ADAPTED OR PALIMPSEST PLATES (_continued_).
In the last chapter I claim to have introduced the reader to a phase
of print-collecting which has in it a sporting element of a peculiarly
enticing character. The pursuit of what I have called palimpsest
copperplates offers entertainment of the very best to one who would
make it a speciality, and, perhaps, the most alluring thing about this
curious quarry is that the hunter will never be satisfied after running
it to earth until he has secured and coupled it in his portfolio with
its necessary and enchanting fellow.
I propose in this chapter to give a few more specimens of these curious
adapted plates.
Many examples of reheaded statues and adapted portraits lie around us.
Mr. Augustus Hare tells of a representation of Lady Georgina Fane in
Brympton Church, which consists of the head of {227} that ready-witted
lady “added to the body of an ancestress who was headless,” whilst any
visitor to Yarmouth Church, Isle of Wight, may see the imposing marble
effigy of Admiral Sir Robert Holmes, which consists of the head of
that gallant sailor surmounting the body of Louis XIV. It appears that
Sir Robert, having captured the vessel in which the Italian-made torso
of the Grand Monarque was being conveyed to France for the modelling
of the head, retained the unfinished work and crowned it with his own
august features—a good example of the resourcefulness of the English
character.
Again, Macaulay, enlarging upon the popularity of Frederick the Great
in England, tells how at one time enthusiasm reached such a height that
the sign-painters were everywhere employed in touching up the portraits
of Admiral Vernon, which hung outside innumerable public-houses, into
the likeness of the King of Prussia, a curious commentary, by the way,
on the family motto, “Ver non semper virit.”[43] Further, it is on
record {228} that after Trafalgar such was Nelson’s popularity, that
Daniel Orme, engraver to George III., bought a plate of Napoleon at the
sale of a Ludgate Hill printseller’s effects, and altered it into a
portrait of our national hero.
[43] The following extract from a recent newspaper shows that the
practice has not yet altogether died out:—
“In the action of Tussaud _v._ Stiff, heard in the Chancery Division
by Mr. Justice Buckley yesterday, the plaintiff, Mr. Louis Tussaud,
sought to restrain defendant by injunction from carrying on his
business of exhibiting models in such a way as to induce the public
to believe that the models he showed were the work of the plaintiff.
It was stated by the plaintiff’s counsel that, in consequence of
an injunction granted some years ago, it became necessary for the
plaintiff to carry on his exhibition as Louis Tussaud’s New Exhibition
in Regent Street. It was afterwards turned into a limited liability
company, and removed to the Alexandra Palace. Some of the models were
sold to the defendant, but no goodwill of the business was sold. The
defendant had since opened several exhibitions of waxworks, other
models had been added to those sold by the plaintiff, and the models
of the plaintiff had been split into a considerable number of pieces,
while models made by other persons than the plaintiff were exhibited
as Louis Tussaud’s waxworks. Counsel informed the Court that _in one
case the head of the Archbishop of Canterbury had been put on the body
of Charles Peace, and in another instance Napoleon was represented as
taking part in the execution of Mary Queen of Scots_. The defendant’s
present exhibition was a penny show in the Edgware Road. _In another
instance the head of Mr. Ritchie, the Chancellor of the Exchequer, was
put upon a dying soldier._”
The Mr. Louis Tussaud here mentioned must not be confused with Mr.
John Tussaud of the Marylebone Road Exhibition.
Examples such as these might be multiplied, but here are enough for
our purpose. They show that the systematic practice of copperplate
adaptation has its counterpart in other departments of art.
[Illustration: Aan der Meester Tonge-Slyper. (_The plate in its first
state_)]
[Illustration: Aan der Meester Tonge-Slyper. _As adapted by the
Anti-Jesuits_]
We will now consider a curious broadside {230} published about the
year 1688, the copperplate heading of which was destined to be seized
upon and adapted to other purposes nearly twenty years later by the
piratical publisher referred to in the last chapter.
As will be seen from our reproduction, its letterpress is addressed,
“Aan der Meester Tonge-Slyper” (“To the Master Tongue Grinder”). The
engraver’s name does not appear, but the work is easily distinguished
as that of Jean Bollard, by comparing it with other signed engravings
of the same series of pictorial satires.
Two men at a grindstone sharpen a tongue, Another tongue lies on the
anvil. Two labourers empty a large hamper of tongues into a basket,
which is steadied by a woman. Point is given to the picture by the
gossiping groups seen through the door and window, and especially by
the two Xantippes who, with arms akimbo, are slanging each other in
good earnest.
The doggerel letterpress refers to the birth of the Old Pretender, and
the mendacious tongues of the conspirators are being delivered to the
smith to be coerced into speaking the truth. {231}
Here is a free translation of the passage, beginning “Heden zyn my over
London”:—
“To-day I received from London a cargo of those goods which you have
to take in hand; I have some of the biggest size, _The Admiral of
the First Flag_, which has been used so much and has become black
from lying, and which, after all appearances, seems to have had his
end bitten off; scrape thoroughly his thick skin or he will be up
to anything; swearing oaths, breaking bonds, falsely protecting the
Church is his daily work.”
And so on, until it ends with the moral:—
“Nothing more useful than whetting the tongue
When its aim is to speak the truth.
But when it is given to lying,
It must be pierced, flayed, and scraped.”
So much for the plate in its first state. In its second we find it
published seventeen years later, and somewhat ingeniously adapted
to the new exigencies. It now takes its place in the armoury of the
anti-Jesuits, and is published without any acknowledgment in the
pamphlet, entitled _Roma Pertubata Ofte’t Beroerde Romen, etc.,
etc._, referred to in the last chapter. This pamphlet, which is a
very warren of palimpsest plates (it has at least four, and possibly
there are others), may {232} be seen in the print-room of the British
Museum. It may, too, as I have myself proved, be discovered at rare
intervals in the shops of the old printsellers in Holland. Mine is in a
parti-coloured paper wrapper, whether as issued or added later I cannot
say. It consists of title-page, table of contents, and eleven full-page
copperplate engravings of extraordinary interest. Curiously enough,
the table of contents makes no reference to the eleventh and last. Our
palimpsest is number 9.[44]
[44] Grateful acknowledgments are here due to the splendid _Catalogue
of Prints and Drawings in the British Museum_, 5 vols., which should
be in the library of every collector of satirical prints.
In its new surroundings it has (_vide_ reproduction) been divorced from
its letterpress, and been cut away at the bottom. A descriptive panel
has been engraved over the doorway, and other lettering added here and
there. The publication line, “tot Tongeren by J: la Langue,” apparently
a bogus one, playing on the words of the original, “à Langres chez
Tongelel,” now appears within the border of the design.
The tongue which lies on the anvil is now pierced by the seven
heraldic arrows of the Dutch Provinces, and words are engraved below to
the {233} effect that “There is no worse evil than that a Pope’s tongue
dares slander the State,” and on the base of the anvil, “He has given
way to slander. You must forge him before you grind him.”
Below the quarrelling women are the words: “These maids are quarrelling
for de Kok,” referring to scandals which were afloat concerning the
morality of the Pope’s vicar-general, and a Latin chronograph appears
at the feet of the chief smith.
The inscription over the door gives directions to “The Romish Dutch
Grinder of Tongues,” and, amongst other things, says of the tongue on
the anvil, “That is de Kok’s tongue, wounded by seven arrows, because
he has slandered the State by his speech,” which statement hardly
tallies with the inscription on the anvil, unless the vicar-general may
be regarded as the very mouthpiece of the Pope.
This is no place, as I have said, to enlarge upon the Jansenist
propagandum, but it will well repay the enthusiastic historian to
follow out the above allusions to their original source.
So much for our adapted broadside.
{234}
[Illustration: The Stature of a Great Man, or the English Colossus]
{235}
[Illustration: The Stature of a Great Man, or the Scotch Colossus]
I would ask you now to look at the two prints entitled respectively
“The Stature of a Great Man, or the English Colossus,” and “The Stature
of a Great Man, or the SCOTCH Colossus.”
{236}
The first, dated 1740, represents Sir Robert Walpole, then in the
plenitude of his power. He stands on two woolpacks. Between his legs is
seen the British fleet lying inactive. He is flanked by Marines on the
left crying “Let us fight,” and sailors with drawn swords on the right
declaring their readiness to die “Pro Patriâ.” The plate teems with
allusions to his reluctance to go to war, by which he was subjecting
his country to the insults and aggressions of Spain and France.
Twenty-two years later the plate was resurrected and altered to
its second state, in which it is made to represent Lord Bute. The
lower part of the plate, bearing the quotation from Shakespeare and
the “Description,” has been now cut away, and “Scotch” inserted in
the place of “English” in the title. The chief alterations are the
reduction of the full-bottomed wig and the addition of a wig-tie of
black ribbon, the addition {237} of a star on the breast, and a
new and abusive inscription on the right-hand document. In this case
the adapter has shown but little ingenuity.
[Illustration: Queen Anne presiding over the House of Lords. (_The
plate in its first state_)]
[Illustration: _The plate in its second state, now representing_ George
I. presiding over the House of Lords]
We will now turn to a far more elaborate example, which, in its first
state, as will be seen in the reproduction, represents Queen Anne
presiding in state over the House of Lords. The plate is etched by
Romeyn de Hooghe.
At the top of the picture, between female figures representing Plenty
and War, is suspended a cloth, on which the Queen is shown presiding
over the House of Commons. At her side sits Prince George of Denmark.
The whole is surmounted by the words, “Het Hoog en Lager Huys van
Engeland.” Left and right of the cloth are scrolls bearing the legends,
“Hinc gloria regni” and “Hinc felicitas publica.”
At the base of the plate are two small self-contained etchings. That
on the left shows the heralds proclaiming the Queen; that on the right
shows Her Majesty sitting in Council. Between these are inscribed the
following words:—
“Annæ D. G.
Magnæ Britanniæ Reginæ,” etc., etc.
{238}
The main design is crowded with details and figures of the utmost
interest, any description of which is forbidden by the space at my
disposal. The artist’s signature is to be seen on the floor of the Hall.
Thirteen years were now to elapse before it was transformed into
the glorification of George I. The King now takes the place of the
late Queen in the House of Lords. The throne in the House of Commons
is vacant. The inscription on the cloth has been re-engraved, and
“Engeland” changed to “Engelandt.” The title and the panels at the
bottom of the plate have been cut away, and the index numbers on the
main design and the index letters on the cloth have been altered. The
designer’s name has been removed from the floor of the House, and
engraved on the right-hand corner of the plate.
These are the main differences. The curious reader may occupy himself
in discovering others.
The next example here reproduced I give because of the peculiarly
drastic changes which have been made by the pirate into whose hands the
plate has fallen. {239}
[Illustration: “The Races of the Europeans, with their Keys.” (_The
plate in its first state_)]
[Illustration: “A Skit on Britain.” (_The plate in its second state_)]
In its original state it bears the punning title, “The Races of the
Europeans with their Keys.” The line of publication runs:—“Geo.
Bickham, jun^{r.,} inv^{t.} et sculp. According to the late Act,
1740. Price 1s. Sold at ye Black Moors Head against Surry Street
in y^e Strand.” The composite design is made up of variorum copies
of four separate prints recently published. These are enclosed in
the four quarters of an elaborate design, surmounted by a crouching
wolf. At the point where the four corners meet is a grotesque horned
head. At the foot are a mask and a poniard. Each panel is differently
dated, and surmounts its own set of explanatory notes. The allusions
to contemporary politics are most ingeniously conceived, but are so
numerous that space forbids even their barest description.
In its second state the plate is entitled “A Skit on Britain.” The
line of publication runs the same as before, saving the name of the
artist, which has been changed into “Ged Bilchham.” A line of script
has also been added on this copy, which states that “This plate is
upon the same copper as ‘The Races of the Europeans,’ much of the {240}
allusions not having been obliterated,” which seems considerably to
understate the case. The enclosing design is certainly much the same
as before, though in this there are many alterations in detail, but of
the four engravings by far the greater portion has been removed. The
aerial parts are practically untouched, but of the crowds of figures
only a few unimportant groups remain. All the tables of reference have
been burnished out, and are replaced by doggerel verses. The dates have
been removed from the four compartments, and in the places of three of
them appear “Porto Bello, Nov. 1739,” “Cartagena,” and “The Havana,”
while the fourth is left blank. The main part of the satire is directed
against the policy of Sir Robert Walpole, but is of too elaborate a
nature to be entered upon here.
[Illustration: The Headless Horseman. (_The plate with the head
burnished out._)]
Before concluding this account of palimpsest plates I shall reproduce
three very curious prints in which the substitution of one head for
another is more than usually outrageous.[45] The original {241}
engraving was by Pierre Lombart after a made-up portrait of Charles
I., on horseback, professing to be by Vandyck.
[45] The earliest example of the artist as Headsman that I have come
across is a very rare portrait of Queen Elizabeth, full length, seated
on a throne, dressed in a robe of state, holding globe and sceptre,
engraved about 1590. The Queen’s figure was subsequently burnished
out, and that of James I. substituted. This, unfortunately, I do not
possess.
The plate was executed before the execution (save the mark!) of the
Martyr King. After his death the head of Cromwell was substituted,
no doubt for commercial purposes. Finally, Charles the First’s head
was restored (again save the mark!) after the Restoration. Our
reproductions are from what would seem to be the second, third, and
fourth states of the plate though a first state is not known. It will
be observed that, in the earliest—namely, that in which the head
has been removed altogether—the scarf is brought across the left
shoulder, and tied under the right arm, whilst the page-boy has bands
and frills to his breeches. In the next, or third state, in which
Cromwell’s head has been inserted, the scarf has been removed from the
shoulder, and is tied round the waist, whilst the bands and frills
have been removed from the page-boy’s nether garments. In the next,
or fourth stage of the plate, in which {242} Charles’s head has been
re-inserted, there are, besides the substitution of one head for the
other, a few minor alterations, such as the addition of the Cavalier
moustache to the face of the page-boy, the restoration of the frills
to his breeches, the alteration of the pattern of the rider’s collar,
the addition of the order of St. George to the rider’s breast, and
the substitution of the royal coat of arms for those of the Protector
at the bottom of the engraving. There are also other known states of
the plate, reproductions of which may be seen in Mr. Alfred Whitman’s
_Print-Collector’s Handbook_. These were unknown to me when I wrote the
above description.[46]
[46] Since writing this I paid a visit to the Hall of the Middle
Temple, when the very intelligent custodian told me that Cromwell
ordered the great Vandyck, which hangs over the high table, to be
taken down, and his own somewhat repellent countenance painted in
in the place of that of Charles I. Fortunately for posterity this
outrageous order was not carried out. The whole affair reminds one of
the unconsciously grim entry in a certain bookseller’s catalogue which
ran, “Memoirs of Charles the First with a head _capitally executed_.”
[Illustration: The plate with Cromwell’s head]
[Illustration: The plate with Charles I.’s head]
So much for historical instances of putting new heads on old shoulders.
But, if I am not mistaken, the very modern restoration of the west
front of one of our great cathedrals shows a late Dean’s head
surmounting the body of a saint or king, {243} which had been
mutilated by Cromwell. It would be cruel, perhaps, to be more specific,
as vanity is not the most pleasing of the Christian virtues.
Again, there was lately a good deal of laughter caused by one of the
whims of the German Emperor. It appears that his artistic eye had been
offended by the incompleteness of a fine headless torso which was
brought to the fatherland some years since. Everything, he was aware,
could be _made in Germany_, so what more natural than to offer a prize
for the best completion of the work of a Phidias or a Praxiteles?
_Finis coronat opus_, and the sculptors of Germany were called upon to
compete. None of the results, however, satisfied His Imperial Majesty,
and two of the artists have been commissioned to try again. Would it be
_lese-majestie_ to suggest that there is only one head in Germany that
would prove quite acceptable? I present the idea to the competitors.
Enough has been written to show that the pursuit of the palimpsest
plate is sport of the very finest for the collector, for it is a sport
which does not cease with the running of the quarry to earth. {244}
I have reproduced, without comment, opposite pages 244 and 246, and on
pages 245, 247, and 249, a few more of these adapted copperplates for
the sake of any one who may be fortunate enough to possess either the
original or the palimpsest. He will find it no bad sport to go hunting
for its fellow.
[Illustration: Undescribed palimpsest plate. (_First state and second
state._)]
{245}
[Illustration: Aan den Experten Hollandichen Hoofd-Smith. (_The plate
in its first state_)]
[Illustration: Aan den Experten Hollandichen Hoofd-Smith. (_As adapted
by the Anti-Jesuits_)]
[Illustration: Undescribed palimpsest plate. (_First state and second
state._)]
{247}
[Illustration: An adapted Copperplate. _First state_]
[Illustration: An adapted Copperplate. _Second state_]
{249}
[Illustration: A History of the New Plot. _First state_]
[Illustration: A History of the New Plot. _Second state_]
{251}
INDEX
“Aan den Experten Hollandschen Hoofd-Smith,” 216, 243
“Aan der Meester Tonge-Slyper,” 216, 230–233
ADAPTED COPPER PLATES, 192–247
Ainsworth, Harrison, 3
Alken, Henry, 157–160
Allen, Archdeacon, 10
_American Notes_, 2
Anne, Queen, 237, 238
_Antiquities of Westminster_, 150–153
_A Pop-Gun fired off by George Cruikshank_, 79
“A Skit on Britain,” 239, 240
“A Trifling Mistake,” 70–73
_Ballad of Beau Brocade, The_, 3
“Becky Sharp,” 10
_Bentley’s Miscellany_, 43–52
Bewick’s _Birds_, 68
_Book of Snobs_, 9
“Breeches” Bible, Barker’s, 2
Brougham, Lord, 62
Browne, H. K., 27, 28, 29, 31, 33, 54–56
Bruton, Mr. H. W. 48, 49, 69, 75, 81
Buffon, M., 5
Bunn, Alfred, 10
Burlington, Earl of, 98–107
“Burlington Gate,” 108
Burns, Robert, 2
Buss, Miss F. M., 34
Buss, R. W., 29, 30, 31, 32, 33, 34
Bute, Lord, 235, 236
Calcraft, Captain Granby, 9
Capel, Monsignor, 2
“Captain Granby Tiptoff,” 9
“Captain Shindy,” 9
Carteret, Lord, 112 _et seq._
_Catalogue of Prints and Drawings in the British Museum_, 92 _et
passim_, 198 _et passim_
Chandos, Duke of, 101
Chapman and Hall, Messrs., 33, 55
Charles I., 241–242
_Charles Dickens, The Story of his Life_, 27
Churchill, Charles, 107–111
_Clarissa Harlowe_, 5
_Coaching Days and Coaching Ways_, 175–178
Cochrane, Lord, 65
_Coningsby_, 12, 13, 20
Cowell, Professor, 184–186
Crawhall, Joseph, 135–138
“Credulity, Superstition, and Fanaticism: a Medley,” 88 _et seq._
Croker, J. W., 12
Cromek, R. H., 5
Cromwell, Oliver, 241, 242
Cruikshank, George, 42, 45–54, 59–81, 161
_Cruikshank’s Portraits of Himself_, 80
Cumberland, Duke of, 60–69
Cumberland, Princess Olive of, 62
“Danaë in the Brazen Chamber,” 140–148
_Death in London_, 154–158
Dexter, Mr. J. P., 41
_D’Horsay; or the Follies of the Day, by a Man of Fashion_, 13
_Dickens and his Illustrators_, 40, 41
Dickens, Charles, 2, 26 _et seq._ his _American Notes_, 2 his
suppressed portrait, 27, 28
_Dickens Memento_, 47
_Dictionary of National Biography_, 61, 62
Dighton, Richard, 25
Disraeli, Benjamin, 2, 10, 12, 131–134
Dobson, Mr. Austin, 3, 82 _et passim_, 174
_Don Quixote_, 113 _et seq._
“Don Quixote releases the Galley Slaves,” 118, 122
“Don Quixote seizes the Barber’s Basin,” 118, 120
“Drop it!”, 78
Du Maurier, George, 162–173
Edwards, Edwin, 179–191
Elizabeth, Queen, 240
“Enthusiasm Delineated,” 83 _et seq._
_Essay on the Genius of George Cruikshank_, 77
Fane, Lady Georgina, 226
Fanus i Khiyal, 185–191
_Figaro in London_, 63, 64
“Financial Survey of Cumberland or the Beggar’s Petition,” 60
FitzGerald, Edward, 40, 179–191
Frederick the Great, 227
Garrick Club, The, 8, 9
George I., 238
George IV., 11
“George Garbage,” 9
Gray, J. M., 148
_Grimm’s Fairy Tales_, 42
“Harry Foker,” 9
Hertford, Marchioness of, 75
Hertford, Marquis of, 10 _et seq._
_History of Pickwick_, 29
Hobhouse, John Cam, 70–73
_Hogarth Illustrated_, 84
Hogarth, William, 82 _et seq._
Holmes, Sir Robert, 227
Hook, Theodore, 9, 10
Ireland, John, 84 _et seq._, 113 _et seq._
Irving, Washington, 2
_Italian Tales_, 74
_Italy_, 3
James I., 241
Jansenists, the, 221 _et seq._
Jesuits, The, 221 _et seq._
“Joe Sibley,” 163–173
Jones, W. N., 68
_Jorrocks’s Jaunts and Jollities_, 158
Keene, Charles, 127–139
Kitton, F. G., 40
“Lady Kew,” 10, 22
Langford, Lady, 10
Lawrence, Sir Thomas, 19
Leech, John, 33, 36–38, 40, 41
“L’Europe alarmée pour le Fils d’un Meunier,” 202–216
_Life of Dickens_, 37, 46
_Lippincott’s Magazine_, 10
“Lord Walham,” 23
_Lothair_, 2
“Marquis of Hereford,” 14
_Martin Chuzzlewit_, 26, 53
“Monsignor Catesby,” 2
“Mr. Dolphin,” 10
“Mr. John Jorrocks,” 158–161
“Mr. Pickwick at the Review,” 33
“Mr.” Pitt Crawley, 15
_Mr. Thackeray, Mr. Yates, and the Garrick Club_, 8
“Mr. Wardle and his Friends under the Influence of the Salmon,” 33
“Mr. Winkle’s First Shot,” 33
Napoleon, Emperor, 228
Nelson, Lord, 228
_Oliver Twist_, 26, 43–52
_Once a Week_, 127, 140–148
Orange, William of, 217 _et seq._
Pailthorpe, Mr. F. W., 56
_Pall Mall Gazette_, 166–169
Palmer, Samuel, 56
_Pendennis_, 9
_Penelope’s English Experiences_, 38
Phillimore, Mr. F., 47
“Philoprogenitiveness,” 77, 78
_Pickwick_, 26, 28 _et seq._, 43
_Pictures from Italy_, 56
Pine’s Horace, 54
_Poems_, Burns’s, 2
Pope, Alexander, 98–107
Price, Stephen, 9
Prideaux, Colonel, 190–191
_Punch_, 127 _et seq._
Queensberry, Duke of, 23
Reid’s _Catalogue of George Cruikshank’s Works_, 45, 62, 69
Ritchie, Mrs., 10
Robertson, J. C., 154–158
Rogers, Samuel, 3
“Roma Perturbata, Ofte’t Beroerde Romen, etc.,” 216 _et seq._
“Rose Maylie and Oliver at Agnes’s Tomb,” 45 _et seq._
Roxborough, Duke of, 2
“Royal Hobbys of the Hertfordshire Cock Horse,” 75
Ruskin, John, 3, 4
Sala, G. A., 30, 40
Sandys, Frederick, 127, 139–148
Scott, Sir Walter, 2
Seymour, Robert, 29, 31
“Sholto Percy,” 154–158
_Sketch Book_, Washington Irving’s, 2
_Sketches by Boz_, 55, 57, 58
Smith, J. T., 150
Smith, Wyndham, 9
Spielmann, Mr. M. H., 128 _et passim_
_Sporting Snobs_, 9
Stanislaus Hoax, 10
Stephens, F. G., 88
Stothard, T., 5
Stuart, James Francis Edward, 198 _et seq._
SUPPRESSED PLATES, 1–191
Surtees, R., 158
Swain, Mr. Joseph, 140–148
_Talpa_, 78
Tenniel, Sir John, 133
Thackeray, W. M., 7 _et seq._
_The Artist_, 145
_The Battle of Life_, 26, 34–40
_The Battle of London Life;_ or _Boz and his Secretary_, 39
“The Bruiser,” 110, 111
_The Builder_, 107
_The Chimes_, 36, 41
_The Christmas Carol_, 36
“The Cricket Match,” 29, 32
“The Curate and the Barber,” 121, 125
“The Dead Rider,” 74
“The Fireside Scene,” 26, 44 _et seq._
“The First Interview,” 121, 123
“The Free and Easy,” 57
“The Funeral of Chrysostom,” 116
_The History of Punch_, 128 _et seq._
_The Hobby Horse_, 144
“The Innkeeper,” 114
“The Innkeeper’s Wife and Daughter,” 118
“The Last Song,” 42
“The Man of Taste,” 98–107
“The Marquis of Steyne,” 7 _et seq._
_The Memoirs of Joseph Grimaldi_, 41, 42
_The Newcomes_, 22
“The Painted Chamber,” 150–153
“The Races of the Europeans with their Keys,” 239
_The Ruba’iyat_ of Omar Khayyam, 179–191
_The Speaker_, 21
“The Stature of a Great Man, or The English Colossus,” 236
“The Stature of a Great Man, or The Scotch Colossus,” 236
_The Strange Gentleman_, 54, 55
“The Street of the Tombs, Pompeii,” 56
_The Times_, 109
_The Tower of London_, 3
“The Two Apprentices,” 163–173
_The Two Paths_, 3
_The Vicar of Wakefield_, 171–175
_The Virginians_, 9
“The Worship of Wealth,” 53, 54
Thomson, Mr. Hugh, 3, 171–178
Thornhill, Sir James, 111, 112
“Tom Smart and the Chair,” 33
_Town Talk_, 8, 9
_Trilby_, 162–173
Tristram, Mr. Outram, 175
Truman, Edwin, 69
“Tupman and Rachel,” 29, 32
Van der Banck, Johan, 112, 113
_Vanity Fair_, 7 _et seq._
Vernon, Admiral, 227
_Vivian Grey_, 10
Wallace, Sir Richard, 20, 22
Walpole, Horace, 25
Walpole, Sir Robert, 234, 236
_Westminster Review_, 78
Whistler, James M’N., 163–173
Wilde, Oscar, 168
Wilkes, John, 109–111
Yates, Edmund, 8, 9
THE END
_Printed by_ R. & R. CLARK, LIMITED, _Edinburgh_.
ADVERTISEMENTS
KATE GREENAWAY
BY
M. H. SPIELMANN AND G. S. LAYARD.
Containing upwards of 80 full-page illustrations (53 in colour,
reproduced from original water-colour drawings by Kate Greenaway.)
Square demy 8vo, cloth, gilt top, with Kate Greenaway end-papers, price
20s. net.
_SOME PRESS OPINIONS_
“This delightful volume, with its scores of illustrated letters, and
sketches and charming pictures, will be very widely welcomed. No one
could wish for a more satisfactory memorial of the artist and her
work.”—_Daily Graphic._
“Whether as regards its subject, its letterpress, or its
illustrations, this is one of the most delightful, as it is likely
to become one of the most popular volumes of the series to which it
belongs.”—_Aberdeen Journal._
“Certainly one of the most beautiful monuments that could be erected
to the memory of a modest artist.”—_Daily Mail._
“By reason of its sympathetic treatment of an intensely interesting
subject, of the charm, the quality, and the profusion of its
illustrations, and of the faultless taste of its get-up, should
rank among the favourite gift-books of the approaching Christmas
season.”—_Observer._
“A book which will delight young and old by its engaging
charm.”—_Jewish World._
“The volume, magnificent to behold, is a deeply interesting
one to read, and should be peculiarly attractive to our
readers.”—_Gentlewoman._
“This delightful book should prove a capital present to give to young
folks at Christmas time. The pictures in it are very beautiful, while
the story of Kate Greenaway’s fight for fame is sympathetically
told.”—_Scottish Review._
“The book is admirably done, thorough, sympathetic, and
accurate.”—_Outlook._
BIRKET FOSTER
By H. M. CUNDALL, F.S.A.
Containing 91 full-page illustrations (73 in colour) and numerous
thumbnail sketches in the text. Square demy 8vo, cloth, gilt top, price
20s. net.
It may safely be asserted, without fear of contradiction, that
the dainty water-colour drawings executed by Birket Foster appeal
to the majority of the British public more than the works of any
other artist. He produced scenes from nature with such exactness
and minuteness of detail that the most uninitiated in art are able
to understand and appreciate them, but the chief features in his
paintings are the poetic feeling with which he endued them, and the
care with which his compositions were selected. He revelled in sunny
landscapes with roaming sheep and with rustic children playing in the
foreground, and in the peaceful red-bricked cottages with thatched
roofs; it is, perhaps, by these scenes of rural England that Birket
Foster is best known. He, however, was an indefatigable painter,
and produced works selected from all parts of England, Wales, and
Scotland; he travelled frequently on the Continent; Venice, as well
as the Rhine, had its charms for him, and the picturesque scenery of
Brittany has also been portrayed by his brush.
The collection of Birket Foster’s drawings reproduced in this volume
is thoroughly representative, and is sufficiently extensive to include
all phases of his work. The accompanying biographical text by Mr.
H. M. Cundall will be found to be most sympathetic, intimate, and
interesting.
A. & C. BLACK, SOHO SQUARE, LONDON, W.
GEORGE MORLAND
By Sir WALTER GILBEY, Bart.
AUTHOR OF “THE LIFE OF GEORGE STUBBS, R.A.”
Containing 60 full-page reproductions in colour of the artist’s best
work. Square demy 8vo, cloth, gilt top, price 20s. net.
There will also be an Édition de Luxe, with letterpress printed
on handmade paper, containing the earliest impressions of the
illustrations, and limited to 250 signed and numbered copies, price £2:
2s. net.
There is plenty of room for another Morland book, especially when
written by the greatest living authority upon the works of the artist,
and where the illustrations are reproduced, with most excellent
results, from masterpieces loaned from private collections hitherto
mostly unknown to the artistic public, and of which only a few have
either been engraved or gravured—at all events, not before reproduced
in colour.
George Morland’s work is characterised by its great strength and
beauty of colouring. To reproduce so many of his choicest pictures,
and bring the book into this series, is no easy matter, but to
ensure success the publishers have spared no efforts to make their
reproductions worthy of the artist’s work and entirely satisfying to
the collector and student.
The collection of pictures reproduced in this volume is thoroughly
representative, and each illustration is a gem; they show the several
phases of Morland’s charming scenes of English life in the renowned
Academician’s time.
The student and all collectors and admirers of Morland will also
rejoice to have the appreciative text by Sir Walter Gilbey.
A. & C. BLACK, SOHO SQUARE, LONDON, W.
TRANSCRIBER’S NOTE
Original spelling and grammar have been generally retained, with some
exceptions noted below. Original printed page numbers are shown like
this: {52}. Original small caps are now uppercase, except that on
page 223 the small caps phrase is rendered thus: “hos heros
MonaChos apprenDe bata Ve rebeLLes”, in the simple text
edition. Italics look _like this_. Footnotes have been relabeled
1–46, and moved from within paragraphs to nearby locations between
paragraphs. The transcriber produced the cover image and hereby assigns
it to the public domain. Original page images are available from
archive.org—search for “suppressedplates00laya”.
The List of Illustrations contains two divisions, those that were
printed upon numbered pages, and those that were printed on unnumbered
pages. Most illustrations originally printed inside paragraphs of
text have been moved to nearby locations between paragraphs, and the
corresponding page numbers have been removed as necessary to maintain
proper order of the remaining page numbers. Captions of Illustrations
were sometimes altered to conform more closely—in substance or in
typography—to the titles in the List of Illustrations (LOI). In such
cases, the original captions (if any) are nevertheless retained as part
of the image. On page 172, a caption was inserted where none had been
printed, to match the LOI.
Page 10. “protoype” to “prototype”.
Page 212. “fireband” to “firebrand”.
Page 254. “Whistler, James M‘N” to “Whistler, James M’N”.