CHAPTER XII: SOME ILLUSTRATORS OF THE SIXTIES

Although space forbids biographical notice, even in the briefest form,

of all the artists mentioned in the preceding pages, and it would be

folly to summarise in a few hasty sentences the complete life-work of

Sir J. E. Millais, P.R.A., Sir John Gilbert, R.A., Mr. Birket Foster,

or Mr. G. Du Maurier, to take but a few instances; yet in the case of

Mr. Arthur Hughes, the late M. J. Lawless, and others, to give more

exact references to their published illustrations is perhaps easier

in this way than any other, especially as a complete iconography of

all the chief artists in the movement had perforce to be abandoned for

want of space. Many illustrators--Ford Madox Brown, Charles Keene, A.

Boyd Houghton, Dante Gabriel Rossetti, W. B. Scott, Fred Walker, and J.

Wolf--have already been commemorated in monographs; not confined, it

is true, in every instance to the subject of this book, but naturally

taking it as part of the life-work of the hero, even when, as in

Rossetti's case, the illustrations form but an infinitesimally small

percentage of the works he produced. The artists hereafter noticed

have been chosen entirely from the collector's standpoint, and with

the intention of assisting those who wish to make representative or

complete collections of the work of each particular man.

* * * * *

GEORGE HOUSMAN THOMAS (1824-1868) was born in London, December 4,

1824. When only fourteen he became apprenticed to G. Bonner, a

wood-engraver, and at fifteen obtained the prize of a silver palette

from the Society of Arts, for an original drawing, _Please to remember

the Grotto_. After he had served his apprenticeship, in conjunction

with Henry Harrison he set up in Paris as a wood-engraver. The firm

became so successful that they employed six or seven assistants. He

was then tempted to go to New York to establish an illustrated paper,

which was also a success, although losses on other ventures forced the

proprietors to give it up. This led the artist to turn his attention

to another field of engraving for bank notes, which are estimated

among the most beautiful of their kind. A few years later he returned

to England, and became attached to the _Illustrated London News_. In

1848 a special expedition to Italy, which resulted in a long series of

illustrations of Garibaldi's defence of Rome against the French, not

merely established his lasting reputation, but incidentally extended

his taste and knowledge by the opportunity it gave him for studying the

works of the old masters. In 1854 a sketch of sailors belonging to the

Baltic Fleet, which was published in the _Illustrated London News_,

attracted the attention of the Queen, who caused inquiries to be made,

which led to the artist being employed by Her Majesty to paint for

her the principal events of her reign. Besides a series of important

paintings in oil, he executed a large number of drawings and sketches

which form an album of great interest.

'As an illustrator of books he was remarkable,' says his anonymous

biographer,[8] 'for facility of execution and aptness of character.'

His illustrations of _Hiawatha_ (Kent and Co.), _Armadale_ (Wilkie

Collins), and _The Last Chronicle of Barset_ (Anthony Trollope),

are perhaps the most important; but _London Society_, Mrs. Gatty's

_Parables_, _Cassell's Magazine_, _The Quiver_, _Illustrated Readings_,

and many other volumes of the period, contain numerous examples of his

work in this department. In the person of his brother, Mr. W. Luson

Thomas, the managing director of the _Graphic_ and the _Daily Graphic_,

and his nephew, Carmichael Thomas, Art Director of the _Graphic_, the

family name is still associated with the most notable movement in

illustration during the period which immediately followed that to which

this book is devoted.

* * * * *

[Illustration: FORD MADOX BROWN

DALZIELS' 'BIBLE

GALLERY' 1880

JOSEPH'S COAT]

SIR JOHN EVERETT MILLAIS, Bart., P.R.A. (born June 8, 1829, died August

13, 1896).--As these proofs were being sent to press, the greatest

illustrator of all (having regard to his place as the pioneer of the

school which immediately succeeded the pre-Raphaelites, the number of

his designs, and their superlative excellence), has joined the majority

of his fellow-workers in the sixties. It would be impossible in a

few lines to summarise his contributions to the 'black-and-white' of

English art; that task will doubtless be undertaken adequately. But, if

all the rest of the work of the period were lost, his contributions

alone might justly support every word that has been or will be said

in praise of 'the golden decade.' From the 1857 _Tennyson_ to his

latest illustration he added masterpiece to masterpiece, and, were his

triumphant career as a painter completely ignored, might yet be ranked

as a great master on the strength of these alone.

* * * * *

PAUL GRAY (1848-1868).--A most promising young illustrator, whose

early death was most keenly regretted by those who knew him best, Paul

Gray was born in Dublin, May 17, 1848. He died November 14, 1868. In

the progress of this work mention has been made of all illustrations

which it has been possible to identify; many of the cartoons for _Fun_,

being unsigned, could not be attributed to him with certainty. _The

Savage Club Papers_, First Series (Tinsley, 1863), contain his last

drawing, _Sweethearting_. In the preface we read: 'When this work

was undertaken, that clever young artist [Paul Gray] was foremost in

offering his co-operation; for he whom we mourned, and whose legacy

of sorrow one had accepted, was his dear friend. The shock which his

system, already weakened by the saddest of all maladies, received by

the sudden death of that friend was more than his gentle spirit could

sustain. He lived just long enough to finish his drawing, and then he

left us to join his friend.' In the record of the periodicals of the

sixties will be found many references to his work, which is, perhaps,

most familiar in connection with Charles Kingsley's _Hereward the Wake_.

* * * * *

DANTE GABRIEL ROSSETTI (_b._ 1828, _d._ 1882). The comparatively

few illustrations by Rossetti have been described and reproduced so

often, that it would seem superfluous to add a word more here. Yet,

recognising their influence to-day, we must also remember that many

people who are attracted by this side of Rossetti's art may not be

familiar with the oft-told story of his career. He, more than any

modern painter, would seem to be responsible for the present decorative

school of illustrators, whose work has attracted unusual interest

from many continental critics of late, and is recognised by them as

peculiarly 'English.' While the man in the street would no doubt choose

'Phiz,' Cruikshank, Leech, Tenniel, Gilbert, Fred Walker, or Pinwell as

typically 'English,' the foreigner prefers to regard the illustrations

by Rossetti, his immediate followers, and his later disciples as

representing that English movement, which the native is apt to look

upon as something exotic and bizarre.

Yet it is not necessary to discuss Rossetti's position as founder of

the pre-Raphaelite school, nor to weigh his claims to the leadership

against those of Ford Madox Brown and Holman Hunt. But, without

ignoring the black-and-white work of the two last named, there can

be no doubt that it is Rossetti who has most influenced subsequent

draughtsmen.

Nor at the time was his position as an illustrator misunderstood. When

we find that he received £30 each for the small Tennyson drawings on

wood, the fact proves at the outset that the market value of his work

was not ignored by his publishers. At the present day when any writer

on men of the sixties is accused of an attempt to 'discover' them, and

the appreciation he bestows is regarded as an attempt to glorify the

appreciator at the expense of the appreciated, it is well to insist

upon the fact that hardly one of the men in favour to-day failed to

meet with substantial recognition at the time. It was not their fate

to do drawings for love, or to publish engravings at their own cost,

or sell as cheap curios works which now realise a thousand times their

first cost.

Drawings paid for at the highest market rate, or, to speak more

accurately, at 'star' prices, published in popular volumes that ran

through large editions, received favourably by contemporary critics,

and frequently alluded to as masterpieces by writers in current

periodicals, cannot be said to have been neglected, nor have they even

been out of favour with artists.

That work, which has afforded so much lasting pleasure, was not

achieved without an undue amount of pain, is easily proved in the case

of Rossetti. So pertinent is a description by his brother, published

lately, that it may be quoted in full, to remind the illustrators of

to-day, who draw on paper and card-board at their ease to any scale

that pleases them, how much less exacting are the conditions under

which they work than those encountered by the artists who were forced

to draw upon an unpleasant surface of white pigment spread upon a

shining wooden block:--

'The Tennyson designs, which were engraved on wood and

published in the _Illustrated Tennyson_, in which Millais,

Hunt, Mulready, and others co-operated,' says Mr. William

Michael Rossetti, 'have in the long run done not a little

to sustain my brother's reputation with the public. At the

time they gave him endless trouble and small satisfaction.

Not indeed that the invention or the mere designing of these

works was troublesome to him. He took great pains with them,

but, as what he wrought at was always something which informed

and glowed in his mind, he was not more tribulated by these

than by other drawings. It must be said, also, that himself

only, and not Tennyson, was his guide. He drew just what he

chose, taking from his author's text nothing more than a hint

and an opportunity. The trouble came in with the engraver

and the publisher. With some of the doings of the engraver,

Dalziel (not Linton, whom he found much more conformable to

his notion), he was grievously disappointed. He probably

exasperated Dalziel, and Dalziel certainly exasperated him.

Blocks were re-worked upon and proofs sent back with vigour.

The publisher, Mr. Moxon, was a still severer affliction. He

called and he wrote. Rossetti was not always up to time, though

he tried his best to be so. In other instances he was up to

time, but his engraver was not up to his mark. I believe that

poor Moxon suffered much, and that soon afterwards he died;

but I do not lay any real blame on my brother, who worked

strenuously and well. As to our great poet Tennyson, who also

ought to have counted for something in the whole affair, I

gather that he really liked Rossetti's designs when he saw

them, and he was not without a perceptible liking and regard

for Rossetti himself, so far as he knew him (they had first met

at Mr. Patmore's house in December 1849); but the illustration

to _St. Cecilia_ puzzled him not a little, and he had to give

up the problem of what it had to do with his work.'[9]

Later on, in the same volume, we find an extract from a letter dated

February 1857, which Dante Gabriel Rossetti wrote to W. Bell Scott:--

'I have designed five blocks for Tennyson, save seven which

are still cutting and maiming. It is a thankless task. After

a fortnight's work my block goes to the engraver, like Agag

delicately, and is hewn in pieces before the Lord Harry.

'ADDRESS TO DALZIEL BROTHERS

'O woodman spare that block,

O gash not anyhow!

It took ten days by clock,

I'd fain protect it now.

_Chorus_--Wild laughter from Dalziels' Workshop.'

Several versions of this incident are current, but Mr. Arthur Hughes's

account has not, I think, been published. It chanced that one day,

during the time he was working in Rossetti's studio, the engraver

called, and finding Rossetti was out, poured forth his trouble and

stated his own view of the matter with spirit. For his defence, as

he put it, much sympathy may be awarded to him. The curious drawings

executed in pencil, ink, and red chalk, crammed with highly-wrought

detail, that were to be translated into clean black and white, were, he

declared, beyond the power of any engraver to translate successfully.

How Mr. Hughes pacified him is a matter of no importance; but it is but

fair to recollect that, even had the elaborate designs been executed

with perfection of technique, any engraver must have needs encountered

a task of no ordinary difficulty. When, however, the white coating had

been rubbed away in parts, and all sorts of strokes in pen, pencil,

and pigment added, it is not surprising that the paraphrase failed to

please the designer. Although the drawings naturally perished in the

cutting, and cannot be brought forward as decisive evidence, we may

believe that the engraver spoilt them, and yet also believe that no

craftsman who ever lived would have been absolutely successful.

The number of Rossetti's book-illustrations is but ten in all,

according to the list given in Mr. William Sharp's admirable monograph.

To these one might perhaps add the frontispiece to that volume; as

although the pen-drawing, _A sonnet is a moment's monument_, was never

intended for reproduction, it forms a most decorative page. There is

also a design for a frontispiece to the _Early Italian Poets_, which

was first reproduced in the _English Illustrated Magazine_, No. 1. The

actual frontispiece was etched but never used, and the exquisitely

dainty version survives only in two impressions from the plate, both

owned by Mr. Fairfax Murray. Another frontispiece, to _The Risen

Life_,[10] a poem by R. C. Jackson, in a cover designed by D. G. R.

(R. Elkins and Co., 10 Castle St., East Oxford St., W., 1884), belongs

to the same category, in which may be placed _The Queen's Page_,

drawn in 1854, and reproduced in _Flower Pieces_ by Allingham (Reeves

& Turner, 1888). The ten which were all (I believe) drawn upon the

wood include: _Elfen-mere_, published first in William Allingham's

_The Music-master_, 1855, and afterwards reprinted in a later volume,

_Life and Phantasy_, and again in _Flower Pieces_ (1888), by the same

author. This design 'revealed to young Burne-Jones' (so his biographer,

Mr. Malcolm Bell, has recorded) that there existed a strange enchanting

world beyond the hum-drum of this daily life--a world of radiant,

many-coloured lights, of dim mysterious shadows, of harmonies of form

and line, wherein to enter is to walk among the blest--that far-off

world of Art into which many a time since he has made his way and

brought back visions of delight to show his fellow-men. The first

suspicion of that land of faëry came to him when, in a small volume of

poems by William Allingham, he found a little wood-cut, 'Elfen-mere,'

signed with a curious entwinement of the initials D. G. R. The

slumbering spirit of fancy awoke to life within him and cast her spells

upon him never to be shaken off.'

In the _Oxford and Cambridge Magazine_, 1856, Mr. Burne-Jones wrote of

this very design: 'There is one more I cannot help noticing, a drawing

of higher finish and pretension than the last, from the pencil of

Rossetti, in Allingham's _Day and Night Songs_, just published. It is,

I think, the most beautiful drawing for an illustration I have ever

seen: the weird faces of the maids of Elfen-mere, the musical, timed

movement of their arms together as they sing, the face of the man,

above all, are such as only a great artist could conceive.'

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

'With their spindles every night;

Two and one, and three fair maidens,

Spinning to a pulsing cadence,

Singing songs of Elfen-mere,'

reproduced here, is still issued in William Allingham's volume of poems

entitled _Flower Pieces_ (Reeves and Turner, 1888).

Five illustrations to Moxon's edition of _Tennyson's Poems_, 1857,

two in Christina Rossetti's _The Goblin Market and other Poems_,

1862, and two in _The Princes Progress and other Poems_, 1866, by the

same author, complete the ten in question. As the _Tennyson_ has been

republished lately, and a monograph, _Tennyson and his pre-Raphaelite

Illustrators_, by G. Somes Layard (Elliot Stock, 1894), has brought

together every available scrap of material connected with the famous

quintette of designs, it would be superfluous to describe them here

in detail. Any distinctly recognised 'movement' is very rarely a

_crescendo_, but nearly always a waning force that owes what energy it

retains to the original impetus of its founder. Should this statement

be true of any fashion in art, it might be most easily supported, if

applied to Rossetti's ten drawings on wood, set side by side with the

whole mass of modern 'decorative' illustration. Even a great artist

like Howard Pyle has hardly added a new motive to those crowded into

these wood-engravings. The lady by the casement, '_The long hours come

and go_,' upon the title-page of _The Princes Progress_, is an epitome

of a thousand later attempts. Mr. Fairfax Murray has collected over

a dozen studies and preliminary drawings for this little block, that

would appal some of the younger men as evidence of the intense care

with which a masterpiece was wrought of old. Highly-finished drawings

were done over and over again until their author was satisfied. The

frontispieces to _Goblin Market_ and to _The Prince's Progress_,

no less than the Tennyson designs, form, obviously enough, the

treasure-trove whence later men have borrowed; too often exchanging

the gold for very inferior currency. Without attempting to give undue

credit to Rossetti, or denying that collateral influences--notably that

of Walter Crane--had their share in the revival of the nineties, there

can be no doubt that the strongest of the younger 'decorative' artists

to-day are still fascinated by Rossetti--no less irresistibly than 'the

young Burne-Jones' was influenced in 1855.

Therefore the importance of these ten designs cannot be exaggerated.

Whether you regard their influence as unwholesome, and regret the

morbidity of the school that founded itself on them, or prefer to see

in them the germ of a style entirely English in its renaissance, which

has already spread over that Continent which one had deemed inoculated

against any British epidemic, the fact remains that Rossetti is the

golden milestone wherefrom all later work must needs be measured.

No doubt the superb work of Frederick Sandys, had it been more

accessible to the younger artists when the new impetus to decorative

black-and-white began to attract a popular audience, would have found

hardly as ardent disciples.

[Illustration: DANTE GABRIEL ROSSETTI

You should have wept her yesterday

'THE PRINCE'S PROGRESS'

1866]

* * * * *

M. J. LAWLESS (born 1837, died 1864).--This artist, faithful to the

best tradition of the pre-Raphaelite illustrators, seems to have

left few personal memories. Born in 1837, a son of Barry Lawless, a

Dublin solicitor, he was educated at Prior Park School, Bath, and

afterwards attended several drawing schools, and was for a time a pupil

of Henry O'Neil, R.A. He died August 6, 1864. Mr. Edward Walford, who

contributes a short notice of Matthew James Lawless to the _Dictionary

of National Biography_, has only the barest details to record. Nor

do others, who knew him intimately, remember anything more than the

ordinary routine of a short and uneventful life. But his artistic

record is not meagre. In contemporary criticism we find him ranked with

Millais and Sandys; not as equal to either, but as a worthy third. A

fine picture of his, _The Sick Call_ (from the Leathart Collection),

was exhibited again in 1895 at the Guildhall.

But it is by his work as an illustrator he will be remembered, and,

despite the few years he practised, for his first published drawing was

in _Once a Week_, December 15, 1859 (vol. i. p. 505), he has left an

honourable and not inconsiderable amount of work behind him. No search

has lighted upon any work of his outside the pages of the popular

magazines, except a few etchings (in the publications of the Junior

Etching Club), three designs of no great importance in _Lyra Germanica_

(Longmans, 1861), and a pamphlet, the _Life of St. Patrick_, with

some shocking engravings, said by his biographer to be from Lawless's

designs. In the chapters upon _Once a Week_, _London Society_, _Good

Words_, etc., every drawing I have been able to identify is duly

noted. It is not easy to refrain from eulogy upon the work of a

draughtsman with no little individuality and distinction, who has so

far been almost completely forgotten by artists of the present day. The

selection of his work reproduced here by the courtesy of the owners of

the copyright will, perhaps, send many fresh admirers to hunt up the

rest of it for themselves.

* * * * *

ARTHUR BOYD HOUGHTON (1836-1875) was born in 1836, the fourth son of

his father, who was a captain in the Royal Navy. He visited India,

according to some of his biographers; others say that he was never in

the East, but that it was a brother who supplied him with the oriental

details that appear in so many of his drawings. Be that as it may,

his fellow-workers on the _Arabian Nights_ pretended to be jealous

of his Egyptian experience, and declared that it was no good trying

to rival from their imaginings the scenes that he knew by heart.

At present, when all men unite to praise him, it would almost lend

colour to a belief that he was unappreciated by his fellows to read in

a contemporary criticism: 'His designs were often striking in their

effects of black and white, but were wanting in tone and gradation--a

defect partly due to the loss of one eye.' This is only quoted by

way of encouragement to living illustrators, who forget that their

hero, despite sympathy and commissions, suffered also much the same

misunderstanding that is often their lot. Against this may be set a

criticism of yesterday, which runs:--

'As regards "the school of the sixties," now that it has

moved away, we can rightly range the heads of that movement,

and allowing for side impulses from the technique of Menzel,

and still more from the magnetism of Rossetti's personality,

we see, broadly speaking, that with Millais it arrived, with

Houghton it ceased. Under these two leaders it gathered others,

but within ten years its essential work was done. It has all

gone now nobly into the past from the hands of men, some still

living, some dead but yesterday.

'In Houghton's work, two things strike us especially, when we

see it adequately to-day: its mastery of technique and style,

and its temperament: the mastery so swift and spontaneous,

so lavish of its audacities, so noble in its economies; the

temperament so dramatic, so passionate, so satiric, and so

witty. In many of his qualities, in vitality and movement,

Houghton tops Millais. What is missing from his temperament,

if it be a lack and not a quality, is the power to look at

things coolly; he has not, as Millais, the deep mood of

stoical statement, of tragedy grown calm. His tragic note is

vindictive, a little shrill: when he sets himself to depict

contemporary life, as in the _Graphic America_ series, he is

sardonic, impatient, at times morose: his humour carries an

edge of bitterness. But in whatever mood he looks at things,

the mastery of his aim is certain.'[11]

[Illustration:

_Drawn by A. Boyd Houghton._ _Swan Electro-Engraving Co._

READING THE CHRONICLES]

The mass of work accomplished in illustration alone, between his

first appearance and his death in 1875, is amazing. There is scarce

a periodical of any rank which has not at least one example from his

pen. The curt attention given here to the man must be pardoned, as

reference to his work is made on almost every page of this book. For an

appreciative essay, that is a model of its class, one has but to turn

to Mr. Laurence Housman's volume[12] which contains also five original

drawings on wood (reproduced in photogravure) and eighty-three others

from _Dalziel's Arabian Nights_ (Ward, Lock & Co., 1863-65 and

Warne, 1866), _Don Quixote_, the two volumes of Mr. Robert Buchanan's

Poems--_Ballad Stories of the Affections_ (1866), and _North Coast_

(1868), _Home Thoughts_ (1865), _National Nursery Rhymes_ (1871), and

_The Graphic_ (1870).

* * * * *

FREDERICK WALKER[13] (1840-1875), who was born in Marylebone on the

26th of May 1840, has been the subject of so many appreciations, and at

least one admirable monograph, that a most brief notice of his career

as an illustrator will suffice here. His father was a designer of

jewelry and his grandfather had some skill in portrait-painting. How he

began drawing from the Elgin marbles in the British Museum at the age

of sixteen has been told often enough. Many boys of sixteen have done

the same, but it is open to doubt if any one of them has absorbed the

spirit of their models so completely as Fred Walker did. It would be

hardly asserting too much to say for him that they replaced humanity,

and that his male figures seem nearly always youths from the Parthenon

in peasant costume. At seventeen or eighteen he was working at Leigh's

life-class in Newman Street, and at the same time was employed in

Mr. Whymper's wood-engraving establishment. His first appearance in

_Everybody's Journal_ is duly noted elsewhere, also his first drawing

in _Once a Week_; but the peculiar affection he had inspired by his

work has kept most of his critics from saying that some of his earliest

designs, as we know them after engraving, appear distinctly poor. But,

from the time he ceased to act as 'ghost' for Thackeray, and signed his

work with the familiar F. W., his career shows a distinct and sustained

advance until the ill-fated 1875, in which George Mason, G. J. Pinwell,

and A. Boyd Houghton also died.

It is unnecessary to recapitulate in brief the various contributions

to the _Cornhill Magazine_, _Good Words_, _Once a Week_, etc., which

have already been noted in detail. Nor would it be in place here to

dwell upon the personality of the artist; sufficient matter has been

printed already to enable lovers of his works to construct a faithful

portrait of their author--lovable and irritable, with innate genius

and hereditary disease both provoking him to petulant outbursts that

still live in his friends' memories. One anecdote will suffice. A

group of well-known painters were strolling across a bridge on the

Upper Thames. Walker, who was passionately fond of music, had been

playing on a tin whistle, which one of the party, half in joke, half

weary of the fluting, struck from his mouth, so that it fell into the

stream below. In a moment Walker had thrown off his clothes, and,

'looking like a statue come to life, so exquisitely was he built,'

plunged from the wall of the bridge, and, diving, rescued his tin

whistle, which he bore to land in triumph. The trifling incident is

an epitome of the character of the wayward boy, who kept his friends

nevertheless. 'He did not seek beauty,' wrote an ardent student of

his work, 'but it came, while Pinwell thought of and strove for

beauty always, yet often failed to secure it.' That he knew Menzel,

and was influenced by him, is an open secret; but he also owes much

to the pre-Raphaelites--Millais especially. Yet when all he learned

from contemporary artists is fully credited, what is left, and it is

by far the largest portion, is his own absolutely--owing nothing to

any predecessor, except possibly to the sculptors of Greece. He died

in Scotland in June 1875, and was buried at the Marlow he painted so

delightfully, leaving behind him the peculiar immortality that is

awarded more readily to a half-fulfilled life than to one which has

accomplished all it set out to do, and has outlived its own reputation.

* * * * *

GEORGE JOHN PINWELL (1842-1875).--This notable illustrator, whose

work bulks so largely in the latter half of the sixties, was born

December 26, 1842, and died September 8, 1875. He studied at the

Newman Street Academy, entering in 1862. At first his illustrations

show little promise; some of the earliest, in _Lilliput Levée_, a book

of delightful rhymes for children, by Matthew Browne, are singularly

devoid of interest. No engraver's name appears on them, nor is it quite

clear by what process they were reproduced. They are inserted plates,

and, under a strong magnifying glass, the lines suggest lithography.

The unfamiliar medium, supposing they were drawn in lithographic ink,

or by graphotype, or some similar process, would account for the entire

absence of the qualities that might have been expected. Some others, in

_Hacco the Dwarf_ and in _The Happy Home_, the latter in crude colours,

are hardly more interesting.

[Illustration: A. BOYD HOUGHTON

'GOOD WORDS'

1862, p. 504

MY TREASURE]

According to Mr. Harry Quilter,[14] Pinwell began life as a butterman's

boy in the City Road, whose duty, among other things, was to 'stand

outside the shop on Saturday nights shouting Buy! Buy! Buy!' Later

on he seems to have been a 'carpet-planner.' If one might read the

words as 'carpet-designer,' the fact of turning up about this time at

Leigh's night-school, where he met Fred Walker, would not be quite so

surprising.

Between Walker and Pinwell a friendship sprang up, but it seems to

have been Thomas White who introduced the former to _Once a Week_,

wherein his first contribution, _The Saturnalia_, was published,

January 31, 1863. In 1864 he began to work for Messrs. Dalziel on

the _Arabian Nights_ and the _Illustrated Goldsmith_, which latter

is his most important volume. In 1869 he became a member of the Old

Water Colour Society, but his work as a colourist does not concern

us here. Nor is it necessary to recapitulate the enormous quantity

of his designs which in magazines and books are noticed elsewhere in

these pages. Some illustrations to _Jean Ingelow's Poems_, notably

seven to _The High Tide_, represent his best period. But he suffered

terribly by translation at the engravers' hands. The immobility,

which characterises so many of his figures, does not appear in the

few drawings which survive. Mr. Pennell is the fortunate possessor

of several of the designs for _The High Tide_; but the pleasure of

studying these originals is changed to pain when one remembers how many

others were cut away by the engraver. It is curious that three men, so

intimately associated as Walker, Pinwell, and Houghton, should have

preserved their individuality so entirely. It is impossible to confuse

the work of any of them. Walker infused a grace into the commonplace

which, so far as the engravings are concerned, sometimes escaped

Pinwell's far more imaginative creations; while Houghton lived in a

world of his own, wherein all animate and inanimate objects obeyed the

lines, the swirling curves, he delighted in. If, as has been well said,

Walker was a Greek--but a dull Greek--then Pinwell may be called a

Naturalist with a touch of realism in his technique, while Houghton was

romantic to the core in essence and manipulation alike.

* * * * *

ARTHUR HUGHES.--In 1855 appeared _The Music-master_, the second

enlarged and illustrated edition of _Day and Night Songs_, a book

of poems by William Allingham, to which reference has been made

several times in this chronicle. Of its ten illustrations, seven and

a vignette are from the hand of Arthur Hughes. The artist thus early

associated with the leaders of the pre-Raphaelite movement, and still

actively at work, was never, technically, a member of the Brotherhood.

In 1858, however, we find him one of the enthusiastic young artists

Rossetti had gathered round him with a view to the production of the

so-called frescoes in the Oxford Union. The oft-told tale of this noble

failure need not be repeated here. Those who were responsible for the

paintings in question appear more or less relieved to find that the

work has ceased to exist. True, the majority of picture-lovers who

have never seen them regard them, sentimentally, as the fine flower

of pre-Raphaelite art, which faded before it was fully open. Judging

from the restored fragments which remain, had they been permanent, they

would not have been more than interesting curiosities; examples of the

'prentice efforts' of men who afterwards shaped the course of British

art, not merely for their own generation, but, as we can see to-day,

for a much longer time. The great difficulties of the task these ardent

novices undertook so light-heartedly may or may not have checked

the practice of wall-painting in England, if, indeed, one can speak

of a check to a movement that never existed. To trace in detail the

course of Mr. Hughes's work, from this date to the present, would be a

pleasant and somewhat lengthy task. Yet, although greater men are less

fully dealt with, a running narrative showing where the illustrations

appeared will be more valuable than any attempt to estimate the

intrinsic value of the work, or explain its attractive quality. That

the work is singularly lovable, and has found staunch and ardent

admirers amid varying schools of artists, is unquestionable. Without

claiming that it equals the best work of the 'Brotherhood,' it has a

charm all its own. The sense of delight in lovely things is present

throughout, nor does its elegance often degenerate to mere prettiness.

The naïve expression of a child's ideal of lovely forms, with a

curiously well-sustained type of beauty, neither Greek nor Gothic, yet

having a touch of paganism in its mysticism, is always present in it.

With a peculiarly individual manner--so that the signature, which is

usually to be found in some unobtrusive corner, is needless,--a student

of illustration can 'spot' an Arthur Hughes at the most rapid glance as

surely as he could identify a Du Maurier.

There are painters and draughtsmen of all periods, before whose work

you are well content to cease from criticism, and to enjoy simply, with

all their imperfections, the qualities that attract you. Passionate

intensity, the perfection of academic draughtsmanship, dramatic

composition as it is usually understood, may, or may not, be always

evident. Whether they are or not is in this case of entirely secondary

importance. Certain indefinable qualities, lovable and lasting, are

sure to be the most noticeable, whether you light on a print that has

escaped you hitherto, or turn up one that you have known since the

day it was published. Like caters for the like, and this love which

the work provokes from those to whom it appeals seems also its chief

characteristic. In the whole mass of pictorial art you can hardly

find its equal in this particular respect. The care and sorrow of

life, its disillusions and injustice, are not so much forgotten, or

set aside thoughtlessly, as recognised at their relative unimportance

when contrasted with the widespread, yet absolutely indefinable thing,

which it is convenient to term Love. Not, be it explained, Love in its

carnal sense, but, in an abstract spiritual way, which seeks the quiet

happiness in adding to the joy of others, and trusts that somehow,

somewhere, good is the final end of ill.

It may be that this attempt to explain the impression of Mr. Hughes's

work is a purely personal one, but it is one that intimate study for

many years strengthens and raises to the unassailable position of a

positive fact. At the risk of appearing mawkishly sentimental, even

with the greater risk of reflecting sentimentality upon artistic work

which it has not, this impression of Mr. Arthur Hughes's art must be

set down unmistakably. Looking upon it from a purely technical aspect,

you might find much to praise, and perhaps a little to criticise; but,

taking it as an art addressed often enough to the purpose of forming

artistic ideals in the minds of the young, you cannot but regret that

the boys and girls of to-day, despite the army of artists of all ranks

catering for them, cannot know the peculiar delight that the children

of the sixties and early seventies enjoyed.

Arthur Hughes was born in London in 1832, and became a pupil of

Soames of the Royal Academy Schools, exhibiting for the first time

at the annual exhibition in 1854. In 1855 appeared, as we have just

seen, _The Music-master_. The artist seems to have worked fitfully at

illustrations, but his honourable labours in painting dispose of any

charge of indolence, and, did but the scope of this work permit it,

a still more interesting record of his artistic career could be made

by including a list of pictures exhibited at the Royal Academy, the

Institute, the Grosvenor, the New Gallery, and elsewhere. Between 1855

and 1861 I have found no illustrations, nor does he himself recall any.

In the latter year there are two designs in _The Queen_ to poems by

George Mac Donald and F. Greenwood. The next magazine illustration in

order is _At the Sepulchre_ in _Good Words_, 1864. In 1866 appeared an

edition of Tennyson's _Enoch Arden_, with twenty-five illustrations by

Arthur Hughes.' This noteworthy book is one of the essential volumes to

those who make ever so small a collection of the books of the sixties.

Although the work is unequal, it contains some of his most delightful

drawings. In the same year _London Society_ contained _The Farewell

Salutation_. In 1867 George Mac Donald's _Dealings with the Fairies_

was published. This dainty little book, which contains some very

typical work, is exceptionally scarce. Another book which was published

in 1868 is now very difficult to run across in its first edition,

_Five Days' Entertainment at Wentworth Grange_, by F. T. Palgrave,

illustrated with seventeen designs, the woodcuts (_sic_) being by J.

Cooper, and a vignette engraved on steel by C. H. Jeens.

[Illustration: ARTHUR HUGHES

'GOOD WORDS'

1871, p. 33

THE LETTER]

[Illustration: ARTHUR HUGHES

'GOOD WORDS'

1871, p. 183

THE DIAL--'SUN COMES,

MOON COMES']

To 1869 belongs the book with which the artist is most frequently

associated, _Tom Brown's School Days_, by Tom Hughes, not a relative of

the illustrator as the name might suggest. To descant on the merits of

this edition to-day were foolish. When one hears of a new illustrated

edition being contemplated, it seems sacrilege, and one realises

how distinctly a newly illustrated _Tom Brown_ would separate the

generation that knew the book through Mr. Arthur Hughes's imagination

from those who will make friends with it in company with another

artist. Incidents like these bring home the inevitable change of

taste with passing time more vividly than far weightier matters enforce

it.

_Good Words_ in 1869 contains two drawings to _Carmina Nuptialia_,

and _The Sunday Magazine_ the same year has a very beautiful

composition, _Blessings in Disguise_. In 1870-1871 _Good Words for the

Young_ includes, in the first two volumes, no less than seventy-six

illustrations by Mr. Hughes to _At the Back of the North Wind_,

fourteen to _The Boy in Grey_, thirty to _Ranald Bannerman's Boyhood_,

thirty to _The Princess and Goblin_, ten to _Lilliput Revels_, six to

_Lilliput Lectures_, and two to _King Arthur_, besides one each to

_Fancy_, _The Mariner's Cave_, and a notable design to _The Wind and

the Moon_. In 1871 also belongs _My Lady Wind_ (p. 38), _Little Tommy

Tucker_ (p. 46), in _Novello's National Nursery Rhymes_.

In 1870 _Good Words_ contains four: _The Mother and the Angel_ and

three full-page designs, which rank among the most important of the

artist's work in illustration, to Tennyson's _Loves of the Wrens_.

This song-cycle, which the late Poet Laureate wrote expressly for

Sullivan to set to music, was issued in 1870 in a sumptuous quarto.

The publisher, Strahan, who at that time issued all Tennyson's work,

had intended to include illustrations, and three were finished before

the poet vetoed the project. These were cut down and issued with

the accompanying lyrics in _Good Words_. Although the artist, vexed

no doubt at their curtailment, and by no means satisfied with their

engraving, does not rank them among his best things, few who collect

his work will share his view. Despite the trespass beyond the limit

of this book, it would be better to continue the list to date, and it

is all too brief. In 1872 _Good Words_ contains five of his designs,

and _Good Words for the Young_ twenty-four to _Innocent's Island_, and

eight to _Gutta-Percha Willie_.

1872 saw two remarkably good volumes decorated by this artist, T.

Gordon Hake's _Parables and Tales_ (Chapman and Hall) and _Sing Song_,

a book of nursery rhymes by Christina Rossetti (Routledge).

In 1873 ten to _Sindbad the Sailor_, and six or seven others appeared

in _Good Words for the Young_, now entitled _Good Things_. To this year

belongs also _Speaking Likenesses_ by Christina Rossetti, with its

dozen fanciful and charming designs; and a frontispiece and full page

(p. 331), in Mr. George Mac Donald's _England's Antiphon_ (Macmillan).

In 1889 or 1890 _The Graphic_ Christmas number contained two full-page

illustrations by this artist. To 1892 belongs a delightful vignette

upon the title-page of Mrs. George Mac Donald's _Chamber Dramas_. With

a bare mention of seven drawings, inadequately reproduced in _The

London Home Monthly_, 1895, the record of Mr. Arthur Hughes's work

must close; Several designs to a poem by Jean Ingelow, _The Shepherd's

Lady_, the artist has lost sight of, and the date of the first edition

of _Five Old Friends and a Young Prince_, by Miss Thackeray, with a

vignette, I have failed to trace at the British Museum or elsewhere.

As Mr. Arthur Hughes, in the _Music-master_ (1855), heads the list, so

it seemed fit to mark his position by a fuller record than could be

awarded to other of his contemporaries still living; partly because

the comparatively small number of illustrations made a fairly complete

record possible.

* * * * *

FREDERICK SANDYS.--This most admirable illustrator 'was born in Norwich

in 1832, the son of a painter of the place, from whom he received his

earliest art-instruction. Among his first drawings was a series of

illustrations of the birds of Norfolk, and another dealing with the

antiquities of his native city. Probably he first exhibited in 1851,

with a portrait (in crayons) of "Henry, Lord Loftus" which appears

as the work of "F. Sands" in the catalogue of the Royal Academy to

whose exhibitions he has contributed in all forty-seven pictures and

drawings.'[15]

The above, extracted from Mr. J. M. Gray's article, 'Frederick Sandys

and the woodcut designers of thirty years ago,' gives the facts which

concern us here. A most interesting study of the same artist by the

same critic, in the _Art Journal_,[16] supplies more description

and analysed appreciation. The eulogy by Mr. Joseph Pennell in _The

Quarto_[17] must not be forgotten. Further references to Mr. Sandys

appear in a lecture delivered by Professor Herkomer at the Royal

Institution, printed in the _Art Journal_, 1883, and in a review of

Thornbury's _Ballads_ by Mr. Edmund Gosse in _The Academy_.[18]

[Illustration: FREDERICK SANDYS

'CENTURY GUILD HOBBY-HORSE'

VOL. III. p. 147

DANAE IN THE

BRAZEN CHAMBER]

[Illustration: FREDERICK SANDYS

DALZIELS' 'BIBLE

GALLERY,' 1880

JACOB HEARS THE VOICE

OF THE LORD]

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

so of illustrations by Frederick Sandys appeared in _Once a Week_,

that these thirteen have been the most potent factor in giving the

magazine its peculiar place in the hearts of artists. The general

public may have forgotten its early volumes, but at no time since they

were published have painters and pen-draughtsmen failed to prize them.

During the years that saw them appear there are frequent laudatory

references in contemporary journals, with now and again the spiteful

attack which is only awarded to work that is unlike the average.

Elsewhere mention is made of articles upon them which have appeared

from time to time by Messrs. Edmund Gosse, J. M. Gray, Joseph Pennell,

and others. During the 'seventies,' no less than in the 'eighties' or

'nineties,' men cut out the pages and kept them in their portfolios;

so that to-day, in buying volumes of the magazine, a wise person is

careful to see that the 'Sandys' are all there before completing the

purchase. Therefore, should the larger public admit them formally

into the limited group of its acknowledged masterpieces, it will

only imitate the attitude which from the first fellow-artists have

maintained towards them.

The original drawings, '_If_,' _Life's Journey_, _The Little

Mourner_, and _Jacques de Caumont_, were exhibited at the 'Arts and

Crafts,' 1893. That a companion volume to Millais's _Parables_, with

illustrations of _The Story of Joseph_, was actually projected,

and the first drawings completed, is true, and one's regret that

circumstances--those hideous circumstances, which need not be

explained fully, of an artist's ideas rejected by a too prudish

publisher--prevented its completion, is perhaps the most depressing

item recorded in the pages of this volume.

That some thirty designs all told should have established the lasting

reputation of an artist would be somewhat surprising, did not one

realise that almost every one is a masterpiece of its kind. Owing

to the courtesy of all concerned, so large a number of these are

reproduced herewith that a detailed description of each would be

superfluous. But, at the risk of repeating a list already printed and

reprinted, it is well to condense the scattered references in the

foregoing pages in a convenient paragraph, wherein those republished

in Thornbury's _Legendary Ballads_ (Chatto, 1876) are noted with an

asterisk:--

THE CORNHILL MAGAZINE: _The Portent_ ('60), _Manoli_ ('62), _Cleopatra_

('66); ONCE A WEEK: *_Yet once more on the organ play_, _The Sailor's

Bride_, _From my Window_, *_Three Statues of Ægina_, _Rosamund Queen of

the Lombards_ (all 1861), *_The Old Chartist_, *_The King at the Gate_,

*_Jacques de Caumont_, *_King Warwolf_, *_The Boy Martyr_, *_Harold

Harfagr_ (all '62), and _Helen and Cassandra_ ('66); GOOD WORDS: _Until

her Death_ ('62), _Sleep_ ('63); CHURCHMAN'S FAMILY MAGAZINE: *_The

Waiting Time_ ('63); SHILLING MAGAZINE: _Amor Mundi_ ('65); THE QUIVER:

_Advent of Winter_ ('66); THE ARGOSY: _'If'_ ('65); THE CENTURY GUILD

HOBBY HORSE: _Danae_ ('88); WILMOT'S SACRED POETRY: _Life's Journey_,

_The Little Mourner_; CASSELL'S FAMILY MAGAZINE: _Proud Maisie_ ('81);

and DALZIELS' BIBLE GALLERY: _Jacob hears the voice of the Lord_.

[Illustration: FREDERICK SANDYS

'THE QUIVER'

OCTOBER]

In addition, it may be interesting to add notes of other

drawings:--_The Nightmare_ (1857)[19], a parody of _Sir Isumbras at

the Ford_, by Millais, which shows a braying ass marked 'J. R.' (for

John Ruskin), with Millais, Rossetti, and Holman Hunt on his back;

_Morgan le Fay_, reproduced as a double-page supplement in _The British

Architect_, October 31, 1879; a frontispiece, engraved on steel by J.

Saddler, for Miss Muloch's _Christian's Mistake_ (Hurst and Blackett),

and another for _The Shaving of Shagpat_ (Chapman and Hall, 1865); a

portrait of Matthew Arnold, engraved by O. Lacour, published in _The

English Illustrated Magazine_, January 1884; another of Professor J.

R. Green, engraved by G. J. Stodardt, in _The Conquest of England_,

1883; and one of Robert Browning, published in _The Magazine of Art_

shortly after the poet's death; _Miranda_, a drawing reproduced in _The

Century Guild Hobby Horse_, vol. iii. p. 41; _Medea_, reproduced (as a

silver-print photograph) in Col. Richard's poem of that name (Chapman

and Hall, 1869); a reproduction of the original drawing for _Amor

Mundi_, and studies for the same, in the two editions of Mr. Pennell's

_Pen-Drawing and Pen-Draughtsmen_ (Macmillan); a reproduction of an

unfinished drawing on wood, _The Spirit of the Storm_, in _The Quarto_

(No. 1, 1896); _Proud Maisie in Pan_ (1881), reissued in _Songs of the

North_, and engraved by W. Spielmayer (from the original in possession

of Dr. John Todhunter) in the _English Illustrated Magazine_, May

1891, and the original drawing for the _Advent of Winter_ and one of

_Two Heads_, reproduced in J. M. Gray's article in the _Art Journal_

(March 1884). Whether the _Judith_ here reproduced was originally drawn

for engraving I cannot say.

To add another eulogy of these works is hardly necessary at this

moment, when their superb quality has provoked a still wider

recognition than ever. Concerning the engraving of some Mr. Sandys

complained bitterly, but of others, notably the _Danae_, he wrote in

October 1880: 'My drawing was most perfectly cut by Swain, from my

point of view, the best piece of wood-cutting of our time--mind I

am not speaking of my work, but Swain's.' To see that the artist's

complaint was at times not unfounded one has but to compare the _Advent

of Winter_ as it appears in a reproduction of the drawing (_Art

Journal_, March 1884) and in _The Quiver_. 'It was my best drawing

entirely spoilt by the cutter,' he said; but this was perhaps a rather

hasty criticism that is hardly proved up to the hilt by the published

evidence.

As a few contemporary criticisms quoted elsewhere go to prove, Sandys

was never ignored by artists nor by people of taste. To-day there

are dozens of men in Europe without popular appreciation at home or

abroad, but surely if his fellows recognise the master-hand, it is of

little moment whether the cheap periodicals ignore him, or publish

more or less adequately illustrated articles on the man and his work.

Frederick Sandys is and has been a name to conjure with for the last

thirty years. Though still alive, he has gained (I believe) no official

recognition. But that is of little consequence. There are laureates

uncrowned and presidents unelected still living among us whose lasting

fame is more secure than that of many who have worn the empty titles

without enjoying the unstinted approval of fellow-craftsmen which alone

makes any honour worthy an artist's acceptance.

* * * * *

SIR EDWARD BURNE-JONES.--The illustrations of this artist are so few

that it is a matter of regret that they could not all be reproduced

here. But the artist, without withholding permission, expressed a

strong wish that they should not be reprinted. The two in _Good Words_

have been already named. Others to a quite forgotten book must not be

mentioned; but it is safe to say that no human being, who did not

know by whom they were produced, would recognise them. A beautiful

design[20] for a frontispiece to Mr. William Morris's _Love is Enough_

was never engraved. The _Nativity_ in Gatty's _Parables from Nature_,

and the one design in the _Dalziel Bible_ have already been named.

Many drawings for _Cupid and Psyche_, the first portion of a proposed

illustrated folio edition of _The Earthly Paradise_, were actually

engraved, some of the blocks being cut by Mr. Morris himself. Several

sets of impressions exist, and rumour for a long time babbled of a

future Kelmscott Press edition. Of his more recent designs nothing

can be said here; besides being a quarter of a century later than the

prescribed limits of the volume, they are as familiar as any modern

work could be.

* * * * *

WALTER CRANE.--This popular artist was born in Liverpool, August 15,

1845, his father being sometime secretary and treasurer of the (then)

Liverpool Academy. After a boyhood spent mostly at Torquay the family

came to London in 1857. In 1859 he became a pupil of Mr. W. J. Linton,

the well-known engraver, and remained with him for three years. About

1865 he first saw the work of Burne-Jones at the Society of Painters

in Water Colours. These drawings, and some Japanese toy-books which

fell in his way, have no doubt strongly influenced his style; but the

earlier pre-Raphaelites and the _Once a Week_ school had been eagerly

studied before. Although Mr. Crane, with his distinctly individual

manner, is not a typical artist of the sixties any more than of the

seventies, or of to-day, and although his style had hardly found its

full expression at that time, except in the toy-books, yet no record of

the period could be complete without a notice of one whose loyalty to a

particular style has done much to found the modern 'decorative school.'

[Illustration: WALTER CRANE

'GOOD WORDS'

1863, p. 795

TREASURE-TROVE]

His first published drawing, _A man in the coils of a serpent_, appears

in a quite forgotten magazine called _Entertaining Things_, vol. i.

1861, p. 327 (Virtue); others, immature, and spoilt by the engraver,

are in _The Talking Fire-irons_ and similar tracts by the Rev. H.

B. Power. In many of the magazines, of which the contents are duly

noted,--_Good Words_, _Once a Week_, _The Argosy_, _London Society_,

etc.--reference has been already made to each of his drawings as it

appeared therein. A bibliography of his work, to be exhaustive, would

take up more room than space permitted here. As it will be the task

of the one, whoever he may be, who undertakes to chronicle English

illustrations of the seventies, it may be left without further notice.

For, with the exception of the _New Forest_ (1862), all the other books

which may be called masterpieces of their order, _Grimms' Household

Stories_, _The Necklace of Princess Fiorimonde_, _The Baby's Bouquet_,

_Baby's Opera_, _Æsop's Fables_, _Flora's Feast_, _Queen Summer_, the

long series of Mrs. Molesworth's children's books, many 'coloured

boards' for novels, and the rest, belong to a later period.

To find that a large paper copy of _Grimms' Household Stories_ fetched

thirty-six pounds at Lord Leighton's sale is a proof that collectors

of 'Cranes' are already in full cry. Two hundred and fifty copies of

this book were issued in large paper; the copy in question, although

handsomely bound, did not derive its value solely from that fact.

Modern readers rubbed their eyes to find a recent _édition de luxe_

fetching a record price; but, if certain signs are not misleading, the

market value of many books of the sixties will show a rapid increase

that will surprise the apathetic collector, who now regards them as

commonplace. To believe that the worth of anything is just as much as

it will bring is a most foolish test of intrinsic value; but, should

the auctioneer's marked catalogue of a few years hence show that 'the

sixties' produced works which coax the reluctant guineas out of the

pockets of those who a short time before would not expend shillings, it

will but reflect the well-seasoned verdict of artists for years past.

In matters of science and of commerce the man in the street acts on the

opinion of the expert, but in matters of art he usually prefers his

own. If, when he wakens to the intrinsic value of objects about which

artists know no difference of opinion, he has to pay heavily for his

conceited belief in his own judgment, it is at once poetic justice and

good common sense.

Space forbids, unfortunately, detailed notices of Fred Barnard, C. H.

Bennett, T. Morten, George Du Maurier, John Pettie, R.A., and many

other deceased artists whose works have been frequently referred to in

previous chapters.

Fairly complete iconographies had been prepared of the works of Mr.

Birket Foster, Sir John Gilbert, and Ernest Griset. These, and other no

less important lists, have also been omitted for the same reason.

Nor is it necessary to include here notices of artists whose fame has

been established in another realm of art--such as Mr. Whistler, Mr.

Luke Fildes, R.A., Professor Herkomer, R.A., Messrs. W. Q. Orchardson,

R.A., H. S. Marks, R.A., H. H. Armstead, R.A., Edmund J. Poynter, R.A.,

G. H. Boughton, J. W. North, R.A., and George Frederick Watts, R.A.

Others, including W. Small, Charles Green, Sir John Tenniel, would each

require a volume, instead of a few paragraphs, to do even bare justice

to the amazing quantity of notable illustrations they have produced.

Fortunately most of them are still alive and active, so that a more

worthy excuse remains for omitting to give a complete iconography of

each one here, for they belong to a far more extended period than is

covered by this book.

DALZIEL BROTHERS

The firm of Dalziel Brothers deserves more notice than it has received

in the many incidental references throughout this book. To Mr. Thomas

Dalziel (still alive though past fourscore) and to his brother Edward

may be awarded the credit of exercising keen critical judgment in the

discovery of latent talent among the art students of their day, and

of acting as liberal patrons of the art of illustration. In a most

courteous letter, written in reply to my request for some details of

the establishment of the firm, the youngest brother of the four (Mr.

Thomas Dalziel) writes: 'We were constant and untiring workers with

our own hands, untiring because it was truly a labour of love. The

extension and development of our transactions and the carrying out of

many of the fine art works which we published, is unquestionably due to

my brother Edward Dalziel, and to this I am at all times ready to bear

unhesitating testimony.'

That these talented engravers were draughtsmen of no mean order might

be proved in a hundred instances; one or two blocks here reprinted

will suffice to establish their right to an honourable position as

illustrators.

[Illustration: T. DALZIEL

DALZIELS' 'ARABIAN

NIGHTS,' p. 161

BEDREDDIN HASSAN AND

THE PASTRYCOOK]

[Illustration: T. DALZIEL

DALZIELS' 'BIBLE

GALLERY,' 1880

THE DESTRUCTION OF SODOM]

Among the young artists to whom they gave commissions, at the

time in a student's career when encouragement of that description is

so vital, we find:--Fred Walker, G. J. Pinwell, A. Boyd Houghton, J.

D. Watson, John Pettie, R.A., Professor Herkomer, R.A., J. W. North,

A.R.A., and Fred Barnard. Artists of eminence, who in all human

probability would never have experimented in drawing upon wood but for

Messrs. Dalziels' suggestion, include the late Lord Leighton, P.R.A.,

Mr. G. F. Watts, R.A., and Mr. H. Stacy Marks, R.A. Other illustrators

who owe much to the enterprise of this firm, and who in turn helped to

make its reputation, include Mr. Birket Foster, Sir John Gilbert, R.A.,

Mr. George Du Maurier, Sir John Tenniel, and Mr. Harrison Weir.

It has been impossible to credit these engravers with their due

share in every work mentioned in our pages, because to do this would

have necessitated, in common justice, a complete record of the other

engravers also; in itself enough to double the length of the chronicle

already far too verbose. The engravings in _Punch_ in its early years,

and the _Cornhill_ through its finest period, were intrusted to Messrs.

Dalziel, while of _Good Words_ and _The Sunday Magazine_ the choice of

pictures and their reproduction alike were entirely under their control.

The Dalziel Brothers were born at Wooler, Northumberland, but spent

most of their early days in Newcastle-on-Tyne. Their craft was learned

from pupils of Thomas Bewick. In 1835 George Dalziel came to London,

followed soon after by Edward, and later by John and Thomas. They were

all draughtsmen as well as engravers. Thomas devoted himself entirely

to drawing. There was also a sister, 'Margaret' (who died in 1894),

who practised the art of wood-engraving for many years, with results

distinguished for their minute elaboration and fine feeling.

Soon after settling in London, George was associated with Ebenezer

Landells (who died in 1869); and the brothers later became intimate

with Bewick's favourite pupil, William Harvey, for whom they engraved

many of his drawings for Lane's _Arabian Nights_, Charles Knight's

_Shakespeare_ and _Bunyan_, and many other works. Still later they

became acquainted with [Sir] John Gilbert, and were 'the first who

endeavoured to render his drawings throughout according to his own

style of lining and suggested manipulation.'

Their effort was to translate the draughtsman's line, not to paraphrase

it by tint-cutting. As a former apologist has written: 'This has

been called "facsimile work"; but it is not so, strictly speaking.

Certainly, whatever it may be called, it required as much artistic

knowledge and taste to produce a good result as the so-called tint-work

against which they [Dalziel Brothers] have no word to say, having

practised that branch of art to a considerable extent, as may be seen

in hundreds of instances, but perhaps most notably in the Rev. J. G.

Wood's _Natural History_ and _The History of Man_.'

The Dalziels had clever pupils to whom they attribute most readily no

little of their success; of these Harry Fenn and C. Kingdon, who both

went to America, may be specially mentioned. But a record of so notable

an enterprise cannot be adequately treated here; yet a few authorised

facts must needs find place. Did space permit, the eulogies of many

artists who were entirely satisfied with Messrs. Dalziels' engraving

could be quoted as a set-off to the few, Rossetti included, who were

querulous. It would be invidious to pick out their best work, but

Millais's _Parables_, Birket Foster's _Beauties of English Landscape_,

and the illustrated editions of classics: _Don Quixote_, _Arabian

Nights_, _Goldsmith's Works_, _The Bible Gallery_, etc. etc., which

bear their imprint, may be numbered among their highest achievements.

The share of Mr. Edmund Evans in many notable volumes that owe at least

a moiety of their interest to his engraving, and of Messrs. Swain,

must needs be left without comment. Mr. Joseph Swain contributed to

_Good Words_ in 1888 some very interesting articles on Fred Walker,

C. H. Bennett, and G. J. Pinwell. These have since been issued in a

volume,[21] with essays, by various hands, on Frederick Shields, [Sir]

John Tenniel, and others. It contains ninety illustrations, including

the rare early 'Fred Walker' from _Everybody's Journal_, and specimens

of Mr. Shields's illustrations to an edition of _The Pilgrim's

Progress_, published (apparently) by the _Manchester Examiner_. But

so far as I know, neither Mr. Evans nor Messrs. Swain (in the sixties

at all events) projected works as Messrs. Dalziel did; and the

appreciation which they merit, in their own field, would be unfairly

recorded in a few hasty lines.

INDEX

ABNER, J., 108.

ABSOLON, J., illustrations to Beattie and Collins's 'Poems,' 101.

Adams's 'Sacred Allegories' (1856), illustrations to, by COPE, BIRKET

FOSTER, HORSLEY, HICKS, and S. PALMER, 102, 103.

'Adventures of Philip,' 40.

'Æsop's Fables' (1848), TENNIEL'S illustrations to, 100.

(1857) C. H. BENNETT, 108.

(1867) H. WEIR, 133.

(1869) E. GRISET, 137.

'Alice in Wonderland' (1866), TENNIEL'S illustrations to, 127.

ALLEN, W. J., 64.

Allingham's 'The Music-master' (1855), 6, 99, 102, 160, 168, 170.

---- 'Day and Night Songs,' 161, 168.

---- 'Flower Pieces,' 160.

---- 'Life and Phantasy,' 160.

_Ally Sloper_, 19.

ANDREWS, G. H., 155.

ANDREWS, J., 114.

ANELAY, H., 81, 82.

'Anglers of the Dove,' MILLAIS'S illustrations to, 24.

ANSDELL, R., 35.

'Arabian Nights' (1852), W. HARVEY'S illustrations to, 101.

---- Dalziels' edition (1865), illustrations by BOYD HOUGHTON, T. and

E. DALZIEL, G. J. PINWELL, T. MORTEN, J. TENNIEL, and J. D. WATSON,

122.

---- (Warne, 1866) illustrations by BOYD HOUGHTON, etc., 126.

ARCHER, J., 114.

_Argosy_, illustrations and illustrators of, 73, 74.

BOYD HOUGHTON, A., 74.

CRANE, W., 73, 74.

EDWARDS, M. E., 73, 74.

GRAY, PAUL, 74.

HUGHES, E., 74.

LAWSON, J., 74.

MAHONEY, J., 74.

PINWELL, G. J., 74.

SANDYS, F., 74.

SMALL, W., 74.

'Armadale,' 41, 42.

ARMITAGE, E., 64; illustrations to:

'Lyra Germanica,' 113, 136.

'Pupils of St. John the Divine,' 135.

Dalziels' 'Bible Gallery,' 146.

ARMSTEAD, H. H., illustrations to:

_Good Words_, 45.

'Albert Memorial,' 46, 48.

_Churchman's Family Magazine_, 64.

Eliza Cook's 'Poems,' 102.

'Sacred Poetry,' 115.

'Touches of Nature,' 131.

Dalziels' 'Bible Gallery,' 146.

'Art Pictures from Old Testament,' 147.

ARMYTAGE, J. C., 42.

Art, the new appreciation for, 1-2.

---- old and new tastes in, 2.

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

---- of the 'thirties,' 10.

---- black and white, 10.

---- influence of Great Exhibition of 1851 on, 21.

'Art and Song' (1867), 133.

_Art Journal_, 14.

Artists of the 'sixties,' contemporary appreciation of, 4.

---- comparison with present-day artists, 11.

---- collectors of the works of, 4.

---- of the 'thirties,' 10.

---- value of, in various mediums, 10.

---- considerations which influence their quality of work, 25.

'Art Pictures from the Old Testament' (1894), reprints of the

illustrations in the 'Bible Gallery,' 146, 147.

_Art Union_, 14.

'Aunt Sally's Life' (1866), illustrations by G. THOMAS, 129.

_Aunt Judy's Magazine_, illustrations and illustrators of, 85, 86.

BAYES, A. W., 86.

CALDECOTT, R., 86.

COOPER, A. W., 86.

CRUIKSHANK, G., 86.

EDWARDS, M. E., 85.

GILBERT, F., 85.

GRISET, E., 85.

LAWSON, F. W., 85.

MORTEN, T., 85.

PASQUIER, J. A., 85.

WEHNER, E. H., 85.

Aytoun's 'Lays of the Scottish Cavaliers' (1865), illustrations by

NOEL PATON, 123.

BAGFORD, JOHN, 6.

'Ballads and Songs of Brittany' (1866), illustrations by C. KEENE and

J. E. MILLAIS, 127.

_Band of Hope, The_, 14.

---- _Review_, illustrations and illustrators of, 81, 82; characters

of, 82.

ANELAY, H., 82.

BARNES, R., 82.

GILBERT, SIR J., 82.

HUARD, L., 82.

WEIR, H., 82.

WOLF, J., 82.

Barbauld's 'Hymns in Prose' (1864), illustrations by BARNES and

WHYMPER, 123.

BARNARD, F., 177, illustrations to:

_Once a Week_, 37.

_Good Words_, 54.

_London Society_, 60.

_Cassell's Magazine_, 72.

_Broadway_, 76.

_Good Words for the Young_, 78.

_Fun_, 89.

Cassell's 'Illustrated Readings,' 135.

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

'Episodes of Fiction,' 141.

BARNES, G. A., 76.

BARNES, R., illustrations to:

_Once a Week_, 34-37.

_Cornhill Magazine_, 41, 42.

_Good Words_, 50, 51.

_London Society_, 56, 57, 158.

_Churchman's Family Magazine_, 64.

_Sunday Magazine_, 66, 67, 68, 70.

_Cassell's Magazine_, 73.

_Quiver_, 74, 75.

_British Workman_, 81.

_Band of Hope Review_, 82.

_Leisure Hour_, 83.

_Sunday at Home_, 84.

_Golden Hours_, 84.

'Our Life,' 123.

'The Months Illustrated,' 124.

'Pictures of English Life,' 124.

'Sybil and her Snowball,' 129.

'Touches of Nature,' 131.

'Idyllic Pictures,' 132.

Foxe's 'Book of Martyrs,' 132.

'Christian Lyrics,' 133.

'Original Poems' (Taylor), 135.

Gray's 'Elegy,' 136.

BAXTER (_Ally Sloper_), 19.

BAYES, A. W., 58, 68, 85, 86, 124, 125, 129, 135.

Beattie and Collins's 'Poems,' illustrations by J. ABSOLON, 101.

'Beauties of English Landscape,' 117.

---- illustrations by B. FOSTER, 147.

_Beeton's Annuals_, illustrators of, 87:

BENNETT, C. H., 87.

CRUIKSHANK, G., 87.

MORTEN, T., 87.

PASQUIER, J. A., 87.

THOMSON, J. G., 87.

_Belgravia_, illustrations of, 73.

BENHAM, J. E., 101.

BENNETT, C. H., illustrations to:

'The Excursion Train,' _Cornhill Magazine_, 40.

_Good Words_, 46.

_London Society_, 56, 57, 58.

_Every Boy's Magazine_, 85.

_Beeton's Annuals_, 87.

_Illustrated London News_, 92.

'Fables of Æsop,' 108.

'Proverbs with Pictures,' 109.

'Pilgrim's Progress,' 110.

Quarles's 'Emblems,' 113.

'Stories little Breeches told,' 118.

'London People,' 123.

'Mrs. Wind and Madam Rain,' 123.

Lemon's 'Fairy Tales,' 135.

Bewick, collectors of, 4.

'Bible Gallery.' _See_ Dalziel.

'Bible Woodcuts,' 39.

BIRD, J. A. H., 81.

Black and White Art, 10.

B[LACKBURN], J., illustrations to _Good Words_, 45, 63.

Blake, collectors of, 4.

Blair's 'Grave' (1859), illustrations by TENNIEL, 109.

'Bon Gaultier Ballads' (1849), illustrations to, by DOYLE, LEECH, and

CROWQUILL, 100.

Books, illustrated, the destruction of, for collecting purposes, 6.

---- the difficulty of collecting them, 96.

---- the value of dates in, 96, 97.

---- difficulties in compiling a complete bibliography of, 98.

'Book of British Ballads' (S. C. Hall, 1852), 101.

'Book of Celebrated Poems,' illustrations by COPE and K. MEADOWS, 101.

'Book of Favourite Modern Ballads' (1859), illustrations by COPE,

HORSLEY, A. SOLOMON, and S. PALMER, 110.

'Book of Job' (1858), illustrated by J. GILBERT, 107.

BORDERS, F., 44.

BOUGHTON, G. H., viii, 55, 147.

_Bow Bells_, 14.

BOWERS, G., 34, 35.

'Boy Pilgrims,' The (1866), illustrations by A. BOYD HOUGHTON, 129.

'Boy's Book of Ballads' (1861), illustrations by Sir J. GILBERT, 114.

_Boy's Own Magazine_, illustrations and illustrators of, 1, 85.

BAYES, A. W., 85.

DUDLEY, R., 85.

PASQUIER, J. A., 85.

THOMSON, J. G., 85.

BOYD HOUGHTON, A., illustrations to:

_Once a Week_, 33, 34, 36.

_Good Words_, 46, 48, 49, 52, 53, 54, 55.

_London Society_, 56, 59, 61.

_Churchman's Family Magazine_, 64.

_Sunday Magazine_, 66-71.

_Argosy_, 74.

_Quiver_, 74, 75.

_Tinsley's Magazine_, 76.

_Broadway_, 76.

_Good Words for the Young_, 78, 79.

_Golden Hours_, 84.

_Every Boy's Magazine_, 85.

_Fun_, 89.

_Illustrated London News_, 92.

_Graphic_, 93, 165.

Dalziels' 'Arabian Nights,' 122, 164.

'Victorian History of England,' 124.

'A Round of Days,' 125.

'Home Thoughts and Home Scenes,' 126, 165.

'Happy Day Stories,' 126.

'Arabian Nights,' 126, 164.

'Don Quixote,' 126, 165.

'Ernie Elton, the Lazy Boy,' 129.

'Patient Henry,' 129.

'Stories told to a Child,' 129.

'The Boy Pilgrims,' 129.

Jean Ingelow's 'Poems,' 130.

'Ballad Stories of the Affections,' 130, 165.

'Touches of Nature,' 131.

'Idyllic Pictures,' 131.

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

'Christian Lyrics,' 133.

'Spirit of Praise,' 133.

Longfellow's 'Poems,' 134, 140.

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

'Golden Thoughts from Golden Fountains,' 134.

'Savage Club Papers,' 135.

'Nobility of Life,' 136.

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

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

Dalziels' 'Bible Gallery,' 146.

---- biographical account of, 163, 164, 165.

---- the quality of his designs, 164.

---- catalogue of forty designs exhibited (1896), 164.

---- his great fecundity in work, 164.

---- Mr. Laurence Housman's book on, 164, 165.

BRADLEY, B., 34-37, 72, 73.

BRANDLING, H., 110.

BREWTNALL (E. F.), 36, 78, 146.

_Britannia_, illustrations for, by MATT MORGAN, 80.

_British Architect_, 113.

_British Workman_, 14.

---- illustrations and illustrators of, 81.

ANELAY, H., 81.

BARNES, R., 81.

CRUIKSHANK, G., 81.

COOPER, A. W., 81.

GILBERT, Sir J., 81.

HUARD, L., 81.

WATSON, J. D., 81.

WEIR, HARRISON, 81.

WYON, L. C., 81.

_Broadway, The_, illustrators of, 76.

BARNARD, F., 76.

BARNES, G. A., 76.

BOYD HOUGHTON, A., 76.

BRUNTON, W., 76.

EDWARDS, M. E., 76.

GRAY, PAUL, 76.

GRISET, E., 76.

HUTTULA, R. C., 76.

LAWSON, F. W., 76.

MORGAN, MATT, 76.

NASH, THOMAS, 76.

PASQUIER, J. A., 76.

THOMPSON, ALFRED, 76.

THOMSON, J. G., 76.

BROOKES, WARWICK, 125.

BROWN, FORD MADOX, illustrations to:

_Once a Week_, 37.

_Dark Blue_, 81.

'Poets of Nineteenth Century,' 106.

'Lyra Germanica,' 136.

Dalziels' 'Bible Gallery,' 146.

BROWN, ISAAC L., 60.

BROWN, J. O., 45.

BROWNE, H. K. _See_ 'PHIZ.'

BROWNING (Mrs.) 'Ariadne in Naxos,' 40.

BRUNTON, W., illustrations to:

_London Society_, 57, 58, 60.

_Tinsley's Magazine_, 76.

_Broadway_, 76.

_Fun_, 89.

Buchanan's 'Ballad Stories of the Affections' (1867), illustrations

by BOYD HOUGHTON, E. and T. DALZIEL, J. LAWSON, G. J. PINWELL, W.

SMALL, and J. D. WATSON, 130.

---- 'North Coast and other Poems' (1863), illustrations by BOYD

HOUGHTON, E. and T. DALZIEL, G. J. PINWELL, W. SMALL, J. WOLF, J. B.

ZWECKER, 134.

BUCKMAN, W. R., 54, 73.

Bunyan's 'Pilgrim's Progress' (1856), illustrations by:

CLAYTON, 104.

(1857) J. H. THOMAS, 107.

(1859) C. H. BENNETT, 110.

(1860) D. SCOTT and W. B. SCOTT, 114.

(1863) DALZIEL, 123.

(1864) P. PRIOLO and C. H. SELOUS, 123.

BURNE-JONES (Sir E.), illustrations to:

_Good Words_, 46, 47, 49, 175.

Chaucer Drawings, 47.

'Parables from Nature,' 114, 176.

Dalziels' 'Bible Gallery,' 146, 175.

'Cupid and Psyche,' 175.

---- on Rossetti, 161.

---- summary of his work, 175.

---- design for 'Love is Enough,' 175.

Burns's 'Poems and Songs' (1857), illustrations by BIRKET FOSTER, 108.

BURTON, W. P., 115, 128, 134.

BURTON, W. S., illustrations to _Once a Week_, 33.

BURY, VISCOUNT, 153.

BUSHNELL, A., 46.

CALDECOTT, RANDOLPH, illustrations to _Aunt Judy's Magazine_, 86.

CAMERON, H., 132.

Caricaturists, Victorian, 18, 19.

CARRICK, J. M., 128.

Carroll's 'Alice in Wonderland' (1866), TENNIEL'S illustrations to,

127.

Cassell and Co., publications of, 15.

_Cassell's Family Paper_, 71.

---- illustrations by W. SMALL, Sir J. GILBERT, L. HUARD, F. GILBERT,

and T. MORTEN, 71.

_Cassell's Magazine_, illustrations and illustrators of, 71, 72, 73.

BARNARD, F., 72.

BARNES, R., 73.

BRADLEY, B., 72, 73.

BROWNE, H. K., 73.

CORBOULD, E. H., 73.

DUCKMAN, W. R., 73.

EDWARDS, M. E., 72, 73.

ELLIS, E., 73.

FILDES, S. L., 72, 73.

FRASER, F. A., 72, 73.

GREEN, C., 72.

GREEN, T., 73.

HENLEY, 72.

HUGHES, E., 73.

LAWSON, J., 73.

LAWSON, F. W., 72, 73.

LINTON, J. D., 73.

MAHONEY, J., 72.

PATERSON, H., 73.

PINWELL, G. J., 72.

PRITCHETT, R. T., 72.

RIDLEY, M. W., 72.

SMALL, W., 72, 73.

STANILAND, C. J., 72.

THOMAS, G. H., 72.

WALKER, F. S., 72.

WATSON, J. D., 72.

WIRGMAN, T. B., 72.

Cassell's 'History of England' (1867, vol. i.), illustrations by W.

Small, 133.

---- 'Illustrated Readings' (1867), illustrations by F. BARNARD, J.

MAHONEY, S. L. FILDES, W. SMALL, and J. D. WATSON, 135.

CASSELL, JOHN, 14.

_Casket, The_, 14.

'Chambers's Household Shakespeare' (1861), illustrations by K.

HALSWELLE, 114.

'Chandos Poets,' The (1869), illustrations by BOYD HOUGHTON, FRASER,

and FRENCH, 140.

Chatto and Jackson's 'History of Wood Engraving,' 97, 113.

'Childe Harold' (1859), illustrations by SKELTON, 109, 110.

'Children's Garland,' The (1873), illustrations by J. LAWSON, 148.

'Children's Hour,' The (1866), illustrations by W. SMALL, 129.

'Children's Sayings' (1862), illustrations by W. CRANE, 118.

'Child's Play' (1858), 109.

'Choice Series,' The (1869), illustrations by B. FOSTER, GILBERT, H.

WEIR, etc., 137, 138.

'Christian Lyrics' (1868), illustrations by R. BARNES, BOYD HOUGHTON,

etc., 133.

'Christmas with the Poets' (1861), illustrations by BIRKET FOSTER,

115, 116.

_Chromo-Lithograph, The_, 34.

_Churchman's Family Magazine_, illustrations and illustrators of, 63,

64, 65.

ALLEN, W. J., 64.

ARMITAGE, E., 64.

ARMSTEAD, H. H., 64.

BARNES, R., 64

BOYD HOUGHTON, A., 64.

CLAXTON, F., 64.

CLAXTON, M., 64.

COOPER, A. W., 64.

COPE, C. W., 64.

CORBOULD, E. H., 64,

CRESWICK, 64.

DALZIEL, T. B., 64.

EDWARDS, M. E., 64, 65.

FITZCOOK, H., 64.

FRISTON, D. H., 64.

GREEN, C, 63, 64.

HORSLEY, J. C., 64.

HUARD, L., 64.

JOHNSON, E. K., 64,

JUSTYNE, P. W., 64.

KEYL, F. W., 64.

LAWLESS, M. J., 64.

M'CONNELL, W., 64.

MACQUOID, T., 64.

MARKS, H. S., 64.

MILLAIS, J. E., 63.

MORTEN, T., 63, 64.

PICKERSGILL, F. R., 64.

PINWELL, G. J., 64.

POYNTER, E. J., 63.

PRIOLO, P., 64.

SANDERSON, H., 64.

SANDYS, F., 64.

SELOUS, H. C., 64.

SKELTON, P., 64.

SOLOMON, R., 64.

SULMAN, T., 64.

THOMAS, G. H., 64.

VINING, H. M., 64.

WATSON, J. D., 63, 64.

WEHNERT, E. H., 64.

ZWECKER, J. B., 64.

_Churchman's Shilling Magazine_, illustrations and illustrators of,

76.

CRANE, W., 76.

EDWARDS, M. E., 76.

HUTTULA, R., 76.

LEIGH, JOHN, 76.

CLARK, J., 153.

CLARKE, E. F. C., 76, 80.

CLAXTON, A., illustrations to _London Society_, 56.

---- other illustrations, 57, 58, 62, 92.

CLAXTON, FLORENCE, 50, 57, 64, 92.

CLAXTON, MARSHALL, 64.

CLAYTON, JOHN, illustrations to:

Herbert's 'Poetical Works,' 103.

'Pilgrim's Progress,' 104.

Pollok's 'Course of Time,' 104.

'Poets of Nineteenth Century,' 107.

'Dramatic Scenes,' 107.

'Lays of the Holy Land,' 108.

'Home Affections,' 108.

Krummacher's 'Parables,' 109.

_Clichés_, beginning of the use of, 79.

---- bad influence on original productions, 79.

'Cloister and the Hearth,' The, 20.

Coleridge's 'Ancient Mariner' (1856), illustrations by:

B. FOSTER, A. DUNCAN, and WEHNERT, 104.

(1860), D. SCOTT, 114.

Collecting, cost of, 7.

Collections, how to arrange, 7.

---- methods for preserving, 7.

Collectors, two objects of, 4-5.

---- delights of, 5.

---- objects supplied by the present volume for, x. 5-6.

---- dangers to be avoided by, 6.

Collins's (Wilkie) 'Armadale,' 41, 42.

COLOMB, W., 50.

Cook's (Eliza) 'Poems' (1856), illustrations by ARMSTEAD, J. GILBERT,

J. D. WATSON, H. WEIR, J. WOLF, 102.

COPE, C. W., 64, 99, 100, 101, 102; illustrations to:

'Favourite English Poems,' 109.

'Book of Favourite Modern Ballads,' 110.

Moore's 'Irish Melodies,' 133.

COOKE, E. W., 49.

COOPER, A. W., 46, 57, 58, 60, 64, 76, 80, 81, 86.

CORBOULD, E. H., 57, 64, 73, 92, 101, 107, 109, 140, 146.

'Cornhill Gallery': its quality and characteristics, 39, 126.

_Cornhill Magazine_, 14.

---- aim of its editor, 38.

---- the anonymity of artists in, 44.

---- illustrations and illustrators of, 38-44.

ALLINGHAM, H., 43.

BARNES, R., 41, 42.

BENNETT, C. H., 40.

DOYLE, R., 40.

DU MAURIER, G., 41, 42, 43.

EDWARDS, M. E., 42.

FILDES, S. L., 42.

HERKOMER, H., 42.

HOPKINS, A., 43.

HUGHES, A., 41.

KEENE, C., 41.

LAWSON, F. W., 42.

LEIGHTON, F., 40.

LESLIE, C. D., 43.

MILLAIS, J. E., 40.

PATERSON, H., 43.

PATON, NOEL, 41.

PINWELL, G. J., 41.

SANDYS, F., 40, 42.

SMALL, W., 43.

STONE, MARCUS, 43.

THACKERAY, W. M., 39, 40.

WALKER, F., 40, 41, 42.

Cornwall (Barry), 'Dramatic Scenes' (1857), illustrations by DALZIEL,

CLAYTON, 107.

Cowper's 'Works,' illustrations by JOHN GILBERT, 101.

---- 'The Task,' illustrations by BIRKET FOSTER, 102.

CRANE, W., illustrations to:

_Once a Week_, 33, 176.

_Good Words_, 49, 176.

_London Society_, 56, 60, 176.

_Argosy_, 73, 74, 176.

_Churchman's Shilling Magazine_, 76.

_Every Boy's Magazine_, 85.

_Punch_, 88.

_Entertaining Things_, 176.

'The New Forest,' 117, 176.

'Children's Sayings,' 118.

'Stories of Old,' 118.

Toy-Books, 129, 148.

'Stories from Memel,' 136.

'Merry Heart,' 136.

'King Gab's Story Bag,' 136.

'Magic of Kindness,' 136.

'Poetry of Nature,' 136.

Roberts's 'Legendary Ballads,' 140.

'Songs of Many Seasons,' 137.

'The Necklace of Princess Fiorimonde,' 176.

Grimms' 'Fairy Tales,' 176.

'The Baby's Bouquet,' 176.

'Baby's Opera,' 176.

Æsop's 'Fables,' 176.

'Flora's Feast,' 176.

'Queen Summer,' 176.

---- critical and biographical notice of, 175, 176.

---- a pupil of W. J. LINTON, 175.

---- influence of BURNE-JONES and Japanese art, 176.

CRESWICK, T., 64, 101; illustrations to:

Tennyson's 'Poems,' 105.

'Favourite English Poems,' 109.

'Early English Poems,' 117.

CROPSEY, J., 108.

CROWQUILL, A., 60; illustrations to:

'Bon Gaultier Ballads,' 100.

'Munchausen,' 114.

CRUIKSHANK (G.), collectors of, 4.

---- quality of his art work, 18, 19; illustrations to:

_London Society_, 59.

_British Workman_, 81.

_Aunt Judy's Magazine_, 86.

_Beeton's Annuals_, 87.

'Ingoldsby Legends,' 123.

CRUIKSHANK, R., 100.

Cumming's 'Life and Lessons of Our Lord' (1864), illustrations by C.

GREEN, A. HUNT, and P. SKELTON, 123.

'Cycle of Life,' The (1870), 141.

Dalziels' 'Bible Gallery' (1880-81), illustrations by F. LEIGHTON, G.

F. WATTS, F. R. PICKERSGILL, E. J. POYNTER, E. ARMITAGE, H. H.

ARMSTEAD, BURNE-JONES, HOLMAN HUNT, MADOX BROWN, S. SOLOMON, BOYD

HOUGHTON, W. SMALL, E. F. BREWTNALL, E. and T. DALZIEL, A. MURCH,

F. S. WALKER, and F. SANDYS, 146.

DALZIEL, E., 78, 122, 125, 130, 134, 138, 141, 146, 147.

DALZIEL, T. B., viii. 64, 67, 69, 78, 107, 108, 122, 123, 125, 130,

134, 141, 146, 147.

---- his own expressions about his work, 177.

DALZIELS, THE, 12, 13.

---- sketch of their careers, 177, 178, 179.

---- commissions given by them, 178.

---- works engraved by them, 178, 179.

---- their aims in engraving, 179.

---- their pupils, 179.

'Dame Dingle's Fairy Tales' (1866), illustrations by J. PROCTOR, 129.

'Dance of Death,' 39.

_Dark Blue_, illustrations and illustrators of, 80, 81.

BIRD, J. A. H., 81.

BROWN, FORD MADOX, 81.

CLARKE, E. F., 80.

COOPER, A. W., 80.

FITZGERALD, M., 81.

FREERE, M. E., 80.

FRISTON, D. H., 81.

HALL, S. P., 81.

HENNESSEY, W. J., 81.

LAWSON, CECIL, 80.

LAWSON, F. W., 80.

PERRY, T. W., 80.

RIDLEY, T. W., 80.

ROBINSON, T., 80.

SOLOMON, SIMEON, 81.

WHITE, D. T., 80.

DARLEY, FELIX, 57, 108.

'Day and Night Songs,' 161, 168.

_Day of Rest_, 66.

'Dealings with the Fairies' (1861), illustrations by A. HUGHES, 116.

Defoe's 'History of the Plague,' SHIELD'S illustrations to, 32, 118.

Defoe's 'Robinson Crusoe' (1863), illustrations by:

J. D. WATSON, 123.

(1804) G. H. THOMAS, 123.

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

'Denis Duval,' 41.

'Deserted Village' (Etching Club), 101.

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

---- 'Household Edition' (1869), illustrations by FRED BARNARD,

'PHIZ,' J. MAHONEY, C. GREEN, F. A. FRASER, E. G. DALZIEL, S. L.

FILDES, H. FRENCH, G. B. FROST, J. G. THOMSON, J. M'L. RALSTON,

138, 139.

---- 'Edwin Drood' (1870), illustrations by S. L. FILDES, 141.

'Divine and Moral Songs' (1866), illustrations by DU MAURIER, M. E.

EDWARDS, C. GREEN, MORTEN, W. C. THOMAS, and G. D. WATSON, 127, 128.

DOBELL, C., 33, 45, 118.

DOBSON, W. T. C., 128.

'Don Quixote' (1866), illustrations by:

DORÉ, 126, 127.

BOYD HOUGHTON, 127.

DORÉ, G., 69.

---- illustrations to 'Don Quixote,' 126, 127.

DOYLE, C. A., illustrations to _London Society_, 57, 58.

DOYLE, J. O., 45.

DOYLE, R., 'Pictures of Society,' 40; illustrations to:

'Bon Gaultier Ballads,' 100.

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

'Manners and Customs of the English,' 109.

'Scouring of the White Horse,' 109.

'Puck on Pegasus,' 118.

'An Old Fairy Tale,' 129.

'Lemon's Fairy Tales,' 135.

'In Fairyland,' 137.

DRUMMOND, J., 45.

DUDLEY, R., illustrations to:

_London Society_, 58, 59.

_Boys' Own Magazine_, 85.

DU MAURIER, G., illustrations to:

_Once a Week_, 30, 31, 33, 34, 37.

'Foul Play,' 37.

_Cornhill_, 41, 42.

'Wives and Daughters,' 41, 42.

'Harry Richmond,' 42, 43.

'The Hand of Ethelberta,' 43.

_Good Words_, 45.

_London Society_, 56, 57, 58, 59, 60.

_Leisure Hour_, 83.

_Sunday at Home_, 84.

_Punch_, 88, 89.

'Sacred Poetry,' 123.

'Our Life,' 123.

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

'The Moon Shines Full,' 128.

'Legends and Lyrics,' 128.

'Touches of Nature,' 131.

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

'Story of a Feather,' 133.

'Lucile,' 134.

'Savage Club Papers,' 135.

'Pictures from English Literature,' 141.

Thornbury's 'Legendary Ballads,' 146.

'Songs of Many Seasons,' 147.

'Pegasus Re-saddled,' 148.

DUNCAN, A., illustrations to 'Ancient Mariner,' 104.

DUNCAN, E., 34, 99, 107, 112, 117.

DUNN, EDITH, 75.

'Early English Poems' (1863), illustrations by CRESWICK, DUNCAN, B.

FOSTER, J. GILBERT, R. REDGRAVE, and J. THOMAS, 117.

EDWARDS, D., 107.

EDWARDS, KATE, 36, 58, 59.

EDWARDS, M. E., illustrations to:

_Once a Week_, 32, 33, 35, 36, 37.

_Cornhill Magazine_, 42.

_Good Words_, 52.

_London Society_, 57-61.

_Churchman's Family Magazine_, 64, 65.

_Sunday Magazine_, 66, 67.

_Cassell's Magazine_, 72, 73.

_Argosy_, 73, 74.

_Quiver_, 74.

_Churchman's Shilling Magazine_, 76.

_Broadway_, 76.

_Golden Hours_, 84.

_Aunt Judy's Magazine_, 85.

_Illustrated Times_, 92.

'Parables from Nature,' 114.

'Puck on Pegasus,' 118.

'Family Fairy Tales,' 123.

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

'Legends and Lyrics,' 128.

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

'Idyllic Pictures,' 132.

Foxe's 'Book of Martyrs,' 132.

'Illustrated Book of Sacred Poems,' 135.

EHRENGER, J. W., 50.

'Ellen Montgomery's Book-shelf' (1866), illustrations by J. D.

WATSON, 129.

ELIOT, G., 'Romola,' 41.

---- 'Brother Jacob,' 41.

ELLIS, E. J., 60, 61, 73.

ELTZE, F., illustrations to:

_Once a Week_, 33, 35, 36.

_Good Words_, 50.

_Sunday Magazine_, 67.

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

Thornbury's 'Legendary Ballads,' 146.

'English Sacred Poetry of the Olden Time' (1864), illustrations by DU

MAURIER, C. GREEN, J. W. NORTH, J. TENNIEL, P. SKELTON, F. WALKER,

and J. D. WATSON, 123, 124.

Engravers, old methods of, 12.

---- work in the 'sixties,' 13.

---- enterprise of, 13.

Engraving, responsibility of artist in, 12.

---- relation of publisher to, 12.

---- object of an, 17.

---- white line, 81.

_Entertaining Things_, its rarity, 87.

---- illustrations and illustrators of, 86, 87.

BOYD HOUGHTON, A., 87.

CRANE, W., 86.

DU MAURIER, G., 86, 87.

JUSTYNE, P., 86.

LINTON, W. J., 86.

M'CONNELL, W., 86.

MORGAN, M. S., 86.

MORTEN, T., 86.

PORTCH, J., 86.

SKILL, F. J., 86.

WEEDAR, E., 86.

'Episodes of Fiction' (1870), illustrations by F. BARNARD, C. GREEN,

R. PATERSON, P. SKELTON, C. J. STANILAND, H. WEIR, etc., 141.

'Ernie Elton the Lazy Boy' (1866), illustrations by BOYD HOUGHTON,

129.

Etching, influence of the revival of, 151, 152, 153, 154.

Etching Club, The, 101, 151, 152.

'Evan Harrington,' Keene's illustrations to, 25.

EVANS, EDMUND, 180.

_Everybody's Journal_, the British Museum edition imperfect, 86.

---- illustrators of, 86.

GILBERT, SIR, J., 86.

MORTEN, T., 86.

WALKER, F., 86, 180.

WEIR, HARRISON, 86.

_Every Boy's Magazine_, illustrations and illustrators of, 85.

BENNETT, C. H., 85.

BOYD HOUGHTON, A., 85.

CRANE, WALTER, 85.

MORTEN, T., 85.

NIXON, J. FORBES, 85.

RIDLEY, M. W., 85.

_Every Week_, 14.

Ewart, H. C., 'Toilers in Art,' 180.

Exhibition of 1851, influences of, on art, 21.

FAIRFIELD, A. R., illustrations to:

_Once a Week_, 33.

Thornbury's 'Legendary Ballads,' 146.

Falconer's 'The Shipwreck' (1858), illustrations by B. FOSTER, 110.

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

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

'Favourite English Poems of the Last Two Centuries' (1858),

illustrations by COPE, CRESWICK, FOSTER, 109.

FILDES, S. L., 34, 35, 36, 37, 42, 52, 54, 69, 72, 73, 75, 84, 93,

133, 135, 138, 141.

FITZCOOK, H., 64.

FITZGERALD, LORD G., 153.

FITZGERALD, M., 81.

FOSTER, BIRKET, x, 61, 67, illustrations to:

Gray's 'Elegy,' 101, 136.

'Proverbial Philosophy,' 101.

Longfellow's 'Poems' (1854), 101.

Cowper's 'The Task,' 102.

Adams's 'Sacred Allegories,' 103.

Herbert's 'Poetical Works,' 103.

'Rhymes and Roundelays,' 103.

'Ministering Children,' 104.

'Ancient Mariner,' 104.

'Course of Time,' 104.

'Poets of Nineteenth Century,' 107.

Poe's 'Poetical Works,' 108.

'Kavanagh,' 108.

'Moore's Poetry,' 108.

Burns's 'Poems and Songs,' 108.

'Gertrude of Wyoming,' 108.

'Lays of the Holy Land,' 108.

'Home Affections,' 108.

Wordsworth's 'Poems,' 109.

'Merry Days of England,' 109.

'Favourite English Poems,' 109.

'White Doe of Rylstone,' 109.

'Comus,' 109.

'Shipwreck,' 110.

'Odes and Sonnets,' 110.

'Merchant of Venice,' 110.

'The Seasons,' 111.

Montgomery's 'Poems,' 112.

'Household Song,' 114.

Goldsmith's 'Poems,' 114.

'Poetry of the Elizabethan Age,' 115.

'Christmas with the Poets,' 115.

'Early English Poems,' 117.

'Pictures of English Landscape,' 117.

'Legends and Lyrics,' 128.

Moore's 'Irish Melodies,' 133.

'Choice Series,' 137.

'Standard Poets,' 140.

'The Trial of Sir Jasper,' 147.

'Beauties of English Landscape,' 147.

---- rage for his drawings, 116.

'Flower Pieces,' 160.

'Foul Play,' DU MAURIER'S illustrations to, 37.

'Found Drowned,' EDWARDS'S illustrations to, 33.

'Four Georges,' The, 39.

Foxe's 'Book of Martyrs' (1867 ?), R. BARNES, BOYD HOUGHTON, DU

MAURIER, M. E. EDWARDS, J. GILBERT, J. HENLEY, J. LEE, F. W. LAWSON,

A. PASQUIER, T. MORTEN, F. J. SKILL, W. SMALL, G. H. THOMAS, and

J. D. WATSON, 132, 133.

'Framley Parsonage,' 40.

FRASER, F. A., 36, illustrations to:

_Good Words_, 54.

_London Society_, 62.

_Sunday Magazine_, 67, 69, 70.

_Cassell's Magazine_, 72, 73.

_Saint Paul's_, 77.

_Good Words for the Young_, 78, 79.

Dickens's Works (Household Edition), 138.

Chandos Poets, 140.

FREERE, M. E., 80.

FRENCH, H., 60, 70, 78, 138, 140.

FRISTON, D. H., 64, 76, 81.

FRÖLICH, L., 114, 128.

FROST, A. B., 138.

_Fun_, illustrations and illustrators of, 89, 90.

BARNARD, F., 89.

BOYD HOUGHTON, A., 89.

BRUNTON, W., 89.

GILBERT, W. S., 89.

HENLEY, L. C., 89.

LAWSON, F. W., 89.

SANDERSON, H., 89.

SECCOMBE, LIEUTENANT, 89.

STRETCH, MATT, 89.

THOMSON, J. G., 89.

WALKER, F. S., 89.

FYFE, W., 46.

GALE, W., 153.

GASCOINE, J., 58.

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

'Gems of Literature' (1866), illustrations by NOEL PATON, 127.

'Gems of National Poetry' (1868), 100.

'Gertrude of Wyoming' (1857), illustrations by B. FOSTER, T. DALZIEL,

H. WEIR, W. HARVEY, 108.

GIACOMELLI, illustrations to Michelet's 'The Bird,' 121.

GILBERT, F., 62, 71, 85.

GILBERT, SIR JOHN, x.; illustrations to:

_Once a Week_, 33, 34, 36.

_London Society_, 60, 61.

_Cassell's Family Paper_, 71.

_British Workman_, 81.

_Band of Hope Review_, 82.

_Leisure Hour_, 83.

_Sunday at Home_, 84.

Illustrations to Cassell's Serials, 84.

_Illustrated London News_, 92.

'The Salamandrine,' 100, 101.

'Proverbial Philosophy,' 101.

Longfellow's 'Poems' (1854), 101.

---- (1855), 102.

Cowper's 'Works,' 101.

Eliza Cook's 'Poems,' 102.

Shakespeare's 'Works,' 104.

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

'Poets of Nineteenth Century,' 107.

'Book of Job,' 107.

'Proverbs of Solomon,' 107.

'Lays of the Holy Land,' 108.

'Home Affections,' 108.

Wordsworth's 'Poems,' 109.

Montgomery's 'Poems,' 112.

'Boy's Book of Ballads,' 114.

'Sacred Poetry,' 115.

'Poetry of the Elizabethan Age,' 115.

'Songs and Sonnets of Shakespeare,' 115.

'Early English Poems,' 117.

'Months illustrated,' 124.

'Legends and Lyrics,' 128.

Foxe's 'Book of Martyrs,' 132.

'The Choice Series,' 137.

'Standard Poets,' 140.

'Standard Library' (Hurst and Blackett), 140.

GILBERT, W. S., illustrations to:

_London Society_, 60.

_Good Words for the Young_, 78.

_Fun_, 89.

'Juvenile Verse Picture Book,' 100.

'Magic Mirror,' 129.

GILRAY, J., 19.

GODDARD, G. B., 33, 34, 35, 60, 61.

GODWIN, J., 107.

GODWIN, T., 57.

'Golden Harp,' The (1864), illustrations by WATSON, etc., 124.

_Golden Hours_, illustrations and illustrators of, 84, 85.

BARNES, R., 84.

BOYD HOUGHTON, A., 84.

EDWARDS, M. E., 84.

GREEN, T., 85.

MURRAY, C. O., 85.

'Golden Light' (1864), illustrations by A. W. BAYES, 124.

'Golden Thoughts from Golden Fountains' (1867), illustrations by BOYD

HOUGHTON, W. P. BURTON, the DALZIELS, J. LAWSON, G. J. PINWELL, and

W. SMALL, 134, 135.

'Golden Treasury Series' (1869), illustrations by A. HUGHES, HOLMAN

HUNT, MILLAIS, NOEL PATON, and T. WOOLNER, 138.

'Gold Thread,' The (1861), illustrations by J. M'WHIRTER and J. D.

WATSON, 116.

Goldsmith's 'Poems' (1860), illustrations by B. FOSTER, 114.

---- 'Works,' illustrations by PINWELL (DALZIEL, 1865), 126.

---- 'Deserted Village,' illustrations by Etching Club, 101.

GOODALL, E. A., 107.

'Good Fight,' A, 20.

_Good Words_, 14.

---- poverty of early work in, 44.

---- good indexes in, 44.