjedt, illustrable situations 



OF TO-DAY. 285 

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



286 ENGLISH BOOK-ILLUSTRATION 

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




-a* *<r k iftn 

FROM MR. PEGRAM's 'THE BRIDE OF LAMMERMOOR.' 
BY LEAVE OF MESSRS. H1SBBT. 

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



OF TO-DAY. 287 

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

Mr. Townsend has illustrated Hawthorne and 
Peacock, as well as Charlotte Bronte and Scott. 
Hawthorne's men and women — embodiments 
always of some essential quality, rather than of the 
combination of qualities that make ' character ' — 
lend themselves to fine illustration as regards 
gesture, and Mr. Townsend's drawings represent, 
not insensitively, the movement and suggestion of 
c The Blithedale Romance 1 and *The House of 
the Seven Gables. 9 In the Peacock illustrations 
the artist had to keep pace with an essentially un- 
English humour, an imagination full of shapes, 
that are opinions and theories and sarcasms, mas- 
querading under fantastic human semblances. Mr. 
Townsend kept to humanity, and found occasions 
for representing the eccentrics engaged in cheerful 
open-air and society pursuits in the pauses of 
paradoxical discussion. One realizes in the draw- 
ings the pleasant aspect of life at Gryll Grange and 
at Crotchet Castle, the courtesies and amusements 
out of doors and within, while the subjc6ts of 
c Maid Marian/ of ' The Misfortunes of Elphin ' 
and of ' Rhododaphne ' declare themselves in ex- 
cellent terms of romance and adventure. Mr. 
Townsend has humour, and he is in sympathy 
with the vigorous spirit in life ; whether the vigour 
is intelle&ual as in 'Jane Eyre' and in Shirley 
Keeldar, or muscular as in c Rob Roy,' in draw- 
ings to a manual of fencing, and in Marryat's c The 
King's Own,' or eccentric as in the fantasies of 



288 ENGLISH BOOK-ILLUSTRATION 

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




■*«.*» Art*' 



FROM MR. TOWNSENDS 'SHIRLEY. 
■Y LB AVI OF MISSUS. NISBET. 

perimental, and frequently content with ineffectual 
accessories to his figures, his conception of the 
situation, and of the characters that fulfil the situa- 
tion, is direct and effective enough. 



OF TO-DAY. 289 

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

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

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

in. u 




" Y» *n HI, Bffit,- wtn IJufntwtr* JtmKitOHldutUr; "fmnwryiO.' 



FROM MR. SHBPPIKSONS *THI HHART OF MIDLOTHIAN. 
BY LIATI OF THE OKBtHAM PUBLISHING COMFAMT. 



ENGLISH BOOK-ILLUSTRATION. 291 

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



292 ENGLISH BOOK-ILLUSTRATION. 

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

Mr. Sullivan's drawings to ' Tom Brown's School* 
days' (1896) are mechanical and mostly with- 
out charm of handling, paving an appearance of 
timidity that is inexplicable when one thinks of 
the vigorous news-drawings that preceded them. 
The wiry line of the drawings reappears in the 
' Complcat Angler,' and in other books, including 
1 The Rivals ' and c The School for Scandal,' « Lav- 
engro ' and ' Newton Forster,' illustrated by the 
artist in '96 and '97 ; but the decorative pur- 
pose of Mr. Sullivan's later work is, in all these 
books, effective in modifying its perversity. In- 
creasing elaboration of manner within the limits of 
that purpose marks the transition between the 
starved reality of 'Tom Brown' and the illus- 
trations to 'Sartor Resartus* (1898). These 
emphatic decorations, and those illustrative of 
Tennyson's ' Dream of Fair Women and other 
Poems,' published two years later, are the drawings 
most representative of Mr. Sullivan's intellectual 
ideals. They show him, if somewhat indifferent 
to charm, and capable of out-facing beauty sug- 
gested in the words with statements of the extreme 
definitencss of his own fa6t-conception, yet strongly 
appreciative of the substance and purpose of the 
text. Carlyle gives him brave opportunities, and 
the dogmatism of the artist's line and form, his 
speculative humour, working down to the definite 
certainty in things, make these drawings unusually 
interesting. Tennyson's ' Dream,' and his poems 




FROM MR. E. J. SULLIVAN S * SCHOOL FOR SCANDAL. 
BY LEAVI OP MISSUS. MACMILLAH. 



294 ENGLISH BOOK-ILLUSTRATION 

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

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



OF TO-DAY. 295 

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

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



296 ENGLISH BOOK-ILLUSTRATION 

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



OF TO-DAY. 



297 



Woffington,' show, in combination, the picturesque 
and the intellectual interests that Mr. Thomson 




I THOMSONS 'BALLAD OF BEAU BROCADE. 
ft OF MESSRS. KECAN PAUL. 



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



298 ENGLISH BOOK-ILLUSTRATION 

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

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



OF TO-DAY. 299 

tails of Brobdingnagian existence, and the cere- 
monies and spectacles of Laputa. In books of 
more aftual adventure, such as ' Robinson Crusoe ' 
or c Westward Ho/ or of quiet particularity, such 
as Gait's ' Annals of the Parish/ the same direct- 
ness and unmannered expression are used, a dire6lnes6 
which has more of the journalistic than of the play- 
ful-inventive quality. The Jane Austen drawings, 
those to ' The Vicar of Wakefield/ and to a recent 
edition of the c Essays of Elia/ show the graceful 
eighteenth-centuryist, while, whether he reports 
or adorns, whether aftion or behaviour, adventure 
or sentiment, is his theme, Mr. Brock is always an 
illustrator who realizes the opportunities of the 
text, and works from a ready and observant in- 
telligence. 

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







1^? 




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^-- 




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, fiHesJ^ ^-, 




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V 


pal Hf>_ 


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D«r. ««vJ 1 r 


" 







FROM MR. C. H. BROCKS 'THE BUAYS OF ELIA. 
BY LI AVE OF HI1IM. DBNT. 



ENGLISH BOOK-ILLUSTRATION. 301 

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

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



302 ENGLISH BOOK-ILLUSTRATION 

c Voces Populi/ as well as work in many of the 
illustrated papers, were a substantial reason for 
€ Punch's 9 invitation to the artist. From the ( Bishop 
and Shoeblack* cut of 1891, to the * socials' and 
cartoons of to-day, Mr. Partridge's drawings, to- 
gether with those of Mr. Phil May and of Mr. 
Raven Hill, have brilliantly maintained the reputa- 
tion of ' Punch ' as an exponent of the forms and 
humours of modern life. His a&ual and intimate 
knowledge of the stage, and his adtor's observation 
of significant attitudes and expressions, vivify his in- 
terpretation of the middle-class and of bank-holiday 
makers, of the ' artiste, 9 and of such a special type 
as the c Baboo Jabberjee ' of Mr. Anstey's fluent 
conception. If his ' socials ' have not the prestige 
of Mr. Du Maurier's art, if his women lack charm 
and his children delightfulness, he is, in shrewd- 
ness and range of observation, a pi&orial humorist 
of unusual ability. As a book-illustrator, his most 
'literary* work is in the pages of Mr. Austin 
Dobson's c Proverbs in Porcelain/ Studied from the 
model, the draughtsmanship as able and searching 
as though these figures were sketches for an ' im- 
portant * work, there is in every drawing the com- 
pleteness and fortunate effe<5t of imagination. The 
ease of an adtual society is in the pose and group- 
ing of the costumed figures, while, in the repre- 
sentation of their graces and gallantries, the artist 
realizes ce superflu si nicessaire that distinguishes 
dramatic a&ion from the observed a&on of the 
model. Problems of atmosphere, of tone, of 
textures, as well as the presentment of life in 
character, adtion, and attitude, occupy Mr. Par- 



OF TO-DAY. 303 

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

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



1 




^^ms^y^— 



FROM MR. HARRY FURNISS * THE TALK OF THE TOWN,' 
BY LEAVE OF MISSR9. SMITH, ELDEft. 



ENGLISH BOOK-ILLUSTRATION. 305 

lasted from 1880 to 1894, and the 'Parliamentary 
Views/ two series of ' M.P.s in Session/ and the 
* Salisbury Parliament/ represent experience gained 
as the illustrator of ' Toby M.P/ His high spirits 
and energy of sight also found scope in caricaturing 
academic art, 'Pictures at Play* (1888), being fol- 
lowed by c Academy Antics' of no less satirical 
and brilliant purpose. As caricaturist, illustrator, 
lecturer, journalist, traveller, the style and idio- 
syncrasies of Mr. Furniss are so public and familiar, 
and so impossible to emphasize, that a brief men- 
tion of his insatiable energies is perhaps as adequate 
as would be a more detailed account. 

Other book-illustrators whose connection with 
c Punch ' is a fa<5t in the record of their work are 
Mr. A. S. Boyd and Mr. Arthur Hopkins. Mr. 
Jalland, too, in drawings to Whyte-Melville used 
his sporting knowledge on a congenial subject. 
Mr. A. S. Boyd's ' Daily Graphic ' sketches pre- 
pared the way for c canny ' drawings of Scottish 
types in Stevenson's ' Lowden Sabbath Morn/ 
in c Days of Auld Lang Syne/ and in ' Horace in 
Homespun/ and for other observant illustrations to 
books of pleasant experiences written by Mrs. Boyd. 
Mr. Arthur Hopkins, and his brother Mr. Everard 
Hopkins, are careful draughtsmen of some distinc- 
tion. Without much spontaneity or charm of 
manner, the pretty girls of Mr. Arthur Hopkins, 
and his well-mannered men, fill a place in the pages 
of c Punch/ while illustrations to James Payn's 
c By Proxy/ as far back as 1 878, show that the un- 
elaborate style of his recent work is founded on past 
practice that has the earlier and truer Du Maurier 

in. x 



306 ENGLISH BOOK-ILLUSTRATION 

technique as its standard of thoroughness. Mr. £. J. 
Wheeler, a regular contributor to ' Punch ' since 
1880, has also illustrated editions of Sterne and of 
4 Masterman Ready ' containing characteristic ex- 
amples of his rather precise, but not uninteresting, 
work. 

Save by stringing names of artists together on the 
thread of their connexion with someone of the illus- 
trated papers or magazines it would be impossible 
to include in this article mention of the enormous 
amount of capable black-and-white art produced in 
illustration of c serial ' fiction. Such name-string- 
ing, on the connection — say — of c The Illustrated 
London News/ ' The Graphic,' or ' The Pall Mall 
Magazine/ would fill a page or two, and represent 
nothing of the quality of the work, the attainment 
of the artist. Neither is it practicable to summarize 
the illustration of current fiction. One can only 
attempt to give some account of illustrated litera- 
ture, except where the current illustrations of an 
artist come into the subjeCt 'by the way/ Mr. 
Frank Brangwyn may be isolated from the group 
of notable painters, including Mr. Jacomb Hood, 
Mr. Seymour Lucas and Mr. R. W. Macbeth, 
who illustrate for c The Graphic/ by reason of his 
illustrations to classics of fiction such as ' Don 
Quixote ' and ' The Arabian Nights/ as well as to 
Michael Scott's two famous sea-stories. To some ex- 
tent his illustrations are representative of the large- 
phrased construction of Mr. Brangwyn's painting, 
especially in the drawings of the opulent orientalism 
of ' The Arabian Nights/ with its thousand and one 
opportunities for vivid art. Mr. Brangwyn's east 



OF TO-DAY. 307 

is not the vague east of the stay-at-home artist, nor 
of the conventional traveller ; his imagination works 
on fads of memory, and both memory and imagina- 
tion have strong colour and concentration in a mind 
bent towards adventure. One should not, however, 
narrow the scope of Mr. Brangwyn's art within the 
limits of his work in black and white, and what is 
no more than an aside in the expression of his in- 
dividuality, cannot, with justice to the artist, be 
considered by itself. Other ' Graphic ' illustrators — 
Mr. Frank Dadd, Mr. John Charlton, Mr. William 
Small, and Mr. H. M. Paget, to name a few only — 
represent the various qualities of their art in black- 
and-white drawings of events and of fi&ion, and the 
4 Illustrated/ with artists including Mr. Caton 
Woodville, Mr. Seppings Wright, Mr. S. Begg, 
M. Amedee Forestier and Mr. Ralph Cleaver, nils 
a place in current art to which few of the more 
recently established journals can pretend. Mr. 
Frank Dadd and Mr. H. M. Paget made drawings 
for the 'Dry burgh ' edition of the Waverleys. In this 
edition, too, is the work of well-known artists such as 
Mr. William Hole, whose Scott and Stevenson illus- 
trations show his inbred understanding of northern 
romance, and together with the character etchings 
to Barrie, shrewd and valuable, represent with some 
justice the vigour of his art; of Mr. Walter 
Paget, an excellent illustrator of 'Robinson Crusoe/ 
and of many boys' books and books of adventure, of 
Mr. Lockhart Bogle, and of Mr. Gordon Browne. 
In the same edition Mr. Paul Hardy, Mr. John 
Williamson and Mr. Overend, showed the more 
serious purpose of black and white that has 



308 ENGLISH BOOK-ILLUSTRATION 

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



OF TO-DAY. 309 



BIBLIOGRAPHY. 

(To September, 1901.) 

Edwin A. Abbey. 

SeleSlions from the Poetry of Robert Herrick. 4 . (Sampson 

Low, 1882.) 59 Must. (2 f. p.) 
The Rivals and the School for Scandal. R. B. Sheridan. 

Edited by Brander Matthews. 8°. (Chatto and Wind us, 

1885.) 13 illust. by E. A. Abbey, etc. (3 f. p. by E. A. 

Abbey.) 
Sketching Rambles in Holland. George H. Boughton. 8°. 

(Macmillan, 1885.) 89 illust., chiefly by E. A. Abbey and 

the author. 26 by E. A. Abbey. (25 f. p.) 
Old Songs. 4 . (Macmillan, 1089.) I02 illust. by E. A. 

Abbey and Alfred Parsons. 61 by E. A. Abbey. (32 f. p.) 
The Quiet Life. Certain Verses by various hands. Prologue 

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

1890.) 82 illust. by E. A. Abbey and Alfred Parsons. 40 

by E. A. Abbey. (21 f. p.) 
The Comedies of Shakespeare. 8°. (Harper, 1896.) 4 vols. 

131 photogravure plates. 
She Stoops to Conquer. Oliver Goldsmith. 8°. (Harper, 1901.) 

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

John Ingerfield. Jerome K. Jerome. 12 . (McClure, 1894.) 

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

(Morrison, 1896.) 16 illust. by A. S. Boyd, S. Re id, 

etc. (5 f. p. by A. S. Boyd.) 
A Lowden Sabbath Morn. R. L. Stevenson. 8°. (Chatto 

and Windus, 1898.) 27 f. p. 
The Days of Auld Lang Syne. Ian Maclaren. 8°. (Hodder 

and Stoughton, 1898.) 10 f. p. 
Horace in Homespun. Hugh Haliburton. 8°. (Blackwood, 

1900.) 26 f. p. 
Our Stolen Summer. Mary Stuart Boyd. 8°. (Blackwood, 

1900.) 170 illust. 
A Versailles Christmas-Ttde. M. S. Boyd. 8°. (Chatto and 

Windus, 1901.) S3 illust. (6 f. p.) 



310 ENGLISH BOOK-ILLUSTRATION 

Frank Brangwyn. 

Collingwood. W. Clark Russell 8°. (Methuen, 1891.) 

12 illust. (10 f. p. by Frank Brangwyn.) 
The Captured Cruiser. C. J. Hync. 8°. (Blackie, 1893.) 

6 f. p. 
Tales of our Coast. S. R. Crockett, etc. 8°. (Chatto and 

Windus, 1896.) 12 f. p. 
The Arabian Nights. 8°. (Gibbings, 1897.) 3^ *• P- 
The History of Don Quixote. Translated by Thomas Shelton. 

Introdudion by J. H. McCarthy. 8°. (Gibbings, 1898.) 
.4 vols. 24 illust. 
Tom Cringle's Log. Michael Scott. 8°. (Gibbings, 1898.) 

2 vols. 
The Cruise of the Midge. Michael Scott 8°. (Gibbings, 

1898.) 2 vols. 
Charles £. Brock. 

The Parachute and other Bad Shots. J. R. Johnson. 4*. 

(Rout ledge, 1891.) 44 illust. (4 f. p.) 
Hood's Humourous Poems. Preface by Alfred Ainger. 8°. 

(Macmillan, 1893.) I 3° il' ust - (3 £ P*) 
Scenes in Fairyland. Canon Atkinson. 8°. (Macmillan, 

l8 93-) 34 illust. (5 f. p.) 
The Humour of America. Edited by J. Barr. 8°. (Scott, 

1803.) 78 illust. (32 f. p.) 
The humour of Germany. Edited by Hans Mueller-Casenov. 

8°. (Scott, 1893.) 54 >Hust. (15 f. p.) 
English Fairy and FoU Tales. Edited by E. S. Hartland. 8«. 

(Scott, 1893.) 13 f. p. 
Gulliver's Travels. Preface by Henry Craik. 8°. (Mac- 
millan, 1894.) 100 illust. ( 18 f. p.) 
Nema and other Stories. Hedley Peek. 8°. (Chapman and 

Hall, 1895.) 35 iH ust - ( 2 & f* P- 6 photogravure plates.) 
Annals of the Parish and The Ayrshire Legatees. John Gait. 

8°. (Macmillan, 1895.) 40 illust. (32 f. p.) 
W. V. Her Book and Various Verses. William Canton. 8°. 

(Is bister, 1896.) 2 f. p. 
Westward Ho! Charles Kingsley. 8°. (Macmillan, 1896.) 

2 vols. 84 illust. (51 f. p.) Cheaper edition in one vol. 

1897. 8 illust. 
The Poetry of Sport. Edited by Hedley Peek. 8°. (Long- 

man, 1896.) 32 illust. by A. Thorburn, L. Davis, C. E. 

Brock, etc. (19 f. p. by C. E. Brock.) 



OF TO-DAY. 311 

Pride and Prejudice. Jane Austen. 8°. (Mac mi Han, 1896. 

Illustrated Standard Novels.) 40 illust. (38 f. p.) 
Ivanhoe. Sir Walter Scott. 8°. (Service and Paton, 1897. 

Illustrated English Library.) 16 f. p. 
The Invisible Playmate and fr. V. Her Book. William Canton. 

8°. (Isbister, 1897.) 2 f. p. 
The Lady of the Lake. Sir Walter Scott. 8°. (Service and 

Paton, 1098.) 24 f. p. 
Robinson Crusoe. Daniel Defoe. 8°. (Service and Paton, 

1898. 111. Eng. Lib.) 16 f. p. 
The Novels of Jane Austen. Edited by R. Brimley Johnson. 

8°. (Dent, 1898.) 10 vols. 6 f. p. in each by C. E. and 

H. M. Brock. 30 by C. E. Brock. Printed in colours. 
The Vicar of Wakefield. Oliver Goldsmith. 8°. (Service and 

Paton, 1898. 111. Eng. Lib.) 16 f. p. 
John Gilpin. William Cowper. 4 . (Aldine House, 1898. 

Illustrated English Poems.) 25 illust. (1 1 f. p.) 
The Bravest of them All. Mrs. Edwin Hohler. 8°. (Mac- 

millan, 1899.) 8 f. p. 
M. or N. G. J. Whyte-Melville. 8°. (Thacker, 1899.) 

14 f. p. Coloured frontispiece. 
The Works of Jane Austen. 8°. (Dent, 1899. Temple 

Library.) 10 vols. Frontispiece in each vol. by C. E. Brock 

and H. M. Brock. 5 by C. E. Brock. Printed in colours. 
Ivanhoe. Sir Walter Scott. 8°. (Dent, 1899.) I2 *• P* 

Printed in colours. 
Penelope's English Experiences. Kate Douglas Wiggin. 8°. 

(Gay and Bird, 1900.) 53 illust. (14 f. p.) 
Penelope's Experiences in Scotland. Kate Douglas Wiggin. 8°. 

(Gay and Bird, 1900.) 56 illust. (14 f. p.) 
Ivanhoe. Sir W. Scott. 8°. (Dent, 1900. Temple Classics 

for Young People.) 2 vols. 24 f. p. by C. E. and H. M. 

Brock. 12 by C. E. Brock reproduced from 1899 edition. 
The Essays and Last Essays of Elia. Edited by Augustine 

Birrell. 8°. (Dent, 1900.) 2 vols. 163 illust. (32 f. p.) 
The Holly Tree and The Seven Poor Travellers. Charles Dickens. 

8°. (Dent, 1900.) 49 illust. (12 f. p. 2 photogravure 

plates.) 
Henry M. Brock. 

Jacob Faithful. Captain Marryat. Introduction by David 

Hannay. 8°. (Macmillan, 1895. Illustrated Standard 

Novels.) 40 illust. (37 f. p.) 



312 ENGLISH BOOK-ILLUSTRATION 

Japhet in Search of a Father. Captain Marryat 8°. (Mac- 
millan, 1895. 111. Stan. Nov.) 40 illust. (12 f. p.) 

Handy Andy. Samuel Lover. 8°. (Macmillan, 1896. 111. 
Stan. Nov.) 40 illust. (33 f. p.) 

Ballads and Songs. W.M.Thackeray. 8°. (Cassell, 1896.) 



in illust. (6 f. p.) 

.Gas 
Eng. Lib.) 16 f. p. 



Cranford. Mrs. Gaskcll. 8°. (Service and Paton, 1898. 



ranfi 
III. 



Tie Novels of Jane Austen. 1898. See C. E. Brock. 
Waverley. Sir Walter Scott. 8°. (Service and Paton, 1 899. 

111. Eng. Lib.) i6f. p. 
The Works of Jane Austen. 1899. See C. E. Brock. 
Black but Comely. G. J. Whyte-Melville. 8°. (Thacker, 

1899.) 10 f. p. 
The Drummer's Coat. Hon. J. W. Fortescue. 4 . (Mac- 
millan, 1899.) 4 f. p. 
King Richard II. Edited by W. J. Abel. 8°. (Longmans, 

1 899. Swan Edition.) 11 f. p. 
Ivanhoe. 1900. See C. E. Brock. 
The Pilgrim's Progress. John Bunyan. 8°. (Pearson, 1900.) 

8 f. p. 
Ben Hur. General Lew Wallace. 8°. (Pearson, 1901.) 

8f. p. 
W. Cubitt Cooke. 

Evelina. Frances Burney. 8°. (Dent, 1893.) 2 vo ' s# 6 

photogravure plates and portrait. 
The Man of Feeling. Henry Mackenzie. 8°. (Dent, 1 893.) 

3 photogravure plates and portrait. 

The Novels of Jane Austen. Edited by R. Brimley Johnson. 

8°. (Dent, 1894.) 3 photogravure plates in each vol. 
Popular British Ballads. Chosen by R. Brimley Johnson. 8°. 

(Dent, 1894.) 4 vols. 219 illust. (22 f. p.) 
By Stroke of Sword. Andrew Balfour. 8°. (Methuen, 1 897.) 

4f. p. 
John Halifax. Mrs. Craik. 8°. (Dent, 1898.) 1 2 coloured 
illustrations by W. C. Cooke, L. M. Fisher and F. C. Tilney. 

4 f. p. by W. C. Cooke. 
Harry Furniss. 

Tristram Shandy. Laurence Sterne. 8°. (Nimmo, 1883.) 

8 etchings from drawings by Harry Furniss. 
A River Holiday. 8°. (Fisher Unwin, 1883.) 15 illust. 

(3 f. P-) 



OF TO-DAY. 313 

The Talk of the Town. James Payn. 8°. (Smith, Elder, 

1884.) 2 vols. 14 f. p. 
All in a Garden Fair. Walter Besant. 8°. (Chatto and 

Windus, 1884.) 6 f. p. 
Romps at the Seaside and Romps in Town. Verses by Horace 

Leonard. 4 . (Routledge, 1885.) 28 pages of pi&ures in 

colours in each. 
Parliamentary Views. 4 . (Bradbury, Agnew, 1885.) 28 f. p. 
Hugh's Sacrifice. C. M. Norris. 8°. (Griffith, Farran, 1 886.) 

4f. p. 
More Romps. Verses by E. J. Milliken. 4 . (Routledge, 

1 886.) 52 pages of pictures in colours. 
The Comic Blackstone. Arthur W. A'Beckett. 8°. (Bradbury, 

Agnew, 1886.) 9 parts. 28 Must. (10 f. p. in colours.) 
Travels in the Interior. L. T. Courtenay. 8°. (Ward and 

Downey, 1887.) 17 illust. (3 f. p.) 
The Incompleat Angler. F. C. Burnand. 8°. (Bradbury, 

Agnew, 1887.) 29 illust. (6 f. p.) 
How he did it. Harry Furniss. 8°. (Bradbury, Agnew, 1887.) 

50 illust. (4 f. p.) 
The Moderate Man and other Verses. Edwin Hamilton. 4 . 

(Ward and Downey, 1888.) 12 f. p. 
Piclures at Play. 8°. (Bradbury, Agnew, 1888.) 18 illust. 

(5 f. P.) 
Syhie and Bruno. Lewis Carroll. 8°. (Macmillan, 1889.) 

46 illust. (9 f. p.) 

Perfervid. John Davidson. 8°. (Ward and Downey, 1890.) 

23 illust. (5 f. p.) 

M.P.s in Session. Obi. 4 . (Bradbury, Agnew, 1890.) 500 

sketches. 
Wanted a King. Maggie Browne. 8°. (Cassell, 1 890.) 76 

illust. (8 f. p.) 
Brayhard. F. M. Allen. 8°. (Ward and Downey, 1890.) 

37 illust. (7 f. p.) 
Academy Antics. 8°. (Bradbury, Agnew, 1890.) 60 illust. 
Flying Visits. H. Furniss. 8°. (Simpkin, 1892.) 192 illust. 

(6 f. p.) 
Olga's Dream. Norley Chester. 8°. (Skeffington, 1892.) 

24 illust. by Harry Furniss and Irving Montague. 6 by 
H. Furniss. (4 f. p.) 

A Diary of the Salisbury Parliament. Henry W. Lucy. 8°. 
(Cassell, 1892.) 89 illust. (1 f. p.) 



3H ENGLISH BOOK-ILLUSTRATION 

Sylvie and Bruno concluded. Lewis Carroll. 8°. (Macmillan, 

1893.) 46 illust. (9 f. p.) 
The Grand Old Mystery unravelled. 8°. (Simpkin, 1894.) 

20 illust. (12 f. p.) 
The Wallypug of Why. G. E. Farrow. 8°- (Hutchinson, 

1895.) 62 illust. by Harry Furniss and Dorothy Furniss. 

20 by H. Furniss. (17 f. p.) 
Golf. Horace G. Hutchinson. 8°. (Longmans, 1895. 

badminton Library.) 87 illust. by Thomas Hodge, Harry 

Furniss, etc. (9 f. p. by H. Furniss.) 
The Missing Prince. G. E. Farrow. 8°. (Hutchinson, 1896.) 

51 illust. by H. Furniss and D. Furniss. (13 f. p. by 

H. Furniss.) 
Cricket Sketches. E. B. V. Christian. 8°. (Simpkin, 1896.) 

100 illust. 
Pen and Pencil in Parliament. Harry Furniss. 8°. (Sampson 

Low, 1897.) '73 iUust. (50 f. p.) 
Miss Secretary Ethel. Elinor D. Adams. 8°. (Hurst and 

Blacken, 1898.) 6 illust. (5 f. p.) 
Australian Sketches. Harry Furniss. 8°. (Ward, Lock, 1899.) 

86 illust. (1 f. p.) 
William B. Hole. 

A Window in Thrums. J. M. Barrie. 8°. (Hodder and 

Stoughton, 1892.) 14 etchings. (13 f. p.) 
The Heart of Midlothian. Sir Walter Scott. 8°. (Black, 

1893. Dryburgh edition.) 10 woodcuts. (9 f. p.) 
Auld Licht Idylls. J. M. Barrie. 8°. ( Hodder and Stoughton, 

1895.) 13 etchings. (12 f. p.) 
Catriona. R. L. Stevenson. 8°. (Cassell, 1895.) 16 etchings. 
Kidnapped. R. L. Stevenson. 8°. (Cassell, 1895.) 16 

etchings. 
Beside the Bonnie Brier Bush. Ian Maclaren. 8vo. (Hodder 

and Stoughton, 1896.) 12 etchings. 
H. M. Paget. 

Kenihvorth. Sir Walter Scott. 8vo. (Black, 1893. Dry- 
burgh edition.) 10 woodcuts. (9 f. p.) 
^uentin Durward. Sir Walter Scott. 8vo. (Black, 1894. 

Dry burgh edition.) 10 woodcuts.. (9 f. p.) 
Tht Talisman. Sir Walter Scott. 8vo. (Black, 1894. 

Dryburgh edition.) 10 woodcuts. (9 f. p.) 
Pidures from Dickens. 4 . (Nister, 1895.) 12 coloured 

illust. by H. M. Paget, etc. 



OF TO-DAY. 315 

Annals of Westminster Abbey. E. T. Bradley. 4 . (Cassell, 

1895.) 163 illust. by H. M. Paget, W. Hatherell, Francis 

Walker etc* 
The Vicar of Wakefield. Oliver Goldsmith. 8vo. (Nister, 

1898.) 25 illust. (12 f. p. 5 heliogravure plates.) 
Also illustrations to books by G. H. Henty, etc. 
Sidney Paget. 

Old Mortality. Sir Walter Scott. 8°. (Service and Paton, 

1898. Illustrated English Library.) 16 f. p. 
Terence. B. M. Croker. 8°. (Chatto and Windus, 1899.) 

6 f. p. 
The Sanduary Club. L. T. Meade and Robert Eustace. 8°. 

(Ward, Lock, 1900.) 6 f. p. 
Walter Paget. 

The Black Dwarf Sir Walter Scott. 8°. (Black, 1893. 

Dryburgh edition). 4 f. p. 
Castle Dangerous. Sir Walter Scott. 8°. (Black, 1894. 

Dryburgh edition.) 6 illust. (5 f. p.) 
The Talisman. Sir Walter Scott. 8°. (Ward, Lock, 1895.) 

68 illust. by A. de Richemont, Walter Paget, etc. 
The Legend of Montrose. Sir Walter Scott. 8°. (Ward, 

Lock, 1895.) 76 illust. by W. Paget and A. de Parys. 
Robinson Crusoe. Daniel Defoe. 8°. (Cassell, 1896.) 120 

illust. (13 f. p.) 
Treasure Island. R. L. Stevenson. 8°. (Cassell, 1899.) 46 

illust. (15 f. p.) 
Tales from Shakespeare. Charles and Mary Lamb. 4 . (Nister, 

1901.) 76 illust. (18 f. p. 6 printed in colours.) 
J. Bernard Partridge. 

Stage-land. Jerome K. Jerome. 8°. (Chatto and Windus, 

1889.) 63 illust. (14 f. p.) 
Voces Populi. F. Anstey. 8°. (Longmans, 1890.) 20 illust. 

(9 f. p.) 
Voces Populi. Second Series. 1892. 25 illust. (17 f. p.) 
My Flirtations. Margaret Wynman. 8 6 . (Chatto and 

Windus, 1892.) 13 illust. (11 f. p.) 
The Travelling Companions. F. Anstey. 8°. (Longmans, 

1892.) 26 illust. (if. p.) 
Mr. Punch's Pocket Ibsen. F. Anstey. 8°. (Heinemann, 

1892.) 14 f. p. 
The Man from Blank leys. F. Anstey. 4 . (Longmans, 

1893.) 25 illust. (9 f. p.) Also an 8° edition, 1901. 



316 ENGLISH BOOK-ILLUSTRATION 

Proverbs in Porcelain. Austin Dobson. 8°. (Kegan Paul, 

1893.} 2 S *• P* 
Under the Rose. F. Anstey. 8°. (Bradbury, Agnew, 1894.) 

15 f. p. 

Lyre and Lancet. F. Anstey. 8°. (Smith, Elder, 1895.) 

24 f. p. 
Puppets at Large. F. Anstey. 8°. (Bradbury, Agnew, 1897). 

16 f. p. 

Baboo Jabberjee^ B.J. F. Anstey. 8°. (Dent, 1897.) 

29 f. p. 
The Tinted Venus. F. Anstey. 8°. (Harper, 1898.) 15 f. p. 
Wee Folk; good Folk. L. Allen Harlcer. 8°. (Duckworth, 

1899.) 5 f. p. 
Fred Pegram. 

Mr. Midshipman Easy. Captain Marryat. Introduction by 

David Hannay. 8°. (Macmillan, 1896. Illustrated Standard 

Novels.) 38 f. p. 
Sybil or the Two Nations. Benjamin Disraeli. Introduction 

by H. D. Traill. 8°. (Macmillan, 1895. 111. Stan. 

Nov.) 40 illust. (29 f. p.) 
The Last of the Barons. Lord Lytton. 8°. (Service and 

Paton, 1897. Illustrated English Library.) 16 f. p. 
Master man Ready. Captain Marryat. Introduction by David 

Hannay. 8°. (Macmillan, 1897. 111. Stan. Nov.) 
Poor Jack. Captain Marryat. Introduction by David Hannay. 

8°. (Macmillan, 1897. HI. Stan. Nov.) 40 illust. (39 f. p.) 
The Arabian Nights Entertainments. 8°. (Service and Paton, 

1898. 111. Eng. Lib.) 16 f. p. 
The Bride of Lammermoor. Sir Walter Scott. 8°. (Service 

and Paton, 1898. 111. Eng. Lib.) 16 f. p. 
The Orange Girl. Walter Besant. 8°. (Chatto and Windus, 

1899.) 8 f. p. 
Ormond. Maria Edgeworth. Introduction by Austin H. John- 
son. 8°. (Gresham Publishing Company, 1900.) 6 f. p. 
Concerning Isabel Carnaby. E. Thorneycroft Fowler. 8°. 

(Hodder and Stoughton, 1900.) 8 f. p. 
Claude A. Shepperson. 

Shrewsbury. Stanley J. Weyman. 8°. (Longmans, 1898.) 

24 illust (14 f. p.) 
The Merchant of Venice. Edited by John Bidgood. 8°. 

(Longmans, 1899. Swan edition.) 10 f. p. 
The Heart of Mid-Lothian. Sir Walter Scott. Introduction 



OF TO-DAY. 317 

by William Keith Leask. 8°. (Gresham Publishing Com- 
pany, 1900.) 6 f. p. 
Lavengro. George Borrow. In trodudion by Charles E. Beckett. 

8°. (Gresham Publishing Company, 1900.) 6 f. p. 
Coningsby. Benjamin Disraeli. Introduction by William Keith 

Leask. 8°. (Gresham Publishing Company, 1900.) 6 f . p. 
As You Like It. Edited by W. Dyche. 8°. (Longmans, 

1900. Swan edition.) 10 f. p. 
William Strang. 

The Earth Fiend. William Strang. 4 . (Elkin Mathews 

and John Lane, 1892.) 11 etchings. 
Luciaris True History. Translated by Francis Hickes. 8°. 

(Privately printed, 1894.) 16 illust. by Aubrey Beardsley, 

William Strang, and J. B. Clark. (7 f. p. by William 

Strang.) 
Death and the Ploughmaris Wife. A Ballad by William Strang. 

Fol. (Lawrence and Bullen, 1894.) 12 etchings. 
Nathan the Wise. G. E. Lessing. Translated by William 

Jacks. 8°. (Maclehose, 1894.) 8 etchings. 
The PilgrinCs Progress. John Bunyan. 8°. (Nimmo, 1895.) 

14 etchings. 
The Christ upon the Hill. Cosmo Monkhouse. Fol. (Smith, 

Elder, 1895.) 9 etchings. 
The Surprising Adventures of Baron Munchausen. Introduction 

by Thomas Seccombe. 8°. (Lawrence and Bullen, 1895.) 

50 illust. by J. B. Clark and William Strang. 25 by William 

Strang. (15 f. p.) 
Paradise Lost. John Milton. Fol. (Nimmo, 1896.) 12 

etchings. 
Sindbad the Sailor , Ali Baba and the Forty Thieves. 8°. (Law- 
rence and Bullen, 1896.) 50 illust. by William Strang and 

J. B. Clark. 25 by William Strang. (15 f. p.) 
A Book of Ballads. Alice Sargant. 4 . (Elkin Mathews, 

1898.) 5 etchings. 
A Book of Giants. William Strang. 4 . (Unicorn Press, 

1898. Unicorn Quartos.) 12 f. p. woodcuts in colours. 
Western Flanders. Laurence Binyon. Fol. (Unicorn Press, 

1899.) 10 etchings. 
A Series of Thirty Etchings illustrating subjecls from the 

Writings of Rudyard Kipling. Fol. (Macmillan, 1 901.) 
The Praise of Folic. Erasmus. Translated by Sir Thomas 

Chaloner, Edited by Janet E. Ash bee. (Arnold, 1901.) 



318 ENGLISH BOOK-ILLUSTRATION 

8 woodcuts, drawn by William Strang and cut by Bernard 

Sleigh. 
Edmund J. Sullivan. 

The Rivals and The School for Scandal. R. B. Sheridan. In- 
troduction by Augustine BirrelL 8*. (Macmillan, 1896.) 

50 f. p. 
Lavengro. George Borrow. Introduction by Augustine 

BirrelL 8°. (Macmillan, 1896. Illustrated Standard 

Novels.) 45 illust. (37 f. p.) 
The Compleat Angler. Izaak Walton. Edited by Andrew 

Lang. 8°. (Dent, 1896.) 89 illust. (42 f. p.) 
Tom Brown's School-Days. 8°. (Macmillan, 1896.) 79 illust. 

(20 f. p.) 
The Pirate and The Three Cutters. Captain Marryat. 8°. 

(Macmillan, 1897. ^'- ^ tan - Nov.) 40 f. p. 
Newton Forster. Captain Marryat. 8°. (Macmillan, 1897. 

111. Stan. Nov.) 40 f. p. 
Sartor Resartus. Thomas Carlyle. 8°. (Bell, 1898.) 77 

illust. (12 f. p.) 
The Pirate. Sir Walter Scott. 8°. (Service and Paton, 

1898. Illustrated English Library.) 16 f. p. 
The Natural History and Antiquities ofSelbome and a Garden 

Kalendar. Gilbert White. 8°. (Freemantle, 1900.) 2 vols. 

176 illust. by J. G. Keulemans, Herbert Railton, and E. J. 

Sullivan. 45 by E. J. Sullivan. (20 f. p.) 
A Dream of Fair Women. Lord Tennyson. 4 . (Grant 

Richards, 1900.) 40 f. p. 4 photogravure plates. 
Hugh Thomson. 

Days with Sir Roger de Cover ley. Reprint from 'The Spec- 
tator/ 4 . (Macmillan, 1886.) 51 illust. (if. p.) Re- 
printed in 1892. 
Coaching Days and Coaching Ways. W. Outram Tristram. 

4 . (Macmillan, 1888.) 212 illust. by Herbert Railton 

and Hugh Thomson. 73 by Hugh Thomson. 
Cranford. Mrs. Gaskell. Preface by Anne Thackeray Ritchie. 

8°. ( Macmillan, 1 89 1 . ) 1 1 1 illust. 
The Vicar of Wakefield. Oliver Goldsmith. Preface by Austin 

Dobson. 8°. (Macmillan, 1891.) 182 illust. (1 f. p.) 
77?/ Ballad of Beau Brocade. Austin Dobson. 8°. (Kegan 

Paul, 1892.) 50 illust. (27 f. p.) 
Our Village. Mary Russell Mitford. Introduction by Anne 

Thackeray Ritchie. 8°. (Macmillan, 1893.) 100 illust. 



OF TO-DAY. 319 

The Piper of Hamelin. A Fantastic Opera. Robert Buchanan. 

8°. (Heinemann, 1893.) 12 plates. 
St. Ronan's Well. Sir Walter Scott. 8°. (Black, 1894. 

Dryburgh edition.) 10 woodcuts. (9 f. p.) 
Pride and Prejudice. Jane Austen. Preface by George 

Saintsbury. 8°. (Allen, 1894.) 101 illust. (1 f. p.) 
Condon's Song and other Verses. From various sources. Intro- 
duction by Austin Dobson. 8°. (Macmillan, 1894.) 76 f. p. 
The Story of Rosina and other Verses. Austin Dobson. 8°. 

(Kegan Paul, 1895.) 49 illust. (32 f. p.) 
Sense and Sensibility. , Jane Austen. Introduction by Austin 

Dobson. 8°. (Macmillan, 1896. Illustrated Standard 

Novels.) 40 f. p. 
Emma. Jane Austen. Introduction by Austin Dobson. 8°. 

(Macmillan, 1896. 111. Stan. Nov.) 40 f. p. 
The Chace. William Somerville. 8°. (George Redway, 1896.) 

9f. p. 
The Poor in Great Cities. Robert A. Woods and others. 8°. 

(Kegan Paul, 1896.) 105 illust. by Hugh Thomson, etc. 

21 by Hugh Thomson. (8 f. p.) 
Highways and Byways in Devon and Cornwall. Arthur H. 

Norway. 8°. (Macmillan, 1897.) 66 illust. by Joseph 

Pennell and Hugh Thomson. (8 f. p. by Hugh Thomson.) 
Mansfield Park. Jane Austen. Introduction by Austin 

Dobson. 8°. (Macmillan, 1897. 111. Stan. Nov.) 40 

illust. (38 f. p.) 
Nort hanger Abbey and Persuasion. Jane Austen. Introduction 

by Austin Dobson. 8°. (Macmillan, 1897. I"- Stan. 

Nov.) 40 illust. (38 f. p.) 
Cranford. Mrs. Gaskell. Preface by Anne Thackeray Ritchie. 

8°. (Macmillan, 1898.) 40 coloured illust. 60 pen-and-ink 

sketches. 
Riding Recollections. G. J. Whyte-Melville. (Thacker, 1 898.) 

12 f. p. Coloured frontispiece. 
Highways and Byways in North Wales. Arthur G. Bradley. 

8°. (Macmillan, 1898.) 66 illust. by Hugh Thomson and 

Joseph Pennell. (9 f. p. by Hugh Thomson.) 
Highways and Byways in Donegal and Antrim. Stephen Gwynn. 

8°. (Macmillan, 1899.) 87 illust. (20 f. p.) 
Highways and Byways in Yorkshire. Arthur H. Norway. 8°. 

(Macmillan, 1899.) 96 illust. by Joseph Pennell and Hugh 

Thomson. (8 f. p. by Hugh Thomson.) 



320 ENGLISH BOOK-ILLUSTRATION. 

Peg Woffington. Charles Reade. Introduction by Austin 

Dobson. 8°. (Allen, 1899.) 75 illust. (30 f. p.) 
This and That. Mrs. Molesworth. 8°. (Macmillan, 1899.) 

8 f. p. 
Ray Farley. John Moffat and Ernest Druce. 8°. (Fisher 

Unwin, 190 1.) 6 f. p. 
A Kentucky Cardinal and Aftermath. James Lane Allen. 8°. 

(Macmillan, 1901.) 48 illust. and chapter headings. (34 

F. H. ToWNSEND. 

A Social Departure. Sara Jeannette Duncan. 8*. (Chatto 

and Windus, 1890.) in illust. (12 f. p.) 
An American Girl in London. Sara Jeannette Duncan. 8°. 

(Chatto and Windus, 1891.) 80 illust. (19 f. p.) 
The Simple Adventures of a Memsahib. Sara Jeannette Duncan. 

8°. (Chatto and Windus, 1893.) 37 Must* (** £ P-) 
Illustrated Standard Novels. 8°. (Macmillan, 1895-7.) 

The Novels of Thomas Love Peacock. Edited by George 
Saintsburv. 

Maid Marian and Crotchet Castle. 40 illust. (37 f. p.) 

Gryll Grange. 40 f. p. 

Melincourt. 40 illust. (39 f. p.) 

The Misfortunes of Elpbin and Rhododaphne. 40 illust. (39 

The King's Own. Captain Marryat. Introdudion by David 
Hannay. 8°. 40 illust. (30 f. p.) 
Illustrated English Library. 8°."; (Service and Paton, 1897-8.) 

Jane Eyre. Charlotte Bronte. 16 f. p. 

Shirley. Charlotte Bronte. 16 f. p. 

Rob Roy. Sir Walter Scott. 16 f. p. 
Bladys of the Stewponey. S. Baring Gould. 8°. (Mcthuen, 

1897.) 5 illust. by F. H. Townsend and B. Munns. 3 f. p. 

by F. H. Townsend. 
The Works of Nathaniel Hawthorne. Edited by Moncure 
D. Conway. 8 P . (Service and Paton, 1897-9.) 

The Scarlet Letter. 8 f. p. 

The House of the Seven Gables. 8 f. p. 

The Blithedale Romance. 8 f. p. 
The Path of a Star. Sara Jeannette Duncan. 8*. (Methuen, 

1899.) 12 f. p. 




321 



CARELESS CATALOGUING. 

»ROM time to time recently we have 
received for review a number of 
library catalogues which present fea- 
tures we cannot honestly commend. 
Though they have duly received a 
careful examination, we have decided 
to withhold publication of our criticism in the form 
of individual reviews, because if we expressed our- 
selves at all, we should feel bound to deal frankly 
with the errors encountered and condemn them 
where disapproval is deserved. This we are reluct- 
ant to do. Candour in such a case would not be 
productive of any but regrettable results. Never- 
theless we are equally reluctant to maintain a silence 
which would suggest that no revision of method on 
the part of compilers is desirable, and be tantamount 
to lending our countenance to a continuance along 
those mistaken ways of cataloguing which at 
present are followed by some librarians. 

The sameness in plan and form and error which 
we encounter is very striking. One catalogue may 
be superior to another in get up and typographic 
accuracy ; but the same class of error in compila- 
tion meets us so constantly on every side that we 
are seriously constrained to doubt if, after all, a 
fitting knowledge of cataloguing rules is as wide- 
spread as we had thought. Certainly, if existing 
rules were even moderately well understood, the 

III. Y 



322 CARELESS CATALOGUING. 

occurrence of the major portion of the ever-recur- 
ring blunders and inconsistencies must have been 
prevented. If a definite and properly considered 
method were adopted and pursued we should look 
in vain for the faulty treatment of subject-headings 
we have met with. We will explain our meaning 
somewhat in detail : it being understood that all of 
the examples quoted are taken from one or another 
of the catalogues in our hands, though they are not, 
of course, common to all. 

In the introductory pages to catalogues, those 
concerned are usually advised that if a book is de- 
sired upon a definite subjedt it will be found under 
the subj eft-heading. We do not find fault with 
this instruction. Our objection is, that if readers 
are so confiding as to accept this assurance they 
will be speedily full of wonderment at the library's 
poverty. As regards the libraries we have in mind, 
further investigation would, however, prove that, 
in the provision of both standard and current litera- 
ture, they are excellently equipped. Indifferent 
cataloguing alone would be responsible for the mis- 
taken impression. 

The fundamental principle regulating the treat- 
ment of subj eft-headings, provides that a general 
heading shall receive entries of those books only 
which discuss the subjeft at large ; departments of 
general subjects being entered under the title of the 
department. Due regard must of course always be 
paid to the many exceptions to rule. There is a 
vast difference, however, between exceptions to rule 
and violations of rule. It is to the violations we 
propose to refer. 



CARELESS CATALOGUING. 323 

It is surprising how frequently books are too-well 
catalogued : as in the case where Cooke's ' Fungi ' 
appears not only under that head but under ' Botany ' 
also. The needlessness of this will be manifest. 
It is not, however, with extravagant treatment of 
this kind that we are chiefly concerned. Confused 
treatment is what we wish to indicate. Let us say 
that a monograph upon the mammalia is required. 
Turning to that name we are confronted by a refer- 
ence to ' Natural History ' ; but the heading does 
not yield the entries required. As a matter of fa£t 
the books are recorded under c Zoology/ but there 
is no guidance from the one heading to the other. 
After this an experienced person would, if requiring 
books on the Buffalo, on Silkworms, on the Frog, 
go unfalteringly to c Natural History/ or € Zoology/ 
just as for € Illuminating ' he would go to c Art/ 
and in no case would he suffer disappointment. 
But would the ordinary reader find the references 
as readily ? We fear not. 

This is not as it should be in our up-to-date dic- 
tionary catalogue. Examples of wrongful arrange- 
ment might easily be multiplied. We will be 
satisfied to point out one or two more. For instance, 
we find under 'Heat* works such as Anderson's 
€ The conversion of heat into work/ and Carnot's 
€ Motive power of heat/ But these works are not 
entered under c Thermodynamics * as they should 
be. Under ' Anne, Queen/ three histories of the 
reign of that monarch appear. That all of these 
books deal with an epoch of English history is 
obvious : yet only one is entered under England. 
Where such works shall be entered is apparently a 



« 



324 CARELESS CATALOGUING. 

mere question of title. Were one of them entitled 
A History of England, 1702 to 171 4 — as it might 
easily be — instead of c The Age of Anne/ not one 
cataloguer in a thousand would dream for a moment 
of entering under 'Anne/ Again: for British 
foreign politics we must consult 'International 
policy/ There we find two books on English 
foreign relations. One only of these is entered 
under ' Politics ' ; but we look in vain for the head- 
ing ' Great Britain — politics and foreign relations ' 
where both books should be recorded. It is far 
from correct to enter Olive Schreiner's c Dream life 
and real life ' under ( Life ' ; and no less a blunder 
to enter books on Manxland under ( Isle of Man/ 
The utmost confusion exists in regard to the entry 
of books of a geographical character. In one 
instance we find books on the United States under 
( America/ though entries on comparatively minor 
countries are very properly dispersed throughout 
the alphabet. This is by no means justifiable : the 
country in question is called € The United States of 
America/ Elsewhere this treatment is entirely re- 
versed. Works on, say, British Columbia, Canada, 
and even on the city of New York, are under 
America, though Peru, the United States, etc., are 
not. A library possesses two modern books on 
Morocco. One of these appears under c Morocco ' ; 
the other under 'Africa/ Surely it is charitable 
to attribute these inaccuracies to carelessness only ! 
The peculiarities of catalogues are not, however, 
confined to subject-headings. In defiance of rule 
Du Chaillu is entered under Chaillu ; St. Augus- 
tine's ( Confessions ' under Saint. From a biblio- 



CARELESS CATALOGUING. 325 

graphical point of view it may be desirable to 
establish an author's identity , as completely as in 
the case of c Lome, John George Edward Henry 
Douglas Sutherland Campbell, Marquis of/ We 
do not see the practical need of such an enumera- 
tion of names. We note a tendency to add bio- 
graphical particulars to author-entries. In some 
respe&s we admit the desirability — notably in the 
case of John Hardyng, who flourished 1 378-1465, 
and yet the edition of whose € Chronicle ' is of 
recent date. But the information is surely super- 
fluous where modern writers are concerned. Arch- 
deacon Hare died in 1855. Is this fad proclaimed 
in order that a reader may readily determine which 
of the books under his name are the work of his 
mature theological opinions ? If not what, is the 
reason? Mr. Hall Caine was born in Runcorn. 
Is this fa& of vital moment to readers of his novels. 
We trow not. He might have been born in Tim- 
budtoo, and the faft would not tend in even the 
smallest degree to detract from a thorough enjoy- 
ment of € The Manxman, 9 or induce us to read it 
if we did not so desire. Dr. Harington, we are 
told, was a * minor canon of Norwich.* We hope 
it is not suggested that his writings are as ( minor ' 
as his church dignity ! The military services of 
c Harrison (George Henry Shabolgie Neville Plan- 
tagenet, Marshall in the Turkish Army, 1817- 
1890)' may have rendered him peculiarly com- 
petent to write a * History of Yorkshire/ though 
we are disposed to be sceptical on the point. 

From the catalogues before us we should judge 
that it is time some conclusion were arrived at in 




326 CARELESS CATALOGUING. 

regard to the treatment of pseudonymous works. 
Shall books be entered under the pseudonym or 
the author's proper name ? The compilers whose 
work we are considering appear to have shifting 
convi&ions on the point. In one catalogue we 
find two names of precisely the same sort treated 
absolutely differently, Anthony Hope (Hawkins) 
figuring under Hope and F. Anstey (Guthrie) 
under Guthrie ; and elsewhere also unsettled 
opinions are observable. 

Just a few words, in conclusion, in regard to 
title entries and references. Are the following 
worth the space they occupy ? ' Homo, Ecce 
Homo/ by Seeley, and € How to form a library.' 
We think space might be utilized to much better 
advantage, e.g., by the inclusion of the much 
negle£ted cross-references. We have a heading 
€ Birds/ but no reference thereto from Ornithology. 
Books on the races of mankind we find under 
c Anthropology/ very properly of course ; but why 
is a reference from € Man ' absent ? From ' Asia ' 
it has been considered sufficient in one catalogue 
to ' see also : Arabia, Mongolia, Siberia, 9 notwith- 
standing the fadt that nearly every country of that 
continent is represented. Surely this is inde- 
fensible. 




3^7 



GOLDSMITH'S * PROSPECT OF 
SOCIETY/ 

had been intended to devote an 
article of some length to the printed 
draft of Goldsmith's * Traveller or 
Prospect of Society,' which was ac- 
quired for the British Museum at 
one of the booksales in the latter 
half of March. Unluckily in such matters a 
quarterly magazine is at a great disadvantage com- 
pared to the daily press. Mr. Bertram Dobell, to 
whom the discovery of the draft is due, reprinted 
it in conjunction with the first edition in a neat 
little volume which appeared simultaneously with 
the sale, and in a review of this in the * Daily 
News ' of April i st, entitled « Of Oliver Goldsmith 
and a Printer's Devil,' Mr. A. T. Quiller-Couch 
brought out the chief points of the newly-recovered 
draft only too skilfully. It may be considered for- 
tunate, indeed, that Mr. Couch's article appeared 
some days after the sale instead of before it ; else, it 
may be conjectured, this literary curiosity, instead of 
finding its way to the British Museum (which had 
just been founded when the poem was written), 
would have been knocked down to some million- 
aire, English or American, at a far higher price 
than a mere national library, as at present endowed, 
can afford to give. As it was, however, the de- 
scription in the catalogue, which stated distinctly 



328 GOLDSMITH'S 

that these loosely-sewn leaves were not a ' proof/ 
seems to have puzzled bidders and thus reduced 
enthusiasm to a convenient tepidity. If they were 
not a proof, what were they, and what in the 
name of reason was the explanation of this ' set of 
unconnected verses, 9 as Mr. Dobell was almost pre- 
pared to call them, which began at 1. 353 of c The 
Traveller/ with the last couplet of a paragraph, 
and followed an order which seemed past finding out ? 
The fragment consists of eight leaves of large 
quarto, signed B-E in twos. The first page bears 
the headtitle c A Prospedt of Society ' (the alterna- 
tive title of 'The Traveller ' in the earliest editions), 
and this is repeated as the running-title of the next 
eleven pages. The last two leaves have no pagina- 
nation or running-title, and the lines which pre- 
viously have been leaded are printed solid, so that 
twenty of them occupy only 122 mm. instead of 
190. What moved Mr. Dobell to declare that 
these leaves are not a proof was apparently solely 
the mysterious arrangement of the lines. That 
the type is the same as that used in the first edition 
is evident as soon as the two impressions are placed 
side by side. Inasmuch as it is new type, it is use- 
less to hunt in it for broken letters, the surest 
evidence of identity of setting up ; but though this 
test fails us, that of identical spacing where the 
text has been left unaltered comes to our aid ; and 
as line after line is examined it is impossible to 
doubt that these sixteen pages were printed from the 
same set up as the first edition, though the cost of 
correction must have equalled if not exceeded that 
of the first composition. Of the 310 lines of which 



* PROSPECT OF SOCIETY/ 329 

this fragment consists about one in three contain 
variations more or less substantial from the text of 
the first edition, while the order of the lines is as 
follows : 



I- 42 = 


- 353-4oo 


155-190 = 


= 205-240 


43- 84 = 


= 3"-3S2 


191-226 = 


= 1 69-204 


85-118 = 


= 277-310 


227-264 = 


= 131-168 


119-154 = 


= 241-276 


265-292 = 


= 103-130 




293-310 


= 73-92 





c In other words,' writes Mr. Quiller-Couch, who had the 
happiness to be the first to work out these equations. "The 
Prosped" is merely an 'early draft of tt The Traveller " printed 
backwards in fairly regular se&ions. And the explanation seems 
to me ridiculously simple. As Goldsmith finished writing out 
each page of his poem for press, he laid it aside on top of the page 
preceding — as I am doing with the pages of this caustrie ; and, 
when all was done, he forgot — as I hope I shall not forget — to sort 
back the pages in reverse order. That is all j (riven a good stolid 
compositor with no desire but to do his duty with the manuscript 
as it reached him, you have — what Mr. Dooell has recovered — an 
immortal poem printed wrong-end-foremost page by page. And 
I call the result delightful, ancL when you come to think of it, 
just the blunder so natural to Goldsmith as to be almost postulable.' 

It should be added to this summary that Gold- 
smith forgot to hand the printer's devil the first 
two leaves of his manuscript, which had plainly 
got separated from the rest, and that the boy 
apparently would not wait for the last sixteen lines. 
For the omission of lines 93-102 it is harder to 
account. What other additions there are in the 
printed text were obviously afterthoughts. 

As Mr. Quiller-Couch says, the situation we are 
thus permitted to view is delightfully whimsical, 
and the few leaves which enable us to call it up 



330 GOLDSMITH'S 

would have been cheap at sixty guineas if they had 
possessed no other interest than this. The case, 
however, is far otherwise. Students of Goldsmith 
have long known how greatly the final text of 
' The Traveller ' differs — and differs for the better 
— from that of the first edition. By the recovery 
of these proof-sheets we are enabled to penetrate 
a stage further back in the history of the poem, 
and trace the progress from the roughest to the 
most polished form. 

Let us take, for instance, one of the earliest of 
the recovered paragraphs. In the current text it 
reads : 

1 Nature, a mother kind alike to all, 

Still grants her bliss at Labour's earnest call : 

With food as well the peasant is supply 9 d 

On lira's cliffs as Amis shelvy side ; 

And though the rocky-crested summits frown, 

These rocks, by custom, turn to beds of down. 

From Art more various are the blessings sent ; 

Wealth, commerce, honour, liberty, content. 

Yet these each other's power so strong contest, 

That either seems destructive of the rest. 

Where wealth and freedom reign, contentment fails ; 

And honour sinks where commerce long prevails. 

Hence every state, to one lovM blessing prone, 

Conforms and models life to that alone. 9 

If we compare this text of 1770 with that of 
1765 we shall find that the four italicized lines did 
not appear in the first edition ; that c commerce ' 
in 1. 8, which suggests the second pair of them, 
has displaced an earlier ' splendours ' ; and that 
1. 5 reads ' And though rough rocks or gloomy 
summits frown/ The newly discovered proof to 
which we can now turn, agrees with the first 



'PROSPECT OF SOCIETY/ 331 

edition in omitting the four italicized lines, but 
differs from it in five other lines, not including a 

Possible misprint, 'e'ery 'for 'every* in the last 
ut one. Thus (still italicizing differences) we go 
back to : 

( Nature, a mother kind alike to all 
Still grants her blessings at Industry* s call ; 
And though the rigid clime or rough rocks frown, 
These rocks, by custom, turn to beds of down. 
From Art more various are the blessings sent ; 
Wealth, splendours j freedom^ honour and content ; 
Yet these each other's power so strong contest, 
That either seems subversive of the rest 
Hence e'ery state, to one lov'd blessing prone, 
Chiefly conforms itself to that alone. 9 

Here c subversive ' seems as good as c destrudtive/ 
but almost all the other readings are weaker or less 
musical than those substituted for them — the ear- 
offending misplacement of the accent in ' Industry/ 
the too insistent alliteration of 'rigid clime or 
rough rocks/ the pedantic accuracy of c chiefly 
conforms itself/ As we run through the three 
texts many other instances present themselves of 
bad readings found only in this proof, 1 and elimin- 
ated before publication. Thus 1. 1 20, ' All evils 
here contaminate the mind, 9 runs in the proof ( All 
ills are here to pejorate the mind;' in 1. 158 (the 
numeration is taken from the first edition), ' De- 
fac'd by time and tottering in decay ' secures the 
alternate alliteration which gives an appearance of 

1 It would be interesting to collate the text of the Rowfant 
copy of the first edition, which bears the date 1 764 instead of 
1765, and has only a few words of Dedication. It is not im- 
probable that its text might present an intermediate stage between 
this proof and the copies dated 1765. 



332 «A PROSPECT OF SOCIETY.' 

point to the weakest line. The proof has nothing 
more vigorous than ' But now by time dismantled 
in decay.* In 1. 226, 'Unalter'd* unimprov'd 
their manners run/ we have another device for 
securing emphasis introduced to mend the poor 
line, € Manners in one unmending track will run. 9 
In 1. 240 c murmuring 9 is certainly an improve- 
ment on ( sliding 9 as an epithet of the Loire. In 
1* 323, c I see the lords of human kind pass by,' 
rhythm and emphasis are alike better than in c I see 
the lords of mankind pass me by,' and in the next 
line, c Pride in their port 9 is better than the * with 
haughty port 9 of the first draft. Lastly, we have 
here revealed for the first time what was the 
original line which Johnson, as he told Bos well, 
rewrote as € To stop too fearful and too faint to 
go. 9 'And faintly fainter, fainter seems to go, 9 
was Goldsmith's version. How he meant it to be 
construed it needs his ghost to declare. 

We need not make too much of these early 
readings. € The Traveller, 9 in its final form, is a 
graceful, but a rather weak poem. As it was first 
published its weakness is much more conspicuous. 
We now know from these proofs that it had 
originally been much weaker still. Not a thrilling 
discovery, truly; but yet an interesting one. It 
would be more interesting still if we had a record 
of the very remarkable language Goldsmith must 
have used when the proo£ now resting in the 
British Museum, first met his eye. But that was 
an occasion to which only Johnson could have been 
equal. 

George England. 



333 




NOTES ON BOOKS AND WORK. 

j)HE attention of readers of 'The 
Library ' may be directed to two in- 
teresting articles in the last number 
of Dr. Dziatzko's * Beitrage zur 
Kenntniss der Schrift- Buch- und 
Bibliothekswesen' (Leipzig, Spir- 
gatis). In the first of these, Herr M. Spirgatis 
discusses the literary connection between England 
and Germany in the late sixteenth and early seven- 
teenth centuries, as shown by the titles of English 
books occurring in the Frankfort sale-catalogues 
during the years 1561-1620. He reproduces from 
Drondius's 'Bibliotheca exotica' (1625) a list of 
3 1 2 English and Scotch books on sale in that city 
a little short of the date of publication (1620), 
supplying many bibliographical particulars wanting 
in Drondius's compilation. Only wealthy English 
booksellers had the means of bringing their literary 
wares to Frankfort for sale or exchange. Principal 
among these were John Norton, Bonham Norton, 
and John Bill. 

In a second article Professor Karl Dziatzko 
comments on Paul Schwenke's * Untersuchungen 
zur Geschichte des ersten Buchdrucks,' issued as a 
contribution to the 'Festschrift zur Gutenbergfeier' 
(1900). This he entitles 'Satz und Druck der 
42-zeiligen Bibel.' The type, paper and parch- 



334 NOTES ON BOOKS AND WORK. 

ment used, the number of copies printed on paper 
and printed on parchment, are all passed in review. 
Professor Dziatzko does not agree with all of 
Schwenke's conclusions, but he spares no praise for 
his exhaustive work. On the much debated ques- 
tion as to the exa£t date of commencement and 
date of finishing the work of printing the 42-line 
Bible, no definite conclusions are offered. He re- 
produces, however, from the copy belonging to 
the Leipziger Buchgewer bemuse urn, a date in 
manuscript on the margin of the verso of leaf 3 24. 
The figures are arabic, and Dr. Dziatzko main- 
tains that they read '1453/ Their very feebleness 
of tracing, he asserts, attests their being the work 
of a contemporary hand. Anyone of a later age 
attempting by these means to make the book seem 
older than it was, would have written 1453 boldly 
and clearly. 

A. C. 

The Fourth Conference of the Library Associa- 
tion of Australasia was held at Melbourne on April 
2nd-4th, under the presidency of Mr. Edward 
Lang ton, who, in his opening address, drew the 
attention of the meeting to the question of opening 
the Public Library in Melbourne on Sundays. 
Mr. Langton pointed out that Victoria was the 
only State in which the public were deprived of 
access to their books on the Sabbath. The Trus- 
tees, he said, had moved in the matter, but it did 
not appear to be any use ; the politicians of the 
State overruled them. An excellent programme 
of papers was prepared dealing with the manage- 



NOTES ON BOOKS AND WORK. 335 

ment of libraries, the methods of extending their 
usefulness and popularity, and kindred subjedts. 
Among those of especial interest was one by Mr. 
H. C. L. Anderson, librarian of the Public Library 
of New South Wales, on * Libraries and the 
Government Subsidy/ After referring to the 
different classes of libraries in New South Wales, 
Mr. Anderson dealt with the failure of what were 
known as municipal libraries, and upheld that 
municipal councils were not the best men to con- 
dud such institutions, either in the choice of litera- 
ture or the best methods of providing accommoda- 
tion for the books. Mr. Anderson contended that 
libraries should be educational institutions ; con- 
tinuous schools for young students and mechanics ; 
handmaidens of the technical colleges and uni- 
versities. The government grant should be ad- 
ministered by capable persons, and the choice of 
books should be limited to works of reference, 
classical authors and approved fi&ion. Other 
papers advocating the establishment of municipal 
libraries and municipal councils received a con- 
siderable amount of support. Mr. E. La T. Arm- 
strong, the public librarian of Vi6toria, dealt with 
c The Proposed Federal Library of the Common- 
wealth,' and how to make it as serviceable as 
possible to the communities of the various States. 
The best methods of organization, he said, should 
be adopted, and every provision should be made 
for expansion. If a sufficiently experienced librarian 
was not forthcoming in Australia, the government 
should seek him in England or America. 

J. R. B. 



336 NOTES ON BOOKS AND WORK. 

Mr. Wheatley's ' How to make an Index ' 
(Elliot Stock, 5/.) deserves a warm welcome from 
all librarians, whose endeavours to help readers 
would often be greatly forwarded if indexes were 
more generally and more carefully made. From 
the Bibliographical Society of Chicago there comes 
a handsome reprint of the paper by Augustus de 
Morgan, € On the Difficulty of Correct Description 
of Books,' originally printed in the ' Companion to 
the Almanac' for 1853. Readers of the new 
volumes of the ' Encyclopaedia Britannica ' will 
find interesting articles on Bookbinding by Mr. 
Cyril Davenport, and on Bookprinting by Mr. 
Rickctts. Otherwise bookish literature just now 
seems non-existent. 

A. W. P. 



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FROM AN C ARS MORIENDI, WITH CUTS BY I. D. LYON, S.A. 



Second Series, 

No. 1 2, Vol. III. October, 1902, 



THE LIBRARY. 

ON TWO LYONNESE EDITIONS OF 
THE <ARS MORIENDI.' 

8MONG the many reproductions of 
the original text (as opposed to the 
later versions by Cardinal Capranica 
and others) of the ' Ars Moriendi,' 
in which the letterpress is not printed 
from wood blocks but from type, 
there are two which differ from all the rest in 
being undoubtedly produced at Lyon. They were 
not the first issued for French readers, for besides 
the edition by Colard Mansion, which has the text 
in French, but no illustrations, a block-book is de- 
scribed by Dutuit with the title ' Lart au morier' : 
this also has French text — French of a kind which, 
taken with the evidence of the illustrations, caused 
Dutuit to regard it as probably brought out at 
K5ln, and not in France or a French-speaking 
country at all. The illustrations are exaCl copies 
from those of the Weigel block-book now in the 
British Museum, only whereas this has but one 
signature, i on the sixth cut (page 11), the French 
book has several signed pages. It may be remarked 
in passing that the occurrence of this i, though in 




340 ON TWO LYONNESE EDITIONS 

a different position, on the corresponding page of 
the edition printed by Nicolaus Gotz, in which 
there is no other signature, is a proof that his cuts 
are copied from the Weigel book, though not 
necessarily at first hand. But this is by the way, 
and has no bearing on our two Lyonnese editions, 
neither of which has any such signature. The 
first of them is the quarto containing twelve full- 
page woodcuts signed I. D., the initials of an artist 
whose full name is unknown, but the possessor of 
a thoroughly characteristic and individual style. 
It may be approximately dated by the occurrence 
of one of the very few cuts by I. D. outside this 
*Ars Moriendi' set in the first book printed by 
Trechsel,the Caracciolus of February, 1489 (1488). 
Though my concern here is not primarily with the 
illustrations of this edition, as to which the reader 
may consult Dutuit's c Manuel/ vol. i., p. 59, and 
the article on Early Book Illustration at Lyon by 
the late M. Natalis Rondot, in the third volume of 
4 Bibliographica/ it is impossible to pass them over 
without mention, as they are not a little remark- 
able. They consist of the usual eleven cuts, 
arranged as five pairs and a final one, supplemented 
by an elaborate woodcut title-page at the end of 
the book, after the seven leaves of additional letter- 
press inserted in this edition. That the artist was 
working from an original derived from the Weigel 
block-book is seen by his retention of the reversed 
position of the figures in the final (eleventh) sub- 
ject ; the original reason for this change is ex- 
plained by Mr. Lionel Cust in his c The Master 
E. S. and the Ars Moriendi' (1898; p. 20). In 



OF THE 'ARS MORIENDI.' 341 

the I. D. edition all the cuts face the opposite 
way to those in the block-book, but in the case of 
so considerable a craftsman as I. D. it is not safe 
to conclude that he was copying the block-book 
designs at first or third hand, like the average 
woodcutter who reversed his originals to save him- 
self trouble. The efFe6t of these cuts, as may be 
seen in that reproduced as the frontispiece to this 
number of c The Library/ is striking and original. 
Though I. D. was content to keep close to his 
model for the figures, their position, features and 
setting, the details and technique are his own, and 
he has, for instance, disposed the scrolls to the best 
advantage. The richness of surface is largely due 
to the lavish employment of shading, the whole of 
flat shaded surfaces being often covered by parallel 
lines set close together and broken at short intervals. 
This sets off well the full and crisp roundness of 
the figure outlines, and the effect is strengthened 
by the clean, firm working of the whole composi- 
tion. 

I shall return later to this book in connexion 
with the type in which its text is printed, but I 
wish first to say a few words about the second 
edition of which I spoke at the beginning. This 
is also a quarto, but in most respe&s is the strongest 
contrast with the I. D. edition. It may be a year 
or two later, but as I have never met with the 
types elsewhere it is difficult to be sure. Both of 
its founts are distinctively Lyonnese, and have their 
closest analogies in the types used by Engelhart 
Schultis, a printer whose name is found only in 
two or three books of the years 149 1 -1492. Some 



342 EDITIONS OF «ARS MORIENDI/ 

such date agrees well with the general appearance 
of the book, which is otherwise a signal instance 
of the haphazard and unintelligent methods char- 
acteristic of the lesser printer then as now. And 
his woodcutter was no better. He evidently had 
before him as his model an imperfedt copy of an 
4 Ars Moriendi/ printed on one side of the leaf 
only ; for though the text is complete (it does not 
contain the additional matter of the I. D. edition), 
the eleventh or final cut of the series is wanting ; 
and the printer was content to accept this, and to 
print the tenth cut in its place for a second time — 
a third time, in fa<5t, since he had already used it 
immediately after the title-page on the redlo of the 
second leaf, on the back of which the preface 
begins. This cut is here reproduced, partly as a 
set-off to the corresponding one by I. D., and also 
because it gives another instance of the incredible 
slovenliness of those who produced the book. The 
illustration represents the c Bona inspiratio angeli 
de auaritia,' and the scrolls are intended to con- 
tradict those in the ' Temptatio diaboli de auaritia,' 
which immediately precedes it. Thus 'Intende 
thesauro* of the one is answered by 4 Non sis 
auarus/ and c Prouideas amicis ' by c Ne intendas 
amicis.' It will be seen that the woodcutter of 
our edition has made nonsense of this last sentence 
by omitting the Ne. There are similar instances 
in others of the cuts, as in No. 8, where the van- 
quished devil exclaims : c Vidtus sumu * ; in No. 7, 
where he says : c Tu es fimus [for firmus] in fide ' ; 
in No. 5, where the devil tempting to impatience, 
is made to say : c Fece quanta pena pati ' (Ecce 




FROM AN 'ARS MORIENDI, WITH UNSIGNED CUTS. LYON, S.A. 



344 ON TWO LYONNESE EDITIONS 

quantam paenam patitur). But it is useless to 
multiply examples of this, and I have spoken of 
this edition chiefly because it is of interest as one 
of the very few French editions of the ' Ars 
Moriendi/ and seems to be undescribed except for 
a possible mention in Brunet. It will be noticed 
that the position of the figures is the reverse of 
that in the I. D. book, and therefore the same as 
those of the Weigel edition; but it is hardly 
possible that the one is copied from the other, or 
both from a common original. It may be worthy 
of remark that an edition mentioned by Dutuit 
(vol. i., p. 53, C), now in the Bibliothfcque Na- 
tionale, and by him called German, was also copied 
from an imperfect original ; in this case both figs. 
2 and 1 1 are wanting to the set, and figs. 1 and 10 
have been repeated to replace them. 

I should like, in conclusion, to say a few words 
about the types used in the I. D. edition ; although 
I am unfortunately unable to come to any conclu- 
sion as to the printer, there are some characteristics 
of the main fount which may be worth setting 
down and may lead a more fortunate investigator 
to a solution. Of the two lines used for the title 
on the first leaf little need be said ; it is a Lyon- 
nese type, but offers small hand-hold for surmount- 
ing the difficulty. But the type of the text is not 
Lyonnese ; it is a type of a class belonging almost 
exclusively to Basel and its sphere of influence, and 
to that only in a very restricted degree. 

It is needless here to emphasize the strong in- 
fluence of Basel on printing in this part of France. 
Setting aside the types of Johann von Amorbach 



OF THE «ARS MORIENDI.' 345 

used at Besan£on and Dijon by Peter Metlinger 
and Johann von Amorbach's son-in-law, Jean de 
Besanfon, and the presence of Eberhard Frommolt 
at Vienne with a Basel fount of type, at Lyon 
itself this connexion is continually felt from the 
year 1478, when Martin Huss and Johann Siber 
began their work with Basel types, and the identi- 
cal wood blocks used by Richel in 1476 were used 
by them for their c Miroir de la vie humaine ' in 
the same year. Matthias Huss carried on the 
tradition, though he shows little outward marks 
of it, by his association with Johann Schabler called 
Wattinschnee, who was a&ually a member of the 
university of Basel, and during all the last years of 
the fifteenth century was constantly moving from 
place to place for trade purposes, and must have 
done much to keep the printers of Lyon and Basel 
in touch. The presence of Michael Wensler in 
France, in and after 1489, may be mentioned, 
though he was not at Lyon till 1494. 

As regards the c Ars Moriendi * type, M. Dutuit 
quotes an opinion of M. Claudih, which he has 
doubtless long ago revised in the light of fuller 
knowledge, in favour of its identity with one of 
those used in 149 rat Dijon by Peter Metlinger; 
this is not the case, though there is some justifica- 
tion for such a view, as will be seen later. The 
most chara&eristic letter of the c Ars Moriendi 9 
and its kindred types is the N, the final stroke of 
which is rounded, then bent in at the foot, and ended 
by a strong horizontal serifF. Founts of this class 
are very rarely met with ; one is used by a Strass- 
burg printer in the sixteenth century, and those 



1 



346 ON TWO LYONNESE EDITIONS 

which are found outside Lyon in the fifteenth may 
be reckoned on the fingers of one hand. The first 
of all is that of Bernhard Richel at Basel, which 
makes its first appearance in 148 1. In 1483 this 
type passed into the hands of Johann Besicken, 
who went later to Rome, and a facsimile of it 
from the one book produced by him at Basel will 
be found in Burger's 'Monumenta/ Plate 128. 
This type is of english body. Secondly, there is 
the best-known fount in this style, used in a large 
number of books by Kesler of Basel from i486 
onwards. The face is considerably heavier than 
that of Richel, and it is cast on a pica body. The 
third type, a close copy of Kesler's, has the same 
body, but a thinner face. It is used by Friedrich 
Riedrer, printer at Freiburg in Baden, in and after 
1493. Lastly, at a place far removed from Basel, 
but so closely bound to it in printing matters by 
the close trade connexion between Anton Koberger 
and Johann von Amorbach, at Niirnberg, a fourth 
type of the same sort is found in the hands of 
Hieronymus Holzel at the very end of the century 
— a type also clearly modelled on that of Kesler, 
though of slightly smaller body. 

Now there are at least three types of this char- 
after used at Lyon, but in no case to my knowledge 
is the printer who owned them stated or to be in- 
ferred with any certainty. First, because I can name 
two books in which it is used, is a type almost 
identical in appearance with Kesler's, but of larger 
body (one-fifth of a millimetre higher), and with 
a single instead of a double hyphen. From one of 
the two books, a folio (Guido Papa super institu- 



OF THE «ARS MORIENDI/ 347 

tis) at Cambridge, a facsimile has been made for 
the Type Facsimile Society ( 1 90 1 dd) ; in the other, 
Hugo de San&o Charo, Speculum ecclesiae, it is 
associated with a large type, which, so far as one 
can judge from the small amount of it, is the same 
as a fount which belonged to Johann Neumeister 
(from 1485 to his death at Lyon), and is figured by 
Thierry-Poux in his * Monuments/ plate xxi, fig. 2, 
and in M. Claudius ' Neumeister/ plates 9, 10. 
But till some confirmatory evidence comes to light 
it would be unsafe to lay too much stress on this 
identification. These books may well be a year or 
two earlier than our c Ars Moriendi ' ; but the 
next to be mentioned is certainly later, and little 
if at all earlier than 1 500. The type in question 
is used for the text of a Boethius, associated with 
a smaller one for the commentary, which, though 
almost identical with recognized types of Lyonnese 
printers (Mareschal and Chaussard or Giboleti in 
his Terence of 1496), has certain features, e.g., 
a paragraph mark and two sorts of N, which I 
have not found connefted elsewhere. The text 
type is smaller and thinner faced than that of 
Kesler or the Guido Papa, and is more like that 
of Freiburg ; its body is nearly that of the latter, 
but it has an entirely distinctive h, which, though 
probably not part of the original fount, is the only 
one used throughout the book. Thirdly, there is 
our * Ars Moriendi/ The text type in this book 
has face and body like the Freiburg variety, the 
body being less than that of the two other Lyon- 
nese founts. Unlike these, however, it has a double 
hyphen, but the most noticeable point about it is 



348 EDITIONS OF <ARS MORIENDL' 

that it shows signs of contamination with a type 
of the Metlinger class, the M and D having the 
form characteristic of this class of type, while the 
other capitals (so far as they are not common to 
both) belong to the Richel-Kesler class. But 
otherwise nothing more than a general resemblance 
exists between the text type of the Dijon * Priui- 
legia ordinis Cisterciensis ' and that of our c Ars 
Moriendi ' ; the body of the former is slightly 
larger, and the face a little wider and shorter. It 
is just possible that the B used for the signature on 
the refto of leaf 9, which comes from another type, 
not elsewhere used in the volume, may be of the 
nature of a clue to the discovery of the printer, if 
it is a letter from the type used by Gaspard Ortuin 
for his c Maneken ' of 1495. But on a single letter 
not much can be based, and the type of Hemon 
David's 'Cautelae iuris,' also of 1495, might equally 
well lay claim to it. Thus at least three Lyon- 
nese founts exist at this period, closely connected, 
though less with one another than with common 
exemplars: but none of them can at present be 
assigned to any definite press. This negative re- 
sult, though it may well be due to the imperfec- 
tions of our knowledge of the byways of the 
extremely intricate history of early Lyonnese print- 
ing — a darkness which M. Claudin's present in- 
vestigations will do much to clear up — is certainly 
disappointing. 

R. Proctor. 




349 



THE BIBLIOGRAPHICAL COLLEC- 
TIONS OF THE LATE WILLIAM 
BLADES AND THE LATE TALBOT 
BAINES REED. 

j)HESE two collections, which are now 
in the possession of the St. Bride 
Foundation, are believed together to 
constitute the most complete library 
on Bibliography and the History of 
Printing in existence. They contain 
about 4,1 8 1 volumes with an interesting addition 
of 1,250 pamphlets. A supplementary collection 
is being made to bring them up to date, and bids 
fair to outdo them, at least in point of number, 
seeing that already it has reached a total of 3,159 
volumes and pamphlets. Added to the former 
figures we get the large total of 8,590, to which 
additions are being made nearly every day. 

The * William Blades ' Library is the result of a 
life spent in assiduously collecting everything relat- 
ing to its special subject. Wm. Blades began his task 
while still an apprentice and continued it to the end 
of his life. We have known men to make a toler- 
able collection on one subject, then leave it and 
start another. But this was not the case with Blades ; 
he loved his subject and endeavoured to complete 
his collection as far as possible. The starting-point 



3 so BIBLIOGRAPHICAL COLLECTIONS. 

of his enthusiasm was William Caxton. As a printer 
he was naturally interested in the man who first 
brought the art to England, and consequently 
sought information regarding him in all directions. 
Apparently he was disappointed with the results of 
his searches, as, indeed, he was justified in being, 
and with praiseworthy zeal engaged in a scientific 
scheme of research with a view of giving to the 
world a trustworthy and exhaustive memoir of our 
earliest printer. For years he gathered works on 
English and Continental printing, and as he pursued 
his studies, by-paths for future research were opened 
up to him, and in this way a useful working library 
was made. There are few real c show ' books — if 
Blades bought a book it was a book to be used, a 
necessary unit in the building up of a perfect whole 
— and thus works of little utility, no matter how 
great their attractions for c collectors/ are conspicu- 
ous by their absence. 

Biographies of printers and records of printing 
in towns, states or countries were Mr. Blades's 
delight, and he acquired them whenever possible. 
Of the literature on the mystery surrounding the 
invention of printing he had nearly everything, and 
the use he made of his books is shown in the paper 
read before the Library Association, entitled, c On 
the Present AspeCt of the Question — Who was the 
Inventor of Printing ? ' (1887). Although the one 
great authority on Caxton, his library contained no 
work from his press. In 1870 he wrote a little 
book called c How to tell a Caxton/ and at thfe end 
of the preface is a notice beginning, 4 Mr. Blades 
does not purchase Caxtons.' In another place he 



THE BLADES LIBRARY. 351 

said he was c only a poor printer/ and could not 
afford to do so. There are a number of fragments, 
however, showing several of the types used by 
Caxton, and there are also all the reproductions, in 
facsimile and otherwise, which have been published 
from time to time. Mr. Blades secured most of 
the earliest English books on printing — a good copy 
of Moxon's c Mechanick Exercises ' in its original 
wrappers he obtained for the absurd sum of six 
shillings — there is also a copy of the scarce 
c Regulae trium ordinum literarum typographic- 
arum/ by the same author, 1676, and Atkyns* rare 
traft on the c Original and Growth of Printing/ 
1 664, with the plate. Old John Lewis's c Life of 
Mayster Wyllyam Caxton, of the Weald of Kent/ 
seldom met with now, is carefully preserved in a 
special case, enriched with fragments from Caxton's 
press, and other matter of a like nature. Each edition 
of Ames is present, and in fa& every book of any 
importance on English printing may here be found. 

While Blades was not able to aspire to c Caxtons ' 
he managed to adorn his library with some forty 
or fifty 'fifteeners/ True, there is nothing of 
striking rarity among them, but they include some 
remarkably fine examples of typography, which 
was more to his purpose. An Aretinus ( c De bello 
italico/ 1 471) from the press of Jenson, looks as 
fresh and bright as though only just issued, and the 
same may be said of a copy of the c Decisiones 
nouae rotae Roman ae/ 1477, printed at Mainz by 
Peter SchoefFer. 

The early English press is represented by eighty 
books, etc., printed before 1 640, by such printers as 



i 



352 BIBLIOGRAPHICAL COLLECTIONS. 

Bcrthelet, Rastell, Whitchurch, Grafton, Jugge, 
East, Wyer, Short, Middleton, Marsh e and Day. 
Among the Americana is a copy of Cicero's c Cato 
Major ' from the office of Benjamin Franklin, Phila- 
delphia, 1744, which, in the sale catalogue of Mr. 
Henry Stevens's Franklin collection is quoted as 
specially rare. 

An unique seftion of the 'William Blades' 
Library is the collection of pamphlets. As has 
been before stated, they number 1,250, and each 
one is neatly cased in a stiff marbled-paper cover, 
on the outside of which is a label containing a 
short title of the work in Blades's own handwriting. 
These are all arranged in sizes, and from six to 
twelve of them, according to thickness, are kept in 
a green cloth case, suitably lettered on the back. 
A more interesting collection could scarcely be 
imagined ; here is a memoir of a noted printer, 
there a history of printing in some town, then we 
come across a little piece from the press of Wynkcn 
de Worde, and so we go on, each case containing 
some little surprise. As in human nature it seems 
usual to think more kindly of small things, so do 
we seem to appreciate these tiny treatises more 
than the statelier volumes that stand in the adjoin- 
ing case. The latter impress us with their magni- 
ficence, but the pamphlets appeal to us by their 
very unpretentiousness. 

A reprehensible pra&ice of Blades's was that of 
c making books/ *>., taking a portion of a work 
and giving it a new title. One conspicuous case 
of this was a book with the following title : * An 
account of some early printed English books in 



THE BLADES LIBRARY. 353 

the library of the Earl Spencer : being a portion 
of the Bibliotheca Spenceriana. By T. F. Dibdin, 
M.A., London, 1825/ This remained a puzzle 
for some time, until it was discovered that it really 
was a portion of the c Bibliotheca Spenceriana/ 
with a special title-page in two colours printed for 
it ! There are a tew other things of a similar 
chara&er, but none so remarkable as this. 

William Blades died in April, 1890. He left 
behind him a reputation for uprightness, industry, 
and learning, as well as for an unswerving devotion 
to an important line of research. His literary 
works form a memorial not unworthy of him, and 
after them deserves to be named his Library. In 
the winter of the year that he died it was an- 
nounced that his books would probably be sold in 
the following spring. The present Chairman of 
the St. Bride Foundation — Mr. C. J. Drummond — 
thereupon wrote to one of the executors — Mr. 
A. F. Blades — proposing that the Library should 
be kept inta6t in view of its possible purchase by 
the Governors of the Foundation, a body which, 
although its formation was then authorized, had 
not been elected. Mr. A. F. Blades replied that 
the executors would be pleased if the proposal 
could be carried out. An expert was employed to 
value the books, which he estimated at ^975. Of 
this amount the Governing Body provided £500, 
and the remainder was raised from outside sources. 
In the preparation of the designs for the building 
of the Institute suitable provision was made for 
placing the colle&ion in a separate fire-proof room, 
to be called 'The William Blades Library/ A 

III. A A 



354 BIBLIOGRAPHICAL COLLECTIONS. 

medallion portrait of Blades adorns the wall space 
over the door of the Library. 

While the late Talbot Baines Reed was devoted 
to the same subjeft as William Blades, he re- 
garded it from a somewhat different standpoint, 
with the result that the two collections vary a 
good deal. The line of distinction is perhaps 
rather fine, but Blades's colle&ion might be termed 
a c biographical history of printing/ while Reed's 
is more a c typographical ' history. Mr. Blades 
was interested in the printers, Mr. Reed in the 
types they used; and this is only natural, when 
it is remembered that Blades was profession- 
ally a printer, and Reed professionally a type- 
founder. 

Talbot Baines Reed was a son of Sir Charles 
Reed, head of a very old established firm of type- 
founders in the City, and his enthusiasm for the 
antiquities of printing was largely due to the great 
Caxton Exhibition of 1877. His principal in- 
terest was in tracing the development of English 
types and typemaking, and the results of his re- 
searches with this aim were published in a volume 
entitled 'A History of the Old English Letter 
Foundries, with Notes, Historical and Biblio- 
graphical, on the Rise and Progress of English 
Typography/ 4to. 1887. It must not be sup- 
posed, however, that his investigations here reached 
their culminating point, as, prefixed to the above- 
mentioned work, is an introdu&ory chapter on the 
types and typefounding of the first printers, in 
which he discusses the various accounts of the In- 
vention of Printing from a letter-founder's point of 



THE REED LIBRARY. 355 

view; and he maintained an interest in foreign 
typography all through. 

Very few specimen sheets have come down to 
us from the early days of printing, and to supply 
their place Reed surrounded himself with a col- 
lection of productions from all the most important 
presses, more especially of those which have in- 
troduced new fashions in type faces. In this way 
books from the presses of Sweynheym and Pan- 
nartz, Anthony Koburger, the c R ' Printer, 
Erhard Ratdolt, John Mentelin, ther Hoernen, 
Gerard Leeu, and John of Westphalia, amongst 
other fifteenth century printers, are preserved. 
Among these incunabula is a copy of Statham's 
c Abridgments ' down to the end of Henry VI., 
printed by Guillaume le Tailleur of Rouen for 
Pynson. There is nothing remarkable in the volume 
itself, but on the first few blank leaves is an Index, 
in Pynson's own handwriting, with his signature at 
the end. 

Reed also gathered a fair number of examples of 
early English typography, which, together with 
those in the Blades Library make a goodly array. 
Reed greatly enhanced the value of his books by 
the notes he made in them. A large proportion 
of them contain extremely interesting remarks on 
the type, the printer, or the particular book itself, 
for which many future bibliographers will grate- 
fully bless his memory, Reed was also something 
of an authority on Baskerville, and besides possessing 
a tolerable amount of information respecting him, 
the collection contains several beautiful specimens 
from his press, including both folio Bibles, c Para- 



356 BIBLIOGRAPHICAL COLLECTIONS. 

disc Lost/ c Paradise Regained/ and the c Virgil/ 
There are also several fine examples from the press 
of that now little appreciated printer, Bodoni of 
Parma, one of them being the Greek Iliad in three 
large folio volumes. 

It may possibly be news to some to hear that the 
type used by William Morris was cast at the 
foundry of Sir Charles Reed and Sons ; relative to 
this, Reed made the following note in his copy of 
the first Kelmscott edition of the ' Story of the 
Glittering Plain ' : 

c The types for this work were cast at the Fann 
Street Foundry from matrices produced from 
punches cut by French under Mr. Morris's per- 
sonal inspection and from his designs. The letters 
were modelled chiefly on those of Jenson and the 
early Venetian roman printers/ — T. B. Reed. 

Inserted in this same precious little volume is a 
letter from Morris to Reed, and another from Mr. 
Emery Walker to him, in which Mr. Walker 
states that the rush for copies of the c Glittering 
Plain ' had been so great, that Morris himself was 
willing to pay £3 each for as many as he could 
get, the published price having been two guineas. 
Another Morris relic is a quarto volume of en- 
larged photographs of various early letterings, 
which were used as models. 

The colle&ion of typefounders' specimen books, 
together with those in the Blades Library and the 
later additions in the Passmore Edwards Library 
is doubtless the largest and most complete extant. 
They range from the earliest times to the very 
latest, and include some exceptionally rare examples, 



THE REED LIBRARY. 357 

a notable one being the first sheet issued by the 
first Caslon in 1734. Only three copies of this 
are known. Strenuous efforts are being made to 
perfect this section as far as possible, as it is felt it 
will form an important factor in future typo- 
graphical history. 

Reed's Library, or rather that portion which ap- 
pertained to the Typographical Arts, was acquired 
by the Governors of the St. Bride Foundation in 
July, 1900, with money provided for the purpose 
by Mr. Passmore Edwards. 

The Libraries, shelved in the Institute situated 
in Bride Lane, Fleet Street, E.C., are open every 
day from 10 a.m. till 8 p.m. (Saturdays excepted), 
and are free to all bond fide students. A classified 
catalogue of the whole collection is in course of 
preparation. 

W. B. Thorne. 




358 



ENGLISH BOOK-ILLUSTRATION OF 
TO-DAY. 

IV. Some Children's Books Illustrators. 

6EIGH HUNT is one of many authors 
gratefully to praise the best-praised 
publisher of any day, Mr. Newbery, 
who, at the Bible and Sun in St. 
Paul's Churchyard, dispensed to long- 
ago children ' Goody Two Shoes,' 
* Beauty and the Beast,' * Prince Dorus,' and 
other less famous little books, bound in gilt paper 
and rich with many pictures. Charming memories 
prompt Leigh Hunt's mention of the little penny 
books ' radiant with gold,' that ' never looked so 
well as in adorning literature,' and if the radiance 
of his estimate of these nursery volumes is from an 
actual memory of gilt-paper binding, yet his words 
exemplify the spirit that makes right appreciation 
of modern picture-books so difficult. 

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



ENGLISH BOOK-ILLUSTRATION. 359 

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

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



360 ENGLISH BOOK-ILLUSTRATION 

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

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



OF TO-DAY. 361 

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



362 ENGLISH BOOK-ILLUSTRATION 

speare. A fine aptitude for discerning and render- 
ing 'the mysterious face of common things,* a 
fancy full of shapes, perception of the rationale of 
magic, are essential to the writer or artist who 
elefts to send his fancy after the dancing forms of 
fairyland. The recent drawings to Andersen, a 
volume of tales from Grimm, published in 1 894, 
and illustrations to modern inventions, such as 
c Down the Snow Stairs' (1886), and Mr. Andrew 
Lang's ' Prince Prigio/ show that Mr. Gordon 
Browne's ideas of fairyland, ancient and modern, 
are no less brisk and picturesque than are his 
ideas of everyday and of romance. His technique 
is so familiar that it is surely unnecessary to make 
even a brief disquisition on its merits in expressing 
fails as they exist in a popular scheme of reality 
and imagination. It is a healthy style, the ideals 
of beauty and of strength are never coarse, wanton 
or listless, the humour is friendly, and if the pathos 
occasionally verges on sentimentality, the writer, 
perhaps, rather than the artist is responsible. 

Mr. Gordon Browne draws the average child, 
and represents fun, fancy and adventure as the 
average child understands them. His art is un- 
sophisticated. The child is not a motif in a decor- 
ative fantasy, nor a quaint diagram figuring in 
nursery-Gothic elements of design, nor a bold in- 
vention among pifture-book monsters. The artists 
whose basis of art is the unadapted child, may, per- 
haps, be classed as the ' realists ' among children's 
illustrators. Among these realists are the illus- 
trators of Mrs. Moleswortb — with the exception 
of Walter Crane, first and chief of them. 



OF TO-DAY. 363 

Mr. Leslie Brooke succeeded Mr. Crane in 1891 
as the illustrator of Mrs. Molesworth's stories, and 
the careful un-selfconscious fashion of his drawing, 
his understanding of child-life and home-life as 
known to children, such as those of whom and for 
whom Mrs. Molesworth writes, makes these pen- 
drawings true illustrations of the text. His draw- 
ings are the result of individual observation and of 
a sense of what is fit and pleasant, though neither 
in his filling of a page, nor in the conception of 
beauty, is there anything definitely inventive to be 
marked. On the whole, his children and young 
people are rather representative of a class that 
maintains a standard of good looks among other 
desirable things, than of a type of beauty ; and if 
they are not artistic types, neither are they strongly 
individualized. In his c everyday ' illustrations 
Mr. Leslie Brooke does not idealize, but that his 
talent has a range of fancy is proved in illustra- 
tions to 'A School in Fairyland* (1896), and to 
some imaginings by Roma White. Graceful, re- 
gardful of an unspoilt ideal in the fairies, elves and 
flower-spirits, there are also frequent hints in these 
drawings of the humour that finds more complete 
expression in 'The Nursery Rhyme Book* of 
1897, and in the happy extravagance of 'The 
Jumblies ' and c The Pelican Chorus ' (1900). 
Outside the scope of pi6ture-book drawings are 
the dainty tinted designs to Nash's € Spring Song/ 
and the skilful pen-drawings to c Pippa Passes/ 

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



364 ENGLISH BOOK-ILLUSTRATION 

have distinction that is partly a development of an 
admiration for Du Maurier, though Mr. Baumer 
is too quick-sighted and appreciative of charm to 
remain faithful to any model in art with the model 
in life before his eyes. The children of Mr. 
Baumer are of to-day. The effect of the earlier 
* Punch ' artist on 
the work of the 
younger man is 
hardly more than 
suggested in certain 
fel ici ties of pose and 
expression added to 
those that a delight- 
ful kind of child 
discovers to an ob- 
server unusually 
sensitive to the vivid 
and engaging qual- 
ities of his subject. 
These children are 
swift of movement 
and of spirit, and 
the verve of the ar- 
tist's style is rarely 
forced, and still more rarely inadequate to the 
occasion. 

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




FROM MR. LEWIS BAUMER's ' HERMY.' 



BY LEAVE OF J 



, CHAMBERS. 



OF TO-DAY. 365 

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

The typical illustrative art of Birmingham is, 
however, of another kind. The quaint propriety 
of c old-fashioned ' childhood, which Kate Green- 
away's delicate pencil first represented at its artistic 
value, is akin to the conception of the child that 
prevails on the pages decorated by Mrs. Arthur 
Gaskin, but the work of Mrs. Gaskin shows nothing 
of the Stothard-like ideal that seems to have been 
the suggesting cause of * Greenaway ' play-pi6tures. 
In the arabesques of flowers and leaves which 
decorate many pages designed by Mrs. Gaskin 
one sees a freedom and fluency of line that are 
checked to quaintness and naive angularity when 
the child is the subject. Her conception of a 
piftorial child is very definite, and in her later 
work, one must confess, it is a conception hardly 
corroborated by observation of fa6t. c Horn Book 
Jingles' and 'The Travellers' of 1897 ^^ *898, 
show the culmination of a style that had more 
sympathetic charm in the tinted pages of the 
'A. B. C (1895), or the 'Divine and Moral 



366 ENGLISH BOOK-ILLUSTRATION 

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

Miss Calvert's winsome drawings in c Baby Lays' 
and 4 More Baby Lays ' are obviously related to the 
drawings of Mrs. Gaskin, though observation of 
real babies seems to have come between a rigid 
adherence to the model. The decorative illustra- 
tions by the Miss Holdens to 'Jack and the Bean- 
stalk' (1895), and to 'The Real Princess,' show 
evidence of fancy that finds expression while 
nothing of Mrs. Gaskin's teaching is forgotten* 

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



OF TO-DAY. 367 

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

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



368 ENGLISH BOOK-ILLUSTRATION 

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

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

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







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BB^I^Hm ^h BB^VB 






IP 




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■Y LEAVB OF MIMM. BLACKIE. 



370 ENGLISH BOOK-ILLUSTRATION 

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

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

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



OF TO-DAY. 371 

the national fairy tales, there are others in whose 
work the child figures incidentally, but not as the 
central fa6t. In this connexion one may consider 
those draughtsmen who illustrate modern wonder- 
books with Zankiwanks, Krabs and Wallypugs. 

Mr. Archie Macgregor should be classed, per- 
haps, among artists of the child in wonderland, 
but the personalities of Tomakin and his sisters, 
though Judge Parry sets them forth in prose and 
in verse with his usual high spirits, are not the 
illustrator's first care. c Katawampus,' ' The First 
Book of Krab,' and ' Butterscotia,' have made Mr. 
Macgregor's robust and strongly-defined drawings 
familiar, and, within the limits of the author's 
hearty imagination, his droll and unflagging repre- 
sentations of adventures, ceremonies and humours, 
are extremely apt. 

Children, goblins, animals and queer monsters 
are drawn with unhesitating spirit and humour, 
and with decorative invention that would be even 
more successful if it were less fertile in devising 
detail. More fortunate in rendering a&ion than 
facial expression, without the mystery that is the 
atmosphere of the magical fairy-land, the fadt and 
fancy of Mr. Macgregor are so admirably illustra- 
tive of Judge Parry's text that one is almost in- 
clined to attribute the absence of glamour to the 
artist's strong conception of the function of an 
illustrator. Mr. Alan Wright's work, again, is in- 
evitably associated with the invention of an author, 
though Mr. Farrow's c Wallypug ' books have not 
all been illustrated by one artist. Mr. Wright's 
drawings areT proof of an energetic and serviceable 



372 ENGLISH BOOK-ILLUSTRATION 

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

Mr. Arthur Rackham's illustrations to c Two 
Old Ladies, Two Foolish Fairies, and a Tom-Cat * 
(1897), an d t0 ' The Zankiwank and the Blether- 
witch ' show inspiriting talent for nursery extra- 
vaganza. The children, whirled from reality into 
a phantasmagoria of adventure, are deftly and 
happily drawn, the fairies have fairy grace, and the 
rout of hobgoblins and grotesques fill their parts. 
Drawing real animals, Mr. Rackham is equally 
quick to note what is characteristic, and this facility 
in realizing fa<5t and magic finds expression in the 
illustrations to * Grimm's Fairy Tales ' ( 1 900). 
This is the most important work of Mr. Rackham 
as a child's illustrator, and if the drawings are 
somewhat calculated to impress the horrid horror 
of witches and forest enchantments on uneasy minds, 
the charm of princesses and peasant maids, the 
sagacious humour of talking animals and the 
grotesque enlivenment of cobolds and gnomes are 
no less vividly represented. That Mr. Rackham 
admires Mr. E. J. Sullivan's scheme of decor- 
ative black-and-white is evident in these draw- 



OF TO-DAY. 373 

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

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




FROM MR. ARTHUR RACKHAM's ( GRIMm's FAIRY TALES.' 
BY LIAVI OP MESSRS. PRBEMANTLE. 

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



374 ENGLISH BOOK-ILLUSTRATION. 

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

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




FROM MR. BATTENS 'INDIAN FAIRY TALKS. 
BT LBAVI OF DAVID NUTT, 



376 ENGLISH BOOK-ILLUSTRATION. 

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

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




FROM MR. FORD 9 'PINK FAIRY BOOK. 
BY HAVE OP MKIIKB. LONGMANS, 



378 ENGLISH BOOK-ILLUSTRATION. 

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

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




FROM MR. MILLAR'S 'FAIRY TALES BY Q,' 
BY LIAV1 Of ytllftl. CAMILLt. 



380 ENGLISH BOOK-ILLUSTRATION 

be effective in realizing adtual historical and local 
conditions. If Mr. W. H. Robinson is also an apt 
illustrator of legends and of folk-tales, whose setting 
demands attention to the fadts of life as they were 
to story-tellers in far countries of once-upon-a-time, 
the more individual side of his talent is discovered 
in work of wilder and more intense fancy. Ander- 
sen's 'Marsh King's Daughter,' the Snow Queen 
with her frozen eyes, the picaresque mood of Little 
Claus, or the doom of proud Inger, are to his mind, 
and in illustrations to c Don Quixote' (1897), t0 
4 The Pilgrim's Progress,' and especially in the fully 
decorated volume of Poe's c Poems,' the forcible 
conceptions of the text find pictorial expression. 

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

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



OF TO-DAY. 381 

seleltion from Andersen suggested the later direc- 
tion of her ability. This, as the copiously illustrated 
c Fairy Tales from Hans Christian Andersen ' ( 1 899), 
and the large number of drawings contributed to 
Messrs. Newnes' edition of ' The Arabian Nights/ 
show, is in realizing themes less a&ual than those of 
Nursery Lyrics. A sense of drama in the pose and 
grouping of the multitudes of figures on the pages 
of the Danish and Arabian stories, and a sufficient 
care for the background, as the poet's eyes might 
have seen it behind the dream-figures that passed be- 
tween him and reality, are qualities that give Miss 
Stratton's competent work imaginative value. 

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

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



382 ENGLISH BOOK-ILLUSTRATION 

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

R. E. D. Sketchley. 



BIBLIOGRAPHY. 

(To September , 1901.) 

John D. Batten. 

Oedipus the Wreck ; or> l To Trace the Knave? Owen Seaman. 

8°. (F. Johnson, Cambridge, 1888.) 18 Must. (5 f. p.) 

With Lancelot Speed. 
English Fairy Tales. Colleited by Joseph Jacobs. 8°. (Nutt, 

1890.) 60 illust. and decorations. 2 by Henry Ryland. 

(8 f. p.) 
Celtic Fairy Tales. Seleited and edited by Joseph Jacobs. 8°. 

(Nutt, 1892J 70 illust. and decorations. (8 f. p.) 
Indian Fair* Tales. Seledted and edited by Joseph Jacobs. 8°. 

(Nutt, 1892.) 65 illust and decorations. (9 f. p.) 



OF TO-DAY. 383 

Fairy Tales from the Arabian Nights. Edited and arranged by 
£. Dixon. 8°. (Dent, 1893.) 5° iUust* ana * decorations. 
(5 f. p. in photogravure.) 

More English Fair* Tales. Colle&ed and edited by Joseph 
Jacobs. 8°. (Nutt, 1804.) 50 illust. and decorations. 

, (8 f- P) 
More Celtic Fairy Tales. Selected and edited by Joseph Jacobs. 

8°. (Nutt, 1894.) 67 illust. and decorations. (8 f. p.) 
More Fairy Tales from the Arabian Nights. Edited and arranged 

by E. Dixon. 8°. (Dent, 1895.) 40 illust. and decorations. 

(5 f. p. in photogravure.) 
A Masque of Dead Florentines. Maurice Hewlett. ObL fol. 

(Dent, 1895.) 15 illust. (4 f. p.) 
The Book of fvonder Voyages. Edited by Joseph Jacobs. (8°. 

(Nutt, 1896.) 26 illust. (7 f. p. in photogravure.) 
The Saga of the Sea-Swallow and Greenfeather the Changeling. 

8°. (Innes, 1896.) 33 illust. and decorations. (4 f. p.) 

With Hilda Fairbairn. 
Lewis Baumer. 
Jumbles. Lewis Baumer. 8°. (Pearson, 1897.) 50 pi&ured 

pages. (24 f. p., in colours.) 
Hoodie. Mrs. Molesworth. 8°. (Chambers, 1897.) 17 illust. 

(8 f. p.) 
Elsie's Magician. Fred Whishaw. 8°. (Chambers, 1897.) 

10 illust. (5 f. p.) 
The Baby Philosopher. Ruth Berridge. 8°. (Jarrold, 1898.) 

13 illust. (4 f. pj 
The Story of the Treasure Seekers. E. Nesbit. 8°. (Fisher 

Unwin, 1899.) 17 f. p.; 15 by Gordon Browne. 
By Mrs. Molesworth. 8°. (Chambers, 1 898-1900.) 17 illust. 

(12 f. p.) Hermy. The Boys and I. The Three Witches. 
F. D. Bedford. 

Old Country Life. S. Baring Gould. 4°. (Methuen, 1890.) 

37 illust. and decorations. 
The Deserts of Southern France. S. Baring-Gould. 2 vols. 

4 . Methuen, 1894. 144 illust. and diagrams; 37 by 

F. D. Bedford. (14 f. p.) 
The Battle of the Frogs and Mice. Rendered into English by 

Jane Barlow. (Methuen, 1894.) 147 pi&ured pages. 

(5 t P.) 
Old English Fairy Tales. S. Baring Gould. 8°. (Methuen, 

1895.) 19 illust. 



384 ENGLISH BOOK-ILLUSTRATION 

A Book ofNursiry Rhymes. 8°. (Methuen, 1 897.) 66 pi&ured 

pages. (21 f. p. in colours.) 
The Vicar of Wakefield. O. Goldsmith. 8°. (Dent, 1898.) 

1 2 f. p. in colours. 
The History of Henry Esmond. W. M. Thackeray, 8°. (Dent, 

1898.) 12 f. p., in colours. 
The Book of Shops. E. V. Lucas. Obi. 4 . (Grant Richards, 

1899.) 28 illust. and decorations. (26 f. p. in colours/) 
Four and Twenty Toilers. E. V. Lucas. ObL 4 . (Grant 

Richards, 1900.) 28 illust and decorations. (26 f. p. in 

colours.) "** 

Westminster Abbey. G. E. Troutbeck. 8°. Methuen, 1900. 

28 illust. (13 f. p.) 
Percy J. Billinghurst. 

A Hundred Fables of /Esop. From the English Version of Sir 

Roger L'Estrange. Introduction by Kenneth Grahame. 

8°. (Lane, 1899.) 101 f. p. 
A Hundred Fables of La Fontaine. 8°. (Lane, 1900.) 101 f. p. 
A Hundred Anecdotes of Animals. 8°. (Lane, 190 1.) 10 1 f. p. 
Gertrude M. Bradley. 

Songs for Somebody. Dollie Radford. 8°. (Nutt, 1893.) 33 

pictured pages. (7 f. p.) 
The Red Hen and other Fairy Tales. Agatha F. 8°. (Wilson, 

Dublin, 1893.) 4 f. p. 
New Piclures in Old Frames. Gertrude M. Bradley and Amy 

Mark. 4°. (Mark and Moody, Stourbridge, 1894.) 37 

pidured pages. (6 f. p.) 
Just Forty Winks. Hamish Hendry. 8°. (Blackie, 1897.) 

80 illust. and decorations. (11 f. p.) 
Tom 9 Unlimited. M. L. Warborough. 8°. (Grant Richards, 

1897.) 56 illust. (1 f. p.) 
Nursery Rhymes. 8°. (Review of Reviews, 1899.) 95 pidured 

pages. With Brinsley Le Fanu. (1 f. p. in colours.) 
Puff-Puff. Gertrude Bradley. Obi. foL (Sands, 1899.) l8 f - P- 

in colours. 
Pillow Stories. S. L. Howard and Gertrude M. Bradley. 

(Grant-Richards, 1901). 41 illust 
L. Leslie Brooke. 
Miriam's Ambition. Evelyn Everett-Green. 8°. (Blackie, 

1889.) 4 f. p. 
Thorndyke Manor. Mary C. Rowsell. 8°. (Blackie, 1890.) 

6 f. p. 



OF TO-DAY. 385 

The Secret of the Old House. Evelyn Everett-Green. 8°. 

(Blackie, 1890.) 6 f. p. 
The Light Princess. George Macdonald. 8°. (Blackie, 1 890.) 

3 f • P. 
Brownies and Rose Leaves. Roma White. 8°. (Innes, 1892.) 

19 Must. (9 f. p.) 
Bab. Ismay Thorn. 8°. (Blackie, 1892.) 3 f. p. 
Marian. Annie E. Armstrong. 8°. (Blackie, 1892.) 4 f. p. 
A Hit and a Miss. Hon. Eva Knatchbull-Hugessen. 8°. 

(Innes, 1893. Dainty Books.) 10 illust. (5 f. p.) 
Moonbeams and Brownies. Roma White. 8°. (Innes, 1894. 

Dainty Books.) 12 illust. (5 f. p.) 
Penelope and the Others. Amy Walton. 8°. (Blackie, 1 896.) 

2 f. p. 
School in Fairy Land. E. H. Strain. 8°. (Fisher Unwin, 

1896.) 7 f. p. 
The Nursery Rhyme Book. Edited by Andrew Lang. 8°. 

(Warne, 1897.) I0 9 Must, and decorations. (9 f. p.) 
A Spring Song. T. Nash. 8°. (Dent, 1898.) 16 pidured 

pages, in colours. 
Pippa Passes. Robert Browning. 8°. (Duckworth, 1898.) 

7 f. p. Lemerciergravures. 

The Pelican Chorus and other Nonsense Verses. Edward Lear. 

4°. (Warne, 1900.) 38 illust and decorations. (8 f. p., in 

colours.) 
The Jumblies and other Nonsense Verses. Edward Lear. 4 . 

(Warne, 1900.) 36 illust. and decorations. (14 f. p., in 

colours.) 
By Mrs. Molesworth. 8°. (Macmillan, 189 1-7.) 8 illust. 

(7 f. p.) Nurse Heatherdalis Story. The Girls and I. Mary. 

My New Home. Sheila* s Mystery. The Carved Lions. The 

Oriel Window. Miss Mouse and her Boys. 
Gordon Browne. 

Stories of Old Renown. Ascott R. Hope. 8°. (Blackie, 1883.) 

96 illust. (8 f. p.) 
A Waif of the Sea. Kate Wood. 8°. (Blackie, 1884.) 

4f. p. 
Miss FenwicVs Failures. Esme Stuart. 8°. (Blackie, 1885.) 

4f. p. 
Thrown on the World. Edwin Hodder. 8°. (Hodder, 1885.) 

8 f. p. 

WinniSs Secret. Kate Wood. 8°. (Blackie, 1885.) 4 f. p. 

III. C C 



386 ENGLISH BOOK-ILLUSTRATION 

Robinson Crusoe. Daniel Defoe. 8°. (Blackie, 1885.) 103 

illust. (8 f. p.) 
Kirke's Mill. Mrs. Robert O'Reilly. 8°. (Hatchards, 188s.) 

3 f -P- 
The Champion of Odin. J. F. Hodgetts. 8°. (Cassell, 188s.) 

8 f. p. 
'That Child: By the author of 'L'Atelier du Lys.* 8°. 

(Hatchards, 1885.) 2 f . p. 
Christmas Angel. B. L. Farjeon. 8°. (Ward, 188s.) 22 

illust. 
The Legend of Sir Juvenis. George Halse. Obi. 8°. (Hamil- 
ton, 1886.) 6 f. p. 
Mary's Meadow. Juliana Horatia Ewing. 8°. (S.P.C.K., 

1886.) 23 illust. 
Fritz and Eric. John C. Hutcheson. 8°. (Hodder, 1886.) 

8 f. p. 
Melchior's Dream. Juliana Horatia Ewing. 8°. (Bell, 1886.) 

8 f. p. 
The Hermit's Apprentice. Ascott R. Hope. 8°. (Nimmo, 

1886.) 4 illust. (3 f. p.) 
Gullivers Travels. Jonathan Swift. 8°. (Blackie, 1886.) 

10 1 illust. (8 f. p.) 
Rip van Winkle. Washington Irving. 8°. (Blackie, 1887.) 

46 illust. (42 f. p.) 
Devon Boys. Geo. Manville Fenn. 8°. (Blackie, 1887.) I2f.p. 
The Log of the « Flying Fish: Harry Collingwood. 8°. 

(Blackie, 1887.) 12 f. p. 
Down the Snow-stairs. Alice Corkran. 8°. (Blackie, 1887.) 

60 illust. (5 f. p.) 
Dandelion Clocks. Juliana Horatia Ewing. 4 . (S.P.C.K., 

1887.) 13 illust. by Gordon Browne, etc (4 f. p.) 
The Peace-Egg. Juliana Horatia Ewing. 4 . (o.P.C.K., 

1887.) 13 illust. (4f. p.) 
The Seven Wise Scholars. Ascott R. Hope. 8°. (Blackie, 

1887.) 93 illust. (4f. p.) 
Chirp and Chatter. Alice Banks. 8°. (Blackie, 1888.) 54 

illust. (4 f. p.) 
The Henry Irving Shakespeare. The Works of William Shake- 
speare. Edited bv Henry Irving and Frank A. Marshall. 

4 . (Blackie, 1888, etc.) 8 vols. 642 illust. by Gordon 

Browne, W. H. Margetson and Maynard Brown. (37 f. p. 

etchings.) 552 by Gordon Browne. (32 etchings.) 



OF TO-DAY. 387 

Snap-dragons. Juliana Horatia Ewing. 8°. (S.P.C.K., 1888.) 

14 Must. (4 f. p.) 
A Golden Age. Ismay Thorn. 8°. (Hatchards, 1888.) 6f.p. 



Fairy Tales by the Countess d'Aulnoy. Translated by J. R. 

Planch*. 8°. (Routledge, 1888.) 60 Must. (11 f. p) 
Harold the Boy-Earl. J. ¥. Hodgctts. 8°. (Religious Traft 



Society, 1888.) 11 f. p. With Alfred Pearse. 
Bunty and the Boys. Helen Atteridge. 8°. (Cassell, 1888.) 

4f. p. 
Tom's Nugget. J. F. Hodgetts. 8°. (Sunday School Union, 

1888.) 13 Must. (6f. p.) 
Claimed at last. Sibella B. Edgcumb. 8°. (Cassell, 1888.) 

4f. p. 
Great-Uncle Hoot-Toot. Mrs. Molesworth. 4 . (S.P.C.K., 

1889.) 24 Must. (4 f. p.) 
My Friend Smith. Talbot Baines Reed. 8°. (Religious Trad 

Society, 1889J 16 Must. (6 f. p.) 
The Origin of Plum Pudding. Frank Hudson. 8°. (Ward, 

1889.) 9 Must. (4 f. p., in colours.) 
Prince Prigio. Andrew Lang. 8°. (Arrowsmith, Bristol, 

1889.) 24 Must. (9 f. p.) 
A Flock of Four. Ismay Thorn. 8°. (Wells, Gardner, 1889.) 

7f. p. 
A Apple Pie. 8°. (Evans, 1890.) 12 pictured pages. 
Syd Belton. G. Manville Fenn. 8°. (Methuen, 189 1.) 6f. p. 
Great-Grandmamma. Georgina M. Synge. 8°. (Cassell, 

1 89 1.) 19 Must. (3 f. p.) 
Master Rockafellar's Voyage. W. Clarke Russell. 8°. (Methuen, 

1891.) 27 Must. (6 f. p.) 
The Red Grange. Mrs. Molesworth. 8°. (Methuen, 1891.) 

6 f. p. 
A Pinch of Experience. L. B. Walford. 8°. (Methuen, 1 892.) 

6 f. p. 
The Doclor of the l Juliet.' H. Collingwood. 8°. (Methuen, 

1892.) 6 f . p. 
A Young Mutineer. L. T. Meade. 8°. (Wells, Gardner, 

l8 93) 3 f -P- 
Graeme and Cyril. Barry Pain. 8°. (H odder, 1893.) l 9 *• P- 

The Two Dorothys. Mrs. Herbert Martin. 8°. (Blackie, 

1893.) 4f. P. 
One in Charity. Silas K. Hocking. 8°. (Warne, 1893.) 

4f. p. 



388 ENGLISH BOOK-ILLUSTRATION 

The Book of Good Counsels. Hitopadesa. Translated by Sir 
Edwin Arnold. 8°. (W. H. Allen, 1893.) 2 ° iUust - and 
decorations. (7 f. p.) 

Beryl. Georgina M. Synge. 8°. (Skeffington, 1894.) 3 f. p. 

Fairy Tales from Grimm. With introdudion by S. Baring 
Gould. 8°. fWells, Gardner, 1895.) 169 illust and de- 
corations. (16 f. p.) 

Prince Booboo and Little Smuts. Harry Jones. 8°. (Gardner, 
Darton, 1896.) 93 illust and decorations. (27 f. p.) 

Sintram and bis Companions and Undine. Baron de la Motte 
Fouqui. 8°. (Gardner, Darton, 1896.) 80 illust. (12 f. p.) 

The Surprising Adventures of Sir Toady Lion. S. R. Crockett 
8°. (Gardner, Darton, 1897.) 127 illust. and decorations. 
(18 f. p.) 

An African Millionaire. Grant Allen. 8°. (Grant Richards, 

1897.) °° iUust* 
Butterfly Ballads and Stories in Rbyme. Helen Atteridge. 8°. 

(Milne, 1898.) 63 illust. (4 f. p.) With Louis Wain and 

others. 32 by Gordon Browne. 
Paleface and Redskin and other Stories. F. Anstev. 8°. 

(Grant Richards, 1898.) 73 illust. and decorations. (10 f. p.) 
Dr. Jollybofs A. B. C. 4 . (Wells, Gardner, 1898.) 43 

pictured pages. (21 f. p.) 
Paul Carab Cornisbman. Charles Lee. 8°. (Bowden, 1898.) 

4f. p. 
Macbeth. Win. Shakespeare. 8°. (Longmans, 1899. Swan 

edition.) 10 f. p. 
Miss Caylefs Adventures. Grant Allen. 8°. (Grant Richards, 

1899.) 79 illus. (2 f. p.) 
The Story of the Treasure Seekers. (See Baunur.) 
Stories from Froissart. Henry New bolt. 8°. (Wells, Gardner, 

1899.) 32 illust. (17 f. p.) 
Eric, or Little by Little. F. W. Farrar. 8°. (Black, 1 899.) 

78 illust. 
Hilda Wade. Grant Allen. 8°. (Grant Richards, 1900.) 

98 illust. (if. p.) 
St. Winifreds. F. W. Farrar. 8°. (Black, 1900.) 152 illust. 
Daddy s Girl. L. T. Meade. 8°. (Newnes, 1901.) 37 illust. 

(2 f. p.) 
Gordon Browne's Series of Old Fairy Tales. 4 . (Blackie, 1886-7.) 
Hop my Thumb. 28 pi&ured pages. (4 f. p.) 
Beauty and the Beast. 34 pi&ured pages. (4 f. p.) 



OF TO-DAY. 389 

Ivanhoe. Guy Manner ing. Count Robert of Paris. Walter 
Scott. 8°. (Black. Dryburgh Edition.) 10 Woodcuts from 
drawings by Gordon Browne. 
By G. A. Henty. 8°. (Blackie, 1887, etc.) 

Bonnie Prince Charlie. With frolfe in Canada. True to 
the Old Flag. In Freedom's Cause. With Clive in India. 
Under Drake's Flag. 12 f. p. in each vol. 
With Lee in Virginia. The Lion of St. Mark. 10 f. p. 

in each vol. 
Orange and Green. For Home and Fame. St. George for 
England. Holdfast for England. Facing Death. 8 t. p. 
in each vol. 
Edith Calvert. 

Baby Lays. A. Stow. 8°. (Elkin Matthews, 1897.) l *> 

illust. (15 f. p.) 
More Baby Lays. A Stow. 8°. (Elkin Matthews, 1898.) 
14 illust. (13 f. p.) 
Marion Wallace-Dunlop. 

Fairies, Elves and Flower Babies. M. Rivett-Carnac. Obi. 8°. 

(Duckworth, 1 899.) 55 pictured pages. (4 f. p.) 
The Magic Fruit Garden. Marion Wallace-Dunlop. 8°. 
(Nister, 1899.) 48 illust. (5 f. p.) 
H. J. Ford. 
jEsop's Fables. Arthur Brookfield. 4 . (Fisher Unwin, 

1888.) 29 illust. 
The Blue Fairy Book. Edited by Andrew Lang. 8°. (Long- 
mans, 1899.) 137 illust. (8 f. p.) With G. P. Jacomb 
Hood. 
The Red Fairy Book. Edited by Andrew Lang. 8°. (Long- 
man's, 1890.) 99 illust. (4 f. p.) With Lancelot Speed. 
When Mother was little. S. P. Yorke. 8°. (Fisher Unwin, 

1890.) 13 f. p. 
A Lost God. Francis W. Bourdillon. 8°. (Elkin Matthews, 

1 89 1.) 3 Photogravures. 
The Blue Poetry Book. Edited by Andrew Lang. 8°. (Long- 
mans, 1891.) 98 illust. (12 f. p.) With Lancelot Speed. 
The Green Fairy Book. Edited by Andrew Lang. 8°. (Long- 
mans, 1892.) 1 01 illust. (12 f. p.) 
The True Story Book. Edited by Andrew Lang. 8°. (Long- 
mans, 1893.) 64 illust (8 f. p.) With L. Bogle, etc 
The Yellow Fairy Book. Edited by Andrew Lang. 8°. (Long- 
mans, 1894.) 104 illust. (22 f. p.) 



390 ENGLISH BOOK-ILLUSTRATION 

The Animal Story Book. Edited by Andrew Lang. 8°. (Long- 
mans, 1 896.) 66 illust. (29 f. p.) 

The Blue True Story Book. Edited by Andrew Lang. 8°. 
(Longmans, 1896.) 22 illust. (8 f. p.) With Lucien 
Davis, etc. Some from True Story Book. 

The Red True Story Book. Edited by Andrew Lang 8°. 
(Longmans, 1897.) 41 illust. (10 f. p.) 

The Pink Fairy Book. Edited by Andrew Lang. 8°. (Long- 
mans, 1897.) 68 illust. (33 f. p.) 

The Arabian Nights* Entertainment. Selected and Edited by 
Andrew Lang. 8°. (Longmans, 1898.) 66 illust. (33 f. p.) 

Early Italian Love Stories. Taken from the original by Una 
Taylor. 4 . (Longmans, 1899.) 12 illust. and photo- 
gravure frontispiece. 

The Red Book of Animal Stories. Selected and edited by Andrew 
Lang. 8°. (Longmans, 1899.) 67 illust. (32 f. p.) 

The Grey Fairy Book. Edited by Andrew Lang. 8°. (Long- 
mans, 1900.) 59 illust. (32 f. p.) 

The Violet Fairy Book. Edited by Andrew Lang. 8°. (Long- 
mans, 1901.) 66 illust. (33 f. p., 8 in colours.) 
Mrs. Arthur Gaskin. 

A. B. C. Mrs. Arthur Gaskin. 8°. (Elkin Matthews, 1896.) 
56 pictured pages. 

Divine and Moral Songs for Children. Isaac Watts. 8°. (Elkin 
Matthews, 1896.) 14 illust. (13 f. p.) In colours. 

Horn-book Jingles. Mrs. Arthur Gaskin. 8°. (Leadenhall 
Press, 1896-7.) 70 pidured pages. 

Little Girls and Little Boys. Mrs. Arthur Gaskin. 12 . 
(Dent, 1 898.) 27 pictured pages, in colours. 

The Travellers and other Stories. Mrs. Arthur Gaskin. 8°. 
(Bowden, 1898.) 61 pictured pages, in colours. 
Winifred Green. 

Poetry for Children. Charles and Mary Lamb. Prefatory note 
by Israel Gollancz. 8°. (Dent, 1898.) 56 illust. and 
decorations. (30 f. p., in colours.) 

Mrs. Leicester's School. Charles and Mary Lamb. ObL 8°. 
(Dent, 1 899.) 41 illust. and decorations. ( 1 3 f. p., in colours.) 
Emily J. Hardino. 

An Affair of Honour. Alice Weber. 4 . (Farran, 1892.) 
19 illust. (6 f. p.) 

The Disagreeable Duke. Ellinor Davenport Adams. 8°. (Geo. 
Allen, 1894.) 8 f. p. 



OF TO-DAY. 391 

Fairy Talis of the Slav Peasants and Herdsmen. From the 
French of Alex. Chodsko. Translated by Emily J. Hard- 
ing. (Allen, 1896.) 56 illust. (33 f. p.) 

Hymn on the Adorning of Christ's Nativity. (See T. H. Robin- 
son.) 
Violet M. and E. Holden. 

The Real Princess. Blanche Atkinson. 8°. (Innes, 1894.) 
19 illust. (5 f. p.) 

The House that Jack Built. 32 . (Dent, 1895. Banbury 
Cross Series.) 39 illust. and decorations. (14 f. p.) 
Archie Macgregor. 

Katawampus: Its Treatment and Cure. Judge Parry. 8°. 
(Nutt, 1895.) 31 illust. and decorations. (7 f. p.) 

Butterscotiay or A Cheat Trip to Fairyland. Judge Parry. 8°. 
(Nutt, 1896.) 35 illust. (5 f. p.) 

The First Book of Krah. Judge Parry. 8°. (Nutt, 1897.) 
25 illust. and decorations. (3 f. p.) 

The World Wonderful. Charles Squire. 8°. (Nutt, 1898.) 
35 illust. and decorations. (10 f. p.) 
H. R. Millar. 

The Humour of Stain. Sele&ed with an introduction and 
notes by Susan M. Taylor. 8°. (Scott, 1894.) 52 illust. 

(39 f - P-) 
The Golden Fairy Book. George Sand, etc. (Hutchinson, 

1894.) no illust. (n f. p.) 

Fairy Tales Far and Near. 8°. (Cassell, 1895.) 28 illust. 

(7 f. PO 
The Adventures of Hajji Baha of Ispahan. James Morier. 8°. 

(Macmillan, 1895.) 40 illust. (25 f. p.) 

The Silver Fairy Book. Sarah Bernhardt, etc. 8°. (Hutchin- 
son, 1 895.) 84 illust. (7 f. p.) 

The Phantom Ship. Captain Marryat. 8°. (Macmillan, 
1896. Illustrated Standard Novels.) 40 f. p. 

Headlong Hall, and Nightmare Abbey. T. Love Peacock. 
With introduction by George Saintsbury. 8°. (Macmillan, 
1896.) 40 f. p. 

Frank Mildmay. Captain Marryat. Introduction by David 
Hannay. 8°. (Macmillan, 1897. Illustrated Standard 
Novels.) 40 illust. (27 f. p.) 

Snarleyyow. Captain Marryat. Introduction by David Han- 
nay. 8°. (Macmillan, 1897. Illustrated Standard Novels.) 
40 illust. (33 f. p.) 



392 ENGLISH BOOK-ILLUSTRATION 

The Diamond Fairy Book. Isabel Bellerby, etc. 8°. (Hutchin- 
son, 1897.) 83 illust. (12 f. p.) 

Untold Tales of the Past. Beatrice Harraden. 8°. (Black- 
wood, 1897.) 39 illust. (31 f. p.) 

Eotben. A. W. Kinglake. 8°. (Newnes, 1898.) 40 illust. 
(17 f. p.) 

Pbroso. Anthony Hope. 8°. (Methuen, 1897.) 8 f. p. 

The Book of Dragons. E. Nesbit. 8°. (Harper, 1900.) 15 
f. p. Decorations by H. Granville Fell. 

Nine Unlikely Tales for Children. E. Nesbit. 8°. (Fisher 
Unwin, 1901.) 27 f. p. 

Booklets by Count Tolstoi. 8°. (Walter Scott, 1 895-7.) * f. p. 
in each vol. 

Master and Man. Ivan the Fool. What Men Live By. 
Where Love is there God is also. The Two Pilgrims. 
Carton Moore Park. 

An Alphabet of Animals. Carton Moore Park. 4 . (Blackie, 
1899.) 52 pictured pages. (26 f. p.) 

A Book of Birds. Carton Moore Park. Fol. (Blackie, 1900.) 
27 f. p. 

A Child's London. Hamish Hendry. 4 . (Sands, 1900.) 46 
illust. and decorations. (14 f. p.) 

The Confessions of Harry Lorrequer. Charles Lever. With in- 
troduction by W. K. Leask. 8°. (Gresham Publishing Co., 
1900.) 6 f. p. 

A Book of Elfin Rhymes. Norman. 4 . (Gay and Bird, 1900.) 
40 illust., in colours. 

The Chilis Piclorial Natural History. 4 . (S.P.C.K., 1901.) 
12 illust. (9 f. p.) 
Rosie M. M. Pitman. 

Maurice, or the Red Jar. The Countess of Jersey. 8°. 
(Macmillan, 1894.) 9 f. p. 

Undine. Baron de la Motte Fouqul. 8°. (Macmillan, 1897.) 
63 illust. and decorations. (32 f. p.) 

The Magic Nuts. Mrs. Molesworth. 8°. (Macmillan, 1898.) 
8 illust. (7 f. p.) 
Arthur Rackham. 

The Dolly Dialogues. Anthony Hope. 8°. ( c Westminster 
Gazette,' 1894.) 4 f. p. 

Sunrise-Land. Mrs. Alfred Berlyn. 8°. (Jarrold, 1894.) 
136 illust. (2 f. p.) 

Tales of a Traveller. Washington Irving. 2 vols. 4 . (Put- 



OF TO-DAY. 393 

man, 1 895. Buckthorne edition.) 25 illust., with borders 

and initials. 5 photogravures by Arthur Racicham. 
The Sketch Book. Washington Irving. 2 vols. 4 . (Put- 
man, 1895. Van Tassel edition.) 32 illust., with others. 

Borders. 4 photogravures by Arthur Racicham. 
The Money Spinner and other Char after Notes. Henry Seton 

Merriman and S. G. Tallintyre. 8°. (Smith, Elder, 1896.) 

12 f. p. 
The Zankiwank and the Bletherwitcb. S. J. Adair Fitzgerald. 

8°. (Dent, 1896.) 41 illust. (17 f. p.) 
Two Old Ladies, Two Foolish Fairies and a Tom Cat. Maggie 

Browne. 8°. (Cassell, 1897.) 23 illust. (14 f. p., 4 in colours.) 
Charles O'Malley. Charles Lever. 8°. (Service and Paton, 

1897.) 16 f. p. 
The Grey Lady. Henry Seton Merriman. 8°. (Smith, Elder, 

1897.) 12 f. p. 
Evelina. Frances Burney. 8°. (Newnes, 1898.) 16 f. p. 
The Ingoldshy Legends. H. R. Bar ham. 8°. (Dent, 1898.) 

102 illust. (40 f. p.) 12 printed in colours. 
Feats on the Fjords. Harriet Martineau. 8°. (Dent, 1899. 

Temple Classics for Young People.) 12 f. p. 
Tales from Shakespeare. Charles and Mary Lamb. 8°. (Dent, 

1899. Temple Classics for Young People.) 12 f. p. 
Fairy Tales of the Brothers Grimm. Translated by Mrs. Edgar 

Lucas. 8°. (Freemantle, 1900.) 102 illust. (32 f. p., in 

colours.) 
Charles Robinson. 

/E sop's Fables. 32 . (Dent, 1895. Banbury Cross Series.) 

45 illust. and decorations. (15 f. p.) 
Animals in the Wrong Places. Edith Carrington. 16 . (Bell, 

1896.) 14 illust. (1 1 f. p.) 
The Child World. Gabriel Setoun. 8°. (Lane, 1896.) 104 

illust. and decorations. (1 1 f. p.) 
Make-believe. H. D. Lowry. 8°. (Lane, 1896.) 53 illust. 

and decorations. (4 f. p.) 
A Child's Garden of Verses. Robert Louis Stevenson. 8°. 

(Lane, 1896.) 173 illust. and decorations. (14 f. p.) 
Bobbie's Little Master. Mrs. Arthur Bell. (Bell, 1897.) 8 

illust. (3 f. p.) 
King Longbeardy or Annals of the Golden Dreamland. Barrington 

MacGregor. 8°. (Lane, 1 898.) 116 illust. and decorations. 

(12 f. p.) 



394 ENGLISH BOOK-ILLUSTRATION 

Lullaby Land. Eugene Field. Selected by Kenneth Grahame. 

8°. (Lane, 1898.) 204 illust. and decorations. (14 f. p.) 
Lilliput Lyrics. W. B. Rand. Edited by R. Brimley Johnson. 

8°. (Lane, 1899.) 113 illust and decorations. (9 f. p., 1 

in colours.) 
Fairy Tales from Hans Christian Andersen. Translated by 

Mrs. E. Lucas. 8°. (Dent, 1899.) 107 illust. and decora- 
tions. (40 f. p., 1 in colours.) With Messrs. X. H. and 

W. H. Robinson. 
Pierrette. Henry de Vere Stacpoole. 8°. (Lane, 1900.) 

21 illust. and decorations. (14 f. p.) 
Child Voices. W. E. Cule. 8°. (Melrose, 1900.) 17 illust. 

and decorations. (13 f. p.) 
The Little Lives of the Saints. Rev. Percy Dearmer. B°. 

(Wells, Gardner, 1900.) 64 illust. and decorations. (13 f. p.) 
The Adventures of Odysseus. Retold in English by F. S. Marion, 

R. J. G. Mayor, and F. M. Stawell. 8°. (Dent, 1900.) 

28 illust. and decorations. (14 f. p., I in colours.) 
The True Annals of Fairy Land. Qhe Reign of King Hesla. 

Edited by William Canton. 8°. (Dent, 1900.) 185 illust. 

and decorations. (22 f. p., 1 in colours.) 
Sintram and his Companions and Aslauga's Knight. Baron de 

la Motte Fouqul. 8°. (Dent, 1900. Temple Classics for 

Young People.) 12 f. p., 1 in colours. 
The Master Mosaic- Workers. George Sand. Translated by 

Charlotte C. Johnston. 8°. (Dent, 1900. Temp. Class. 

for Young People.) 1 2 f. p., 1 in colours. 
The Suitors of Aprille. Norman Garstin. 8°. (Lane, 1900.) 

18 illust. and decorations. (15 f. p.) 
Jack of all Trades. J. J. Bell. 4 . (Lane, 1900.) 32 f. p., 

in colours. 
T. H. Robinson. 

Old World Japan. Frank Rinder. 8°. (Allen, 1895.) 34 

illust. (14 f. p.) 
Cranford. Mrs. Gaskell. 8°. (Bliss, Sands, 1896.) 17 

illust. (16 f. p.) 
Legends from River and Mountain. Carmen Sylva and Alma 

StrettelL 8°. (Allen, 1896.) 41 illust (10 f. p.) 
The History of Henry Esmond. W. M. Thackeray. 8\ 

(Allen, 1896.) 72 illust. and decorations. (1 f. p.) 
The Scarlet Letter. Nathaniel Hawthorne. 8°. (Bliss, 

Sands, 1897.) 8 f. p. 



OF TO-DAY. 395 

A Sentimental Journey through France and Italy. Laurence 
Sterne. 8°. (Bliss, Sands, 1897.) 89 illust. and decorations. 

Hymn on the Morning of Christ s Nativity. John Milton. 8°. 

(Allen, 1897.) 15 t. p. With Emily J. Harding. 
A Child* s Book of Saints. W. Canton. 8°. (Dent, 1898.) 

19 f. p. (1 in colours.) 
The Heroes, or Greek Fairy Tales for my Children. Chas. 

Kingsley. 8°. (Dent, 1899. Temple Classics for Young 

People.) 12 f. p., 1 in colours. 
Fairy Tales from the Arabian Nights. 1 1 f. p., 1 in colours. 
Fairy Tales from Hans Christian Andersen. 8°. (Dent, 

1899.) (See C. H. Robinson.) 
A Book of French Songs for the Young. Bernard Minssen, 8°. 

(Dent, 1899.) 55 illust. and decorations. (9 f. p.) 
Lichtenstein. Adapted from the German of Wilhelm Hauff by 

L. L. Weedon. 8°. (Nister, 1900.) 20 illust. and decora- 
tions. (8 f. p.) 
The Scottish Chiefs. Jane Porter. 8°. (Dent, 1900.) 65 

illust. (19 f. p.) 
W. H. Robinson. 

Don Quixote. Translated by Charles Jarvis. 8°. (Bliss, 

Sands, 1897.) 16 f. p. 
The Pilgrim*s Progress. John Bunyan. Edited by George 

Offer. 8°. (Bliss, Sands, 1897.) 2 4 *• P- 
The Giant Crab and Other Tales from Old India. Retold by 

W. H. D. Rouse. 8°. (Nutt, 1897.) 52 illust. and decora- 
tions. (7 f. p.) 
Danish Fairy Tales and Legends. Hans Christian Andersen. 

8°. (Bliss, Sands, 1897.) *. 6 f - P- 
The Arabian Nights* Entertainments. 4 . (Newnes, by ar- 
rangement with Messrs. Constable, 1899.) 546 illust. 

With Helen Stratton, A. D. McCormick, A. L. Davis and 

A. P. Norbury. (38 f. p.) 
The Talking Thrush and other Tales from India. Colle&ed by 

W. Cooke. Retold bv W. H. D. Rouse. 8°. (Dent, 

1899.) 84 illust. and decorations. (8 f. p.) 
Fairy Tales from Hans Christian Andersen. (See Charles 

Robinson.) 
The Poems of Edgar Allan Poe. Introduction by H. Noel 

Williams. 8°. (Bell, 1900. The Endymion Series.) 103 

illust. and decorations. (2 double-page, 26 f. p.) 



396 ENGLISH BOOK-ILLUSTRATION 

Tales for Toby. Ascott R. Hope. 8°. (Dent, 1900.) 29 

illust. and decorations. (5 f. p.) With S. Jacobs. 
Helen Stratton. 

Songs for Little People. Norman Gale. 8°. (Constable, 1896.) 

119 illust. and decorations. (8 f. p.) 
Tales from Hans Andersen. 8°. (Constable, 1896.) 58 illust. 

and decorations. (6 f. p.) 
Beyond the Border. Walter Douglas Campbell. 8°. (Con- 
stable, 1898.) 167 illust. (40 f. p.) 
The Fairy Tales of Hans Christian Andersen. 4 . (Newnes, 

by arrangement with Messrs. Constable, 1899.) 424 illust. 

Some reprinted from Tales from Hans Andersen. 
The Arabian Nights' Entertainments. (See William Heath 

Robinson.) 
A. G. Walker. 

The Lost Princess, or the Wise Woman. George Macdonald. 

8°. (Wells, Gardner, 1895.) 22 illus. (6 f. p.) 
Stories from the Faerie §>ueene. Mary Macleod. With intro- 
duction by J. W. Hales. 8°. (Gardner, Darton, 1897.) 

86 illust. (40 f. p.) 
The Book of King Arthur and his Noble Knights. Stories from 

Sir Thomas Malory's Morte D* Arthur. Mary Macleod. 

8°. (Wells, Gardner, 1900.) 72 illust. (35 f. p.) 
Alice B. Woodward. 

Eric, Prince of Lor Ionia. Countess of Jersey. 8°. (Mac- 

millan, 1895.) 8 f. p. 
Banbury Cross and other Nursery Rhymes. 32 . (Dent, 1895. 

Banbury Cross Series.) 62 pi&ured pages. (23 f. p.) 
To Tell the King the Sky is Falling. Sheila £. Braine. 8°. 

(Blackie, 1896.) 85 illust. and decorations. (8 f. p.) 
Bon-Mots of the Eighteenth Century. 16 . (Dent, 1897.) 64 

grotesques. (7 f. p.) 
Bon-Mots of the Nineteenth Century. 16 . (Dent, 1897.) 64 

grotesques. (9 f. p.) 
Brownie. Alice Sargant. Music by Lilian Mackenzie. Obi. 

folio. (Dent, 1897.) 44 pidured pages, in colours. 
Red Apple and Silver Bells. Hamish Hendry. 8°. (Blackie, 

1897.) I52pi&ured pages. (21 f. p., in colours.) 
Adventures in Toyland. Edith Hall King. 4 . (Blackie, 1897.) 

78 illust. and decorations. (8 f. p., in colours.) 
The Troubles of Tatters and other Stories. Alice Talwin Morris. 

8°. (Blackie, 1898.) 62 illust. and decorations. (8 f. p.) 



OF TO-DAY. 397 

The Princess of Hearts. Sheila £. Braine. 4 . (Blackie, 
1899.) 69 illust. and decorations. (4 f. p., in colours.) 

The Cat and the Mouse. Obi. 4 . (Blackie, 1 899.) 24 pic- 
tured pages. (6 f. p., in colours.) 

The Elephant's Apology. Alice Talwin Morris. 8°. (Blackie, 
1899.) 35 illust. 

The Golden Ship and other Tales. Translated from the Swahili. 
8°. (Universities' Mission, 1900.) 36 illust and decorations, 
with Lilian Bell. (19 f. p., 4 by A. B. Woodward/) 

The House that Grew. Mrs. Molesworth. 8°. (Macmillan, 
1900.) 8 illust. (7 f. p.) 
Alan Wright. 

§>ueen Vicloria's Dolls. Frances H. Low. 4 . (Newnea, 
1894.) 73 illust. and decorations. (36 f. p., 34 in colours.) 

The Wallypug in London. G. E. Farrow. 8°. (Methuen, 
1898.) 56 illust. (13 f. p.) 

Adventures in Wallypug Land. G. E. Farrow. 8°. (Methuen, 
1898.) 55 illust. (18 f. p.) 

The Little Panjandrum's Dodo. G. E. Farrow. 8°. (Skeffing- 
ton, 1899.) 72 illust. (4 f. p.) 

The Mandarin's Kite. G. E. Farrow. 8°. (Skeffington, 1900.) 
57 illust 




398 



EDWARD EDWARDS. 

j)HE influence of Edward Edwards in 
the public library movement was so 
strongly marked and so beneficial as 
to make it a matter of surprise that 
sixteen years have passed since his 
death before he has found a bio- 
grapher. The story of his life has been delayed so 
long that some passages in it remain obscure ; but 
no man need desire a more painstaking and sym- 
pathetic biographer than Edwards has found in 
Mr. Thomas Greenwood. 1 

The career of Edwards, whilst devoid of adven- 
ture, is one of pathetic interest. He accomplished 
a great public good by his persistent advocacy of 
municipal libraries, and his writings, scholarly and 
exaft, are not likely to be entirely superseded. But 
he was not a man who achieved personal success ; 
at no period was he rich, and the latter days of his 
long life were darkened by distress, which a more 
prudent man would have avoided. His great 
qualities were obscured and negatived by a fatal 
incapacity for harmonious co-operation with others 
in the ordinary business of life. If the kindly and 
judicial spirit which breathes in his writings, even 

■ 'Edward Edwards, the Chief Pioneer of Municipal Public 
Libraries. By Thomas Greenwood. London : Scott Greenwood 
and Co.* 8vo. Pp. xiL-246. 21. i>d. net, 



EDWARD EDWARDS. 399 

when speaking of strenuous opponents, could have had 
free play in his personal intercourse with the world 
he would probably have been happier, though per- 
haps not more useful. All men have the defedts 
of their qualities, but these stand out with greater 
distinctness in the case of pioneers — the men with a 
mission. Such a man was Edward Edwards, who 
accomplished a great purpose, and was the main 
instrument by which municipal libraries became 
possible in this country. 

He was born in 181 2 at London, where his 
father was a builder, resident in Idol Lane. Of his 
youth little is known, and it is remarkable to find 
him at the age of twenty-three taking his place 
among the experts who were called upon to give 
evidence before the Parliamentary Committee on 
the condition of the British Museum. Some of the 
witnesses were almost incredibly foolish, but 
Edwards showed a grasp of the praftical problems 
of a national library as well as a minute acquaint- 
ance with bibliography. His first pamphlet was 
on this subjeft, but he was also interested in the 
general question of education, and in matters affedt- 
ing the fine arts and their relation to the national 
life. Edwards was a nonconformist, and attended 
the ministry of Thomas Binney at the King's Weigh 
House Chapel; but if he had the seriousness of 
Dissent he was free from the narrowness that then 
sometimes chara&erized it ; he enjoyed the adting of 
Macready, and was not afraid even of the Sunday 
opening of art galleries. Panizzi, who was at work 
in the transformation of the British Museum, offered 
him a position there. But it was not as an official 



4 oo EDWARD EDWARDS. 

of the National Library that his life work was to 
be done. He had already began to accumulate 
material for an exhaustive work on the history and 
management of public libraries. This was the am- 
bition of a scholar, and its accomplishment might 
well have filled the leisure of his life. But he was 
a child of a time in which, whilst there was little 
popular education, there was a strong desire for its 
wide extension. Edwards saw that municipal 
libraries would be powerful instruments for the 
diffusion of knowledge, for the spread of literature, 
and even for the increase of learning. They did 
not then exist, and he became absorbed in the 
advocacy of their creation. He colledted informa- 
tion as to libraries at home and abroad. In 1 849 
he was a witness before the Royal Commission on 
the British Museum, and before the Parliamentary 
Committee on Public Libraries. The statistics 
which he furnished were severely attacked by Mr. 
Thomas Watts, and Panizzi declared them to be 
c most fallacious.' Yet the broad fa£t remained un- 
contested, and indeed incontestable, that Great 
Britain in the matter of public libraries made a 
very poor show when compared with continental 
countries, chiefly, perhaps, because at the Reformation 
the monastic libraries were so shamelessly scattered 
and destroyed instead of being nationalized. The 
weight of evidence was so strong that Mr. William 
Ewart succeeded in passing through Parliament the 
first Public Libraries A6t. The first place to 
adopt the Ad was Manchester, and Edwards was 
invited to become the first librarian. It was a for- 
tunate appointment for Manchester. The position 



EDWARD EDWARDS. 401 

of Edwards in the British Museum had become un- 
comfortable, and even the small salary — £200 
yearly — which the city offered was a great im- 
provement on what the nation had paid him. He 
laid the foundations of the Manchester institution 
broad and deep. His conception of a Reference 
Library was not confined to an Encyclopaedia, a 
Di&ionary, and a Dire&ory. He aimed at making 
it a representative colledtion of the best literature 
of all ages. He gave special attention to the annals 
of our own country, to the literature of political 
economy and the history of the local trades and 
industries. The lending department, whilst on a 
more popular scale, was one that could supply most 
of the literary needs of the average reader. Edwards 
was at Manchester from 1852 to 1858, and together 
with the good work he did there showed his old 
incapacity for working with others. The experi- 
ment of municipal management was novel, and the 
committee of the corporation did not always agree 
with the views of their librarian. The great cata- 
logue question became a bone of contention. The 
authorities of the Portico— an old-fashioned club 
and library — had printed a catalogue which was 
suggested, in a general way, as a good one. There- 
upon Edwards printed a scathing criticism in which 
the unlucky volume was convidted of every pos- 
sible bibliographical heresy. This was not the 
way'in which either to gain new friends'or to retain 
old ones. The Portico catalogue was not a model, 
but it served its purpose very well, and those 
who had given gratuitous labour for the benefit 
of their fellow members were, not unnaturally, 

III. D D 



4 o2 EDWARD EDWARDS. 

very indignant on the subjeft of Edwards's onslaught. 
The divergence between the librarian and the 
committee widened and deepened, and the inevit- 
able end was the severance of Edwards's connection 
with the library which he had built up on such 
sound foundations. It was a pitiable ending, and 
whilst there were, no doubt, faults on both sides, 
the quarrel was one that might have been avoided 
by conciliation and ta£t. Mr. Greenwood says 
that the catalogue of the Manchester Library c is 
a monument or what to avoid in cataloguing re- 
ference books. 1 This is not the place for details 
of a somewhat intricate history; but I must ex- 
press my dissent from this verdidt. The catalogue, 
with some inevitable faults, is a very good alpha- 
betical catalogue followed by an excellent index 
of subjects. Edwards, however, felt strongly on 
all subjects, and was averse from compromise, 
if not incapable of it. When first I knew the 
Manchester Library — in which thirteen years of 
my life were spent — there were many traditions 
of the impetuous spirit and generous heart of the 
first librarian. It is greatly to his credit that when 
writing the history of these years he did so with- 
out bitterness. The same may be said of his 
British Museum experiences, while he owed his 
entrance into the service of the national library to 
Panizzi, with him, as with Thomas Watts, his 
relations must have been uneasy ; but he did justice 
to both when he came to speak of them in his 
capacity as the historian of the British Museum. 
If this judicial temper had been shown earlier his 
career might have been very different Mr. Ed- 



EDWARD EDWARDS. 403 

wards, in the remainder of his life, may best be 
described as a man of letters. He had a brief 
partnership in a large Manchester book concern, 
where his knowledge of foreign literature should 
have been valuable. For a number of years he 
was engaged in cataloguing and calendaring at 
Oxford. His protracted labours on the Carte 
M SS. resulted in a calendar of so elaborate a char- 
after that it has never been printed. His published 
works are not of a popular character, and can have 
brought little profit. A fruitless application was 
made to Lord Beaconsfield in 1876, but in 1883 
Mr. Gladstone assigned him a Civil List pension 
of £80, and it is amusing as well as sad to know 
that Edwards cherished a strong dislike to the 
Premier who had given him this modest aid. 

The proje6t of a great book on libraries was 
conceived in the early manhood of Edwards, and 
the unavailing preparation for a second edition 
occupied the last shadowed years of his life. The 
'Memoirs of Libraries* appeared in 1859. In 
preparing for it he had accumulated an enormous 
mass of materials, and there is in it, as in his other 
books, some lack of proportion, but it is c matter- 
fur and sound. It was followed in 1864 by 
c Libraries and Founders of Libraries,' and in 1869 
by 'Free Town Libraries,* part of this volume 
being occupied by the useful but somewhat incon- 
gruous notices of famous book collectors and the 
place of deposit of their surviving collections. In 
1870 he published 'The Lives of the Founders of 
the British Museum.' These works, with a variety 
of pamphlets, articles and reports, form Mr. Ed- 



404 EDWARD EDWARDS. 

wards's contribution to the literature of libraries. 
When it is said that he worked to a large scale, 
and that he had not an artistic sense of proportion, 
the resources of adverse criticism are almost ex- 
hausted. He was full, exa£t and accurate, and 
everything he wrote was based upon the careful 
collection and comparison of all available inform- 
ation. He also gave the reader the means for 
checking his statements. His style, whilst free 
from inappropriate ornament, had the dignified 
simplicity befitting the theme, and was marked by 
his own strong individuality. Many of his per- 
sonal views changed in the course of his life. The 
young man who signed the Chartist petition in 
1848 became an adverse critic of the Government 
of London Bill in 1884. He began life as a Dis- 
senter ; he ended as an Anglican ; he was a Cob- 
denic Liberal in his manhood, and in old age a 
Conservative with a special disapproval of Mr. 
Gladstone. But in the changes and chances of his 
career he never lost faith in the civilizing influences 
of literature, and never ceased to desire that the best 
teachings of all time should be made freely acces- 
sible to all classes of society. 

Whilst Edwards was mainly concerned as an 
author with the history and economy of libraries, 
he made some notable contributions in other direc- 
tions. Pamphlets on education, works on the great 
Seals of England, on the Napoleonic medals, and on 
the condition of the Fine Arts in England, came 
early from his pen. He wrote an interesting series 
of c Chapters of the Biographical History of the 
French Academy,' and added to it an account of 



EDWARD EDWARDS. 405 

the MS. ' Liber Monasterii de Hyda,' which he 
had discovered in Lord Macclesfield's library. The 
description of the MS. seemed singularly out of 
place where he put it. At a later period he 
edited the c Liber ' for the Rolls Series. In 1868 
appeared a book about Exmouth and a Life of 
Ralegh, which contains an immense amount of 
fresh material, though it has failed to become the 
classic biography of that adventurous spirit. 

None of Edwards's books are 'popular* in 
the sense that brings to an author the adequate 
pecuniary reward of his labour and talent. Always 
useful and scholarly, often excellent, they had the 
fatal defedt of being 'caviare to the general.' And 
after the end of his Oxford engagement, the shadow 
of poverty darkened the old age of Edward Ed- 
wards. He had always given assistance, liberal in 
view of his always restricted means, to his mother 
and sisters. The wife who had been his friend, 
companion and helper for many years was dead, 
and increasing deafness made him shun society. 
Yet for his simple needs his Civil List pension 
would have sufficed but for his desire to bring out 
a second edition of his c Memoirs of Libraries.' As 
the publisher still held unsold copies of the first 
edition, he naturally did not approve of the issue 
of a prospedtus announcing the appearance of a 
second. He was not unfriendly, and always expressed 
a warm admiration for Edwards notwithstanding 
the difficulties which had arisen. Edwards was 
sanguine in spite of experience, and entered into 
arrangements with a printer in the Isle of Wight, 
where he was living, and several sheets were printed 



406 EDWARD EDWARDS. 

off. But it was impossible for Edwards to meet 
the expense, and the debt he had incurred em- 
bittered his last days. In his despair he wandered 
away and was found on St. Catherine's Down, 
where he had remained without food for three 
days and nights in inclement weather. He died a 
fortnight later, February 7th, 1886. 

Such, in brief outline, was the career of the man 
who has now found an industrious and sympathetic 
biographer in Mr. Thomas Greenwood. The 
patient labour which Mr. Greenwood has devoted 
to the colle&ion of his materials, and the skill with 
which he has marshalled them, make his book a 
valuable contribution to biographical literature. It 
is not a conventional story of ability and industry 
rewarded and honoured, nor is it a pidture of a 
faultless monster. Mr. Greenwood fully recog- 
nizes the imperfe&ions of Edwards's charadter, and 
the hindrances which deprived him of those worldly 
recompenses that fell to the lot of men less able, 
less useful and less worthy ; but he venerates him 
for his generous heart and for the good service he 
did to England. Only an enthusiast could have 
done his work. 'Cinis non finis* are the words 
inscribed on the monument ere&ed by Mr. Green- 
wood's pious care in the green churchyard of 
Niton, where Edward Edwards rests from his 
labours. 

Hundreds of municipal libraries are now in ex- 
istence, and the number is rapidly increasing under 
the generous stimulus of the well-diredted liberality 
of Mr. Passmore Edwards and Mr. Andrew Car- 
negie. These would have been impossible but 



EDWARD EDWARDS. 407 

for the enthusiastic advocacy of freely accessible 
libraries to which Edward Edwards devoted the 
best energies of an accomplished mind and strenuous 
spirit in the first half of the nineteenth century. 
Thousands who may never have heard his name 
have benefited by his labours. His books remain 
a memorial of his scholarship, but the English 
municipal library is a monument of his services to 
the well-being of the community. 

William E. A. Axon. 



408 



OLD PLAYS AND NEW EDITIONS: 

NOTES ON THE METHODS OF DEALING IN 
MODERN TEXTS WITH THE ORTHOGRAPHY, 
PUNCTUATION, TYPOGRAPHICAL PECULIARITIES, 
STAGE DIRECTIONS, ETC., OF EARLY EDITIONS. 

§)HE possibility of constructing a trust- 
" worthy text of an old play depends 
upon our knowledge of three things : 
(i.) the sources of the text — editions, 
manuscripts, etc. ; (ii.) the language ; 
and (iii.) the antiquities of the time, 
more especially those relating to the theatre. With 
regard to the first of these our information may be 
considered reasonably complete. In most cases we 
possess a fairly perfect sequence of editions, and 
while it is true that there are many libraries, both 
private and semi-public, which have never been 
subjected to systematic search, it is probable that in 
more than nine cases out of ten any new editions 
that turned up would be merely late reprints, 
ignorance of which, while it would make a critical 
edition theoretically imperfect, would in no wise 
detract from its real value. It is unlikely that 
there should be a repetition of the case of Heywood's 
1 Play of Love,' of which I had the good fortune to 
unearth the original folio edition of 1534 in such a 
famous collection as the Pepysian Library at Mag- 




OLD PLAYS AND NEW EDITIONS. 409 

dalene College, Cambridge, only a few months after 
Professor Brandl had edited the play from the late 
and imperfeft Bodleian quarto, till then supposed 
to be unique. It may, of course, happen, when 
copies are scattered through a variety of libraries 
about the country, that different editions bearing 
the same date and imprint may be confused, but 
here again it is unlikely that any edition of import- 
ance should be overlooked. With plays of which 
manuscripts alone remain the case is somewhat 
different. In some instances the manuscript seems 
to have perished, and is therefore past praying for ; 
all that can be done is to re-edit the text in the 
light of the latest philological knowledge. Some 
few manuscripts may be round to be in the hands 
of owners who refuse to allow them to be published, 
in which case one can only wait patiently till they 
pass to more worthy possessors. Others again have 
oeen lost sight of within the last century. Of these 
there is always some hope that a diligent search 
may reveal the place of hiding, or that a lucky 
accident may throw them into the market, as was 
the case with Massinger's autograph ( Believe as 
you List,' which has now fortunately ended its 
wanderings in our national library. 

Our knowledge of language too, though it in 
many ways yet leaves much to be desired, is not 
x only far more adequate, but founded on a far surer 
basis and wider observation than that available to 
editors in the past. The ' New English Didtion- 
ary,* which has occupied the labours of an army of 
scholars for close on half a century, is now ad- 
vancing towards a successful completion, more than 



4 i o OLD PLAYS AND NEW EDITIONS. 

half being already published, while the remainder 
of the material is in various stages of preparation. 
The chief point on which fuller knowledge is desir- 
able, namely the familiarity at different periods of 
various forms and turns of expression, a point which 
often becomes of first-rate importance when dealing 
with a corrupt text, is just one on which it is almost 
impossible to obtain fuller information until we 
possess reliable texts edited on a uniform plan. 
And thus, though editions might suffer in certain 
instances through our lack of knowledge in this 
matter, without such editions it is difficult to see 
how further knowledge is to be obtained. I think 
all editors who have given attention to the con- 
struction of texts will agree with me as to the diffi- 
culty of determining, for instance, what latitude is to 
be allowed with regard to old orthography short of 
supposing an adtual misprint ; what variation, short 
of necessitating the admission of a differing form of 
a word ; what queer turn of expression, lastly, we 
may suppose intentional and not due to the careless- 
ness of scribe or printer. 

With regard to antiquities, the editor of to-day 
is still often handicapped by his ignorance of the 
disposition and conventions of the Elizabethan 
stage. Modern editions of plays constantly contain 
arrangements of scenes and stage diredtions which 
would have been either impossible or absurd in the 
early theatres, the arrangement and directions in 
the original editions being often misunderstood and 
unintelligently altered. Here, however, it is not 
so much that the knowledge does not exist as that 
editors do not know where to find it or are too lazy 



OLD PLAYS AND NEW EDITIONS. 411 

to take the trouble to do so. Nevertheless it is 
certainly to be desired that some competent person 
should take the matter in hand, and investigate the 
whole conditions of ailing in the sixteenth and early 
seventeenth centuries as they affe£t the plays them- 
selves, and so leave editors no excuse for ignorance 
on the subjedt. 

We come now to the unfortunately often-negledted 
question of orthography. To readers who have 
never approached our older literature from an 
historical point of view, to those who have never 
bestowed attention upon the study of our language 
as well as of our literature, the question may appear 
unimportant; there is no danger of any serious 
scholar being tempted to dismiss it lightly. The 
choice is pradtically, as far as extant editions are 
concerned, between a text reduced to the standard 
of modern English of to-day, and one in which the 
erratic and sometimes perplexing orthography of 
the early copies is retained. Present the ordinary 
reader with a literatim reprint, and he usually be- 
comes pathetic in his complaints of the ( slavish 
worship of the printer's devil.' There is a good 
deal to be said in support of his view. Take, for 
instance, certain laborious and, from the critic's 
point of view, very valuable editions of old plays 
by distinguished German scholars; the text has 
become a sort of typographical puzzle, most of 
the punftuation marks, for instance, being in- 
closed in brackets, while the foot of the page is 
crowded with collations of the minutest ortho- 
graphic and typographic variations in a number of, 
mostly utterly valueless, editions. I am thinking 



4 i2 OLD PLAYS AND NEW EDITIONS. 

particularly of Professor Breymann's edition of 
( Faustus/ which I have had considerable oc- 
casion to use in comparing the two versions of 
the play, there printed parallel, and for the value 
and accuracy of which I have the greatest possible 
resped. Nevertheless it is quite impossible to read 
it with the least pleasure in the author's work — it 
is not an edition but the critical apparatus for an 
edition. Yet this is the logical outcome of the 
' scientific ' method, of the faithful reproduction of 
the original text — are we likewise to regard it as 
the reduBio ad absurdum of the method ? Whatever 
our final answer to the question may be, it will not 
be difficult to understand why editors who, for the 
most part, and perhaps happily, are interested 
chiefly in the literary value of the works they edit, 
should as a rule have preferred to modernize the 
text. Nevertheless, whatever may be the draw- 
backs attending on a literatim reprint and the 
absurdities involved in carrying the scientific method 
to its logical outcome — though that is surely never 
a necessary and seldom a wise course — the habitual 
mode of wholesale modernization is far more un- 
satisfactory still. It is one continuous series of 
deliberate misrepresentations or clumsy makeshifts ; 
it breaks down in the matter of rimes ; it breaks 
down in the matter of rhythm ; it leads to all sorts 
of further alterations in the text, and frequently 
obscures the sense ; finally, in endeavouring to ex- 
tricate itself from these difficulties, it breaks down 
by becoming a confused medley of inconsistencies. 

The breakdown in the case of rimed verse is 
obvious. On every page almost the modernizer 



OLD PLAYS AND NEW EDITIONS. 413 

has either to destroy the rime, not only to the eye 
but frequently to the ear also, or else to retain at 
the end of the lines — thereby admitting their real 
existence — forms which he elsewhere discards. I 
came recently on a significant example in the 
c Faithful Shepherdess.' Near the end of the third 
scene of A6t IV. Clorin ends a speech with the 
words : 

' To bring them hether.' 

The Satyr replies : 

' I will ; and when the weather 
Serves to angle in the brook, 
I will bring a silver hook,' etc. 

Here Dyce printed 'hither/ apparently regarding 
the end of the one speech and the beginning of the 
next as forming one hypermetrical line, unrimed 
in the midst of a series of couplets. 

But even when by an illogical compromise the 
rime is saved, the whole rhythm of a passage may 
be marred by the substitution of the modern form. 
This happens in verse and prose alike, though more 
frequently in the latter, metre serving to some ex- 
tent, though imperfe6tly, to keep the vagaries of 
editors within bounds. One rather striking ex- 
ample will suffice. The Prayer-book version of the 
Psalms — that is the version belonging to the c Great 
Bible ' — was retained in the Church Service after 
the appearance of the Authorized Version on ac- 
count of the people having got used to the rhythm 
and setting. And yet merely through the gradual 
modernization of the orthography that rhythm has 
been in some cases completely altered. Thus the 



414 OLD PLAYS AND NEW EDITIONS. 

half-verse in the eighth Psalm always read in 
accordance with the Prayer-book of to-day, ' and 
whatsoever walketh through the paths of the s£as,' 
stands in the original, € and whatsoever walketh 
thorow the paths or the seas ' : the rhythm of which 
is absolutely different. Moreover, in verse the 
mischief does not end here : an editor alters c thorow* 
into c through/ and then finding the verse halt in- 
serts a word of his own fancying. It is true that I 
am speaking of the editors of the middle of the 
nineteenth century and before, but their vagaries 
were the dire6t outcome in many cases of the pro- 
cess of modernization they chose to adopt. If any- 
one — anyone, that is, with a reasonable ear for 
rhythm, or even a knowledge of what a rime is — 
thinks it possible to reproduce an old author satis- 
factorily in modern spelling, let him try his hand at 
the text of Spenser — the c Shepherds* Calendar* for 
choice — and I fancy he will not remain of that 
opinion long. 

There is an interesting passage dealing with the 
question of spelling in the preface to the c Cam- 
bridge * Shakespeare, to which I should like to call 
attention. The editors there discuss, with some 
care, the question of the advisability of retaining 
the old spelling, and decide on the whole that it is 
not advisable to do so. If, they argue, there were 
the least reason to suppose that the orthography of 
the first folio represented in any way that of Shake- 
speare himself, they would be strongly inclined to 
retain it, but since no such probability exists they 
prefer to modernize. Whether this course is ad- 
visable is another question, but it is certainly incon- 



OLD PLAYS AND NEW EDITIONS. 415 

sistent. Supposing the folio reads 'wrastle,' the 
question at once arises, whether Shakespeare wrote 
the form ' wrastle * or c wrestle/ both being in com- 
mon use at the time. The fadt that the folio prints 
'wrastle* may be no evidence that Shakespeare 
wrote that form, but still less is it evidence that he 
wrote c wrestle/ Yet when the text is corrupt and 
there are two possible emendations — that is again 
a case in which Shakespeare may have written 
either of two things, and the folio does not help 
us — in this case the editors preferred to retain the 
corrupt reading ! It may be a satisfactory com- 
promise, but that makes it no whit the more con- 
sistent. 

But it will be worth while to inquire whether 
it is not possible to arrive at a system by which 
uncritical mangling of an author and pedantic re- 
tention of an obsolete orthography shall be alike 
avoided. Such a method does undoubtedly exist, 
at least theoretically, and the solution of the diffi- 
culty would seem to lie in the construction of a 
normalized as distinguished from a modernized text. 
Some clumsy approximation towards this has in- 
deed been usually adopted by modern editors as a 
variation on wholesale modernization. The older 
editors when confronted with an obsolete form un- 
hesitatingly altered it, often thereby necessitating 
a further tampering with the text. A constantly 
recurring example is the form ' vild,' which used 
invariably to be altered either to c vile ' or € wild,' 
being taken for a misprint. Editors gradually began 
to realize that it was a real word — an old form of 
€ vile * — and began to retain it in the text. So with 



4i 6 OLD PLAYS AND NEW EDITIONS. 

a number of other words which have gradually 
come to be recognized and admitted forms. But 
this method can never lead to any permanent re- 
sult ; each successive text may be somewhat truer 
to its original, but an infinite succession would be 
needed to arrive at a final system of normalization, 
and the fidelity of any particular text depends upon 
how many of these catches the editor happened to 
know. A curious case occurred in an edition of a 
play of Shakespeare's not long ago. It happened 
to be a text in which the old orthography was re- 
tained, but since the reading turned on a question 
of misprint that does not affedt the case. The 
editor caused the whole edition to be printed off, 
altering the forms € then ' and ' than * in accordance 
with the modern usage, and was afterwards con- 
strained to add a note confessing that he had done 
so in ignorance of the fadt that in the sixteenth 
and early seventeenth centuries the forms were 
all but invariably reversed ! It is difficult to im- 
agine that any competent editor, conversant with 
the peculiarities of old orthography could be ig- 
norant of such an elementary fa£t, but the instance 
shows how great is the danger of this subjective 
method. Thus it will be evident that if a system 
of normalization is to get us out of the difficulty 
it must be founded on a systematic and scientific 
study of the language, and not on the casual 
habits of occasional editors. In order to arrive 
at such a system it will be necessary to consider 
not merely the orthography of the old prints, 
but the pronunciation which that orthography re- 
presents. And this leads us into questions of great 



OLD PLAYS AND NEW EDITIONS. 417 

intricacy and difficulty on which none but a few 
experts have a right to be heard and on which 
others will probably be chary of venturing. Our 
modern orthography is, after all, be it remembered, 
little more than the crystallization of that current 
in the time of Shakespeare, and it would appear to 
be perfectly possible to make it the basis of that 
used in critical editions, merely modifying it in 
cases where the modern spelling would have sug- 
;ested to an Elizabethan a pronunciation different 
Prom that indicated by the spelling of the old copy. 
By this method we should not, of course, obtain a 
perfect record of all the subtleties of an obsolete 
pronunciation — nothing but a phonetic transcript 
could do that — but we should at least arrive at a 
text which might have been read by a contemporary 
without doing outrage to the author. Does our 
knowledge of the language and the pronunciation 
of the time render such a scheme workable ? I 
am inclined to think that we do possess the know- 
ledge, but it must be borne in mind that not only 
does the subject, to begin with, require long and 
patient study, but that even when the conditions 
are once mastered the preparation of every indi- 
vidual text is a lengthy and laborious affair. I am 
not speaking at random, but from experience, after 
weeks and months over experiments of 
l, which I must confess have not led to any 
results with which I could feel satisfied. There 
are, moreover, innumerable difficulties of method. 
In cases such as c wrestle * and c wrastle,' c wreck ' 
and c wrack,' all is clear ; it is otherwise with words 
such as ' chance ' and ' chaunce,' where the different 

III. £ £ 




4 i 8 OLD PLAYS AND NEW EDITIONS. 

spellings appear rather to indicate an intermediate 
and possibly fluctuating pronunciation than two 
distindt forms, as in the former instance. Again, 
we get into difficulty with words pronounced dif- 
ferently when they are accented and when they are 
not, such as the preposition c than/ in which when 
unaccented appears now as formerly the undis- 
tinguished vowel (p), but when accented now a 
and formerly e. The interchange of * then * and 
' than, 9 already noticed, is attested by many pass- 
ages where they occur as the rime-word. Here 
are nonce verses illustrating the case, which might 
be replaced by genuine ones with little trouble : 

* Rather I'd have his only succour then 
The hired backing of a thousand men. 9 

***** 

* 'Tis past all praying ; draw your sword and than 
Even to the end fight on and play the man.' 

It is reludtantly, I confess, that I have come to the 
conclusion that for any large undertaking the method 
of normalization is impracticable, and it becomes 
ten times more so when one is dealing with a variety 
of more or less independent editors whose acquaint- 
ance with Elizabethan philology must in the nature 
of the case differ widely. 

We are therefore driven back upon the literatim 
method, in spite of the obje&ions felt by many 
lovers of literature to what is sometimes facetiously 
described as a peculiar form of devil-worship. It 
certainly has its inconveniences as well as an air of 
pedantry. However, it is only fair to bear in mind 
that although sixteenth-century orthography has at 



OLD PLAYS AND NEW EDITIONS. 419 

first a strange appearance, it very soon comes to 
appear quite natural, and one hardly realizes whether 
a text one is reading is normalized or not. Also 
with regard to the charge of pedantry it must be 
remembered that there are cases in which it would 
be difficult to justify any variation from the original ; 
for instance, when printing from an autograph 
manuscript or from a carefully revised print such 
as the corrected copies of the first folio of Ben 
Jonson. The importance of orthographical minutiae 
has been successfully demonstrated by Mr. Beeching 
in the preface to the admirable reprint of Milton's 
poems issued under his direction by the Clarendon 
Press, a text which all students of English must 
have turned to with the greatest interest. 

From questions of spelling we may pass to those 
of punctuation. I think it was the late Dr. Grosart 
who maintained that our knowledge of the history 
of English language and literature could not ad- 
vance until we retained in new editions not only 
the orthography but the punctuation of the old 
prints. To this opinion I emphatically demur. 
It is true that Elizabethan printers had a system 
of punftuation of their own, which differed in 
certain important respeCts, and not always for the 
worse, from that now in use — a faCt the ignorance 
of which is responsible for some egregious blunders 
to be found in certain comparatively modern 
editions — but they were usually so hopelessly lax 
and inconsistent in following that system that their 
punctuation is often rather confusing than other- 
wise, while it would be an unreasonable as well as a 
hopeless task to attempt to alter the punctuation of 



4 2o OLD PLAYS AND NEW EDITIONS. 

texts in accordance with an imperfect and obsolete 
system. We are therefore, it appears to me, con- 
strained by the very conditions of the case to 
revise the punctuation throughout upon the modern 
system, noting any possibly ambiguous passages 
along with the rest of the collations. 

Next there are various points of typography 
which call for attention. It must be borne in 
mind that we came to the conclusion that the 
literatim method was the only practical and satis- 
factory one, not on the ground that the old ortho- 
graphy was in itself in any way preferable to the 
modern, but because on no other system could one 
insure that violence should not be done to the 
language of the author. Now this argument does 
not in any way extend to points of typographical 
convention, and if, therefore, in these cases the old 
copies are to be followed, it will have to be on 
some wholly different ground. It seems to me 
mere pedantry to retain the old use of capitals and 
italics, for instance, though I confess that there are 
certain cases, other than regular editions, in which 
it is sometimes convenient to do so. The crucial 
case is really the retention of the long / This is 
undoubtedly a tiresome trick of the press, and 
greatly increases the liability to misprints. It like- 
wise complicates composition, since many modern 
founts are without the proper ligatures, and such 
combinations as ft, fl y etc., spoil the appearance 
of the print. The only defence that can be 
made for following the old copies in this and 
similar cases is that the confusion of y and/" being 
a common source of error, it is useful to know 



OLD PLAYS AND NEW EDITIONS. 421 

exactly where the former is employed when a 
question of possible emendation arises. To this, 
however, it may be answered that nothing short of 
a photographic facsimile can put the reader into 
possession of all the details needed to estimate the 
probability of misprint, and that, moreover, since 
long f is almost invariably used initially and 
medially, and never finally, little uncertainty is 
possible. Fortunately the custom of retaining it 
seems to be dying out ; and it has been discarded 
in several recent scientific editions. The other 
cases which come under the same category are w 
and w, u and v 9 i and j. The first of these there is 
not the least excuse for retaining. Up to a certain 
date, about 1620, v is usually found initially, u in- 
variably medially ; j and i interchange somewhat 
in the same manner, but less regularly. Precisely 
the same argument for and against modernizing 
apply as in the case of longy^ and there seems no 
sufficient reason for the old uses being retained. 
In any case, to depart from the ancient usage in 
the case of long and short j, while following it in 
the case of u and v> is distinctly inconsistent, and, 
so far as I can see, has nothing in its favour at all. 
Moreover, it must be borne in mind that the more 
of these petty traps an editor sets for the printer or 
himself, the greater is the liability to error, and 
that it is far better to do away with them altogether 
than to reproduce them inaccurately. 

Stage directions and scene headings may next 
be considered, and we find some modern editors 
retaining them exactly as they appear in the old 
editions. This method is at least not open to abuse 



422 OLD PLAYS AND NEW EDITIONS 

as that of modernizing is, but it can hardly 
regarded as satisfactory. Of course many edit 
have, with Dyce, gone much too far in the oppos 
direction, and inserted many utterly supernuc 
stage directions, as well as scene indications whi 
often rather represent the fertility of their o\ 
imagination or, in some cases, modern stage tra< 
tion, than anything properly deducible from t 
text or warranted by the old copies. But the o 
directions in most cases leave much to be desire 
and I do not consider that an editor has done r. 
duty by a play when he has produced a me: 
typographic facsimile. Moreover, the diredftioi 
as preserved to us are frequently ambiguous an 
obscure, sometimes impossible for a serious editioi 
like the ' Enter the ghost in his nightgown ' of th 
1603 Hamlet, or representing mere cautions t 
players in the prompt copy, such as * Pewter read 
for noyse ' in the ' Spanish Curate ' (folio, 1 647] 
So again where editions have been printed froc 
playhouse copies, the entrances are generally fa 
too early, being mere warnings to the actors to b 
in readiness. It would appear then to be wise t 
adopt a bold course, and relegate all the old direc 
tions to the notes, replacing them by such normal 
ized ones as may be found necessary to the under 
standing of the piece. No merely theatrical point 
need be admitted — it is a matter of no literar 
interest whatever whether a noise is made by 
* Pewter ' pot or a tin kettle — the lover of antiqui 
ties may go ferret in the notes. 

There is one point in some modern edition 
against which I should like to protest strongly 



OLD PLAYS AND NEW EDITIONS. 423 

This is the pra6tice of inclosing in brackets any 
words or letters not in the original. If the old 
editions omit the number of an aft or scene, it is 
surely sufficient to note the faft in the collation 
without disfiguring the text with strange-shaped 
hieroglyphics. So too with the expansion of con- 
traftions. If an old compositor chooses to print 
4 my L.' it would be far preferable to retain the 
contradion than to offend the eye of the reader by 
such a monstrosity as 'my L<ord>/ Besides, on 
this principle, how would one treat c their LL.' for 
4 their Lordships ' ? Something might be said for 
the practice of placing an asterisk against con- 
jedural emendations admitted into the text, as has 
been done in a good many editions by modern 
scholars, though even here it might be preferable 
to note such cases at the foot of the page separately 
from the rest of the collations. It certainly is 
worth knowing when one is reading a play whether 
any passage is conje6tural or not. Really the only 
case in which it is advisable to introduce any signs 
of the kind into a text is the obelizing of passages 
which the editor considers corrupt, but for which 
no satisfadory emendation can be found. It is one 
of the disadvantages of the c Cambridge * Shake- 
speare that one is at times uncertain whether, 
where the original reading is retained, the editors 
intend to defend it as correft, or whether they 
merely regard the proposed emendations as all alike 
unsatisfa6tory. 

Certain further points arise with regard to 
emendations and the corre&ion of misprints in a 
literatim text. When it is a case merely of a com- 



424 OLD PLAYS AND NEW EDITIONS. 

positor's slip— for instance, a reversed or omitted 
letter, or a mistake of distribution such as the con- 
fusion of /"and/*, or due to the neighbourhood of 
the compartments in the case — then the letter 
should merely be correfted without altering the 
rest of the word ; when it is a case of substituting 
a new word, the compositor having misread his 
copy or the copy being corrupt, the word, if sup- 
plied from another edition, should be spelt as it 
stood there, if by conjefture, in modern spelling. 
I entirely fail to understand the difficulty which 
seems to have been felt in this connexion by the 
editors of the c Cambridge ' Shakespeare, according 
to their preface. 

All variations from the editio princeps should, of 
course, be recorded. The mere correftion of ob- 
vious misprints may possibly be excepted when 
there can be no doubt possible. This is, of course, 
a subjective question, but it is impossible to do away 
entirely with the subjeftivity of an editor. A good 
rule is to record any alteration extending beyond a 
single letter. Whether it is necessary to record 
the variations of all subsequent editions is a ques- 
tion depending partly on the relation of the various 
editions themselves. In the case of a number ot 
editions, each printed from that immediately pre- 
ceding it, and merely introducing further misprints, 
it certainly savours of pedantry and is little better 
than lost labour. In all cases, however, in which 
the reading of the original is departed from, all 
subsequent readings should be recorded. To record 
mere variations of orthography or punduation when 
the sense is unaffeded is wholly superfluous ; a dif 



OLD PLAYS AND NEW EDITIONS. 425 

ference of pronunciation at least should be required, 
except, of course, where a form is in any case sus- 
picious or remarkable. The practice of the editors 
of the ' Cambridge 9 Shakespeare on this point might 
be followed with safety. It is well in any case to 
insist on a collation of all editions, even if the results 
are not in every case recorded. But it is on the 
whole desirable that they should be. Were a large 
number of plays produced under the direction of 
one responsible editor, it might be possible greatly 
to simplify the methods of collation, but where 
there are the * personal equations * of a number of 
independent and more or less irresponsible editors 
to be taken into account, rigid adherence to a fixed 
and definite system becomes the only possible 
method of securing substantial accuracy. 

In my last sentence I alluded to the possibility of 
a large number of plays being reprinted on some 
uniform plan. If this were ever done, it would be 
a great advantage if the text of each play were 
published separately. The grouping of Elizabethan 
plays under their reputed authors is, to begin with, a 
very arbitrary method. The editions of Beaumont 
and Fletcher, for instance, contain perhaps about 
half of the extant work of Massinger ; some plays 
will be found in the colleded works of as many as 
three different authors, while to take the case of the 
edition of Kyd recently published by the Clarendon 
Press, we find that it contains one play which was 
originally published with his name, one which by 
universal consent is allowed to be his, one which is 
attributed to him by the editor, but which other 
scholars and editors consider the work of another 



426 OLD PLAYS AND NEW EDITIONS. 

hand, and one, lastly, which has been commonly 
attributed to him, but which the editor assigns to 
an imitator. Moreover, from the point of view of 
practical expediency, the issue of single texts is 
much more convenient, since it enables them to be 
used for school and class work in cases where con- 
siderations of expense forbid the recommendation 
of large and costly editions. This is a standing 
complaint with professors who have to do anything 
of the nature of seminar work. No one, I fancy, 
will be induced to purchase the complete edition 
who would not do so even if it were possible to 
obtain the texts separately, but many might be 
willing and able to buy one or more plays at, say, 
two shillings each, who could not afford a library 
edition with an elaborate introduction. In con- 
nection with this also it would be advisable, in 
order to insure their being always obtainable, to 
stereotype the texts of the plays themselves when- 
ever the editing was of a sufficiently accurate nature 
to render the text fairly definitive. To insure this 
I should like to urge the employment of expert 
non-literary assistance in proof-reading and colla- 
tion, since these tasks require the habitual accuracy 
of eye characteristic of a good press-reader, a quality 
of which scholars are by no means always possessed. 
If this expert help were available it might be 
possible for a single scholar to produce, on a uniform 
principle, sufficient texts to keep his literary friends 
well employed in writing notes and introductions 
to them, and the advantages of such a division of 
labour would be many. 

Walter W. Greg. 




427 



ON THE VALUE OF PUBLISHERS' 
LISTS. 

WTHIN a few weeks of the publica- 
tion of this note bibliographers will 
be welcoming the first volume of 
Professor Arber's reprint of the 
'Term Catalogues' from 1668 to 
1709. If the British Museum, as 
may be hoped, follows this up by printing a catalogue 
of George Thomason's collection of the * tracts ' 
printed between 1642 and 1660, our knowledge of 
the output of the English book-trade will be carried 
forward, by these two steps, for nearly seventy years. 
For the period which follows we are largely de- 
pcndent'on the lists of books printed in the 'Gentle- 
man's Magazine * and other reviews, which become 
fairly numerous as we approach the nineteenth 
century. Unfortunately these lists, though profess- 
ing to be perfect, were far from being so, and many 
publishers' names never appeared in them at all. 
Take, for instance, * Bent's Monthly Literary Adver- 
tiser.* It will give you, no doubt, a fairly complete 
list of the publications of such firms as Longmans, 
Rivingtons, Cadell and Davies, and Hatchard ; 
but such men as Thomas Tegg of Cheapside, or 
George Hughes of Tottenham Court Road, will 
be looked for in vain. Either their books were 
not considered of sufficient importance to be noticed, 
or they could not afford to advertise in these trade 



428 ON THE VALUE OF 

journals. Here then is the stumbling-block in the 
way of making anything like a complete biblio- 
graphy of English literature. The work of these 
minor publishers cannot be ignored. To begin 
with, the earliest efforts of many eminent literary 
men have been given to the public through the 
medium of some unimportant publisher. But there 
are other reasons why their work should be noted. 
Take as an example the case of Thomas Tegg of 
Cheapside, already referred to. Several of his pub- 
lications were illustrated by Bunbury, Woodward, 
and Rowlandson. Hence, although the books 
themselves were indifferently printed, and have 
long since lost what little literary value they pos- 
sessed, we want to know what they were. 

How is anything like a correct list of the pub- 
lications of these minor publishers to be obtained ? 
Not only are they absent from trade journals and 
newspapers, but, owing to the evasion of the Copy- 
right Aft, at that time very common, few of them 
found their way to the shelves of the British Museum. 

There is only one way to supply the deficiency, 
but that is a way which promises the best results. 
I refer to the lists of new, recent, or forthcoming 
books, which publishers have themselves placed in 
books that bear their imprints. 

Sometimes these advertisements consist of only 
a few lines inserted on a blank space at the end of 
the preface or contents of the book, or they may 
occupy the verso only, or the whole of the last leal ; 
but more frequently they form a separate part of 
the book, filling a sheet of eight, sixteen, and even 
thirty-two pages, at the end. 



PUBLISHERS 1 LISTS. 429 

The custom of inserting these lists dates from 
the time of the Commonwealth, and I have very 
little doubt that most of the publishers, certainly 
the smaller ones, during the remainder of the seven- 
teenth and throughout the eighteenth century 
adopted it. But it is needless to add that most 
of these lists, especially where they formed the end 
sheets of books, have been destroyed, having been 
regarded by the owners of the books as unsightly 
and superfluous, and condemned to removal by the 
binder. At the same time, I have no doubt that 
there are a great many more of these lists in 
existence than anyone imagines. 

As a pra&ical illustration of the value of such 
publishers' lists, I have compiled the following record 
of the issues of Thomas Tegg of Cheapside, during 
the years 1808-9, from four of his books of that 
period, viz. : c Chesterfield Travestie,' 1808 ; c The 
Comic Works' of G. M. Woodward, 1808; John 
Davis's 'Life of Chatterton,' 1808; and Sterne's 
4 Sentimental Journey,' 1809: 

i. Art of Ingeniously tormenting, with plates by Woodward and 
Rowlandson. 5*. 
*2. Beauties of Tom Brown. 4/. 
+3. Enfield's Elements of Natural Theology. 

4. Caricature Magazine or Hudibrastic Mirror. 
*5« Woodward's Comic Works in prose and poetry. 4*. bd. 
*6. Mariner's Marvellous Magazine. 60 nos. @ bd. 
Tegg's New Musical Magazine. 20 nos. @ bd. 
Davis's Life of Chatterton. 41. 
9. Johnson's Di&ionary Improved. 4s. bd. 

10. Harrington's New London Spy, 1808, 1809. is. bd. 

1 1. The Post Captain ; or a view of Naval Society and Manners. 
The third edition, by Dr. Moore. Price js. in boards. 

12. Poetical works of George Keate, Esq. (author of Sketches 
from Nature). 2 vols. Fine plates, ys. boards. 



.?: 



43© ON THE VALUE OF 

13. Collingwood's Life and Anecdotes of Nelson. A new 

edition. Plates. 3*. boards. 

14. Milton's Paradise Lost. A new edition with Head Lines. 

N.B. Tegg's edition. 3*. bd. in boards. 

15. The Progress of a Corrupt Senator, after Hogarth. 6 plates. 

4;. plain, ys. bd. coloured. 

16. In the press, nearly ready for publication. Steven's Le&ure 
^ on Heads. A new edition. [Illustrated by Rowlandson.] 

17. The New Dunciad * or Fads and Anecdotes illustrative of 

anonymous criticism. Price is. 

1 8. The Myrtle and Vine, or the Complete Vocal Library, in 12 

numbers at is. each ; or is. bd. coloured, embellished with 
capital portraits by De Wilde. 

19. The New Wits Magazine ; or Eccentric Calendar com- 

plete in 15 numbers at bd. each. 

20. Bewick's Quadrupeds, abridged by Holloway. ys. 

21. Belfour's Literary Fables. 4 plates, ys. 

22. Smart's Poems. 2 vols. ys. 

23. Bacon's Fables of the Ancients. 5*. 

24. Lackington's Confessions. 2s. bd. 

25. Lord Chesterfield's Advice, is. 

26. Florian's Works. 2 vols. ys. 

27. Letters to Alcander. 2 vols. ys. 

28. Gazeteer of the Netherlands. 5*. 

29. Tableau de la vie. 2 torn. 6s. 

30. Dr. Watts Psalms and Hymns, steterotyped [sic], y. bd. 
♦31. Chesterfield Travestie with ten fine plates. 41. bd. 

+32. The Beauties of Sterne, with two caricatures [by Rowland- 
son]. 4*. bd. 

Of the thirty-two books above mentioned, only 
the seven which I have distinguished by a star are 
in the British Museum, and it is doubtnil whether 
many of the others would be found in other public 
libraries. Some of them are known by later editions 
from the same publishing house, or issued by other 
publishers. There is, for instance, a later issue of 
Barrington's c New London Spy ' and Dr. J. Moore's 
novel of 'The Post Captain,' while Steven's c Ledhire 
on Heads ' is known to us from an edition published 



PUBLISHERS' LISTS. 431 

by Vernon and Hood, but with Tegg's name on 
the plates. The 'Caricature Magazine* is only 
known to us from an engraving of the cover in 
Grego's c Rowlandson,' and there are many others 
which one would very much like to see, as Tegg's 
edition of c Paradise Lost,' c The Progress of a 
Corrupt Senator, after Hogarth,' Bewick's c Quad- 
rupeds/ and 'The Myrtle and the Vine.' 

The only disquieting feature about these lists is 
that even when we have them we cannot be sure 
that we have a complete list of the publications 
for any one year. Thus the thirty-two books 
enumerated above do not include Geoffrey Gam- 
bado's c Academy for Grown Horsemen,' a humorous 
production, illustrated with highly diverting cuts, 
the joint work of Bunbury and Rowlandson ; no 
the c Annals of Sporting,' by Caleb Quizem, another 
book on much the same lines, which Tegg issued 
in 1809 ; nor his editions of ( Baron Munchausen,' 
or c Hudibras/ both published in the latter year. 
So that it is very probable that other items are 
missing. But such as they are these lists supply 
us with the most authentic record available of 
Tegg's publications for those years, and without 
them we may safely say it would be impossible to 
record more than twenty or thirty per cent, of his 
issues. And there are scores of similar cases. It 
is thus much to be hoped that no more of these 
lists may be destroyed in rebinding, but that 
librarians and private owners will do all that is 
possible to preserve and register them, so that 
when bibliographers begin to work more seriously 
at the publications of the eighteenth and nineteenth 



432 ON THE VALUE OF 

centuries the information which these lists alone 
preserve may be forthcoming. 

As I have used Thomas Tegg as an illustration 
for this paper, perhaps some of my readers may be 
interested in the two following advertisements of 
this enterprising publisher. The first appeared in 
'The Times 'of Thursday, January 7th, 1808, and 
the other in BerrowV Worcester Journal* of Septem- 
ber 8th, 1808. No doubt there are many collectors 
of such curiosities who could show better ones : 

QUESTIONS AND ANSWERS. 

What 's best our sorrows for dispelling ? 
The Caricatures which Tegg is selling. 
But are they humorous and queer ones ? 
Aye, that they are, and very rare ones. 
How many, pray ? There 's a variety. 
What chara&ers ? Of notoriety. 
But say without dissimulation 
Does he charge in moderation ? 
So moderate, you'll be content, 
And save a hundred, Sir, per Cent. 
Pray where does Mr. Tegg abide ? 
It 's in the City, Sir ; Cheapside. 
And what 's his number, odd or even ? 
Odd 'tis one hundred and eleven. 

The Caricature Magazine is published in numbers at 2s. each. 
Also the Political Caricature, ditto ditto, Likewise the Laughable 
Magazine, ditto. One number of each regularly every fortnight. 

The second advertisement is in prose : 

TEGG'S MARINER'S MARVELLOUS MAGAZINE 

This day is published in duodecimo, printed on a fine wove paper 
and new Type, embellished with a large quarto engraving of the 
melancholy shipwreck and Death of Lord Royston and Suit, to be 
continued Weekly, price only Sixpence, No. 1 of 



PUBLISHERS' LISTS. 433 

T egg's Mariner's Marvellous Magazine, or Wonders of the 
Ocean ; containing the most remarkable Adventures and Relations 
of Mariners, Shipwrecks, Providential Deliverances, and curious 
natural discoveries in various parts of the Globe ; including Narra- 
tives of the Unparalleled Sufferings of Seamen, by Algenne Cor- 
sairs, Barbarity of Savages, Enemies, Officers and Crews ; Canni- 
bals, Captivity, Cruelties, Excessive Fatigue, Executions, Famine, 
Fire, Frost, Foundering, Hurricane, Impaling, Inhuman Treat- 
ment, Lightning, Murder, Pressgangs, Plunder, Piracy, Quick- 
sand, Rocks, Storms, Shoals, Slavery, Sharks by Sea and Land, 
Shipwrecks, Trapanning, Tornado, Water Spouts, and other 
Disasters at Sea. Together with an account of numerous singular 
miraculous escapes from the most imminent perils by various 
extraordinary means 

" Yet here let list'ning sympathy prevail 
While conscious truth unfolds her piteous tale." 

Falconer. 

London : Published by Thomas Tegg, in, Cheapside; and may 
be had on application to the Printers of this Paper, or to any 
Bookseller or Newsman in Great Britain. 

H. R. Plomer. 



III. F F 



434 




NOTES ON BOOKS AN 

ij)WO notes from a disi 
■ '.can correspondent c 
which arrived just t 
lication in an earlie 
been handed me to I 
The first relates to tl 
books which is now disturbing Er 
and is all the more interesting fr 
written some months ago, before l 
been ventilated in England. It sho 
American libraries are lucky eno 
per cent, allowed them on these 
system has hit them nearly as 
English libraries. Under the het 
Net Prices,' the correspondent wrii 

'This is the conspicuous fly in America/ 
present. Few people pay retail prices for t 
urged that it would be simpler and better i 
price twenty per cent., and to sell at that p 
everyone who asked it twenty per cent, d 
sellers urged the librarians to accept this plan 
books heretofore listed at $1.50 and sold to '. 
off, would by the new plan be listed at f 1.3 
cent, oft', thus costing the libraries eight pei 
assented, for fortunately, in America, librarian 
ing in the direction of a profession, not a 
these questions broadly. Now and then son 
some feature of trades unionism, but finds I: 
many fear the bookmen are making themseh 
in the vain effort to rehabilitate the obsolete 



NOTES ON BOOKS AND WORK. 435 

bookseller outside the great cities. In fa&, we find now that 
under the net system a few books are reduced in price twenty per 
cent, according to the plan, some perhaps ten per cent., and many 
not at all. The result in many cases is that the great libraries 
which are heavy buyers are charged for a $ 1.50 book, with only 
ten per cent, off, $1.35, when they would have bought it under 
the old rule at $1, or even less. To add thirty-five per cent to 
the cost of books at a time when every library feels urgent need 
of more money to keep abreast of demands is, of course, intolerable. 
The library as an educational agency, creating a demand for read- 
ing and a constituency of book buyers, is entitled to the considera- 
tion it has always received of getting books at wholesale prices. 
This applies alike to large and small public libraries conducted 
solely for the public good without pecuniary profit Libraries 
which buy in great quantities are also entitled to the extra dis- 
count accorded to all large buyers. To ignore these considera- 
tions, and to attempt to force up the prices for libraries, is an 
unwise experiment. If the present policy is continued it is sure 
to defeat itself, for many libraries are systematically refraining, 
except where the demand is urgent, from buying these "net 
books of publishers who have taken advantage of the commendable 
effort for a desirable reform to increase prices in a way not con- 
templated by either party.' 

The second note relates to the annotated c Biblio- 
graphy of American History/ lately edited for the 
American Library Association, and gives some in- 
teresting information as to its origin : 

( This is a list of the best books on American history, carefully se- 
leded by recognized authorities under the editorship of J. N. Larned, 
author of " History for Ready Reference " ; it contains about seven 
hundred pages and sells for $5. Its chief value is in compad 
notes which give a reader the judgment of an authority familiar 
with the scope and value of each book. Mr. Larned nas given 
his invaluable services to the work, but it could not have been 
prepared or published but for the generosity of George lies, 
author of "Flame, Electricity, and the Camera," and various 
other books. Mr. lies was manager of the Windsor, the leading 
hotel of Montreal, when the American Library Association met 
there in 1887. He became greatly interested in its educational 
work, and when a year or two later, though a young man, he 



436 NOTES ON BOOKS AND WORK. 

resigned adive business and took up his residence in New York, 
he became an active member of the A. L. A., and has, with a 
modesty equalled only by his liberality, constantly co-operated 
with the librarians, specially in the work of the publishing board. 
Mr. lies has been the chief apostle of " evaluation in literature," 
as he terms brief notes appended to titles to indicate real values 
for guidance of those not familiar with the books. He believed 
that this would help more than anything else in the great problem 
of giving to each reader the book that then and there and to him 
would be most useful. To give the method more thorough trial 
he has advanced privately some $16,000 to enable the publishing 
board to bring out this book. He has also arranged to have it 
kept up to date by continuations printed at frequent intervals.' 

This note was written from private information, 
before Mr. Larned's book appeared. Everyone 
who has since seen the book and tested it by use, 
must agree that it really marks a new departure in 
bibliography, and is of the utmost service to all 
students of American history. The one point in 
it which seems to me open to criticism, is that the 
annotations of different books on the same subject 
have usually been intrusted to several different 
hands, or, at least, are gathered from different 
quarters. If it had been possible for the same 
man to discuss all the books of each sub-section of 
a subject, the reader would have had the advantage 
of knowing that the standard of criticism was the 
same for all of them. But it is obvious that while 
experts may be ready to give opinions as to books 
they already know, to induce them to test them 
with the object of writing a six-line criticism 
would be no easy matter. As it is, the book is an 
immense advance on anything previously attempted. 

The appearance of the third volume of Dr. 



NOTES ON BOOKS AND WORK. 437 

Copinger's c Supplement to Hain's Repertorium,' 
is a real cause for congratulation. In an unsigned 
review in 'Bibliographica' (the authorship of which 
was privately acknowledged to Dr. Copinger be- 
fore it appeared), the writer of these Notes said 
some hard things of the first volume. He is still 
of opinion that the sources of information on 
which Dr. Copinger relied for this first volume 
were not sufficiently accurate either for the correc- 
tion of Hain's mistakes or for identifying and sup- 
plementing the short descriptions of books which 
Hain had not himself seen. But the second part 
of Dr. Copinger's work, in which he gathered 
from all available sources titles of books which 
Hain appeared altogether to have omitted, was not 
exposed to this criticism. Dr. Copinger's enormous 
industry enabled him to bring into this second list 
an extraordinarily high proportion of the books 
which have been claimed as incunabula. Many of 
them, probably, belong really to the next century ; 
in other cases, owing to different points in a book 
being selected, it is possible that one edition has been 
made into two. But this is only to say that a 
catalogue avowedly compiled from a variety of 
sources, does not possess the same merits as one 
based on personal examination of all the books it 
records. No doubt much weeding out was effe6ted 
in the course of editing, the sources of information 
are always indicated, and the advantage of having 
all these scattered entries amalgamated in a single 
index is very considerable. This advantage has 
now been doubled and trebled by Dr. Burger's 
heroism in compiling an index of places and 



438 NOTES ON BOOKS AN 

printers, which embraces not only 
additions, but the original work ol 
Campbell and Mr. Proctor, and th< 
Mile. Pellechet's catalogue of the ii 
the public libraries of France. An; 
to study the output of any parti 
now see at a glance a record of pi 
books which nave been attributed 
offers a splendid basis for future wc 

The new volume of Mr. Slatei 
Current' (Elliot Stock) has come ti 
for detailed notice, but like its pr< 
abundant material for comment, 
lots brought under the hammer 
51,513, and the sum realized by t 
This record total bears out Mr. ! 
that * during the last ten years tl 
most desirable works has increased 
dred and thirty per cent.,' since in 
number of lots was nearly the sac 
total realized was only £72,472. 
adopted a sensible suggestion of 
*The Daily News,' by giving the d 
in his running headlines, thus gre 
reference. The plea which has 1 
advanced in *The Library,' that i 
should be given in the ' Index 
the books whose value is determi. 
their printing or binding, has n 
like response. It is a pity that 
so, as Mr. Slater would find no d 
taining expert help in giving th 



NOTES ON BOOKS AND WORK. 439 

and it would greatly increase the value of his 
work. 

Space only remains to offer a few words of 
welcome to the new and very greatly enlarged 
edition of Dr. Arnim Graesel's 'Handbuch der 
Bibliothekslehre ' (Leipzig, J, J. Weber, pp. 584), 
which embraces the whole field of librarianship 
from library-archite6ture to the cataloguing of 
incunabula; to a third part of Mr, E. R. McC. 
Dix's useful list of 'Books, Tra6ts, etc., printed 
in Dublin in the Seventeenth Century* (Dublin, 
O'Donoghue and Co. ; London, Dobell), embrac- 
ing the period 1 651-1675 ; and lastly, to the very 
magnificent catalogue of some of the printed books, 
manuscripts, and miscellaneous collections belong- 
ing to Mr. J. E. Hodgkin, issued by Sampson 
Low under the title 'Rariora/ It must be noted, 
however, that Mr. Hodgkin's book is not merely 
a catalogue, but in its second volume offers im- 
portant contributions to the early history of print- 
ing, more especially to * the evolution of the type 
mould.' Its illustrations, moreover, are both pro- 
fuse and excellent. 

Alfred W. Pollard. 




TO THE SUBSCRIBERS AND CON- 
TRIBUTORS TO 'THE LIBRARY.' 

BITH the issue of the present number, 
' The Library ' completes the thir- 
teenth year of its existence as a peri- 
odical, and the third volume of its 
new quarterly series. We have now 
decided to bring its career to a close. 
It is impossible to give up, without some regret, 
a magazine which has existed for so many years, 
and the regret is heightened by the fact that with 
the cessation of ' The Library ' there will be no 
independent English magazine willing to confine 
itself to serious articles on bibliography and library 
lore; whereas most other civilized countries pos- 
sess one or more periodicals with this object. Just 
at present, however, it would appear that British 
book-lovers prefer to work through the various 
publishing societies which of late years have multi- 
plied and flourished so remarkably, and that while 
a magazine may occasionally divert papers from 
these, there is hardly sufficient work being done 
outside the societies to provide even a quarterly 
periodical with a constant supply of good articles. 
So long as the work is done, it matters little by 
what agency it is published. During the thirteen 
years of its existence, * The Library ' has constantly 
endeavoured to take a liberal view of the subjects 



TO SUBSCRIBERS & CONTRIBUTORS. 441 

and questions with which it has been concerned; 
and we hope that English bibliographers and 
librarians may always be ready to hear both sides, 
to accept new ideas, if they are worth accepting, 
and to link on their special studies with larger and 
wider interests. To all those who have helped 
1 The Library ' during the past thirteen years we 
tender our most hearty thanks. 

J. Y. W. MacAlister. 

Leopold Delisle. 

Melvil Dewey. 

Carl Dziatzko. 

Richard Garnett. 



INDEX. 



Abbey, E. A., book-illustrations 
by. *79W»3°9- . , 

Abbot, Archbp., irmi of, on Lam- 
beth copy of Hayward's 'Life 
andRaigne of King HcurielV.,' 
so. 

Acton, Lord, his view* on the 
authorship of ' Lei Matinee* du 
Roi de Prune, 151 iff. 

Aethelwold, S., Duke of Devon 
■hire's Benedictional of, 28. 

Albemarle, Duke of, book-stamp, 
132. 

Altdorfer, woodcut ofS. Roc h by, 
10. 

American Library Association, 
13rd Meeting of, 98 sq. 

American Notes, 98-112. 

Anderson, H. C. L., address to 
Conference of Library Associa- 
tion of A uitral asia, 335. 

Anima Mia. See Monferato. 

Anne, Queen, attempt* to per- 
suade her to buy Cotton Library 
for the nation, 147. 

Anne, Saint, reasons for her being 
specially invoked for protection 
■gainst plague, 6. 

Ansted, A., book-illustration* by, 
196, 102. 

Antiquarian Societies, in the reign 
of Queen Anne, 248 if. 

Antiquaries, Society of, establish- 
ment of, 148 If. 

Antony, S., his symbol of a Tau 
led to hi* being invoked for 
protection against the plague, a. 



Arlington, Earl of, book-stamp, 
Ija. 

Armorial Book-stamps, article on 
the Franks collection of, by A. 
W. Pollard, US-134; Arch- 
bishop Abbot's, 20. 

Armstrong, E. La T., on the pro- 
posed Federal Library of Aus- 
tralia, 33 c. 

Arrow, symbol of the plague, c. 

Art Moriendi, article by R. Proc- 
tor on two Lyonnese editions 
of, 338-348. 

A ustralaiia. Conference of Library 
and Association of, 334. 

Australia, proposed Federal Library 
°f. 335- 

Aion, W. E. A, article on an 
Early Essay by Panizzi, 14.1- 
147 ; on Edward Edwards, 398- 
407. 

Bacon, Francis, applications 01 
his biliteral cypher discussed, 
+1 iff. 

Bacon, Nathaniel, initials of, on 
book bearing royal arms, 113, 

Bacon, Thomas, the artist, tribute 
to Humfrcy Wanley, 25;. 

Bagford, John, sells books to Har- 
leian Library, 17, 151, con- 
nexion with antiquarian socie- 
ties, 248 if. 

Baker, Mr., helps Wanley with 
Harleian Catalogue, 254. 

Bank of England, library for clerk 1 
at, 139. 



INDEX. 



443 



Barrett, C. R. B., book-illustrations 
by, 193 sq^ 202. 

Barwick, G. F., articles on Hum- 
phry Wanley and the Harleian 
Library, 24-35, 243-255. 

Basel influence on Lyons printing, 

344 *V 

Batten, John D., book-illustra- 
tions by, 373 sqq., 382. 

Bauerle, Amelia, book-illustrations 
by, 67, 82. 

Baumer, Lewis, book-illustrations 

by, 363^ 383- 

Bear Club, Devizes, 249. 

Bear Society, of antiquaries, 248 

Beaumont and Fletcher, editions 
of, contain about half the ex- 
tant work of Massinger, 425. 

Bedford, J. D., book-illustrations 

by, 370, 383. 

Bell, R. Anning, book-illustrations 
by, 60 sqq., 82 sq. 

Bentley, Dr., borrows books from 
the Harleian Library, 253. 

Bible, article by A. W. Pollard on 
two illustrated editions of Ma- 
lermi's Italian translation of, 
226-242 ; attitude of Roman 
Catholic church to vernacular 
versions of, 228 sqq.; * Biblia 
cum postillis Nicolai de Lyra,' 
illustrated edition of, 231 ; Dr. 
Dziatzko on the supposed date 
1453 in a copy of the 42-line 
Bible, 334. 

Billinghurst, Percy J., book-illus- 
trations by, 381 sq. 9 384. 

Bindings, sold in 1901,93 ; Franks 
Collection of, with Armorial 
Book-stamps, 114 sqq.-, names 
on, 118, 223. 

Birds, peck at written book-titles, 

*4S- 
Bishopgate Institute, 138. 

Blades, William, bibliographical 



collections of, at S. Bride In- 
stitute, described, 349-354. 

Bodleian Library, memoranda 
made by Humfrcy Wanley while 
an assistant there, 243 sq. ; work 
of Edward Edwards for, 403. 

Book-Illustrations, articles on Eng- 
lish Book-Illustrations of To- 
Day, by R. E. D. Sketchlcy, 
54-91, 176-213, 271-320, 358- 
397 ; on Two Illustrated Italian 
Bibles, by A. W. Pollard, 226- 
242 ; on two Lyonnese editions 
of the * Ars Moriendi,' by R. 
Proflor, 333-348. 

Book-plate of Mary, Countess of 
Carnarvon, 128 sq. 

* Book-Prices Current,' for 1901, 
reviewed, 92 sq. ; specimen of 
suggested additions to, 164 sqq. 

Books, J. W. Clark on the care of, 
94 if. 

Booksellers, tenants of S. Paul's 
Cathedral, 261-270. 

Book-stamps. See Armorial Book- 
stamps. 

Boose*, J. E. R., article by, on 
Libraries of Greater Britain, 
214-221, 334 sq. 

Boyd, A. S., book-illustrations by, 
291, 305, 300. 

Brackets, use of, in reprints to in- 
dicate omissions, 423. 

Bradley, Gertrude M., book-illus- 
trations by, 370, 384. 

Bradsole, Chartulary, 33. 

Brangwyn, Frank, oriental pictures, 
306 sq. 

Brewster, Edward, bookseller, in 
S. Paul's Churchyard, 264, 
267 sq. 

Breymann, Prof., his edition of 
Marlowe's 'Faustus,' 412. 

British Museum, relations of Ed- 
ward Edwards with, 398-406 ; 
small proportion of early nine- 



444 



INDEX. 



teen th -century English books 

Britten, W. E. P., book illustra- 
tions by, 81, 83. 

Brock, Chirks E., book-illuttra- 
tiom by, 198 sq^ 310. 

Brock, Henry M., book-illustra- 
tions by, 199, 311. 

Brooke, L. Leslie, book-illunrs- 
tioni by, 363, 384. 

Browne, Gordon, book-ill nitra- 
tions by, 360 iqq., 385-389. 

Buffbn, the younger, brings 'Les 
Matinees du Roi de Prusse' 
from Berlin, to ihow hit father, 
IS*/?. 

Bulcock, Percy, book-illustrations 
by, 67, 83. 

Burger, Dr., index to Supplement 
to Hain, +37. 

Caldecott, Randolph, 360. 
Calvert, Edith, book-illustrations 

by, 366, 389. 
Cambridge Shakespeare. oV/Shakc- 

speare. 
Cameron, D. Y., book -illustra- 
tions by, 187, 103. 
'Care of Book*/ by J. W. Clark, 

reviewed, 94 sq . 
Careless Cataloguing, article on, 

311-316. 
■ Caricature Magazine,' Tegg's 

advertisement of, 432. 
Carnarvon, Mary, Countess of, her 

bookplate and its inscription, 

118 if. 
Carnegie, Andrew, Open Letter 

to, 36-40. 
Carte Manuscripts, calendared by 

Edward Edwards, 403. 
Carteret book-stamps, 132 sq. 
Cataloguing, article on careless- 

nessin, 321-316. 
Canon's edition of 'Faits of Arms,' 

price of, in 1723, 30. 



Cecil, Wm., Lord Burleigh, his 
book-stamps, 11 1 sq. 

Chad, S., negotiations for pur- 
chase of MS. called S. Chad's 
Gospels, or 'Teitus S. Cead- 
dae,' 26. 

Chamberlain, John, letter on Hay- 
ward's 'Life and Raigne of 
King Hemic IV,* 16 sq. 

Character Illustrators, 271-320. 

Chautauqua, summer library- 
school at, 101. 

Chetwynd book-stamp, 130. 

Children's Books, illustrators of, 
358-397- 

Christie, R. C, 'Selected Essays 
and Papers ' by, noticed, 97. 

Clark, J. W, work on 'The 
Care of Books * reviewed, 94 sq. 

Clarke, Archibald, article by, on 
need of public lending libraries 
in the City of London, 135- 
140 } note by, 334. 

Claudin, A, ' Histoire de 1'Iro- 
primerie en France,' vol. ii., 
96. 

Cole, Herbert, book-illustrations 
by, 67, 83. 

Compton, General, 28. 

Connard, Philip, book-illustra- 
tions by, 66 sq^ 83. 

Contractions, expansion of, in re- 
prints^! 3. 

Cooke, W. Cubitt, book -illustra- 
tions by, 301, 311. 

Copinger, Dr., notice of his Sup- 
plement to Hain, 436 sq. 

Cottonian Library, Wanlcy's re- 
ferences to, 146 sq. 

Covert, Wm„ book-stamp, 130. 

Crane, Walter, book-illustrations 
by, 56-59, 84-87, 360. 

Cripplegate Institute, 137 sq. 

Cypher, applications of Bacon's 
biliteral cypher discussed, 41 



INDEX. 



445 



D., I., cuts by the master I. D., 
in an edition of the ' Ars Mori- 
endi,' 338-348. 

Davis, Charles, dealings with Har- 
leian Library, 30 sq. 

Decorative Illustrators, $4-91. 

D'Ewes, Sir Symonds, Wanley 
negotiates with, for purchase 
of his library, 247, 251. 

Dewey, Melvil, address on the 
future of library work, 103 
sqq. 

Dew-Smith, Mrs., her photo- 
graphic enlargements of types 
supposed to be used for Biliteral 
Cypher, 45, 51. 

Dibdin, T. F., English se&on of 
his 'Bibliotheca Spenceriana,' 
made up by W. Blades as a 
separate book, 352 sq. 

Digby, Sir Kenelm, his book- 
sumps, 131 sq. 

Dobell, Bertram, his edition of 
Goldsmith's 'Prospect of So- 
ciety,' 327 sqq. 

Dodgson, C, article on Early 
Pestblatter, 2-12. 

Dolet, Etienne, * De Lingua Lat- 
ina,' copy of, with Queen Eliza- 
beth's Falcon badge, 120. 

Dunlop, Marion Wallace, book- 
illustrations by, 370, 389. 

Durban Public Library, 220. 

Dziatzko, Dr., on the supposed 
date 1453, in a copy of the 
42-line Bible, 334. 

Edwards, Edward, article by W. 
E. A. Axon on T. Green- 
wood's life of, 398-406. 

Elizabeth, Queen, portrait stamped 
on binding, 114, 121 ; her Fal- 
con badge, 120. 

Elliot, Mr., Harley's bookbinder, 

*9- 
England, George, article by, on 



Goldsmith's ' Prospect of So- 
ciety,' 3*7-33*- 
English Book-Illustration of To- 
Day, articles on, by R. E. D. 
Sketchley, 54-91, 176-213, 271- 

3*o. 358-397. 
Erichsen, Nelly, book-illustrations 

by, 203. 

Essex, Earl of, his trial for treason ; 

13; Hay ward's ' Life and 

Raigne of King Henrie IV. ' 

dedicated to, 15. 

Fell, H. Granville, book-illustra- 
tions by, 80, 87. 

Fit ton, Hedley, book-illustrations 
by, 203. 

Fletcher, W. Y., his knowledge 
of English armorial book-stamps, 
117; note on his 'English 
Book-Colleltors,' 224. 

Ford, H. J., book-illustrations by, 

373 '??•> 3»9- 
Frankfort Sale-Catalogues, English 

books listed in, 333. 

Franks, Sir Aug. Weill as ton, article 
by A. W. Pollard on his collec- 
tion of armorial book-stamps, 
1 1 5-1 34. 

Frederick II., King of Prussia, 
article by L. Giles on his re- 
puted authorship of *Lcs Ma- 
tinees du Roi de Prusse,' 148- 
163. 

French incunabula, sale prices of, 
165, 167. 

Fulleylove, J., book-illustrations 
by, 177, 185, 203. 

Furniss, Harry, book-illustrations 

b Y» 3°3'?-> 3 1 *'?- 

Gallup, Mrs., her applications of 
Bacon's Biliteral Cypher dis- 
cussed, 41 sqq. 

Gaskin, A. J., book-illustrations 
by, 63, 87. 



446 



INDEX. 



Gastrin, Mr*. Arthur, book -ill u«- 
(rations by, 365 if,, 390. 

Gere, C. M., book-ill mention* 
by, 6c, 87. 

German incunabula, tale prices of, 

16$, 1 68 iqq. 

Gibson, Mr., buys books in Italy 
for Harley, 31, 34 iq. 

Giles, Lionel, article by, on * Let 
Matinees du Roi de Prutse,' 
148.163. 

Giunta, L. A., his illustrated edi- 
tions of the Malermi Bible, 
116-141. 

Gladstone, W. E., assigns Edward 
Edwards a Civil List Pension, 
403. 

Goldsmith's ' Prospect of Society,' 
article on, by G. England, 317- 
33a. 

Gotz, Nicolaus, edition of 'An 
Moriendi ' printed by, 339 sq. 

Gozzoli, Benozzo, picture of S, 
Sebastian, 5. 

Greater Britain, libraries of, 114- 
111, 334 i f . 

Green, Winifred, book-illustra- 
tions by, 365, 390. 

Greenwood, Thomas, his plea for 
lending libraries in the City 
of London, 137; review by 
W. E. A. Axon of his me- 
moir of Edward Edwards, 398- 
406. 

Greg, W. W., articles on Bacon's 
Biliteral Cypher and its ap- 
plications, 41-53; on Old Plays 
and New Editions, 408-426. 

Griggs, F. L. B., book-illustrations 
by, 204. 

Grimm, letter as to ' Les Minnies 
du Roi de Prusse,' 1 54. 

Grolier bindings, i«8 >q. 

Guildhall Library, 1 37. 

Guthrie, J. J., book -illustrations 
by, 79, 87. 



Halifax, 
sump, 

Harding, 
rJons In 

Harleian 
Humpl 
with, 2 
Edwin 

Harper, I 
^. '93 

Hat ton b< 

Hay, And 

Hay ward, 
Plomer 

Hazlitt, ' 
Haywi 
King II 

17* 

Heitx, Pa 
Jahrhui 

Heywood 
"SM f < 

Hicki, G 

Humfr 
Hodgkin, 

'Ran 01 
Holden, 1 

illustra 
Hole, W 

tioni b 
Holland, 

printed 
Hollis, 7 

books, 
Hopkins, 
Hopkins, 
Housman 

Hughes, 

to chil, 
Humbert 

Roi de 



INDEX. 



447 



Hunt, Leigh, eulogies of New- 

bery's children's books, 358. 
Huntingdon, Etrl of, book-stamp, 

130. 
Huss,Martin and Matthias, printers 
of Lyons, influence of Basel on, 

345- 
Hyde, W., book-illustrations by, 

185 /f., 205. 

I. and J., typographical repro- 
duction of, in modern editions 
of old plays, 420 sq. 

Incunabula, sold in 1901, 93 ; list 
of the more important, 164-175. 

Italic Founts, Bacon's Biliteral 
Cypher used in, 43 sqq. 

Italian incunabula, sale prices of, 
164/f., 170 sqq. 

Jones, A. Garth, book-illustrations 
by, 68, 88. 

Kelmscott Press, types cast at 

Fann Street Foundry, 356. 
Kitton, F. G., book-illustrations 

by, 194, 205. 
Knoblouch, J. Pestblatt, printed 

by, 11. 
Kyd, T., authorship of plays 

brought together under his 

name, 425. 

Lake Placid, advantages of, for 

librarians' meetings, \oo sq. 
Lamb, Charles, sale of copy of his 

* King and Queen of Hearts,' 

223. \ 
Lambe, Sir John, drafts made by, 

with a vie w to regulating printers, 

262. 
Landsberg, Martin, Pestblatt, 

printed by, 11. 
Laud, Archbishop, copy of his 

' Relation of a Conference with 

Fisher the Jesuit,' with his 



book-stamp, 130; clears away 
sheds, etc., from round S. 
Paul's Cathedral, 261. 

Lauderdale, Viscount. See M ait- 
land. 

Legros, Prof., 276. 

Le Neve, Peter, antiquary, 249, 
252. 

Levetus, Celia, book-illustrations 
by, 65, 88. 

Lhwyd, Edward, his Welsh and 
Irish MSS., 26 sq. 

Libraries, article by Archibald 
Clarke on need of public lend- 
ing libraries in the City of 
London, 1 35-140 ; article by J. 
Minto on exemption of, from 
rates, 256-260 ; cramped con- 
dition of municipal libraries in 
England, 36 sqq. ; total annual 
income, 38 ; development of 
library buildings, J. W. Clark's 
book on, 94 sq. ; Libraries of 
Greater Britain, notes on, by 
J. E. R. Boose*, 214 221 ; ser- 
vices of Edward Edwards to, 
398-406 ; travelling libraries in 
America, 1 03 sq. ; the William 
Blades and T. B. Reed bib- 
liographical collections at S. 
Bride Institute, described, 349- 

357. 
Library inspectors, 105. 

Library Institutes in America, 
103 sq. 

Library Schools, in America, 101, 
105 sq. ; summer library-school 
at Chautauqua, 102, 107. 

Linton, W. J., Walter Crane ap- 
prenticed to, 56. 

London, City of, article by A. 
Clarke on need of public lend- 
ing libraries in, 135-140. 

London Institution, 139. 

Longueville, Viscount. See Yel- 
verton. 



448 



INDEX. 



Lucu, E. V., hit facsimile edition 
of Lamb's 'King and Queen of 
Hearts, 1 113 >q. 

Lyons, influence of Buel printer! 
on thote of, 344 iq . 

Macdougall, W. B., book -illustra- 
tions by, 79, 88. 

MacGregor, Archie, book-illustra- 
.tioni by, 371, 391. 

Maitland, John, Viscount Lauder- 
dale, boo It -stamp, no J?. 

Malermi, N. t article by A. W. 
Pollard on two illustrated edi- 
tions of hii translation of the 
Bible, 116-142. 

Mallock, W. H, his article in the 
'Nineteenth Century' on the 
Biliteral Cypher, diicusied, 

4' If- 

Manchester Public Library, work 
done by Edward Edwards at, 
400 iqq. 

' Mariner's Marvellous Magazine,' 
T egg's advertisement of, 431 iq. 

Marlowe, C, Prof. Breymann's 
edition of his 'Dr. Faustus,* 412. 

Mason, Fred., book-illustrations 
by, 6$, 89. 

Massinger, autograph copy of his 
' Believe u yon list,' 409; about 
half the extant work of, con- 
tained in editions of Massinger, 

4*5- 

'Matinees du Roi de Pmste,' 

article by L. Gileson, 148-163. 
Matte, Andrew, recommended to 

succeed Wanley as Harley's 

librarian, 155. 
Meneval, his transcript of 'Les 

Matinees du Roi de Prusse,' 

158. 

Metlinger, Peter, printer at Dijon, 
Lyonnese * Ars Moriendi ' 
wrongly assigned to his press, 
344 It- 



Mickleton, Mr., Harley advise 

to purchase books from, 155. 
Millais, J. G., book-ill ustratioi 

by, looiq., 10c. 
Millar, H. R., book-ill ustratioi 

by, 376^-. 39'- 
Minto, J., article by, on ezem; 

tion of libraries from rates, 151 

160. 
Misprints, treatment of, in liten 

rim reprints, 413. 
Monferato, G. da trino de, nom 

nato Anima mia, his illustrate 

edition of the Malermi Bible 

116-141. 
Montague, Duke of, book-sum; 

and book-plate, 133. 
Moore, T. Sturge, book-illustn 

tions by, 78 ij ., 89. 
Morgan, Augustus de, a reprint o 

his ' On the Difficulty of C01 

reft Description of Books, 1 336 
Morris, William, letter to T. B 

Reed as to Kelmscott Pres 

types, 356. 
Muckley, L. Fairfax, book -ill 111 

trations by, 65, 89. 

N, Basel and Lyonnese founi 

with a peculiar form of, 34 

If- 
Names on bindings, 1 18. 
New, B. H, book-illustrations bj 

196 iqq., 106. 
New Palatograph icil Society, us 
New South Wales, Public Librar 

of, 114 Jf. 
New York (State) Library Associi 

New Zealand, General Assembl 

Library, 1 1 5 iq, 
Newbery, the publisher of child 

ren's books, the best -praise 

publisher of any day, 358. 
Newspapers, value of, in librarie 

117. 






INDEX. 



449 



Open access, at Bishopgate and 

Cripplegate Institutes, 138. 
Open- Air Illustrators, 176-213. 
Orford Book Sale, 223. 
Orthography in modern editions 

of old plays, 411-419. 
Osiander, Dr., reference to letter 

of, 248. 
Ospovat, Henry, book-illustrations 

by, 66 j?., 89. 

P., W., book stamped with these 

initials, III. 
Paget, H. M., book-illustrations 

by, 307, 3H- 

Paget, Sidney, book-illustrations 

by, 3*5- 
Paget, Walter, book-illustrations 

by, 307, 3 1 5- 
Panizzi, Sir A., article by W. E. A. 

Axon on an Early Essay by, 

1 4 1- 1 47 ; relations with Edward 

Edwards, 399 sqq. 

Paris, number of printers work- 
ing at, in the fifteenth century, 
96. 

Park, Carton Moore, book-illus- 
trations by, 382, 392. 

Parsons, Alfred, book-illustrations 
by, 177, 182, 206. 

Partridge, J. Bernard, book-illus- 
trations by, 301 sq„ 315. 

Pegram, Fred, book-illustrations 
by, 284 sqq., 316. 

Penncll, Joseph, book-illustrations 

by, 177, 187 W-> *°7- 
Pestblatter, article on, by C.Dodg- 

son, 2-12. 
Petre, William, book stamped with 

his initials, 121. 
* Pewter ready for noyse,' in * The 

Spanish Curate,' 422. 
Pissarro, Lucien, book-illustrations 

by, 77* 
Pitman, Rosie M. M., book-illus- 
trations by, 381, 392. 



Plague. See Pestblatter. 

Plantin Greek Testament, copy 
of, with portrait stamp of Queen 
Elizabeth, 114, 121. 

Plays, article by W. W. Greg, on 
editing old plays, 408-426. 

Plomer, H., articles on Hayward's 
4 Life and Raigne of Henrie IV.' 
13-23 ; on S. Paul's Cathedral 
and its bookselling tenants, 261- 
270 ; on the value of publishers' 
lists, 426-433. 

Pollard, A. W., articles on 4 The 
Franks Collection of Armorial 
Book-sumps,' 115-134; 'Two 
Illustrated Italian Bibles,' 227- 
242 ; Notes on Books and Work, 
92-97, 222-224, 333-336, 43f 

Printers, contributions of, to repair 
S. Paul's Cathedral, 262 sq. 

Printing, collections of W« Blades 
and T. B. Reed, at S. Bride's 
Institute, illustrating history of, 

349-357. 
Proctor, R., notes on Pestblatter 

with printed text, 1 1 sq . ; article 

on Two Lyonnese editions of 

the 4 Ars Moriendi,' 338-348. 

Publishers, effects of competition 
among, 235 ; value of their ad- 
vertisement lists, 427-433. 

Punctuation in modern editions of 
old plays, 419 sq. 

Pynson,sale prices of books printed 
by, 166 ; autograph signature 

of, 355- 

Queensland, Parliamentary Li- 
brary, 219. 

Quiller Couch, A. T., article in 
* Daily News' on Goldsmith's 
4 Prospect of Society,' quoted, 
327 sq. 

Rackham, Arthur, book-illustra- 
tions by, 372 sq^ 392. 



Ill 



G G 






45° 



INDEX. 



Radegund, S, Chartnlary, 33. 

Ragazzo, G, printer of 1490 and 
1+9* edition* of the Malenni 
Bible, 131. 

Rail ton, Herbert, book-illustrations 
by, 177. '9 1 '?-> *°9- 

Rates, article by J. Minto on ex- 
emption of libraries from, 256- 
260. 

Reed, Talbot Baines, bibliographi- 
cal collections of, at S. Bride's 
Institute, described, 354-357. 

Re id. Sir George, book-illustra- 
tions by . 177 '?f- Hi. 

Ricketts, Henry, book-illustrations 
by, 68, 71 jaw., 89. 

Ritherdon, Arnold, bookseller in 
S. Paul's Churchyard, 164, 267. 

Robinson, Charles, book-illustra- 
tion by, 366 if., 393. 

Robinson, T. H., book-illustration 
by, 378. J94- 

Robinson, W. H, book-illustra- 
tion by, 380, 395. 

Roch, S. t anonymous dotted print 
of, reproduced, % ; described, 
10 j reasons for his being 
specially invoked for protection 
against the plague, 6. 

Roman Catholic Church, attitndc 
of, to vernacular versions of the 
Bible, 228 sqq. 

Rossctti, D. G., his theory of 
book-illustration, 55. 

Royal arms on books, no proof of 
royal ownership, 213. 

Ryland, Henry, book-ill nitration s 
by, 90. 



S, typographical treatment of, in 
modern editions of old plays, 
420 if . 

S. Bride Foundation Institute, 
■ 37 *?■ { bibliographical col- 
lections of W. Blades and T. B. 
Reed at, described, 349-357. 



S. Paul's Cathedral and in book- 
selling tenants, article on, by 
H. R. Ploraer, 161-270; con- 
tributors to repair of, 265. 

Saints, specially invoked against 
the plague, 4. 

Samwer, C, arguments as to *Lei 
Matinees du Roi de Prune,' 
'S3W. 

Sanvitale, Jacopo, his sonnet on 
the birth of the King of Rome, 
««* 

Savage, Reginald, book-illustra- 
tions by, 77, 90. 

Savary, Marshal, his manuscript 
of 'Les Matinees du Roi de 
Prusse,' 148 sqq. 

Scene headings, in modern editions 
of old plays, 421 xq. 

Schablcr, Jobann, called ' Wattin- 
schnee,' partner of Matthias 
Huss, a member of University 
of Basel, 34c. 

Schreiber, W. I,., introduction to 
' Pest blatter des xv. Jahrhund- 
ert*,' reviewed, 2-it. 

Sebastian, S., his symbol of an 
arrow led to his being invoked 
for protection against the plague, 
5- 

Sebright, Sir Thomas, buys Sir 
Roger Twisden's library, 27. 

Seile, Henry, bookseller, in S. 
Paul's Churchyard, 264, 267 

Shakespeare, First Folio, copy, 
with book-stamp of Augustine 
Vincent, 124, 125 *.\ copy be- 
longing to Ralph Sheldon, 11 $».; 
principles of editing adopted in 
'Cambridge' edition of, 414, 
423 sqq. 

Shannon, C. II., book-ill narrations 
by, 71, 90. 

Shaw, Byam, book-illustrations by, 
66,90. 



Il 



INDEX. 



45 * 



Sheldon, book-stamps, 12$ sq . ; 
copy of Shakespeare First Folio 
belonging to Ralph Sheldon, 
126 n. 

Shepperson, Claude A., book- 
illustrations by, 289, 316. 

Sketchley, R. E. D., articles on 
English Book -Illustration of 
To-Day, 54-91, 176-213, 271- 

3*o, 358-397- 

Slater, H., Reviews of his Book- 
prices Current, 92, 438 ; sug- 
gested additions, to, 164/ff. 

Sleigh, Bernard, book-illustrations 
by, 65, 90. 

Sloane, Sir Hans, unwilling to bid 
against Harley, 32. 

Smyth e, Thomas, book -stamp of 
one of his descendants, 128. 

Somers, John, Lord, book-stamps, 
132. 

Specimen Books, typefounders', 
collection of, at S. Bride Insti- 
tute, 356. 

Spelling, treatment of, in modern 
edition of old plays, 41 1-4 1 9. 

Spirgatis, M., article on literary 
connection between Germany 
and England, noticed, 333. 

Stage-directions in modern editions 
of old plays, 4 1 o sq ., 42 1 . 

Stephens, Mr., the bookbinder, 
dealings with Harleian Library, 

Strang, William, book-illustrations 

b 7» *73 Wt 317. 
Stratton, Helen, book-illustrations 

by, 380 /f., 396. 

Subject Heading, principle of 
selection of, 322. 

Sullivan, E. J., book-illustrations 
by, 289 sq. $ 292, 318. 

Sumner, Heywood, book-illustra- 
tions by, 59 sq. 9 90. 

Sunderland, Robert Spenser, Earl 
of, book-purchases, 28. 



Sydenham, Sir Philip, book-stamp, 
133. 

Tailor, Humfrey Wanley's, 253. 
Talman, John, first Director of 

the Society of Antiquaries, 

249. 
Tasmania, Library of Parliament, 

216 sq. 
Tau cross, as a charm against the 

plague, 4 sq. 
Tegg, Thomas, publications and 

advertisements, 1808-1809,427- 

433- 

Tennyson, Lord, illustrated edi- 
tion of his ' Poems ' published 
in 1857, 54. 

* Than * and * Then,' former spell- 
ing of, 416, 418. 

Thomas, F. I., book-illustrations 
by, 196, 211. 

Thomson, Hugh, book-illustra- 
tions by, 294 iff., 318 sq. 

Thome, W. B., article on the 
Bibliographical Collections of 
W. Blades and T. B. Reed, 

349-357. 
' Thorow ' and ' through,' 413 sq. 

Thou, J. A. de, books bound for, 
119. 

Towneley book-stamp, 123 sq. 

Townshend, F. H., book-illustra- 
tions by, 287 iff., 320. 

Twisden, Sir Roger, fate of his 
library, 27. 

United States of America. Set 
American Notes. 

V and U, typographical treatment 
of, in modern editions of old 
plays, 421. 

Victoria, Public Library of, 217 

Victoria Public Library, W. Aus- 
tralia, 219. 



«* 



INDEX. 



'Vild,' attempts of editor* to 

modernize the word, 415. 
Vincent, Aug., hit book-stamp, 

"♦*• . . . „ 

Voltaire, authorship of 'Lei Ma- 
tinees du Roi de Prune' at- 
tributed to, 155 iq. 

Walker, A. G, book-ill uitratiom 

by, 396. 
Wanlcy, Humfrey, article* on, 

by G, F. Barwick, 14-35, MJ- 

Wanley family, genealogy, 146. 

Ward, Roger, joined with John 
Wolfe in opposing Stationers' 
Company, 14. 

Waukesha, Wis., Meeting of 
American Library Association 
at, 98 iq. 

Weaver, Edmond, bookieller in 
S. Paul's Churchyard, 164. 

Weguelin, j. R., book-ill ustrationt 
by, 8a, 91. 

Weissenburger, Pestblatt, printed 
by, 11. 

Whcatley, H. B., his 'How to 
make an Index,' noticed, 336. 

Whittall, Charles, his transcript 
of *Lcs Matinee* du Roi de 
Pruts e,' 148 iqq. 

Whittall, Sir Win., his edition of 
'Les Matinees du Roi dePruise' 
(Frederick the Great on Ring- 
Craft), 148'??. 

Whymper, Charles, book-illustra- 
tions by, 100, an. 



.& 



Wilkes, John, hook-stamp, 133. 

Williams, John, Bishop of Lincoln, 
book-stamp, I %-j. 

Willoughby, Cassandra, Duchess 
of Chandos, book-stamp, 133. 

Wilmer book-stamp, 130. 

Wilson, Patten, book .illustrations 
l» 91. 
iter's Wreath, The," of 1 8*8, 
essay contributed by Panizzi 
to, 141 iff. 

Wolfe, John, printer of Hay- 
ward's 'Life and Raigne of 
King Henrie IV.,' 13 ; his ex- 
amination by the Attorney- 
General, 14 iqq . 

Woodroffe, Paul V n book -illustra- 
tions by, 66 tq^ 91. 

Woodward, Alice B, book-illus- 
trations by, 368 sj., 396. 

Worms, bred by sheep* leather, 
*44- . 

Wren, Sir Christopher, allusion 
to work being done by him for 
Cottonian Library, 246. 

'Wrestle ' and ' Wrastle,' 415. 

Wright, Alan, book -illustrations 
by, J7I ,q., 397. 

Wynkyn de Worde, sale prices of 
books printed by, 166. 

Y. W., initials on book bearing 

royal arms, 113. 
Y el vert on, Henry, Viscount 

Longueville, book-stamp, 127 iy, 
Yelverton, Mary, i»8. 



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