_SIR J. E. MILLAIS, P.R.A., HOLMAN HUNT, DANTE G. ROSSETTI, ARTHUR
HUGHES, MILLAIS' "PARABLES OF OUR LORD," SIR J. NOEL PATON,
P.R.S.A., SIR JOHN TENNIEL, ETC._
Much has been written about "The Golden Period of Illustration" as
it existed in the early Sixties, represented by wood engraving and
the admirable drawings done for that process by such artists as Sir
John Millais, Fred Walker, A. Boyd Houghton, Dante G. Rossetti, G.
J. Pinwell, Sir E. J. Poynter, Lord Leighton, Sir E. Burne-Jones, F.
Sandys, and other notable artists.
Our opportunities were favourable. We were equally fortunate in being
so intimately connected with men possessing such exceptional talent,
and it must ever be a great satisfaction to us that we were in a
position to avail ourselves of their brilliant ability.
Our co-operation with Sir John Millais began about midway in the
fifties, when, at his request, Moxon, the publisher, brought one
of the Tennyson drawings for us to engrave, and continued for many
years, during which time a large majority of the drawings he made for
wood engraving were entrusted to us. These included his work for the
_Cornhill Magazine_, _Good Words_, and the majority of those he did
for other serial publications, including the illustrations to Anthony
Trollope's "Orley Farm," "The Small House at Allington," and "Framley
Parsonage." This artistic association only ceased when he discontinued
doing this class of work. During the entire time we gave the most
perfect satisfaction to Millais, who frequently expressed himself in
the warmest, and to us extremely flattering, terms of appreciation.
We subsequently discovered that it was to Richard Doyle we were
indebted for our introduction to Millais, who was then living at
Bowerswell. Perth, where Doyle was on a visit, and noticing the
delicate character of a drawing he was at work upon said he believed
the Dalziels were the only engravers who could do justice to such
elaborate manipulation. Upon this Millais requested Moxon to place
the drawings in our hands, and so satisfied was he with our first
performance, that all the remaining drawings he made for this edition
of "Tennyson's Poems" were given to us.
Previous to Mr. Moxon entrusting Millais' drawings to us, he had placed
all the subjects with the different artists, but found great difficulty
in getting the work from them. He gave us a list of those waited for,
and placed the completion of the engravings in our hands, asking us to
look up the artists, which brought us in close communication with those
engaged upon the work.
He also asked us to superintend the printing of the book, which was
being done by Messrs. Bradbury and Evans, who certainly bestowed the
greatest care upon its production, but no sheet was sent to Press until
we had signed it as "approved." The number printed was 10,000 copies,
which were done at the old hand press, for at that time cylinder
machine work was not considered good enough: but all that has long
been changed--the finest and most elaborate work being now produced in
this way.
[Illustration: THE LORD OF BURLEIGH.
TENNYSON.
BY SIR J. E. MILLAIS, P.R.A.
_By permission of Messrs. Macmillan & Co._]
This edition will always be known as "Moxon's Tennyson," and will
stand out as a landmark in the history of book illustration. In the
work of the younger men engaged on it, beyond the extreme beauty of
their designs, there was an evidence of earnestness to search after
truth that went so deep into nature as to give the work a stamp of
superiority: and this advance in art--for it was an advance--we
endeavoured to follow and to promote to the best of our power.
[Illustration]
[Illustration:
Locksley Hall proof
The outline of the daughters head is too thick from this'
in....ssion I cannot see her mouth but will wait for the next,
the nostril is too large, and the mother's face is too full of
little fine lines, take away the fuzzy lines indicating the upper
lip--Clear the eye enlarging the upper lid by making this line of
the eye less thick bad right There are some little scratches on
his fingers holding the envelope thus which may be taken out, In
the shading of the daughters hands on her side, there are some
black veins which may also be eradicated--There are other little
corrections if you compare these touched proofs, with others as the
blocks are--I rush now I am very hard at work painting but will
attend to the Coleridge & Byron designs at my first liaison--Hoping
to hear from you soon believe me yours very truly
Dalziel Brothers. John Everett Millais]
The volume was published by Mr. Moxon at _£_1 11_s._ 6_d._, but the
public did not respond as had been expected, consequently a large stock
was left on hand. These were sold to Messrs. Routledge and Co., and,
with the stock, the entire set of the wood blocks went also. The price
of the volume was reduced to _£_1 1_s._, and it sold out immediately.
On this success Messrs. Routledge wished to produce a new edition,
but Tennyson's terms were too high to leave any margin of profit to
the publisher. This doubtless was the cause of the book being so long
out of print; but the property having since passed into the hands of
Messrs. Macmillan they have reproduced this very interesting book.
On November 23rd, 1856, Mr. Holman Hunt, on receiving the proof of a
drawing he had made for Moxon's edition, writes:
"I find the proof of the last design for 'Oriana' very
satisfactory, giving the character of the drawing with great truth."
[Illustration: FROM "THE TALKING OAK."
TENNYSON.
BY SIR J. E. MILLAIS, P.R.A.
_By permission of Messrs. Macmillan & Co._]
Although we were in communication with Dante Gabriel Rossetti at
an earlier date, when we engraved a small drawing[9] which he made
in illustration to a poem, "The Maids of Elfin-Mere," by William
Allingham, published by Bell and Daldy, in a volume entitled, "Day
and Night Songs"--Rossetti's artist co-workers in this book were J.
E. Millais and Arthur Hughes, all the drawings being engraved by
ourselves--we did not come in contact with him again until we received
the following letter:
"17 ORANGE GROVE, BATH.
"MY DEAR SIRS,--I have just had a note from Mr. Moxon sent to me
here, by which I learn that you are cutting a drawing of mine, and
that it will soon be finished. Will you kindly send me the proof
_here_ (to the above address) and I will at once retouch it and
send it back to London. I have been lately admiring your work in
the 'Poets of the 19th Century,' and can only hope for a rendering
equal to what Millais has there had at your hands.
"Yours very truly,
"D. G. ROSSETTI."
The Millais drawings here alluded to are those made to illustrate
passages from Byron and Coleridge, mentioned later on. His own was the
St. Cecillia which Rossetti did for the "Illustrated Tennyson."[10]
It would be obviously out of place for us to comment upon the
difference in treatment which we gave, and that of other engravers who
were entrusted to operate upon some of the drawings he made for this
book, or to remark upon the comparisons of certain critics writing upon
the subject; we can only affirm that Mr. Rossetti expressed himself
both verbally and by letter as being well pleased with our work.
Writing on the receipt of two finished proofs, he says:
[Illustration:
1 April
14 Chatham Place
E.C.
Dear Sir
Many thanks for the two proofs kindly sent--both of them now highly
satisfactory & well repaying all your pains.
Yours faithfully
DS Rossetti]
That Rossetti was a man difficult to please in his literary work as
well as in his art, the following is an apt illustration:
In one of the "Allingham letters," he says:
"I lately heard from Aubrey de Vere with a request to my sister and
self to contribute something to a verse collection. We looked up
scraps and expected proofs, but these come not, and I imagine that
the result, when in type, will be the usual incentive to Blasphemy."
[Illustration: THE BALLAD OF ORIANA.
TENNYSON.
BY HOLMAN HUNT.
_By permission of Messrs. Macmillan & Co._]
Mr. W. M. Rossetti, writing of his brother's social peculiarities, says:
"He assumed the easy attitude of one born to dominate--to know his
own place and to set others in theirs. He was a genial despot, good
natured, hearty and unassuming in manner, and only tenacious upon
the question at issue."
[Illustration: ST. CECILLIA.
THE "PALACE OF ART."
TENNYSON.
BY DANTE G. ROSSETTI.
_By permission of Messrs. Macmillan & Co._]
Though we never had any personal interview with Rossetti's sister, Miss
Christina Rossetti, we had considerable correspondence with this gifted
lady, extending over several years, she having written some short poems
which helped to adorn the pages of one or more of our Fine Art Books.
We also published her charming little Nursery Rhyme Book, "Sing Song,"
which was very tastefully illustrated by Arthur Hughes. The manuscript
of this book was somewhat of a curiosity in its way. On each page,
above the verse, was a slight pen sketch, drawn by Miss Rossetti,
suggesting the subject to illustrate, but of these Mr. Hughes made very
little use, and only in two instances actually followed the sketch.
The book was published on our behalf by Messrs. George Routledge & Co.
On one occasion when Mr. Arthur Hughes sent in some of the drawings
which he had made, one of the pages of manuscript was missing, and on
this being pointed out to him he sent the following note:
"_July 31, '71._
"DEAR MESSRS. DALZIEL,--I am sure that I put in the rhyme of
'Dancing on the hill tops.' I am very careful with them--going two
or three times through them before packing up. I don't remember
which was 45, but the four figures representing the Seasons is to
the poem of the Months, beginning 'January, cold, desolate'; and as
well as I can remember the poem for the drawing of a man with fagot
and basket meeting his child--it goes thus:
[Illustration]
'Dancing on the hill tops,
Singing in the valleys,
Laughing with the echoes,
Merry little Alice.
If her father's cottage
Turned into a palace,
And he owned the hill tops
And the flowering valleys,
She'd be none the happier--
Happy little Alice.'
--and had a pencil sketch at top of a child on a pointed hill.
"I am just about finishing a batch of these--belonging to last
week, alas!--but I am also finishing the frontispiece of the
Carols. These shall come very soon.
"Believe me,
"Faithfully yours,
"ARTHUR HUGHES."
[Illustration: HALLELUJAH.
THE "SUNDAY MAGAZINE."
BY ARTHUR HUGHES.
_Published by Mr. Alexander Strahan._]
We had for a long time cherished the idea of doing an important
series of illustrations to "The Parables of Our Lord." This occupied
much anxious thought and careful consideration, for we felt it would
be useless attempting the subject unless the drawings were made by
an artist of acknowledged high-class ability. We found our chief
difficulty in fixing upon one capable of treating the subject with
sufficient dignity, and at the same time likely to avoid the old
conventional style in which at that time Biblical art was treated. As
many of Sir John Millais' charming drawings had been passing through
our hands--among others we would mention some exceptionally beautiful
work illustrating selected passages from poems by Byron and Coleridge,
as well as his exquisite drawing of "The Finding of Moses"--it seemed
to us that he would be a safe man to consult on the subject, and likely
to give us something more original in treatment than any other artist
who was doing this class of work.
Millais entered warmly into the subject and very readily undertook the
commission, as the accompanying letter will show:
"BOWERSWELL, PERTH,
"_13 August, '57_.
"DEAR SIRS,--I shall be very glad to accept your offer, but you
must give me time. One great inducement for me to undertake
these illustrations is the fact that the book will be entirely
illustrated by me alone. The subject is quite to my liking; you
could not have chosen anything more congenial to my desire. I would
set about them immediately if you will send me some blocks. Will
you send me a list of the Parables, or leave it to me? I would
prefer the former. There is so much labour in these drawings that I
trust you will give me my own time, otherwise I could not undertake
the commission. I should make it a labour of love like yourselves.
"Yours very truly,
"JOHN EVERETT MILLAIS."
[Illustration: THE PEARL OF GREAT PRICE.
FROM "THE PARABLES OF OUR LORD."
BY SIR J. E. MILLAIS, P.R.A.
_By permission of Messrs. Herbert Virtue & Co., Ltd._]
[Illustration]
[Illustration:
Monday Bowerswell
Perth
Dear Dalziel,
At last I have finished "The Pearl of great price"--you will at
once see there is a tremendous lot of work in it., & I have put a
little more white in parts than perhaps is good,--but I could not
help it, as I require to alter a good deal. I know very well you
will give it all your attention & after all that you have done
I feel sure it will be rendered a facsimile = the head of Lucy
Roberts is just what I wanted which is very fortunate as I could
not suggest alterations--
Yours sincerely,
John E Millais
Messrs. Dalziel brothers]
Millais produced several of the drawings very promptly, but, as time
went on and he became more popular--the demand for his pictures daily
increasing--longer intervals gradually took place between the delivery
of the drawings, and it was not until the end of 1864 that the last
was sent in. Even then he had only made twenty drawings out of thirty,
which he at first undertook to do. At the same time he requested us to
release him from the remainder of the agreement, and to this we had no
choice but to comply, though we did so very reluctantly, feeling that
the world of art would be so much the poorer.
In 1862 we accepted an offer from Mr. Alexander Strahan, and twelve of
these pictures were published in _Good Words Magazine_. Later, in 1864,
the entire series was published for us in book form by George Routledge
& Sons. But we are sorry to say they did not receive that liberal
recognition from either the public or the critics which their undoubted
excellence ought to have commanded.
When we conceived the idea of doing an Illustrated Bible, of which we
will have much to say further on, Millais was one of the first artists
we consulted on the subject. He warmly approved of the project, and
promised his most hearty and liberal co-operation; but like many
other equally hearty promises from artists of note, they were never
fulfilled, not, we are sure, from any want of sympathy with the
subject, but owing entirely to the pressure of other engagements. At
last his undertaking on this work simmered down to a positive promise
of one drawing, and that to be "Adam and Eve in the Garden of Eden,"
but though he was often solicited, and always promised to set about it
immediately, he never made the drawing, nor do we know that he went so
far as to make even the slightest rough sketch of a design for it. To
us this was an inexpressible disappointment, as without that picture it
was obviously impossible to commence the publication.
[Illustration: THE UNJUST JUDGE.[11]
FROM "THE PARABLES OF OUR LORD."
BY SIR J. E. MILLAIS, P.R.A.
_By permission of Messrs. Herbert Virtue & Co., Ltd._]
[Illustration]
[Illustration:
Bowerswell Perth.
14 Jany. 59.
Dear Sir,
Nothing can be more exquisitely rendered than the "Importunate
Widow". There are two or three little trifles wh. I will tell you
when I come up. It appears to have been better cut than any other I
have ever seen, you have only to show it to any artist, & he will
at once see how it is executed--The two I am about are the "Ten
Virgins". I will try & send you one next week. I am only sorry
that I cannot turn them out faster. I am charmed with yr. work.
Faithfully yʳˢ,
John Everett Millais]
This, with many other similar disappointments of help which we had
confidently relied upon, caused the project to hang fire, until at
last, in 1880, we resolved to abandon the idea of an Illustrated Bible,
and publish some of the engravings we had made in a folio under the
title of "Dalziel's Bible Gallery."
That our difficulties in carrying out the elaborate project we had
formed began at an early date, the following extract from a letter by
Sir John Millais, dated February 8th, 1863, will show:
"There is a decided move in the matter of 'The Bible.' Hunt, Watts,
and Leighton will not, I expect, work for you, as they say they
are, with me, in honour bound to work for the publisher who first
made the proposal. There can be no doubt but that we should, in
such a case, work together.
"Yours very faithfully,
"JOHN EVERETT MILLAIS."
The "publisher who first made the proposal" here referred to was Mr.
Joseph Cundall, who was not at that time in business as a publisher,
but had formed a project of publishing an "Illustrated Bible." His
progress in the matter merely consisted in his having commissioned the
several artists named by Millais, with two or three others, while his
actual purchase was three small drawings of minor importance. These,
with his "priority of claim," we subsequently purchased from him. We
never used the drawings, however, not considering them favourable
specimens.
In a letter, which is without date, showing how earnestly Millais
laboured and how anxious he was to give his most perfect work in
producing the charming series of illustrations to "The Parables of Our
Lord," he says:
"I send off by post the Parable of 'The Leaven which the woman hid
in the three measures of meal'; she is mixing the leaven in the
last of the three. The girl at the back I have made near the oven
with one of the loaves, and the other rests against the wall of the
window."
[Illustration: THE LEAVEN.
FROM "THE PARABLES OF OUR LORD."
BY SIR J. E. MILLAIS, P.R.A.
_By permission of Messrs. Herbert Virtue & Co., Ltd._]
Further on in the same letter he writes:
"It is almost unnecessary for me to say that I cannot produce these
quickly even if supposing I give _all my_ time to them. They are
separate pictures, and so I exert myself to the utmost to make them
as complete as possible. I can do ordinary illustrations as quickly
as most men, but these designs can scarcely be regarded in the same
light--each Parable I illustrate perhaps a dozen times before I
fix, and the 'Hidden Treasures' I have altered on the wood at least
six times. The manipulation of the drawings takes much less time
than the arrangement, although you cannot but see how carefully
they are executed. Believe me, I will not again halt in the work,
but will supply you regularly, although I may occasionally delay in
the production. I know you will take every care in the cutting, so
I will not say anything about that. I enclose with the block a few
remarks.
"Ever yours truly,
"JOHN EVERETT MILLAIS.
"I suppose you have nearly completed the 'Five Foolish Virgins.' I
am always anxious to get the proofs."
Sir John was at all times ready to help a brother or sister artist, and
avoid as far as possible running in competition, as the following few
lines will show.
In a letter dated February 8th, 1863, he writes:
"I forgot to ask you not to publish the 'Lost Sheep' amongst
the Parables in _Good Words_, as I have had a letter from Mrs.
Blackburn stating that she had a drawing for the paper of the
same subject, and wishing me to keep back that illustration if it
did not interfere with the arrangement. I suppose it will make no
difference to you, so please withhold it from the set devoted to
_Good Words_."
In reference to the engraving of "The Lord of Burleigh" he says:
"PERTH,
"_December 10, '56_.
"MY DEAR SIRS,--I received the proofs this afternoon and am quite
satisfied with the cutting, which is perfect. I mention a few
corrections, or rather additions, which I think will improve them.
As I have omitted to add my monogram to the other drawings I should
like it cut out of the snow in the illustration to the 'Old Year.'
The only improvement I see is a want of softness in some of the
outlines, which may be reduced or made to look more tender. I have
written in pencil such faults as strike me may be easily remedied.
"The more I have looked into the cutting of both these (but
especially the 'Burleigh') the more delighted I am with the
rendering. I wish you would send me a good proof of each of them,
as I have all the others.
"Again thanking you for the evident care you have taken in
rendering my drawings,
"Believe me,
"Ever yours truly,
"JOHN EVERETT MILLAIS."
Millais, on returning proofs which we had submitted for his touching or
approval, invariably made such favourable remarks on our portion of the
work as the following:
"_November 6, '63._
"The proofs you sent me are perfectly satisfactory. 'The Good
Shepherd' doesn't require anything, and the other only wants a
touch on the face. Next to the King is a little coarse in the
shadow: make it a little less scratchy."
In reply to a letter of ours asking for a further supply of "Parable"
drawings, Mrs. Millais writes:
"BOWERSWELL,
"_August 9th_.
"DEAR SIR,--I am very sorry to write to you instead of packing up
for you some wood drawings. Mr. Millais has begged me to write to
you, as he says he is ashamed of himself, but he has felt such a
disinclination to turn to that kind of drawing at present, when he
is painting out of doors, that he must beg you to have patience
with him. Several times as he has got designs and drawings ready,
I have got him to sit down to them, but he rose up disgusted and
feeling incapable. He goes to London next week but returns in a few
days. He declares he will then set to work, so we must hope the fit
will have come on for work of the kind in which you are interested.
In the meantime he has nothing nearly ready, if he would only
begin again, but he is at work all day, and in the evening too
tired. Next week the young ladies he is painting from leave, and he
will be free to turn to something else.
"With best regards,
"Believe me, yours truly,
"EFFIE MILLAIS."
Mrs. Millais, writing on another occasion to account for the
non-delivery of drawings, says:
"BOWERSWELL, PERTH,
"_November 26th_.
"He is very sorry not to answer your letter about the Parables. He
says, at this season, that he is always occupied on his pictures,
and that although he can occasionally do drawings on the wood at
odd times, that he cannot attempt to do the Parables, which are,
as you know, much finer work. He is anxious to make that work as
perfect as possible, and when he does one or more he puts his
painting aside for the time. He cannot do that during the winter
and spring, and therefore begs you to have patience with him, as he
will work at them whenever he has sufficient leisure. He is well
aware how anxious you are to have the work finished. I am sure he
is also. But he often makes designs, and continues to improve them
until he is quite satisfied that it is as good as he can make it,
and this takes a long time.
"Very truly yours,
"EFFIE MILLAIS."
On our sending Millais complete copies of "The Parables" he wrote the
following letter:
"7 CROMWELL PLACE,
"SOUTH KENSINGTON,
"_5th Dec., 1863_.
"DEAR DALZIEL,--I am quite _delighted_ with the Book, and I think
you will find the public will slowly and surely appreciate it. Six
copies will not quite do for the friends I have promised it to,
but will be enough for the present. I desired to send copies to
men who will very much forward the sale--such as Tennyson, Layard,
Thackeray, Leech, etc. If you could send me another six I think
that would do amply. I will not forget 'The Arabian Nights.' The
only fault, I think, in the Book is that in the middle there are
too many blank pages, but I suppose that could not be helped.
"Sincerely yours,
"JOHN EVERETT MILLAIS."
[Illustration:
"_Now, Randolph, tell thy tidings,
However sharp they be._"
"Edinburgh, after Flodden."--AYTOUN.
FROM "LAYS OF THE SCOTTISH CAVALIERS."
BY SIR J. NOEL PATON, P.R.S.A.
_By permission of Messrs. William Blackwood & Sons._]
The following is an extract from the Preface to the first edition of
the book:
"Mr. Millais made his first drawing to illustrate the Parables
in August, 1857, and the last in October, 1863. Thus he has been
able to give that care and consideration to his subjects which the
beauty as well as the importance of 'The Parables' demanded, for
the work has extended over a period of six years."
During the years from 1858 to 1863 we engraved several grand drawings
by Sir J. Noel Paton in illustration to a fine art edition of Professor
Aytoun's "Lays of the Scottish Cavaliers," published by Messrs.
Blackwood of Edinburgh. In a letter, dated October 8th, 1858, he says:
"33 GEORGE STREET, EDINBURGH.
"DEAR SIRS,--Judging from your work in the 'Tennyson,' and from
proofs now before me, I can with perfect security and confidence
recommend the Messrs. Blackwood to entrust you with as many of my
drawings as you care to undertake. Indeed I did so in those very
words when, a few months ago, we were discussing this question of
engraving, and I am quite ready to repeat my recommendation, though
having, by my own desire, left the choice of engravers entirely in
the hands of Messrs. Blackwood.
"I remain, Gentlemen,
"Yours very truly,
"J. NOEL PATON."
[Illustration:
"_Yet a black and murky battlement
Lay resting on the hill._"
"The Execution of Montrose."--AYTOUN.
FROM "LAYS OF THE SCOTTISH CAVALIERS."
BY SIR J. NOEL PATON, P.R.S.A.
_By permission of Messrs. William Blackwood & Sons._]
On returning parcels of touched proofs, he wrote the following letters:
"33 GEORGE STREET, EDINBURGH,
_August 22, 1862_.
"GENTLEMEN,--I herewith return the three printed proofs touched
upon, and by that you will kindly do your best to carry out the
alterations indicated.
"The last proofs sent (eight in number) will be forwarded to Mr.
Simpson to-day. They are, upon the whole, very satisfactory, though
all, more or less, requiring _careful overhauling_, though through
no shortcoming of yours, as the drawings have been wonderfully
rendered. I would more especially mention as worthy of all praise,
as specimens of engraving, 'The Melrose,' and the interior with
figures, and the suit of armour. The latter is certainly very
perfect.
"Your kind offer of a proof of Mr. Houghton's beautiful design, and
your beautiful Engraving of the long-haired Lady with Children, I
cannot refuse; though in what I said in my last, I merely meant
to indicate the desire, which so many must feel, that high class
things of that sort could be got by _themselves_ and printed
in a manner worthy of their excellence--they are generally so
indifferently printed in the Periodicals in which they appear and
_dis_-appear.
"In haste.
"Very faithfully yours,
"J. NOEL PATON."
"MESSRS. DALZIEL."
"Absence from Town, and other causes, has prevented me from
acknowledging more promptly 15 proofs of your engravings for the
'Lays of the Scottish Cavaliers,' which, I am happy to say, are all
very satisfactory indeed.
"I am, Gentlemen,
"Yours very truly,
"J. NOEL PATON."
[Illustration]
[Illustration:
37 Drummond Place
Edinburgh
April 27. 1859.
Gentlem...
I am sorry to find myself again convicted of culpable
negligence, in having left your last beautiful proofs to lay
unacknowledged.--As before, excessive occupation, tempered with
indisposition is my excuse. The blocks may now be considered quite
satisfactory--and I sincerely wish there were a dozen more of my
drawings in your hands.
In much haste--
Very truly yours,
J. Noel Paton
Messrs. Dalziel]
[Illustration:
"_On wheels of light, on wings of flame,
The glorious hosts of Zion came._"
"The Song of Bethlehem."--CAMPBELL.
FROM "LAYS OF THE HOLY LAND."
BY J. R. CLAYTON.
_By permission of Messrs. James Nisbet & Co._]
"The Lays of the Holy Land" was projected by Mr. Watson, then the head
of James Nisbet and Co., who, mainly under our guidance, made a very
wise selection for the figure subjects. Tenniel's are exceptionally
fine, "The Destruction of Sennacherib" being perhaps the most
important. The "Song of the Jewish Maiden," by F. R. Pickersgill, R.A.,
is one of his best, and there is a lovely drawing, "Ruth and Naomi,"
by J. H. Powell, but the one picture that stands alone is "The Finding
of Moses by Pharaoh's Daughter," by Millais. The strength and power as
well as the treatment are so original as to give it even in this fine
collection a marked degree of undoubted prominence. Wolf has several
exquisite examples, so has Birket Foster. Of our own drawings we will
only mention "Tears for Jerusalem" and "The Raising of Lazarus." There
is also a very beautiful drawing, "The Song of Bethlehem," in a fine
decorative manner, by J. R. Clayton.
Clayton has been our friend and comrade for over fifty years. We met
as fellow students at the Life School at Clipstone Street, when Edward
Duncan was President and Treasurer, and Charles Keene, John Tenniel,
George Boyce, H. T. Wells, and Arthur Lewis were amongst the regular
workers.
[Illustration: THE FINDING OF MOSES BY PHARAOH'S DAUGHTER.
FROM "LAYS OF THE HOLY LAND."
BY SIR J. E. MILLAIS, P.R.A.
_By permission of Messrs. James Nisbet & Co._]
This much-gifted, many-sided man began his artistic work as a sculptor
with Sir Charles Barry, and under the influence of Sir Gilbert Scott,
attaining much knowledge in architecture and ecclesiastical matters,
he soon developed a decided taste for decorative work. During this
period, however, his wonderful facility for design found an easy
outlet in drawing on wood. Our early connection with him began on
the _Illustrated London News_, for which he did much beautiful work,
notably some illustrations to "New Songs Written to Old Tunes," by Dr.
Charles Mackay. He also illustrated an edition of "Krumacher's Fables,"
translated by Dr. Hy. W. Dulcken, a dear old friend, who was then one
of the managers of Ingram and Cook's book branch of the _Illustrated
London News_. Clayton also did a set of illustrations to "Bunyan's
Pilgrim's Progress." We had the benefit of his work in many of the
"Fine Art Books" on which we were from time to time engaged. He did the
figure subjects for "Herbert's Poetical Works," and, in companionship
with Sir John Tenniel, made most of the figure subjects for "Pollock's
Course of Time."
Clayton's taste for decorative work gradually took the form of stained
glass, and his success in that way became so extensive that the art of
Book Illustration sank into the background. Although not really one of
the P.R.B., he was of them, and with them in all their ways and works.
If the Royal Academy had a more extensive scale of fitness for the
honour, there is no man to our knowledge whose great ability as a true
artist better deserves the distinction of R.A.
[Illustration: THERE'S NAE LUCK ABOUT THE HOUSE.
FROM "HOME AFFECTIONS WITH THE POETS."
BY SIR J. E. MILLAIS, P.R.A.
_By permission of Messrs. George Routledge & Sons._]
[Illustration]
[Illustration:
Bowerswell Perth
August 16. 57.
Dear Sir,
Both the illustrations are so perfectly cut that I have nothing
to say, and therefore will keep both the proofs, as I should like
to have them--Perhaps you may just fine down one or two lines in
the "There's nae luck" the upper line of the womans hand Run the
shading of the mans shoulder more into the outline also the little
girls left leg should the mans shoe and run a little more decided
light down the dogs nose Beyond these trivial corrections I see
nothing. I shall be glad to see how the "Moses" drawings cut, these
two are most satisfactory
Yours very truly,
John Everett Millais
Wᵐ Dalziel brothers]
Edward Duncan, George Dodgson and F. W. Topham, with a few other
members of the "Old Society of Painters in Water Colours," formed a
club for outdoor sketching, the rule being that at a selected spot all
should sit down as close to each other as possible, taking various
points of view according to individual taste. One day whilst at work
in a field on the banks of the Upper Thames, they saw a sturdy farmer
coming towards them looking very fierce and angry. When he got near the
party he said:
"What be you lot o' lazy devils a-doing in my field?"
"Sketching, sir, sketching!"
"Is that fit work for men? When the young ladies from Miss Gray's
boarding school come down to 'sketch' I say let 'em; if it pleases
them, it don't hurt me, an' there be no harm; but when I see a lot of
great hulking men like you fellows about such nonsense it makes me fair
angry! Why, domn it, you might be doing a lot o' good work o' some
sort! I would rather break stones by the roadside for a shilling a day
than fool away my time like you be doing. You ought to be ashamed o'
yourselves, you ought!"
They tried to explain to him that they made their living by painting
pictures. After some strong expressions of doubt the farmer sobered
down a little and asked Dodgson how much he would get for the one he
was "doing." Dodgson, knowing the sort of man he had to deal with, said:
"Perhaps as much as ten shillings, or maybe twenty if I can find a
friend who fancies it."
The answer came, "Thee be a domned liar as well as a lazy lout!" Then
with a look of contempt the tiller of the soil stumped away.
[Illustration:
"_From the window I look out,
To mark thy beautiful parade;
Stately marching in cap and coat,
To some tune by fairies played._"
"Threnody."--RALPH WALDO EMERSON.
FROM "HOME AFFECTIONS WITH THE POETS."
BY EDWARD DALZIEL.
_By permission of Messrs. George Routledge & Sons._]
"The Poets of the Nineteenth Century," in addition to the two fine
drawings by Millais already named, has many other good pictures; one
of the most remarkable, perhaps, is the "Prisoner of Chillon," by
Ford Madox Brown. Sir John Tenniel is well represented, the "Death of
Marmion" being one of his best. Sir John Gilbert, too, has several:
"The Vicar," "To my Mother's Picture," and "Hohenlinden." So pleased
were we with the latter design that we offered him a commission for a
water colour drawing of the subject. His reply was, "Yes, and it shall
be one of my best." And it certainly was one of his most successful
as a highly-finished work and will always hold its own. There are
also several interesting drawings by William Harvey, J. D. Harding,
Edward Duncan, and G. Dodgson; a large number of exquisite examples
of Birket Foster, and several figure subjects by J. R. Clayton, F.
R. Pickersgill, R.A., Edward Corbould, and Harrison Weir. Of our own
many drawings in this book we will mention a small roadside landscape,
"Taste," and a single figure, "The History of a Life."
On February 6th, 1856, Mr. Ford Madox Brown, in returning a volume of
the Illustrated Edition of "Longfellow's Poems," wrote:
"The bearer will return the volume of 'Longfellow,' which I have
looked through with great delight; and I think it bears honourable
testimony to the high excellence which wood engraving has attained
in this country."
Subsequently, on seeing the volume, "The Poets of the Nineteenth
Century," he wrote:
"Let me take this opportunity of expressing my admiration of the
work you last brought out, and the drawings by Dalziel[12] in
particular, which are most poetic and took us by surprise, although
whether yours or your brother's I, as yet, know not. The Millais'
are admirable, both as regards him and the engraver."
[Illustration:
"_There, ye wise Saints, behold your Light, your Star--
Ye would be dupes and victims, and ye are._"
THE VEILED PROPHET OF KHORASSAN.
FROM "LALLA ROOKH."
BY SIR JOHN TENNIEL.
_By permission of Messrs. Longman & Co._]
In "Home Affections with the Poets," Millais again stands pre-eminent
in his two contributions. "There's Nae Luck About the House," when
compared with his drawing of the "Finding of Moses," is an apt
illustration of his wonderful versatility, and a proof that in art all
subjects were equally within his power.
F. R. Pickersgill has some fine pictures in this book, his "Oriana"
being full of tender feeling. Sir John Tenniel, too, is very strong,
his "Fair Inez" being the best. Sir John Gilbert and Birket Foster are
both very powerful; the former in "When I Come Home," "The Two Angels,"
and "The Wee Thing"; the latter in his "True Love," "Come Awa', Come
Awa'," "My Sister Ellen," and "The Graves of the Household." There
is a very clever drawing, "The Sailors Journal," by George Thomas,
and a grand picture, "The Shipwreck," by Edward Duncan. Among our
own drawings in the collection are, "To Mary in Heaven," Emerson's
"Threnody," and "My Mother Dear."
Among the first works of importance by Sir John Tenniel that came into
our hands to engrave were several drawings for an illustrated edition
of Tupper's "Proverbial Philosophy," as well as his contributions to
the illustrated publications issued by the Art Union of London. He also
made a great many important drawings for the numerous "Fine Art Books"
which we produced; among them we would particularly mention "Dramatic
Poems," by Barry Cornwall, and "Pollock's Course of Time"; likewise
several exceptionally clever drawings for "The Ingoldsby Legends,"
published by Richard Bentley.
[Illustration: _"Poor maiden!" thought the youth, "if thou wert sent."_
THE VEILED PROPHET OF KHORASSAN.
FROM "LALLA ROOKH."
BY SIR JOHN TENNIEL.
_By permission of Messrs. Longman & Co._]
One of his most elaborate works was the set of illustrations to "Lalla
Rookh." The drawings were all made on the wood with lead pencil,
and were fine examples of his varied powers of design and delicate
manipulation--such as gave us great pleasure in the rendering. The book
was published by Messrs. Longman & Co. If Tenniel had never done any
other work than "Lalla Rookh," and those two remarkable books "Alice in
Wonderland" and "Through the Looking Glass," they alone would have been
sufficient to immortalise him. What a piece of work the frontispiece to
the former is! What dignity and rare grotesque humour are shown in both
these books! What beautiful pictures "Advice from Caterpillar" and "The
Father William" make!--and how perfectly they are all drawn! "Pig and
Pepper," "The Kitchen Scene," and "Alice and the Duchess" are among the
best.
As a matter of fact, Tenniel did not wish to do the second book, so
Mr. Dodgson ("Lewis Carrol"), the author, asked various other artists
to undertake the task, amongst them Sir J. Noel Paton, who, being out
of health at the time, at once declined, saying, "_No_, Tenniel is
the man." And most fortunately, both for author and artist, he was,
the drawings being most grotesque, and the delightful fooling and
outrageous fancy beyond description: for instance, "Looking-Glass
House," "Tweedle-dum-tweedle-dee-dee," "Humpty-Dumpty," "The Lion and
Unicorn," and last of all "Queen Alice." Such pictures were half the
battle in the success of these two delightful little volumes.
During the process of completing the illustrations a great deal of
correspondence, always of the most agreeable nature, took place with
the Rev. Mr. Dodgson, as to their execution and finish. It is well
known that he was more than usually critical, both with the drawings
and with the engravings. Mr. Dodgson also entrusted us later with the
drawings made by Mr. A. B. Frost--a very clever and highly esteemed
American artist, who fully entered into the quaint humour of the
text--for "Rhyme and Reason" and "A Tangled Tale."
So much was Tenniel engaged at this time that we always regarded his
undertaking the pictures, seven in number, for our "Arabian Nights," as
an act of kindness to ourselves.
[Illustration: ALICE IN WONDERLAND.
BY SIR JOHN TENNIEL.
_By permission of Messrs. Macmillan & Co._]
Outside his _Punch_ work, we believe nearly all Tenniel's work for wood
engraving was executed by us.
[Illustration:
10 Portsdown Road
Janʸ. 11. 1870.
[Sidenote: All good wishes for the New Year!!!]
Dear Dalziel,
Are you disposed to undertake the engraving of another little book
for Mr. Dodgson?--It is a continuation of "Alice's Adventures," and
I am going to work upon it at once.
One line please to say "Yes"--and I'll let you know the size of
blocks &c.
In much haste
Yours very truly
J Tenniel.]
[Illustration: THE SLEEPING GENIE AND THE LADY.
FROM "DALZIEL'S ARABIAN NIGHTS."
BY SIR JOHN TENNIEL.
_By permission of Messrs. Ward, Lock & Co._]
Messrs. Bradbury and Evans had at one time the idea of publishing an
"Illustrated Shakespeare," and Tenniel was to do all the drawings, but
beyond two very characteristic subjects which we engraved the project
was abandoned. Doubtless he found the undertaking more than he could
carry out when added to his weekly work for _Punch_ and his other
engagements.
No matter what other work he had in hand, he always contributed his
weekly cartoon to _Punch_. The moral teaching of these drawings is
beyond measure. Whether it be in caustic satire or exquisite pathos,
he held the town for over fifty years, proving himself to be not only
a great artist, but one who will rank amongst the highest of Britain's
worthies.
Sir John Tenniel was never very effusive in his observations, though
his remarks were invariably complimentary. The following are two of his
letters received on submitting proofs for his correction:
"3 PORTSDOWN ROAD,
"_Tuesday_.
"DEAR SIRS,--The 'Falcon' proofs are everything I could wish. The
third proof requires just a touch.
"I wish you would find me two subjects instead of those which I
return herewith--something with more action or incident in them. I
am quite tired of _love subjects_, they admit of so little variety
of treatment.
"Before you send the wood for the 'Pollock'[13] drawings, I think
it would be well for me to give you a notion of the size I shall
require--whether half page, and so on--and this I will do when I
have the book back again.
"I am, my dear Sirs,
"Very truly,
"JOHN TENNIEL."
[Illustration: THE CRAWLEY FAMILY.
FROM "THE FRAMLEY PARSONAGE."
BY SIR J. E. MILLAIS, P.R.A.
_By permission of Messrs. Smith, Elder & Co._]
"3 PORTSDOWN ROAD,
"_Saturday_.
"DEAR SIRS,--I like the proofs you sent very much, but they require
just a little alteration, the 'Rokby'[14] especially. I will touch
upon them and return them to you.
"I have such an accumulation of work on hand just now that I do not
feel justified in undertaking the two new subjects you have sent,
as I do not know when I shall be able to let you have the drawings.
I am doing some work for the Queen, and as it is wanted as soon
as possible, all things else must wait till it is finished. But
apart from this, the 'Coronation' subject, although a good one, is
_very_ painful. I should not like doing it on that account. And the
other, although certainly very beautiful, I do not care much about
illustrating just now--it requires too much thought to be disposed
of hurriedly. I will, however, do my best to let you have the
'Barry Cornwall'[15] soon.
"Yours, my dear Sirs,
"Very truly,
"JOHN TENNIEL."
When the _Cornhill Magazine_, in 1859, was first advertised for
publication at the price of one shilling, with Thackeray as editor,
the announcement fell like a bomb in the midst of the magazine
publishers--Blackwood, Frazer, Colburn, Bentley and others--for nothing
of this description had even been so much as dreamt of before at a
less price than the orthodox half-crown. The heavy government duty on
paper, then only recently removed, may have been some apology for the
high price hitherto charged for this class of literature, which at the
present day is so far surpassed, if not always in quality certainly
in quantity, at less than half the price of the great "Cornhill
innovation."
[Illustration: LADY LUFTON AND THE DUKE OF OMNEUM.
FROM "THE FRAMLEY PARSONAGE."
BY SIR J. E. MILLAIS, P.R.A.
_By permission of Messrs. Smith, Elder & Co._]
In 1847 or '48 we were introduced to Mr. George Smith, of Smith, Elder
and Co., and for several years executed a fair share of the engravings
they required. Amongst the earlier of these works we contributed to
"The Jar of Honey, from Mount Hybla," by Leigh Hunt, and "The Dwarf
of the Golden River," by John Ruskin. During this period we were not
infrequently brought into correspondence with Mr. Williams, literary
adviser of the firm. He was a grand old gentleman, with a kind,
sympathetic manner, which won for him the sincere regard of all with
whom he became associated.
When the _Cornhill Magazine_ was started we were asked by Mr. George
Smith (whose courtesy and kindness were at all times most marked during
the many years of our connection) to undertake the engravings, as he
purposed issuing one or two full page plates with each monthly number.
This we did for several years, producing during the time, among the
more important works, charming illustrations by Millais, Richard Doyle,
Lord Leighton, P.R.A., F. Sandys, and other artists, all of whom, as
time rolled on, acquired a prominent position in their art.
Artists not being proverbial for the just appreciation of punctuality,
many of these engravings were produced under great pressure, as the
following letter from Mr. George Smith will show:
"DEAR SIRS,--I am delighted with Mr. Millais' drawing, and I am
obliged to you for having engraved it so well considering the
pressure of time. There will be another illustration for the June
number and another for August; Mr. Millais already has the proofs
of the chapters of 'Framley Parsonage' for June and August.
"Believe me,
"Yours faithfully,
"G. SMITH.
"MESSRS. DALZIEL BROTHERS."
[Illustration: TEMPTATION.--HORACE SALTOUN.
FROM THE "CORNHILL MAGAZINE."
BY SIR J. E. MILLAIS, P.R.A.
_By permission of Messrs. Smith, Elder & Co._]
Richard Doyle's "Bird's-eye Views of Society," which first appeared in
the _Cornhill_, were afterwards published in book form, and had a very
considerable sale.
It was also through our connection with the _Cornhill Magazine_ that
we were introduced to George Augustus Sala, who was at that time
contributing a series of papers and illustrating the articles himself.
On our submitting proofs for his correction or approval, he wrote:
"MESSRS. DALZIEL.
"GENTLEMEN,--I have received proofs of engravings. You will permit
me to thank you for the exquisitely artistic manner in which my
rude scratchings on Wood have been rendered by your graver. 'The
Group of Beggars,' 'The View of Genoa,' and the background under
the Arcade are, to me, marvellous. My chief defect appears to be
heaviness and blackness of touch, caused by painfully defective
sight. I will, however, endeavour to remedy this by using a harder
point, and trusting more to your tasteful interpretation, without
overloading my shadows with cross-hatching. There are a dozen more
drawings to come, but I wanted to see the proofs of the first
instalment before commencing the second batch.
"Believe me to be,
"Gentlemen,
"Your very obliged Servant,
"GEORGE AUGT. SALA."
[Illustration: LADY WITH HOUNDS.
FROM "LONDON SOCIETY."
BY SIR J. E. MILLAIS, P.R.A.
_By permission of Mr. James Hogg._]
FOOTNOTES:
[9] This drawing was a remarkable example of the artist being
altogether unacquainted with the necessary requirements in making a
drawing on wood for the engraver's purposes. In this Rossetti made
use of wash, pencil, coloured chalk, and pen and ink, producing a
very nice effect, but the engraved reproduction of this many tinted
drawing, reduced to the stern realities of black and white by printers'
ink, failed to satisfy him. Indeed, Rossetti appears to have made up
his mind that it would be a failure, for in writing to his friend
Allingham, after explaining the difficulty he had experienced in making
the drawing, he says: "As to the engraving, I suppose it is hardly
possible that I can be satisfied."
It is further interesting to note in Mr. Malcolm Bell's work of "Sir
E. Burne-Jones: A Record and Review," that on seeing the engraving,
"Elfin-Mere," it revealed to him for the first time the "World of
radiant, many-coloured lights; of dim, mysterious shadows, of harmonies
of form of line; that far-off World of Art into which he has made his
way and brought back visions of delight to show his fellow man."
[10] Of this drawing, the St. Cecillia, his brother, Mr. W. M.
Rossetti, writes: "It must be said that himself only and not Tennyson
was his guide. He drew just what he chose, taking from the author's
text nothing more than a hint and an opportunity. The illustration to
St. Cecillia puzzled Tennyson not a little, and he had to give up the
problem of what it had to do with his verses."
[11] Sir John Millais, in his letter on page 100, calls this the
"Importunate Widow."
[12] The drawings here alluded to are by Thomas Dalziel, he having
contributed about a dozen illustrations to the book.
[13] This refers to some drawings he had undertaken to do illustrating
"Pollock's Course of Time," to be published by Messrs. Blackwood and
Sons, Edinburgh.
[14] An illustration to Sir Walter Scott's poem of "Rokby" to be
published in "The Poets of the Nineteenth Century."
[15] Referring to drawings he was doing for an illustrated edition of
"Poems by Barry Cornwall," published by Chapman and Hall.