THE ARTIST: A REVIEW AND AN ESTIMATE
In order to judge of Kate Greenaway as an artist, and appraise her
true place and position in British art, we must bear in mind not only
what she did, but what she was. It must be remembered that she was a
pioneer, an inventor, an innovator; and that, although she painted no
great pictures and challenged no comparison with those who labour in
the more elevated planes of artistry, is sufficient to place her high
upon the roll. Just as Blake is most highly valued for his illustration
and Cruikshank and Goya for their etched plates, rather than for their
pictures, so Kate Greenaway must be judged, not by the dignity of
her materials, or by the area of her canvas, but by the originality
of her genius, and by the strength and depth of the impression she
has stamped on the mind and sentiment of the world. As Mr. Holman
Hunt, Millais, and their associates invigorated the art of England by
their foundation of the Pre-Raphaelite Brotherhood, so Kate Greenaway
introduced a Pre-Raphaelite spirit into the art of the nursery. That
is what Dr. Max Nordau, with curious perversion of judgment and lack
of appreciation, denounced as ‘degeneracy’!—accusing her of creating
‘a false and degenerate race of children in art,’ while at the worst
she was but giving us a Midsummer Day’s Dream in Modern England. For
him Kate Greenaway, the healthy, sincere, laughter-loving artist, is a
‘decadent’ such as vexes the soul of a Tolstoi. It is the result, of
course, of misapprehension—of a misunderstanding which has revolted
few besides him.
The outstanding merit of Kate Greenaway’s work is its obvious freedom
from affectation, its true and unadulterated English character. What
Dr. Nordau mistook for affectation is simply humour—a quaintness
which is not less sincere and honest for being sometimes sufficiently
self-conscious to make and enjoy and sustain the fun. Such grace of
action, such invariable delicacy and perfect taste of her little
pictures, belong only to a mind of the sweetest order—the spontaneity
and style, only to an artist of the rarest instinct. Animated by a love
of the world’s beauty that was almost painful in its intensity, she
was not satisfied to render merely what she saw; she was compelled to
colour it with fancy and imagination. She reveals this passion in a
letter to Mr. Locker-Lampson:—
KATE GREENAWAY TO F. LOCKER-LAMPSON
22 WELLINGTON ESPLANADE,
LOWESTOFT, _Thursday_.
Dear Mr. Locker—We are back again in clouds of mist—no more lovely
sailing boats. Yesterday afternoon was as fine as we could wish it to
be. We went all through the fishing village, and then there comes a
common by the sea, covered with gorse. The little fishing houses are so
quaint. I was savage, for I had not got my book in my pocket, so shall
have to trust to memory to reproduce some of it.
I never saw such children—picturesque in the extreme; such funny little
figures in big hats, the very children I dream of existing here in the
flesh; and lots of clothes hanging out to dry flapped about in the
sun and made such backgrounds! People laugh at me, I am so delighted
and pleased with things, and say I see with rose-coloured spectacles.
What do you think—is it not a beautiful world? Sometimes have I got a
defective art faculty that few things are ugly to me? Good-bye,
K. GREENAWAY.
The truth is, her poetic emotion and the imagination which so stirred
the admiration of Ruskin and the rest, inspired her to express a
somewhat fanciful vision of the flowers, and children, and life which
she saw around her. She gave us not what she saw, but what she felt,
even as she looked. Her subtle and tender observation, one writer has
declared, was corrected and modified by her own sense of love and
beauty. Her instinctive feeling is, therefore, nobler than her sense of
record; it is big in ‘conception’ and style, and is immeasurably more
delightful than bare appreciation of fact.
It is a touch of tragedy in Kate Greenaway’s life, that she to whom
the love of children was as the very breath of her life was never
herself to be thrilled by that maternal love for the little ones she
adored. Still ‘her spirit was bright and pure, vivacious and alert,’ so
that she drew children with the grace of Stothard and the naturalness
of Reynolds, investing them with all the purity and brightness that we
find in her drawing and her colour. Although her cantata was simple, it
was ever notable for its exquisite harmony and perfect instrumentation.
Faults, no doubt, of a technical sort Kate Greenaway shows in many of
her drawings, and, as we have seen, mannerisms at times betrayed her.
She would exaggerate in her faces the pointed chin that was a charm of
her model Gertie’s face. She would draw eyes too far apart, as Ford
Madox Brown came to do; yet how exquisitely those eyes were drawn,
and how admirably placed within their sockets! perfect in accuracy
of touch, and delightful in their beauty. The knees of her girls are
sometimes too low down; the draperies are often too little studied
and lack grace of line; her babies’ feet are at times too large, and
are carelessly drawn, or at least are rendered without sufficient
appreciation of their form. A score of drawings substantiate every
one of these charges—but what of that? The greatest artists have had
their failings, cardinal in academic eyes, for the faults are all of
technique. As Boughton exclaimed of his friend George du Maurier—‘I
respect him for his merits, but I love him for his faults.’ In Kate
Greenaway’s case her faults are forgotten, or at least forgiven, in
presence of her refined line and fairy tinting, her profiles and full
faces of tender loveliness, and her figures of daintiest grace.
‘English picture-books for children,’ exclaims Dr. Muther,[79] ‘are
in these days the most beautiful in the world, and the marvellous
fairy-tales and fireside stories of Randolph Caldecott and Kate
Greenaway have made their way throughout the whole Continent. How
well these English draughtsmen know the secret of combining truths
with the most exquisite grace! How touching are these pretty babies,
how angelically innocent these little maidens—frank eyes, blue as
the flowers of the periwinkle, gaze at you with no thought of being
looked at in return. The naïve astonishment of the little ones, their
frightened mien, their earnest look absently fixed on the sky, the first
tottering steps of a tiny child and the mobile grace of a school-girl,
all are rendered in these prints with the most tender intimacy of
feeling. And united with this there is a delicate and entirely modern
sentiment for scenery, for the fascination of bare autumn landscapes
robbed of their foliage, for sunbeams and the budding fragrance of
spring. Everything is idyllic, poetic, and touched by a congenial breath
of tender melancholy.’
The appreciation of Kate Greenaway’s work was universal. In France its
reception was always enthusiastic, and the critics expressed their
delight with characteristic felicity. They recognised, said one,[80]
that until Kate Greenaway there had been no author and artist for the
boy citizens whose trousers are always too short, and for the girl
citizens whose hands are always too red. They knew nothing about her
personality, and even doubted whether her name was not a pseudonym; but
they welcomed in her the children’s artist _par excellence_, who knew
that the spirit, the intelligence, the soul of little ones are unlike
those of adults, and who knew, too, by just how much they differed. At
the end of a glowing tribute M. Arsène Alexandre spoke of her as having
been _naturalisée de Paris_—alluding, of course, not to herself but to
her work,—whereupon an important English newspaper mistranslated the
expression; and so arose the absurd report circulated after her death,
that Kate Greenaway, who had never quitted the shores of England, had
passed the later years of her life in Paris.
From Paris, declared _La Vie de Paris_, ‘the graceful mode of
Greenawisme has gained the provinces, and from wealthy quarters has
penetrated into the suburbs’;[81] and the Vienna _Neue Freie Presse_
maintained that ‘Kate Greenaway has raised a lasting monument to
herself in the reform of children’s dress, for which we have to
thank her.’ But the _Figaro_ and the _Temps_ recognised her higher
achievement. ‘Kate Greenaway,’ said the former, ‘had _une âme exquise_.
She translated childhood into a divine language—or perhaps, if you
prefer it, she translated the divine mystery of childhood into a purely
and exquisitely child-like tongue.’ ‘Never,’ said the latter, ‘has a
sweeter soul interpreted infancy and childhood with more felicity, and
I know nothing so touching in their naïveté as the child-scenes that
illustrate so many of the artist’s books, the very first of which made
her celebrated.’ These are but specimens of the scores of tributes that
filled the press of Europe and America at the time of Kate Greenaway’s
death, and are sufficient to prove the international appeal she made,
triumphing over the differences of race, fashion, and custom which
usually are an insuperable bar to universal appreciation.
Original as she was in her view of art and in the execution of
her ideas, Kate Greenaway was very impressionable and frequently
suffered herself to be influenced by other artists. But that she was
unconscious of the fact seems unquestionable, and that her own strong
individuality saved her from anything that could be called imitation
must be admitted. The nearest semblance to that plagiarism which she
so heartily abhorred is to be found in the likeness borne by some of
her landscapes to those of Mrs. Allingham. The circumstance, as already
recounted, that the two ladies were cordial friends and went out
sketching together, the younger student in landscape-drawing watching
her companion’s methods, is sufficient explanation of the likeness.
Miss Greenaway quickly recognised the peril; and she must have realised
that her drawings, so produced, lacked much of the spontaneity, the
sparkle, and the mellowness of the work of Mrs. Allingham. Take,
for example, the charming plate called ‘A Surrey Cottage.’[82] The
landscape is as thoroughly understood as the picturesque element of
the design, with its well-drawn trees and deftly-rendered grass.
The children form a pretty group; but they are not a portion of the
picture; they are dropped into the design and clearly do not fit the
setting into which they are so obviously placed. The artist herself has
clearly felt the defect, and obviated it on other occasions. The love
of red Surrey cottages, green fields, and groups of little children
was common to both artists, and Kate’s imitation is more apparent than
real; her renderings of them are honest and tender, full of sentiment,
and of accurate, vigorous observation. She does not seem to have
studied landscape for its breadth, or sought to read and transcribe the
mighty message of poetry it holds for every whole-hearted worshipper.
Rather did she seek for the passages of beauty and the pretty scenes
which appealed to her, delighting in the sonnet, as it were, rather
than in the epic.
Her shortness of sight handicapped her sadly in this branch of art,
and prevented her from seeing many facts of nature in a broad way; for
example, while ‘The Old Farm House’ has great merits of breeziness,
truth, and transparency of colour, with a sense of ‘out-of-doorness’
not often so freshly and easily obtained, the great tree at the back
lacks substance, as well as shadow and mystery, for its branches are
spread out like a fan, and do not seem, any of them, to grow towards
the spectator. There is no such fault in ‘The Stick Fire’—a subject
curiously recalling Fred Walker; for here the landscape, although a
little empty, is clearly studied from nature and set down with great
reticence and intelligence. And what could be prettier than the pose of
the two girls, big and little, on the left? When she leaves realism and
touches the landscapes and groups with her own inimitable convention,
Miss Greenaway becomes truly herself and can be compared with none
other. Glance, for instance, at ‘The Bracken Gatherers.’ It has the
sense of style and ‘bigness’ which triumphs over any mannerism; and the
heads, especially that of the girl set so well upon her neck, are so
full of dignity that they may be considered a serious effort in art.
She was undoubtedly influenced at times by Mrs. Allingham and Fred
Walker, as well as by Ford Madox Brown (see ‘Brother and Sister,’ in
which the little girl might almost have come from his pencil). We find
traces, too, of Mr. G. D. Leslie, R.A. (in ‘Strawberries’—a drawing
not here reproduced), of Stothard (as in the masterly sketch for ‘The
May Dance’ with its fine sense of grace and movement, and its excellent
spacing), of Downman (as in the portraits belonging to the Hon. Gerald
Ponsonby), of Richard Doyle (as in the large drawing of ‘The Elf
Ring’), and sometimes we recognise echoes of Stacy Marks, of Mason, and
of Calvert. But what does it all amount to? Merely this, that when she
wandered beyond the garden of that Greenawayland which she had called
into being, the artist was sometimes moved by the emotions with which
she had been thrilled when in past years she gazed with enthusiasm
at these men’s work. The resemblance was in the main accidental; for
every one of these painters, like herself, is characteristically and
peculiarly English in his view of art as in his methods of execution.
There are those who sneer at nationality in art. You can no more
speak of English art, laughed Whistler, than you can speak of English
mathematics. The analogy is entirely a false one. You can say with
truth ‘English art’ as you can say ‘German music’; for although art
in its language is universal, in its expression it is national, or at
least racial; and it is the merit of a nation to express itself frankly
in its art in its own natural way, and to despise the affectation of
self-presentation in the terms and in the guise of foreign practice
not native to itself. It is a matter of sincerity and, moreover, of
good sense; for little respect is deserved or received by a man who
affects to speak his language with a foreign accent. Kate Greenaway was
intensely and unfeignedly English: for that she is beloved in her own
country, and for that she is appreciated and respected abroad. Like
Hogarth, Reynolds, and Millais, she was the unadulterated product of
England, and like them she gave us of her ‘English art.’
In the latter part of her career Kate Greenaway modified her manner
of water-colour painting, mainly with the view to obtaining novelty
of effect and conquering public approval. At the beginning she had
tried to make finished pictures, as we see in the moonlight scene of
‘The Elf Ring.’ Then when she discovered her true _métier_, influenced
by the requirements of Mr. Edmund Evans’s wood-block printing, to
which she adapted herself with consummate ease, she used outline in
pen or pencil, with delicate washes in colour: these drawings were
made in every case, of course, for publication in books. Their ready
independent sale encouraged her to elaborate her little pictures,
and her election as Member of the Royal Institute of Painters in
Water-Colours confirmed her in the decision to turn her attention to
pure water-colour painting. The decreasing demand for book-illustration
influenced her somewhat in taking the new work very seriously,
encouraged thereto by Ruskin, who, as we have seen, was forever crying
out for ‘a bit of Nature.’ So she painted landscapes which, in point
of technique, lacked some of the accidental grace and freshness and
serious depth which should be essential to such work, although they
were rich in her own sentimental and tender way of seeing things. Then
in figure painting she abandoned her outlines and indulged in the full
strong colour which Ruskin always begged from her. That she should
have fused this vigour of coloration with her own native faculty for
daintiness—as for example in ‘Lucy Locket’—must be accounted to her
credit.
Later on her colour became more subdued and even silvery. We see it
in the little idyll, so pure in drawing and feeling, ‘Two at a Stile’
(with its curious contrast of exact full face in the girl and exact
profile in her swain), and still more in the tender and prettily
imagined ‘Sisters,’ wherein even the red flowers, although they lend
warmth to the almost colourless composition, do not tell as a spot, so
knowingly is the strength restrained. Indeed, charm and delicacy rather
than strength are characteristic of Kate Greenaway’s genius. We see
them, for example, in the little ‘Swansdown’ and companion drawings
here reproduced full size, and we see them also in the playful ‘Calm
in a Teacup,’ and in ‘Mary had a Little Lamb,’ which the artist drew
as a Christmas card for Professor Ruskin, with their delicate touches
of colour and the exquisite pencil outline—so unhesitating and firm
nevertheless, that, despite their simplicity, they rarely fail to
realise the exact degree of beauty or of character intended.
Her colour indeed was almost invariably happy, exactly suited to the
matter in hand. In the early days of her first valentines it was
crude enough, and chrome yellow, rose madder, cobalt blue, and raw
umber seemed to satisfy her. But soon her eye became extraordinarily
sensitive, and whether strong or delicate the scheme of colour was
always harmonious. A test drawing is to be found in ‘A Baby in White,’
wherein the little personage so well fills the page. This is in fact
a study in whites—in the dress, the daisies, and the blossoms—of
such variety that the artist’s judgment and ability are absolutely
vindicated. Not that Kate Greenaway always painted her white blossoms,
or, for the matter of that, left the white paper to represent them.
She became skilled in the use of the knife, and used the artifice
consecrated and made legitimate by such masters as Turner and William
Hunt, with great dexterity. In ‘The Girl and her Milk Pail’—which
breathes so pleasantly the memory of Pinwell, and which, well
composed and drawn, shows greater regard than usual for the virtue of
atmosphere—the blossoms on the branch above the wall are all produced
by ‘knifing’: that is to say, by means of a sharp knife a bit of the
paper’s surface of the exact shape required is sliced into and turned
over when not cut off; and the effect is more vivid and true than any
amount of care or paint could otherwise secure.
Except for this, Miss Greenaway used no tricks: she neither ‘rubbed,’
nor ‘scratched,’ nor ‘washed.’ It is perhaps fairer to say that she
was too honest than that she lacked resource. She always maintained
the legitimacy of the use of body-colour, which some purists profess
to abhor; beyond that her work is quite simple and direct, while her
technical skill is amply efficacious for all she had to do.
[Illustration: THE MAY DANCE.
_From the water-colour sketch in the possession of Miss Violet
Dickinson._]
In the matter of models, whether for illustrations or exhibition
drawings, she was particular and fastidious. At all times she preferred
to draw from the life. Her studies from the nude—made in her youth,
with such conscientious accuracy that every form, every fold in the
skin, and every undulation of high light and shadow, were rendered
with the firmness and with ease that come of practice, knowledge,
and skill—had carried her far enough for the model to be reckoned a
servant, and not a master. But a realistic drawing is one thing, and
a simplified archaistic rendering of a living figure quite another;
and we may take it, broadly, that difficulty in figure draughtsmanship
increases in direct ratio to the degree of its simplification. With
anatomy, we imagine, she was less familiar.
Miss Greenaway selected her models with much care. For her men, as has
already been said, her father and brother usually would good-naturedly
sit, and the type of old lady she often adopted was based upon Mrs.
Greenaway. As for her children, the list of those who were pressed into
the service is tolerably long. Some of her models she would secure by
visiting schools and selecting likely children, and these again would
recommend others. Some were already professional models themselves,
or were children brought to her by such. The first of all was the
‘water-cress girl’ who was employed for her earliest work for the
publishers. ‘Mary,’ who was secured after the publication of _Under
the Window_, appears in all the books up to the _Pied Piper_. She
belonged to a family of models, and coming to Miss Greenaway when a
little girl, remained in her service until she was grown up. And years
later another ‘Mary’ succeeded her. ‘Adela’ and her sister were the
earliest models of whom any record exists, and they were employed for
_Under the Window_, for which Miss Greenaway’s nephew Eddie also sat.
He, indeed, is to be found in the whole series up to and including the
_Pied Piper_, that is to say in the _Birthday Book_, _Mother Goose_, _A
Day in a Child’s Life_, _Little Ann_, _Language of Flowers_, _Marigold
Garden_, and _A Apple Pie_. Mary’s brother ‘Alfred’ sat, along with his
sister, for the same books as she did; and ‘Gertie’ is to be recognised
mainly in _Little Ann_ and the _Language of Flowers_. Gertie became a
figure in the Greenaway household; as, from the position of a model
merely, she afterwards graduated to the rank of housemaid at Frognal,
where, when she opened the street door, visitors were surprised and
edified to recognise in her a typical ‘Kate Greenaway girl,’ with
reddish hair and pointed chin, as pretty and artless a creature as if
she had walked straight out of a Greenaway toy-book. If the reader
would see a characteristic portrait of her, he will find one on p. 24
of the _Language of Flowers_, and better still, perhaps, in ‘Willy and
his Sister’ on p. 30 of _Marigold Garden_. Then there were ‘Freddie’
and his sisters, and Mrs. Webb’s children, and ‘Isa,’ ‘Ruby,’ the
Gilchrists, two sisters, and a little red-haired girl (name forgotten):
nearly all of whom were known only by their Christian names, so that
their identity must remain unknown to fame. These were the most
constant models—these, and the ‘little Mary’ to whom she frequently
alludes in her letters to Ruskin.
That the little ones were a constant tribulation to the artist, whose
patience was often put to the severest test, her letters to friends
bear frequent witness. For example, to Mr. Locker-Lampson she writes
from Pemberton Gardens:—
KATE GREENAWAY TO FREDERICK LOCKER-LAMPSON
You ought to enjoy the beautiful sea and this lovely weather. Do you
see those wonderful boats we used to see at Lowestoft? I never saw such
magnificent crimson and orange sails, and such splendid curves as they
made.
How nice of you having Mr. Caldecott; you will enjoy his society so
much....
I have got a little girl five years old coming to sit this
morning—which means a fearfully fidgety morning’s work. However, it is
the last of the models for my book; then I can go straight away with the
illustrations, which will be a great gain.
And in a lively letter to Mrs. Severn she sends a verbatim report of
the bright but discursive dialogue between the ‘Chatter-box Mary’ and
‘Victim’ (herself), illustrated with fifteen sketches of Mary’s feet
in constantly changing postures, driving the artist to distraction and
culminating in ‘VICTIM—limp—worn—exhausted.’
[Illustration: ‘ALFY’ (UNFINISHED).
_From an experimental oil painting in the possession of John Greenaway,
Esq._]
In the class of drawings which she called ‘Processions’ Miss
Greenaway is entirely original. She could arrange a dozen, or if need
be twenty, figures—usually of graceful girls and pretty babes—full
of movement and action, in which there is cheerfully worked-out
a decorative _motif_, with a rhythmic line running through the
composition. In some the work is so delicate as practically to defy
satisfactory reproduction; but sufficient justice can be done to
suggest their charm of sentiment and the balance of design. Now and
again we have in miniature a reminder of the languorous dignity of
Leighton’s ‘Daphnephoria.’ Sometimes the movement is more lively,
and we have ‘Dances’ of all kinds, now quaint and strangely demure,
now full of the joy of life. ‘The May Dance’ is as sober as if it
were designed for a panel in a public building; but in ‘The Dancing
of the Felspar Fairies’ we have a vigorous _abandon_ mingled with
the conventionality of graceful poses. In most of them, no doubt,
the draperies are seldom studied accurately from life; but it is
doubtful whether, if they were more correct in their flow of fold,
they would harmonise so well with the character of the figures and
general treatment. For throughout, it must be observed, she is a
decorative artist. Even in the delightful realism of her flowers,
which have rarely been surpassed either in sympathy of understanding
or in delicacy and refinement of realisation, she never forgets their
decorative value: they are presented to us not for their inherent
beauty alone, but for their value upon the paper or upon the decorated
page.
For that reason, perhaps, Kate Greenaway was never quite at home as
a portraitist: she resented being tied down to a face or figure. No
doubt, such drawings as ‘The Red Boy’ and ‘The Little Model’ were
portraits, but she was free to depart from the truth as much as she
chose. The children in the unfinished oil-paintings of ‘The Muff’ and
‘Alfy’ were not less portraits, but the motive of these oil pictures
(of the size of life) was not likeness merely but practice in what
Ruskin called ‘the sticky art.’ In ‘Vera Samuel’ an unaccountable
width has been given to the head, but without loss of character. There
appears more truth in the portrait of ‘Frederick Locker-Lampson’ with
eyelids drooping, an interesting likeness of an interesting man of
letters; the woolliness of effect being mainly due to the translation
of stippled water-colour into black-and-white. The head of old ‘Thomas
Chappell’ is one of the artist’s masterpieces in portraiture—full of
character and insight, and a really brilliant rendering of old age,
firmly drawn and elaborately modelled. With the pencil Kate Greenaway
was more at home. The rapid unfinished sketch of her brother, ‘John
Greenaway, Jr.,’ is still a likeness although more than thirty years
have passed since it was made; and the two delightfully executed
heads of ‘Miss Mabel Ponsonby’ and ‘Miss Eileen Ponsonby,’ reinforced
with faint colour in the manner of Downman, and with not a little of
his delicacy, imply a measure of accomplishment attained by constant
practice—the result, perhaps, of South Kensington training. The
‘Portrait of a Lady,’ in a method somewhat similar, is not entirely
successful as a portrait; but it is included here as an example of
the new style of work which Miss Greenaway adopted towards the end
of her career. Perhaps the most engaging of all is the miniature of
‘Joan Ponsonby,’ in which we find an artless simplicity, a candour
and refreshing naturalness, wholly apart and distinct from the
photographically inspired miniature of to-day. The colours are simple
and the handling broad for all its precision of drawing, for the artist
has resisted the temptation to finish her flowers and other details
with the microscopical minuteness which she employed with so much
effect on more suitable occasions.
[Illustration: PENCIL STUDY FROM LIFE.]
When all Miss Greenaway’s work is carefully judged, it will, we think,
be seen that it is with the point rather than with the brush that
she touches her highest level, whether her manner be precise as in
her book-plates, or free as in her sketches. Of her book-plates, the
best are unquestionably those of Mr. Locker-Lampson and Lady Victoria
Herbert. The latter is formal in treatment and beautifully grouped, yet
drawn with a certain hardness typical of what is called the Birmingham
School; the former infinitely more sympathetic in touch, the children
delightful in pose, the apple-tree drawn with unusual perfection, and
the distant city touched in with extraordinary skill. With these,
compare the masterly pencil study of a baby toddling forwards—swiftly
drawn, loosely handled, instinct with life and character, one of the
best things, artistically considered, the artist ever did. Hardly
less remarkable is the tiny sketch in a letter to Ruskin of a little
bonneted girl holding up her skirt as she walks—a drawing not unworthy
of Charles Keene in its vigorous light and shade, and suggestion of
the body beneath the clothes (see p. 283). And yet in the text Miss
Greenaway laments the badness of the pen! A better pen would have
produced a worse sketch. It was a quill that she habitually used,
and, in spite of the broad line it compelled, she made good use of
it. In the heading to her letter to Miss Dickinson, dated October 19,
1897, we can positively feel the wind that is scattering the leaves
around the old oak. The girl with the candle, in her letter to Mrs.
Locker-Lampson, which reminds us of Caldecott; the little ‘Violets,
Sir?’ which reminds us of Leech; the dancing children, one with a
tambourine, the other with hand on hip, who remind us of Stothard; the
group of three dancing children, which has been compared with the work
of Lady Waterford; and the letter to John Ruskin showing the sketch of
reaper and sheaf-binder—are all drawn with the broad-nibbed quill,
with consummate ease and masterly effect, and they give even more
pleasure to the educated eye than the charming little pencil sketches
such as those in the possession of Lady Pontifex.
[Illustration: On a Letter to Ruskin.]
[Illustration HANDWRITING: ash trees in the Hedge as a background. and
lots of poppies in the near corn—I shall do it—— oh when I can begin
some new things—— I shall feel so joyful. I do like doing one thing
only at
From a Letter to Ruskin.]
The early sketch-books of Kate Greenaway reveal some rather
unexpected phases of her development before she had produced any work
characteristic enough to be recognised as hers by the public. It is
with surprise that we see how well she drew in the very first stage
of her career. As the reader will remember, her first leanings were
towards the comic—as in the humorous sketch of the lovelorn swain
piping to his ridiculous love (p. 279): a drawing which Phiz might have
been willing to acknowledge; or, again, the little girl and sprite
walking arm-in-arm (see p. 75). Then the romantic moved her, and in
the spirit of the great illustrators of the ‘sixties she made the rapid
pencil sketch (for composition) of a princess in a castle kissing a
farewell to some sailor-boy whose ship scuds one way while the sails
belly the other; and, again, a long-hosed gallant gracefully doffing
his cap to a ‘faire ladye’ at a window (see p. 45). Rough as they are,
both are well drawn, especially the latter, but they give no hint
whatever of the art which was to spring from them.
[Illustration: Very early sketch illustrating Kate Greenaway’s ambition
to be a humorous artist. In the possession of W. Marcus Ward, Esq.]
Similarly with her pen-sketches. The design, dashed off at lightning
speed, of an eighteenth-century scene at Christmas eve might almost be
the work of Phiz or Cruikshank; and the power of managing many figures
on a small sheet of paper is already fully developed. So, too, in a
drawing of a totally different class—‘The Picnic.’ Miss Greenaway
had been much impressed, in common with the rest of the fraternity of
London artists, by the work of the Scottish artist Mr. William Small,
and had attempted to probe into his method of handling, particularly
in the technical treatment of form and texture in the coat worn by
the central figure. It need hardly be said that these sketches, and
others in the manner of Leighton, Mr. Holman Hunt, and so on, were
in no sense copies, or even imitations. They were intended only as
studies with a view to analysing each man’s style, for the purpose of
self-education. That mastered, or at least understood, she turned to
her own work, and began to feel her way towards the light.
[Illustration]
Once she departed from the heroic and romantic manner of her coloured
fairy toy-books and valentines and began the simple sketches from
everyday life for ‘Poor Nelly’—a serial in _Little Folks_ under the
anonymous authorship of Mrs. Bonavia Hunt, afterwards republished in
volume form—she betrayed a certain weakness in her drawing; while for
a time the garishness of tint which had been demanded of her did not
immediately disappear. But by the time _Under the Window_ was reached,
five years later (1878), her difficulty of colour was conquered, and
she stood alone, with Mr. Walter Crane, in the intelligent combination
of healthy children’s art and the chastened colour which was being
insisted on by William Morris and the so-called Æsthetic Movement.
The reversion in the following year to modern illustration, in the
drawings made for Charlotte Yonge’s novels, proved once more that
the decorative treatment of subjects was her natural rôle. When she
returned to the true Kate Greenaway manner, the change was welcomed
by every competent critic. A German writer expressed himself in terms
not less appreciative than those which later came from France and
Belgium. ‘It is impossible,’ he said, ‘to describe in words the wealth
of artistic invention, the dignity and loveliness, which characterise
this performance. What a gulf between these delightful works of art of
imperishable value, and the trashy caricatures of such stuff as our
_Struwelpeter_! God-speed to Kate Greenaway!’
[Illustration: THE PICNIC.
_Early Pen-and-Ink Drawing from Kate Greenaway’s Sketch-book._]
_Mother Goose_ was, indeed, an advance on _Under the Window_—which,
under the title of _La Lanterne Magique_,[83] the _Revue de Belgique_,
in an enthusiastic article, curiously attributed to a male artist, and
which the _National Zeitung_ extolled as much for its verse as for its
bewitching art. The drawing here is better, and the effect not very
seriously injured by the faulty register of many of the copies. An
American journal—the _Literary World_, of Boston—declared that the
delicacy and beauty of her faces in outline were as good as Flaxman;
and the curious quality of ‘affectionateness’ in the drawings, their
ingenuousness and prettiness that would have moved the heart of
Stothard and touched the soul of Blake, firmly established the young
artist in the position to which her former book had raised her. But not
until _A Day in a Child’s Life_ did Kate Greenaway show her full power
as a painter of flowers—by the side of which even her pictures of boys
and girls seem to many to yield in interest. The difficulty, or rather
the irksomeness, which she habitually experienced in pure illustration
of other people’s ideas, in no wise affected her in _Little Ann_, which
contains some of the most delightful and spring-like drawings she ever
did, usually so excellent in composition and fascinating in single
figures and in detail that we overlook, if we do not entirely miss,
certain little faults of perspective—faults, indeed, which, if noticed
at all, only add to the quaintness of the design.
In the _Language of Flowers_ and _Marigold Garden_ Kate Greenaway
rose to her highest point in decision and firmness allied to the
perfect drawing of flowers and fruit, although it must be allowed that
those who have not seen the original designs can form no accurate
judgment from the printed work. The annual _Almanacks_, too, which
had been begun in 1883, showed her endless resource and inexhaustible
faculty of design; yet it is perhaps to be regretted that so much
conscientious effort and executive ability should have been wasted in
the almost microscopic rendering of the innumerable illustrations which
embellish these tiny books. In The _English Spelling-Book_ another
change is seen. In several of these beautiful line illustrations
there is a freedom in the use of the pencil not hitherto shown, and
the drawings of ‘Miss Rose and her Aunt,’ ‘Our Dog Tray,’ ‘Jane,’ and
a few others, modest as they are, mark a definite advance in Miss
Greenaway’s artistic development. She returned to her more formal
manner in _A Apple Pie_ (1886), as it was more suitable to the large
page she had to decorate; and she gives us a greater measure of
combined humour and invention than had previously been shown, for the
subject fitted her mood of fun and fancy exactly—far better than
the same year’s _Queen of the Pirate Isle_. On the title-page of the
last-mentioned book, however, appears one of the prettiest vignettes
she ever drew. Unsuspected power was revealed in _The Pied Piper of
Hamelin_. Miss Greenaway was hampered, no doubt, in her attempt to
render the pseudo-German medievalism on a large scale: nevertheless,
she succeeded in grasping the full significance of the poem, and the
spirit maintained throughout and the capacity for dealing with ease
with crowds of figures, combine in this volume to constitute a very
considerable performance.
A strange contrast with the _Pied Piper_ is _Dame Wiggins of Lee_.
It is scarcely likely, we think, that readers will endorse with much
cordiality the unbounded admiration expressed by John Ruskin for these
designs. It must be borne in mind, however, that they are merely rough
trial sketches for approval of drawings which were to be made, but that
Ruskin, charmed with their spontaneity, declared that they would fit
the poem better in their scribbled state than any illustrations more
complete.
[Illustration: PEN SKETCH IN ONE OF KATE GREENAWAY’S EARLIEST
SKETCH-BOOKS.
(_Showing early power of composition._)]
Miss Greenaway’s last book was that admirable volume for children,
_The April Baby’s Book of Tunes_, by the author of _Elizabeth and
her German Garden_, whose humour and love of children were like to
Kate Greenaway’s own, with an added wit of the most innocent and
refreshing kind. The ‘babies,’ whom the artist had never seen, were
sympathetically pictured, and their favourite nursery rhymes were
illustrated once more as freshly as if she had dealt with them for the
first time.
[Illustration: HANDWRITING
Nothing but bad Pens down Here and I don’t like going to the studio
when it’s dark I don’t like the boy Figure—I’ll get a new Pen
See p. 276.]
The survey of her work in the aggregate shows convincingly that even
had her technique been on a lower level Kate Greenaway would still have
succeeded as the interpreter-in-chief of childhood. Follower though
she was in point of time of Mr. Walter Crane and Randolph Caldecott,
inspired in some respects no doubt by their example, she nevertheless
stands alone in her own sphere. From Lucca della Robbia to Ludwig
Richter and Schwind, to Bewick and Thackeray, Cruikshank and Boutet de
Monvel, no one has demonstrated more completely the artist’s knowledge
of and sympathy with infant life, or communicated that knowledge and
that sympathy to us. Her pictures delight the little ones for their own
sake, and delight us for the sake of the little ones; and it may be
taken as certain that Kate Greenaway’s position in the Art of England
is assured, so long as her drawings speak to us out of their broad and
tender humanity, and carry their message to every little heart.
[Illustration: On a Letter to Ruskin.]
LIST OF BOOKS, ETC.,
ILLUSTRATED WHOLLY OR IN PART BY KATE GREENAWAY
1871. AUNT LOUISA’S | LONDON TOY BOOKS | DIAMONDS | AND | TOADS.
| London. | Frederick Warne & Co. (10⅜ × 8⅞)
MADAME D’AULNOY’S FAIRY TALES:
c. 1871. (1) THE FAIR ONE | WITH | GOLDEN LOCKS
(2) THE BABES IN THE WOOD
(3) TOM THUMB
(4) BLUE BEARD
(5) PUSS IN BOOTS
(6) THE BLUE BIRD
(7) THE WHITE CAT
(8) HOP O’ MY THUMB
(9) RED RIDING HOOD
All published by Gall & Inglis, 6, George Street, Edinburgh.
(6-11/16 × 7¼ and 9¾ × 7¼)
1874. FAIRY GIFTS; | or, | A WALLET OF WONDERS: | By Kathleen
Knox, | author of ‘Father Time’s Story Book.’ |
Illustrations by Kate Greenaway. | Griffith & Farran, |
successors to Newbury & Harris, | West Corner of St.
Paul’s Churchyard, London. | E. P. Dutton & Co., New York.
(6¾ × 5)
1876. THE QUIVER OF LOVE: A Collection of Valentines. [By Walter
Crane and Kate Greenaway] Marcus Ward & Co.
1878. POOR NELLY; | By | The Author of ‘Tiny Houses,’ and ‘Two
‘Little Fourpenny Bits’; | and | Polly and Joe. | Cassell, Petter,
Folks,’ Galpin & Co., | London, Paris and New York. | [All Rights
1877. Reserved.] (_Written by Mrs. Bonavia Hunt_)
(7-3/16 × 4¾)
1878. TOPO: A Tale about English Children in Italy. By G. E.
Brunefille. With 44 Pen-and-ink Illustrations by Kate
Greenaway. Marcus Ward & Co. (_Written by Lady Colin
Campbell_)
1878. UNDER THE WINDOW | PICTURES AND RHYMES | FOR CHILDREN
| by | Kate Greenaway | engraved and printed | by | Edmund
Evans. | London: | George Routledge & Sons | Broadway,
Ludgate Hill. | New York: 416, Broome Street.
(9¼ × 7¼)
1879. THE HEIR OF REDCLYFFE | [_By Charlotte M. Yonge_]
(Another Illustrated edition by Kate Greenaway | London | Macmillan
1902.) & Co. | 1879 | The Right of Translation is Reserved.
(7½ × 4¾)
1879. AMATEUR THEATRICALS | By | Walter Herries Pollock | and |
Lady Pollock | London: | Macmillan & Co. | 1879. | The
Right of Translation and Reproduction is Reserved
(7⅛ × 4½)
1879. HEARTSEASE | or | THE BROTHER’S WIFE | By | Charlotte M.
(Another Yonge | Illustrated by Kate Greenaway | London | Macmillan
edition & Co., Limited | New York: The Macmillan Company |
1902.) 1902 | All rights reserved (7⅜ × 4⅝)
1879. THE ‘LITTLE FOLKS’ | PAINTING BOOK. | A Series of | Outline
Engravings for Water-Colour Painting, | By Kate Greenaway,
| with descriptive stories and verses by George Weatherly.
| Cassell Petter & Galpin: | London, Paris and New York.
| (_The book contains 107 illustrations, 88th thousand._)
(8¾ × 6½)
1880. KATE GREENAWAY’S | BIRTHDAY BOOK | FOR CHILDREN | with
382 Illustrations, | Drawn by Kate Greenaway, | Printed by
Edmund Evans. | Verses by Mrs. Sale Barker. | London: |
George Routledge & Sons, | Broadway, Ludgate Hill. | New
York: 416, Broome Street. | [All Rights Reserved.]
(3⅝ × 3½)
1881. THE LIBRARY. | By | Andrew Lang | with a Chapter on | Modern
English Illustrated Books by | Austin Dobson | London |
Macmillan & Co. | 1881 | The right of reproduction is
reserved.
1881. A DAY IN A CHILD’S LIFE. | Illustrated by | Kate Greenaway.
| Music by Myles B. Foster. | (_Organist of the Foundling
Hospital._) | Engraved and Printed by Edmund Evans. |
London: | George Routledge & Sons, | Broadway, Ludgate
Hill. | New York: 9, Lafayette Place. | [Copyright.]
(9⅝ × 8⅛)
1881. MOTHER GOOSE | or the | Old Nursery Rhymes | Illustrated by
| Kate Greenaway | engraved and | printed by | Edmund
Evans. | London and New York | George Routledge & Sons.
(6¾ × 4¾)
1882. LITTLE ANN | AND | OTHER POEMS | By | Jane and Ann Taylor
(Printed | Illustrated by | Kate Greenaway | printed in colours by
1882, Edmund Evans | London: George Routledge & Sons |
published Broadway, Ludgate Hill | New York: 9, Lafayette Place.
1883.) | [The Illustrations are Copyright.] (9 × 5-13/16)
1883. ALMANACK | FOR | 1883 | By | Kate Greenaway | London |
George Routledge & Sons | Broadway, Ludgate Hill | New
York: 9, Lafayette Place (3-15/16 × 2⅞)
1883-84. FORS CLAVIGERA | Letters | to the Workmen and Labourers | of
(And Great Britain | By John Ruskin, LL.D., | George Allen, |
subsequent Orpington and London
editions.)
1884. ALMANACK | FOR | 1884 | By | Kate Greenaway | Printed by
Edmund Evans | London: George Routledge & Sons | Broadway,
Ludgate Hill | New York: 9, Lafayette Place |
[_Copyright_] (5¼ × 3⅝)
1884. A PAINTING | BOOK | by | Kate Greenaway | with Outlines from
Other her various works | for | Girls and Boys | to Paint |
editions London: George Routledge & Sons | Broadway, Ludgate Hill
with (9½ × 7⅛)
different
title, by
F. Warne
& Co.
1884. LANGUAGE OF FLOWERS | Illustrated by | Kate Greenaway |
Printed in Colours by | Edmund Evans | London: George
Routledge & Sons. (8-13/16 × 4⅝)
1884. THE | ENGLISH SPELLING-BOOK | accompanied by | A Progressive
Series | of | Easy and familiar lessons | by | William
Mavor, LL.D. | Illustrated by Kate Greenaway | engraved
and printed by Edmund Evans. | London | George Routledge
& Sons| Broadway, Ludgate Hill | New York: 9, Lafayette
Place | 1885.
(7 × 4⅛)
1885. ALMANACK | FOR | 1885 | BY | KATE GREENAWAY | London |
George Routledge & Sons | Broadway, Ludgate Hill | New
York: 9, Lafayette Place (3-15/16 × 2⅞)
1885. DAME WIGGINS OF LEE, | AND HER | SEVEN WONDERFUL CATS; |
(Second A humorous tale | written principally by a lady of ninety.
edition | Edited, with additional verses, | By John Ruskin, LL.D.,
1897.) |Honorary Student of Christ Church, | and Honorary Fellow
of Corpus Christi College, Oxford. | And with new
illustrations | By Kate Greenaway | with twenty-two
woodcuts. | George Allen, Sunnyside, Orpington; | and 156
Charing Cross Road, London. (7¼ × 4½)
1885. MARIGOLD GARDEN | Pictures and Rhymes | By | Kate Greenaway
| Printed in Colours | By | Edmund Evans | London |
George Routledge & Sons | Broadway, Ludgate Hill | New
York: 9, Lafayette Place. (10¾ × 8½)
? 1885. KATE GREENAWAY’S | ALPHABET. | London | George Routledge
& Sons | Broadway, Ludgate Hill | New York: 9, Lafayette
Place. (2⅝ × 2-5/16)
? 1885. KATE GREENAWAY’S ALBUM. With 192 Illustrations within
gold borders. Printed in Colours by Edmund Evans. George
Routledge & Sons, Broadway, Ludgate Hill. [_Printed but
not published._]
1886. ALMANACK | FOR | 1886 | By | Kate Greenaway | London |
George Routledge & Sons | Broadway, Ludgate Hill | New
York: 9, Lafayette Place. (3-15/16 × 2⅞)
1886. A APPLE PIE | By | Kate Greenaway | Engraved and Printed by
Edmund Evans. | London: George Routledge & Sons | Broadway,
Ludgate Hill | New York: 9, Lafayette Place.
(8¼ × 10¼)
1886. THE QUEEN | OF | THE PIRATE ISLE | By | Bret Harte |
Illustrated by Kate Greenaway | Engraved and Printed by
Edmund Evans | London: Chatto & Windus | 214, Piccadilly.
(8½ × 6⅛)
1887. ALMANACK | FOR 1887 | By | Kate Greenaway | George Routledge
& Sons | The Pictures are Copyright. (3 × 4)
1887. QUEEN VICTORIA’S JUBILEE GARLAND. (A booklet made up of
illustrations already published.)
1887. RHYMES | FOR THE | YOUNG FOLK | By | William Allingham |
with Pictures by | Helen Allingham, Kate Greenaway, | Caroline
Paterson, and Harry Furniss | Engraved and Printed by Edmund
Evans | Cassell & Company, Limited, | London, Paris, New
York and Melbourne. (8-3/16 × 6½)
1888. ORIENT LINE GUIDE | Chapters for Travellers by Sea and by Land
| Illustrated. The Third Edition, re-written, with Maps and
Plans. | Edited for the Managers of the Line | By | W. J.
Loftie, B.A., F.S.A., | Author of ‘A History of London,’
‘Windsor,’ ‘Authorised | Guide to the Tower,’ etc. etc. |Price
2/6. | London: | Sampson Low, Marston, Searle & Rivington,
| Limited, | St. Dunstan’s House, Fetter Lane. | Edward
Stanford, 26 and 27 Cockspur Street, S.W. | 1888. | [Entered
at Stationers’ Hall.—All Rights Reserved] (8-1/16 × 6⅜)
1888. KATE GREENAWAY’S | ALMANACK | for | 1888 | George Routledge
& Sons (3⅝ × 2⅝)
1888. THE PIED PIPER | OF | HAMELIN | by | Robert Browning | with
35 illustrations | by | Kate Greenaway | engraved and printed
in colours by Edmund Evans | London | George Routledge
& Sons | Broadway, Ludgate Hill | Glasgow, Manchester and
New York. (9¾ × 8⅝)
1889. ALMANACK | FOR | 1889 | By | Kate Greenaway | Printed by
Edmund Evans | George Routledge & Sons | London, Glasgow,
and New York (3⅝ × 2⅝)
1889. KATE GREENAWAY’S | BOOK OF GAMES | with Twenty-four Full-page
Plates | Engraved and Printed in Colours by Edmund
Evans | London | George Routledge & Sons | Broadway,
Ludgate Hill | Glasgow, Manchester, and New York. (9 × 7⅛)
1889. THE ROYAL PROGRESS | OF | KING PEPITO | By | Beatrice F.
Cresswell | Illustrated by | Kate Greenaway | engraved and
printed by Edmund Evans | London | Society for Promoting
Christian Knowledge | Northumberland Avenue, Charing Cross,
W.C.; | 43, Queen Victoria Street, E.C. | Brighton: 135, North
Street. | New York: E. and J. B. Young & Co. (8⅛ × 6)
1890. ALMANACK | FOR | 1890 | By | Kate Greenaway | Engraved and
Printed by E. Evans | George Routledge & Sons (3⅝ × 3)
1891. KATE | GREENAWAY’S | ALMANACK | FOR | 1891 | George Routledge
& Sons, Limited (4 × 2⅝)
1892. KATE GREENAWAY’S | ALMANACK | FOR | 1892 | George Routledge
& Sons, Limited (3-5/8 × 2-5/8)
1893. KATE GREENAWAY’S | ALMANACK | FOR 1893 | George Routledge
& Sons, Limited (3-5/8 × 2⅝)
1894. KATE GREENAWAY’S | ALMANACK | FOR 1894 | George Routledge
& Sons, Limited (3-5/8 × 2⅝)
1895. KATE GREENAWAY’S | ALMANACK | FOR | 1895 | George Routledge
& Sons, Limited (3-5/8 × 2⅝)
1897. KATE | GREENAWAY’S | ALMANACK | AND DIARY FOR | 1897 |
J. M. Dent & Co.: | 67 St. James’s St., London (4-1/16 × 3)
1900. THE | APRIL BABY’S BOOK OF TUNES | with | THE STORY OF
HOW THEY CAME | TO BE WRITTEN | By the Author of |
‘Elizabeth and her German Garden’ | Illustrated by Kate
Greenaway | London | Macmillan & Co., Limited | New
York: The Macmillan Company | 1900 | All Rights Reserved.
(7¼ × 7½)
* * * * *
MISCELLANEA:
1868. _The People’s Magazine._
1873-80. _Little Folks._ Serial Story of ‘Poor Nelly,’ etc. etc.
(9½ × 7¼)
1874. _Cassell’s Magazine._ (10½ × 7)
1881-2. _Little Wide-Awake_ (G. Routledge & Sons). Edited by Mrs. Sale
Barker.
1882, etc. _Routledge’s Christmas Number._ (10¾ × 8)
_St. Nicholas._
_The Graphic._
_Illustrated London News._
1882, etc. _Routledge’s Every Girl’s Annual._ (10 × 6¾)
v.y. _The Girls’ Own Paper._
Etc. etc.
Index
_A Apple Pie_, 58;
success of, 155;
Ruskin on, 156, 160;
drawing in Victoria and Albert Museum, 256;
models for, 273; style of, 282
Abbot John of Berkhampstead, copy of illumination of, 47
À Beckett, Mr. Arthur, member of Memorial Committee, 256
Agnew, Sir William, member of Memorial Committee, 256
Aldridge, Aunt, visit to, 10
Aldridge, Uncle, visit to, 28
Alexander, Miss Francesca, 115;
Kate Greenaway’s pretended jealousy of, 132;
Ruskin’s reference to, 133, 138;
and Ruskin, 146, 156;
_The Peace of Polissena_, Kate Greenaway’s design for cover of, 170
Alexandre, Arsène, on Kate Greenaway, 3, 268
‘Alfy,’ 275
Allaman, Mrs., Kate Greenaway’s first schoolmistress, 14
Allen, Mr. George, 112
Allhusen, Mrs., references to, in Kate Greenaway’s letters, 164, 167
Allingham, Mrs. W., fellow-student with Kate Greenaway at
Heatherley’s, 43;
on Kate Greenaway’s work, 100;
Ruskin’s Lecture on, 114;
Kate Greenaway’s visit to, 160;
Ruskin on, 161;
as friend of Kate Greenaway, 167, 172;
influence of, on Kate Greenaway’s landscape work, 269, 270
_Almanack_, first (1883), 122;
1883-1897, 58;
1884 and 1885, 127;
1884, drawings for, exhibited at Paris, 174;
1886, success of, 155; 1887, 163;
1888, 172;
1889, 174;
1889 and 1895, drawings for Mavor’s Spelling Book, used in, 129;
1890, 177;
1891, 179;
1892-1900, 181;
1893, drawings for, sold by Messrs. Palmer, Howe & Co., 182;
1897, 210
_Alphabet, Kate Greenaway’s_, success of, 129
_Amateur Theatricals_, designs for, 48, 78
_American Queen, The_, contribution to, 172
‘An Angel Visited the Green Earth,’ at Royal Institute (1890), 178
‘An Old Farm House,’ at Royal Institute (1891), 179
Anderson, Miss, letter from, on Punch portrait of Kate Greenaway, 87;
reference to, by Ruskin, 155
Anderson, Miss Mary, 167
Anderson, Mr. J. G. S., chairman of Orient Line, 49, 179
Anderson, Mrs. Garrett, M.D., 49;
asmedical adviser and friend of Kate Greenaway, 167
‘Apple-Blossom—A Spring Idyll,’ at Dudley Gallery (1890), 50
‘Apple Trees,’ sold, 183
_April Baby’s Book of Tunes, The_, 51;
illustrations to, 249;
letter from author of, 249;
style of, 283
Art education at William Street, 41;
at Canonbury House, 42;
at South Kensington, 42;
at Heatherley’s, 43;
at the Slade School, 43
‘Art of England,’ Ruskin’s Lecture on the, 114
Ashburton, Lady, 167
Ashburton, Dowager Lady, commission from, 181
‘At a Garden Door,’ sold, 183
_Aunt Louisa’s London Toy Books Series_, designs for, 49
Autobiography of childhood, 9, 16, 28
_Babies and Blossoms_, 96
‘Baby Boy,’ at R.A., 192
‘Baby Boy in Blue Coat and Tippet,’ sold, 224
‘Baby in White, A,’ 272
_Baby’s Début_, designs for, 251
Backgrounds, difficulty with, 238
_Ballad of a Nun_ (Davidson), Kate Greenaway on, 196
Bancroft, Sir Squire, reading of _The Christmas Carol_ for Memorial
Fund, 256
Bashkirtseff, Marie, Kate Greenaway on, 187, 188
Beardsley, Aubrey, Kate Greenaway on, 187, 205
Belgium, vogue and imitators in, 106
‘Belinda,’ sold, 183
Bell, R. Anning, Kate Greenaway on illustrations to _Midsummer Night’s
Dream_ by, 204
Bellini’s, G., ‘Venus, Mistress of the World,’ Ruskin on, 168
‘Betty,’ sold, 224
Birdwood, Sir George, member of Memorial Committee, 256
Birth, place and date, 8
_Birthday Book_, 58;
publication and success of, 77;
as inspirer of R. L. Stevenson, 77;
_Punch_ on, 87;
Kate Greenaway on success of, 91;
designs from, used for _Painting Book_, 128;
models for, 273
Black, Mrs. J., book-plate for, 182
Blake’s _Songs of Innocence_, designs for, 251
Body-colour, use of, by Kate Greenaway, 272
_Book of Games_, 58;
publication of, 174
_Book of Girls, A_, designs for, 251
Book-plates for Mr. Locker-Lampson, etc., 88, 89, 182, 276
Books illustrated by Kate Greenaway, list of, 285
‘Boy with Basket of Apples,’ at Royal Institute (‘Off to the
Village’), 178
‘Boyhood of Sir Walter Raleigh’ (Millais), Kate Greenaway on, 228
‘Bracken Gatherers, The,’ style of, 270
Brantwood, first visit to, 112
British Museum, work at, 47
‘Brother and Sister,’ 270
Brown, Ford Madox, influence of, on Kate Greenaway’s work, 270
Browning, R., acquaintance with, 88
Burne-Jones, Sir Edward, Kate Greenaway on ‘The Briar Rose,’ 209, 231;
on May-tree in ‘Merlin and Vivien,’ 230;
on drawings of, 238, 239
Burne-Jones, Miss, reference to, by Ruskin, 155
Butler, Lady, on student days with Kate Greenaway, 43
‘Buttercup Field, A,’ sold, 183
Caldecott, Randolph, as rival and friend, 69;
letters from, to Kate Greenaway, 70;
Kate Greenaway on death of, 70;
story of Kate Greenaway’s marriage to, 70;
Kate Greenaway on work of, 89;
contributions to _Routledge’s Christmas Number_, 101;
and _Mavor_, 129
Calendars for 1884, 127
‘Calm in a Teacup,’ 272
Calvert, influence of, on Kate Greenaway’s work, 270
Campbell, Lady Colin, on Topo, 68
Canonbury House, Art classes at, 42
Carlyle, Thomas, Kate Greenaway on, 92
Cassell & Company, Kate Greenaway’s first work for, 51
Castle, Egerton, on Kate Greenaway’s book-plates, 182
Chappell, Mary, visit to, 29
Chappell, Thomas, portrait of, 275
Character of Kate Greenaway, 2
‘Cherry Woman, The,’ sold, 183
Chesneau, Ernest, on Kate Greenaway’s work, 5;
asks Ruskin for portrait of Kate Greenaway, 117
Chicago Exhibition (1893), sale of Kate Greenaway’s drawings at, 181
Childhood, autobiography of, 9, 16, 28
Children’s dress, Kate Greenaway as a reformer of, 48, 268
Children’s Hospital, Great Ormond Street, ‘Kate Greenaway’ Cot in, 256
Christmas Cards, first designs for, 44, 46, 74;
designs for Marcus Ward, 50;
development of, 73;
published by Goodall & Sons (1884), 127;
forProf. Ruskin, 272
_Christ’s Folk in the Apennine_, edited by Ruskin, 170
Cinderella, drawing of, 165
Clarke, Sir C. Purdon, member of Memorial Committee, 256
Cleveland, Duchess of, meeting of Kate Greenaway with, at British
Museum, 47
‘Coiffure Greeneway,’ 268
College Place, studio in, 55
Colour, work in, 270, 272, 281
_Continent, The_, interview in, with Kate Greenaway, 130
Copyright of drawings, refusal to part with, 106
Corbet, Mrs. Ridley, fellow-student and friend of Kate Greenaway, 167
Costume of eighteenth century, chosen by Kate Greenaway, 44
Costumes, ‘Kate Greenaway,’ 4, 44, 48, 268
‘Cottage in Surrey, A,’ at Royal Institute (1891), 179
‘Cottages,’ sold, 183
Crane, Walter, drawings by, in _Quiver of Love_, 47, 53;
recollections of Kate Greenaway, 71;
Kate Greenaway on work of, 90;
contributions to _Routledge’s Christmas Number_, 101;
member of Memorial Committee, 256
Cremation, 252
Cresswell, Beatrice F., author of _The Royal Progress of King
Pepito_, 174
_Cyrano de Bergerac_, Kate Greenaway on, 235
_Dame Wiggins of Lee_, drawings for, 120;
publication of, 130;
Ruskin on, 130;
style of, 282
‘Dancing of the Felspar Fairies,’ 275
_Day in a Child’s Life, A_, 58;
origin of, 101;
success of, 101;
designs from, in _Painting Book_, 128;
drawing in Victoria and Albert Museum, 256;
models for, 273;
excellence of flower-painting in, 281
‘Dead,’ water-colour sketch, 251, 264
Death, Kate Greenaway on, 189, 190, 263
Death of Kate Greenaway, 252
_Débats, Journal des_, on Kate Greenaway’s work, 268
De Monvel, Boutet, inspired by Kate Greenaway, 2
Dent, J. M., & Co., _Almanack_ for 1897, 181
_Diamonds and Toads_, drawings for, 49
Dickinson, Miss Violet, 167;
beginning of friendship with, 188;
letters from Kate Greenaway to, 9, 16, 189, 190, 191, 192, 193, 205,
206, 208, 214, 215, 218, 221, 222, 224, 225, 233, 237, 241, 253
Dobson, Austin, Mr., on verses of Kate Greenaway, 62;
on _Under the Window_ drawings, 63;
on drawings for _The Library_, 85;
poem by, in _Magazine of Art_, with Kate Greenaway illustration, 124;
friend of Kate Greenaway, 167;
verse on death of Kate Greenaway, 253
Dolls, Kate Greenaway’s, 26
Dove Cottage (Wordsworth’s), Kate Greenaway’s visit to, 187
‘Down the Steps,’ sold, 183
Downman, J., A.R.A., influence of, on Kate Greenaway, 270
Doyle, Richard, influence of, on Kate Greenaway, 270
Dreams of childhood, 16
Dudley Gallery, early exhibits at, 44, 45;
‘Apple-Blossom,’ 50;
sale of drawings at, in 1872, 51;
sale of water-colours at, in 1876, 55;
sale of pictures at, 1878, 69;
exhibits at, in 1880, 85
Dumas, Alexandre, _fils_, as admirer of Art of Kate Greenaway, 117
Du Maurier, George, Kate Greenaway on work of, 204;
references to, in Kate Greenaway’s letters, 164, 167
Düsseldorf, street in which Kate Greenaway is falsely said to have
lived, 89
Early life of Kate Greenaway, 8
‘Elf Ring, The,’ 270, 271
Eliot, George, and _Under the Window_ drawings, 57;
letter from, to Mr. Evans, 58
_Elizabeth and her German Garden_, Kate Greenaway on, 243;
letter from the author of, 250
Empress Frederick, visit to H.I.H. the, 98;
correspondence with, 100
_English Book-plates_, Kate Greenaway’s work in, 182
_English Illustrated Magazine_, work for, 184
Evans, Edmund, first association with Kate Greenaway, 48;
yellow-back covers for, 51;
_Under the Window_ and story of its production, 57;
other works produced during partnership with, 58;
methods of printing, 64;
reference to, by Mrs. Allingham, 172;
extent of partnership with, 211;
death of, _see_ Preface
Evans, Mrs. Edmund, account of Kate Greenaway by, in _Girl’s Own
Paper_, 59;
letters from Kate Greenaway to, 60, 113, 244, 248
Evans, Miss Lily, letters from Kate Greenaway to, 78, 107, 113, 145
_Every Girl’s Annual_, designs for, 85
‘Fable of the Girl and her Milk Pail, The,’ sold, 183
_Fairy Gifts; or, A Wallet of Wonders_, 53
Fairy Tales, Kate Greenaway’s preferences in, 247
‘Fancy Dress Ball, The,’ sold, 76
‘Fern Gatherer, A,’ sold, 51
_Figaro, Le_, on Kate Greenaway’s work, 268
Fine Art Society, exhibition of _Under the Window_ drawings at
(1880), 63;
Kate Greenaway exhibition at (1891), 179, 182;
third exhibition at (1898), 224, 226;
fourth exhibition at, 254
FitzClarence, Lady Dorothy, Kate Greenaway on, 231
Fiveash, the Misses, school of, 38
Flower painting in _A Day in a Child’s Life_, etc., 281
_Fors Clavigera_, drawings by Kate Greenaway in, 120, 122;
reference to Kate Greenaway in, 120;
Kate Greenaway on, 223
Foster, Mr., on _A Day in a Child’s Life_, 101
Fremantle, Lady, member of Memorial Committee, 256
French art, Kate Greenaway on, 233
Fripps, Miss, 167
Frognal, house at, designed by Mr. Norman Shaw, R.A., 142;
F. Locker-Lampson on, 91, 144;
Ruskin on, 143
Fryers’ farm, visit to the, 31
Furniss, Harry, ‘Grinaway Christmas cards’ in _Punch_, 102
_Gazette des Beaux-Arts, La_, article in, on Kate Greenaway, 106
German, Kate Greenaway falsely claimed as a, 89
Gertie, the model, 273
Giorgione, Kate Greenaway on work of, 195
Girardin, Jules, admirer of Kate Greenaway’s art, 117
‘Girl and her Milk Pail, The,’ 272
‘Girl and Two Children,’ at Royal Institute (1895), 192, 197
‘Girl drawing a Chaise,’ sold at Chicago, 182
‘Girl in Hat and Feathers,’ at Royal Institute (1897), 211;
sold, 224
‘Girl in Pink and Black,’ sold, 224
‘Girl nursing a Baby,’ at Royal Institute (1895), 197
‘Girl’s Head, A,’ at Royal Academy (1891), 179
_Girl’s Own Paper_, account of Kate Greenaway by Mrs. Evans in, 59;
work for, 85
‘Gleaners going Home,’ at Royal Institute (1895), 192, 197
‘Going to School,’ sold, 224
Goodall & Sons, and Kate Greenaway Christmas cards, 127
_Graphic, The_, first work for, 55
Greenaway, John, father of the artist, 8;
work for _Illustrated London News_, 39;
love for Kate Greenaway, 39;
as engraver, 39;
death of, 177;
as model to Kate Greenaway, 273
Greenaway, John, brother to Kate Greenaway, sub-editor of _The Journal
of the Chemical Society_; letter from, on life of Kate
Greenaway, 144;
_instructs Kate Greenaway in perspective_, 168;
as model to Kate Greenaway, 273;
portrait of, 275
Greenaway, Mrs., opens a shop in Upper Street, Islington, 13;
death of, 184;
as model to Kate Greenaway, 273
‘Greenawisme,’ 268
‘Green Seat, The,’ sold, 183
Greet Close, the, at Rolleston, 10
Griffith & Farran, designs for _Fairy Gifts_ for, 52
‘Grinaway Christmas cards’ in _Punch_, 102
Grosvenor Gallery, invitation to contribute to, 85;
Exhibition of 1884, Ruskin on, 137
Grüne Weg, Düsseldorf, where Kate Greenaway is falsely alleged to have
lived, 89
Hampstead, house at, F. Locker-Lampson’s suggestions for names for, 91
‘Happy Wretched Family,’ payment for, 50
Hare, Augustus, Kate Greenaway on Life of, 16
Harte, Bret, _The Queen of the Pirate Isle_, 156, 163
Hartley, Mr. Harold, member of Memorial Committee, 256
_Heartsease_, illustrations to, 77
Heatherley’s, Kate Greenaway attends Life Classes at, 43
_Heir of Redclyffe_, illustrations to, 77
Herbert, Lady Victoria, 167;
book-plate for, 182, 276;
member of Memorial Committee, 256
Highbury, Kate Greenaway’s home at, 21
Hospital for Women, New, design for Bazaar album for, 178
Hoxton, home at, 13
‘Huguenots, The’ (Sir J. Millais, R.A.), Kate Greenaway on, 219
Hullah, John, acquaintance with, and designs for _Time and Tune_, 85
‘Hylas and the Water-Nymphs’ (J. W. Waterhouse, R.A.), Kate Greenaway
on, 216
_Ibbetson, Peter_, Kate Greenaway on, 204
_Illuminated Magazine_, 23, 246
_Illustrated Family Journal, The_, 23
_Illustrated London News_, Mr. Greenaway’s work for, 8, 39;
Kate Greenaway’s first work for, 51;
recognised contributor to, 55, 85
Illustration work, Kate Greenaway’s objection to, 51
Imitators of Kate Greenaway, 105, 106, 117
Indian Mutiny, Kate Greenaway’s recollection of, 41
International Art Society, the, Kate Greenaway on, 231
Interview, fictitious, with Kate Greenaway, 131
Interviewers, Kate Greenaway’s objections to, 78
Islington, home at, 13
‘Jack and Jill,’ sold, 183
Jackson, Mason, tribute to Mr. John Greenaway, Sr., by, 178
Jackson, Miss, school of, 38
Jeune, Lady, reference to, in Kate Greenaway’s letters, 164, 167;
visit of Kate Greenaway to, 224, 230;
member of Memorial Committee, 257
Jones, ‘Grandma,’ and her husband, 14
_Journal des Débats_, on Kate Greenaway’s work, 268
_Kate Greenaway’s Painting Book_, 58, 128
_King Pepito_, 58
Kitchener, Lord, Kate Greenaway on, 237
‘Knocker,’ Kate Greenaway’s pet name, 39
Kröker, Frau Käthe Freiligrath-, German translator of _Under the
Window_, 85
Kronheim, Messrs., early work for, 46;
_Diamonds and Toads_, designs for, 49;
‘Nursery Toy Books,’ 49
Labouchere, Miss Norna, on Kate Greenaway’s book-plates, 182
_Ladies’ Book-plates_, Kate Greenaway’s work in, 182
_Ladies’ Home Journal, The_, work for, 183
Lang, Andrew, Mr., and _The Library_, 85
_Language of Flowers_, 58, 127;
Ruskin on, 149;
drawings for, exhibited at Paris (1889), 174;
drawings of, in Victoria and Albert Museum, 256;
models for, 273;
excellence of drawings in, 282
_Lanterne Magique_, La, French and Belgian edition of Under the
Window, 281
Leighton, Lord, purchaser of Kate Greenaway drawings, 180;
funeral of, 201;
Kate Greenaway on death of, 203
Leiningen-Westerburg, Count of, on Kate Greenaway’s art, 117
Leslie, G. D., R.A., influence of, in Kate Greenaway’s work, 270
Liberty, Mr. Arthur Lasenby, Treasurer of Memorial Committee, 256
_Library, The_, drawing for, 85
‘Lilies,’ sold, 224
_Literary World, The_, on _Under the Window_, 281
_Little Ann and other Poems_, 22, 58;
dedicated to Mrs. Locker-Lampson, 96;
drawings for new edition of, 105;
Stacy Marks, R.A., on, 121;
drawings for, exhibited at Paris (1889), 174;
drawings of, in Victoria and Albert Museum, 256;
models for 273;
excellence of drawings in, 281
‘Little Dinky,’ tail-piece for _London Lyrics_, 101
‘Little Fanny,’ frontispiece to _Routledge’s Christmas Number_, 101
_Little Folks_, first appearance in, 51;
‘PoorNelly’ in, 280
‘Little Girl and Green Cradle,’ at Royal Institute (1895), 197
‘Little Girl in Red,’ at Royal Institute (1895), 192, 197
‘Little Girl in Scarlet Coat,’ sold, 224
‘Little Girl with Doll,’ at Royal Academy (1878), 69
‘Little Girl with Fan,’ at Royal Academy (1880), 85
‘Little Girl with Tea Rose,’ sold, 224
‘Little Girlie,’ drawing sold at Chicago, 182
‘Little Go-Cart, The,’ sold, 183
‘Little Model, The,’ 275
‘Little Phyllis,’ drawing sold at Chicago, 182
_Little Wide-Awake_, frontispiece to, 85
Liverpool Exhibition (1895), Kate Greenaway’s work at, 192
Locker-Lampson, Frederick, _Under the Window_, 57;
beginning of friendship with, 86;
association with, 87;
portraits of, 89, 275;
_London Lyrics_, frontispiece to, 88;
tail-piece to, 101;
suggestions for names for Kate Greenaway’s house at Hampstead, 91;
verses for Christmas cards by, 92;
criticisms of Kate Greenaway’s drawings and verses, 93, 95;
on Ruskin, 93;
on Burne-Jones, 94;
Poems on his children, with illustrations by Kate Greenaway, 96;
death of, 96;
on Kate Greenaway’s imitators, 106;
on new studio at Frognal, 144;
references to, in Kate Greenaway’s letters, 164, 167;
introduces Kate Greenaway to Mrs. Allingham, 172;
book-plate, 182, 276;
visit to, 185
letters to Kate Greenaway, from, 88, 90, 91, 92, 95;
letters from Kate Greenaway, to, 86, 89, 91, 92, 94, 96, 266, 274
Locker-Lampson, Mrs., friendship with, 96;
letters to Kate Greenaway, 96, 97;
member of Memorial Committee, 256
Locker-Lampson, Godfrey, Esq., Kate Greenaway sends drawings to, at
Eton, 96;
book-plate for, 182
Locker-Lampson, Miss Dorothy, Kate Greenaway corrects drawings by, 96;
book-plate for, 182
Locker-Lampson, Miss Maud, 234
Loffelt, M. A. C., on Kate Greenaway’s art, 117
Loftie, Rev. W. J., early recollections of Kate Greenaway, 45;
on Kate Greenaway’s designs for valentine, 48;
‘Art at Home’ Series, 48;
as friend of Kate Greenaway, 167
_London Lyrics_, frontispiece to, 88;
tail-piece to, 101
_Lord Ormont and His Aminta_, Kate Greenaway on, 196
Lostalot, M. Alfred de, on Kate Greenaway’s work, 106
‘Love’s Baubles’ (Byam Shaw), Kate Greenaway on, 218
‘Lucy Locket,’ sold, 183; daintiness of, 271
Macmillan & Co., illustrations to Miss Yonge’s novels for, 77;
frontispiece to _Amateur Theatricals_, 78;
_St. Nicholas_, 78;
_The Library_, 85
_Magazine of Art_, poem by Mr. Austin Dobson, illustrated by Kate
Greenaway, 124;
proposed article on ‘Later Work of Kate Greenaway,’ for, 252
Mallock, Mr., and _The New Republic_, Kate Greenaway on, 214, 215
Mannerisms of Kate Greenaway, 267
_Marigold Garden_, 58;
designs from, in _Painting Book_, 128;
publication of, 129;
Ruskin on, 133, 151;
drawings for, exhibited at Paris (1889), 174;
drawing of title-page sold at Chicago, 182; models for, 273;
excellence of drawings in, 282
Marks, H. Stacy, R.A., encouragement from, 51;
letters to Kate Greenaway from, 80, 81, 84, 104, 121;
as friend of Kate Greenaway, 167;
on _Pied Piper of Hamelin_, 172;
influence of, on Kate Greenaway’s work, 270
Martineau, Mrs. Basil, 167
‘Mary had a Little Lamb,’ 272
Mary, the model, 164, 273
Mason, George, A.R.A., influence of, on Kate Greenaway’s work, 270
_Mavor’s English Spelling Book_, 58;
Ruskin on, 128;
success of, 129;
_Athenæum_ on, 129;
drawings for, used in _Almanacks_, 129;
development of style in, 282
‘May-Dance, The,’ 270, 275
‘May Morning on Magdalen Tower’ (Mr. Holman Hunt, O.M.), Kate Greenaway
on, 219
Mayo, Lady, 167, 180;
letters from Kate Greenaway to, 180, 186
Meadows, Kenny, Kate Greenaway on illustrations to _Midsummer Night’s
Dream_ by, 204
Memorial to Kate Greenaway, 256;
Committee, 256
Meredith, George, O.M., Kate Greenaway on work of, 196
Millais, Sir J. E., _P._R.A., portraits of Duke of Argyll and Miss Nina
Campbell, Ruskin on, 137;
Kate Greenaway on work of, 219, 228
Millard, Miss, Kate Greenaway on, 231
Miller, Mrs., recollections of Kate Greenaway by, 52, 167
‘Misses,’ at Royal Academy, 78
Models, child, Kate Greenaway’s tact with, 52, 273, 274
Modern Art, Kate Greenaway on, 185, 228, 229
_Modern Painting_ (Mr. George Moore), Kate Greenaway on, 218
_Mother Goose_, 58;
publication and success of, 100;
H. Stacy Marks, R.A., on, 104;
Ruskin on, 116;
designs from, in _Painting Book_, 128;
models for, 273
‘Muff, The,’ 275
‘Mulberry Bush, The,’ drawing sold at Chicago, 182
‘Musing,’ sold, in 1877, 55
Muther, Dr., on Kate Greenaway’s work, 5, 267
‘My Lady and Her Pages,’ sold, 76
‘My Lord’s Page and my Lady’s Maid,’ sold, 76
_National Zeitung on Under the Window_, 85, 281
Nelthorpe, Mrs. Sutton, letters from Kate Greenaway to, 166, 167, 208
_Neue Freie Presse_, on Kate Greenaway’s work, 268
Nevill, Lady Dorothy, 167;
commission from, 172;
member of Memorial Committee, 256
Nevill, Miss Meresia, member of Memorial Committee, 256
New English Art Club, Kate Greenaway on, 221
Newhaven Court, Kate Greenaway’s visits to, 86
_New Republic, The_, Kate Greenaway on, 214, 215
_Nicholas Nickleby_, Kate Greenaway on, 216
Nickson, Miss Sarah, book-plate for, 182
Nordau, Dr. Max, on Kate Greenaway’s work, 265
Northcote, Lady, commission from, 172
Nude, studies from the, 43;
Ruskin’s advice on, 117, 133, 147
_Nursery Rhymes_, sketches for, 251
‘Nursery Toy Books,’ designs for, 49
‘Odd House,’ visit to the, 10
‘Off to the Village’ (‘Boy with Basket of Apples’), 178
Oil-painting, 237;
difficulties with, 241, 242, 244
‘Old Farm House, The,’ 270
‘Old Steps, The,’ sold, 183
‘On the Road to the Ball,’ sold, 76
‘Ophelia’ (Sir J. E. Millais, _P._R.A.), Kate Greenaway on, 228, 229,
242
_Orient Line Guide_, title-page for, 49, 179
‘Over the Tea,’ sold, 183
_Painting Book, Kate Greenaway’s_, 58, 128
Paris Exhibition, 1889, contributions to, 5, 174
Paris Exhibition, 1900, invitation to contributeto, 248;
invitation declined, 249
_Passage from Some Memoirs_ (by Mrs. Richmond Ritchie), Kate Greenaway
on, 196
_Peace of Polissena, The_, by Miss Francesca Alexander, design for cover
of, 170
‘Peeper, A,’ 50
Pemberton Gardens, Greenaways’ house in, 52
Pen and pencil sketches, 279
_People’s Magazine_, early work for, 45, 46, 75
Perspective, instruction in, from Ruskin, 167;
from John Greenaway, 168;
lack of knowledge of, 167
‘Picnic, The,’ 279
_Pied Piper of Hamelin, The_, 58;
Ruskin on, 168, 171, 175;
models for, 273
Pinwell, George, influence of, in Kate Greenaway’s work, 272;
style of, 282
Ponsonby, Hon. Gerald, 167;
portraits belonging to, 270;
commission from, 172;
portraits of children of, 180;
letters from Kate Greenaway to, 181, 182, 184, 186
Ponsonby, Lady Maria, 167;
letters from Kate Greenaway to, 185, 187, 209, 212, 220, 231;
member of Memorial Committee, 256
Ponsonby, Miss Eileen, portrait of, 276
Ponsonby, Miss Joan, portrait of, 276
Ponsonby, Miss Mabel, portrait of, 276
‘Poor Nelly,’ 280
Portraitist, Kate Greenaway as a, 275
‘Portrait of a Lady,’ 276
‘Portrait of a Little Boy, A,’ at Royal Institute (1880), 178
‘Portrait of a Little Lad,’ at Royal Academy (1890), 178
Portraits in oils, 237
_Præterita_ (by John Ruskin), reference in, to _Mavor_, 129;
to _Dame Wiggins_, 130, 145, 151;
Kate Greenaway on, 161;
last chapter of, 175
Princess Christian, Kate Greenaway’s meeting with, 27, 224;
introduction to, 100;
correspondence with, 100
Princess Louise, meeting with, 241
Princess Maud of Wales, wedding present for, 201
Princess Royal, meeting with, 27
‘Processions,’ drawings of, 211, 216, 274
_Punch_, first appearance in, 86;
references to Kate Greenaway in 1881, 102;
‘Grinaway Christmas Cards,’ 102, 103
_Queen of the Pirate Isle, The_, 58;
Ruskin on, 156;
publication of, 163;
vignette on title-page of, 282
_Queen Victoria’s Jubilee Garland_, publication of, 163
_Quiver of Love_, illustrations in, 47;
publication of, 53
Reading Books (Longman’s), Kate Greenaway’s refusal to illustrate, 184
Religion, Kate Greenaway’s views of, 189, 190, 234, 235
‘Rescue, The’ (Sir J. E. Millais, _P._R.A.), Kate Greenaway on, 229
Richards, Miss Laura E., verses by, 183
Richmond Ritchie, Mrs., letters to and from, 98;
friendship with, 100, 167;
proposed collaboration with, 100
Roberts, Lord, meeting with, 237
Robinson, Mr. Lionel, on Kate Greenaway as children’s artist, 62, 180
‘Rock, Moss, and Ivy,’ drawing by Kate Greenaway in Sheffield
Museum, 134
Rolleston, the Chappells’ house at, 10;
visits to, 28, 33;
fire at, 35
Rossetti, D. G., Kate Greenaway on work of, 229, 231
Routledge, Messrs., work for, 100;
_Little Wide-Awake_, frontispiece to, 85;
_Every Girl’s Annual_, 85;
_Mother Goose_, 100;
_Christmas Number_, frontispiece (‘Little Fanny’), 101;
_A Day in a Child’s Life_, 101;
_Almanack_, first (1883), 122;
_A Apple Pie_, 155, 156, 160;
_Pied Piper of Hamelin_, success of, 171;
_Book of Games_, 174;
_Almanacks_ for, 1892-95, 181
Rover, biography of, 164, 195, 198, 207, 236, 237, 244
Rowfant, Kate Greenaway’s visits to, 86, 185
Royal Academy, first exhibit at, 55;
‘Little Girl with Doll’ (1878), 69;
‘Misses’ (1879), 78;
‘Little Girl with Fan’ (1880), 85;
‘Portrait of a Little Lad’ (1890), 178;
‘A Girl’s Head’ (1891), 179;
‘Baby Boy’ at (1895), 192
Royal Institute of Painters in Water-Colours, Kate Greenaway elected a
Member of, 174, 178, 271;
exhibits at (1890), 178;
(1891) ‘An Old Farm House,’ ‘A Cottage in Surrey,’ 179;
(1894) ‘A Girl’ at, 184;
(1895) exhibits at, 192, 197;
(1896) ‘Little Bo-Peep’ at, 201;
last exhibits at, in 1897:
‘Girl in Hat and Feathers,’ ‘Two Little Girls in a Garden,’ 211
_Royal Progress of King Pepito, The_, 174
Royal Society of British Artists. _See_ Suffolk Street Gallery
Ruskin, John, on Kate Greenaway’s work, 5;
on _Under the Window_, 63;
Lecture on Mrs. Allingham and Kate Greenaway, 65, 114;
first meeting with Kate Greenaway, 110;
on _Mother Goose_ drawings, 105, 116;
on Kate Greenaway design on glass, 106;
on the 1884 _Almanack_, 127;
on _Language of Flowers_, 128;
on _Mavor’s English Spelling Book_, 128;
on _Dame Wiggins of Lee_, 130;
portrait of, by Kate Greenaway, 135;
suggested collaboration with Kate Greenaway in a book on Botany, 136;
on Millais’ portraits of ‘The Marquess of Lorne’ and ‘Miss Nina
Lehmann’ (Lady Campbell), 137;
references to Miss Francesca Alexander, 133, 138;
on house at Frognal, 142;
illness of, 145, 151, 154, 170;
_Præterita_, autobiography of, 145, 151, 175;
Kate Greenaway on, 161;
‘Natural History of a dull Beach,’ 146, 154;
on drawings from the Nude, 147;
on _Language of Flowers_, 149;
on _Correspondence of Sir Philip Sidney and Hubert Languet_, 154;
on _A Apple Pie_, 156;
on Mrs. Allingham, 161;
practice of destroying letters, etc., 163;
instructs Kate Greenaway in perspective, 167;
on John Greenaway as his rival therein, 168;
on _Pied Piper_ drawings, 168, 172, 175;
on Bellini’s ‘Venus, Mistress of the World,’ 168;
_Christ’s Folk in the Apennine_, 170;
last foreign tour, 175;
visit of Kate Greenaway to, 186;
as ‘Mr. Herbert’ in _The New Republic_, 215;
death of, 248
letters to Kate Greenaway from, 82, 83, 84, 99, 105, 109, 110, 114,
115, 117, 118, 119, 120, 121, 122, 127, 128, 132, 133, 134, 135,
136, 137, 138, 139, 140, 142, 143, 145, 146, 147, 148, 149, 150,
151, 152, 153, 154, 155, 156, 157, 158, 160, 161, 166, 168, 169,
170, 171, 172, 175, 176, 177
letters from Kate Greenaway to, 160, 164, 165, 166, 187, 188, 195,
196, 197, 198, 199, 200, 202, 203, 205, 206, 207, 208, 209, 211,
212, 214, 215, 216, 217, 218, 219, 220, 221, 228, 229, 230, 231,
232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244,
245, 246, 247
Rydal Mount, Kate Greenaway’s visit to, 187
‘Sailor’s Wife, A,’ in _English Illustrated Magazine_, 184
St. Albans, Duchess of, 167
St. Helier, Lady. _See_ Jeune, Lady
_St. Ives_ (R. L. Stevenson), Kate Greenaway on, 221
_St. Nicholas_, drawings for, 78
Sambourne, Mr. E. Linley, drawing Kate Greenaway in _Punch_ by, 86;
‘Royal Birthday Book’ by, 102
Samuel, Mr. Stuart M., M.P., book-plate for, 182;
commissions from: portrait of daughter, decoration of nurseries
for, 211, 216;
letters from Kate Greenaway to, 106, 211
Samuel, Mrs. Stuart M., references to, in Kate Greenaway’s letters,
164, 167;
letter from Kate Greenaway to, 252
Samuel, Miss Vera, book-plate for, 182, 226;
portrait of, 211, 275
_Saturday Review on Under the Window_, 61
Scribner, first work for Messrs., 69;
frontispiece to _London Lyrics_ for, 88
Seckendorff, Count, 99
Severn, Mrs. Arthur, on Ruskin and Kate Greenaway, 110;
friendship with, 141;
letter to Kate Greenaway from, 166;
letters from Kate Greenaway to, Preface, 70, 201, 251, 274
Severn, Miss Lily, 167
Severn, Miss Violet, Kate Greenaway writes and illustrates ‘A very
Naughty Girl’ for, 141, 167
Shaw, Mr. Norman, R.A., architect of Kate Greenaway’s house, 142;
friend of Kate Greenaway, 167
Sheffield Museum, drawing, ‘Rock, Moss, and Ivy,’ by Kate Greenaway
in, 134
‘Shoe, The Kate Greenaway,’ 123
Shortness of sight, cause of Kate Greenaway’s faults of perspective,
168, 270
_Sidney, Sir Philip, and Hubert Languet, Correspondence of_, 154
Silver medal gained at South Kensington in 1864, 42
‘Sisters,’ colour of, 272
Sketch-book, early, 277
Small, Mr. William, influence of work of, on Kate Greenaway, 279
_Snow Queen_, designs for, 251
Spielmann, Mr. M. H., letters from Kate Greenaway to, 248, 249;
member of Memorial Committee, 256
Spielmann, Mrs. M. H., proposed illustrations to story by, 51;
stories by, with illustrations by Kate Greenaway, 250;
letters from Kate Greenaway to, 250, 251
‘Spring Copse, A,’ sold, 183
Spring flowers, Kate Greenaway’s love for, 180
‘Standing for her Picture,’ sale of, 183
Stanley, Hon. Mrs., 100
Stanley, Miss Dorothy, visit to Southwold with, 201
Stanley, Miss Madeline, 230, 231
Stevenson, Robert Louis, inspired by _Birthday Book_, 77
‘Stick Fire, The,’ sold, 183; beauty of, 270
Stothard, influence of, on Kate Greenaway, 270
‘Stowaway, The’ (Sir J. E. Millais, _P._R.A.), Kate Greenaway on, 228
‘Strawberries,’ influence of G. D. Leslie, R.A., in, 270
Suffolk Street Gallery, ‘A Peeper,’ 50
‘Surrey Cottage, A,’ influence of Mrs. Allingham in, 269
‘Swansdown,’ 272
‘Taking a Nosegay,’ at Royal Institute (1895), 195
Tate Gallery, the, Kate Greenaway on, 242
_Temps, Le_, on Kate Greenaway’s work, 268
Tennyson, family, friendship with, 88;
references to, in Kate Greenaway’s letters, 164, 167
Tennyson, Lord, last meeting with, 237
‘The Seasons,’ sold, 76
Theatre, early visits to the, 19
Thomas, William L., on Kate Greenaway’s early work for _The Graphic_, 56
Thompson, Miss Elizabeth (Lady Butler), on student days with Kate
Greenaway, 43
Thorne, Aunt, and her garden, 15
‘Thoughts of the Sea,’ sold, 224
‘Three Girls in White,’ in Victoria and Albert Museum, 256
‘Three Innocents,’ sold, 76
_Time and Tune_, designs for, 85
‘Time of Roses, The,’ sold, 76
_Times, The_, on _A Day in a Child’s Life_, 101
_Topo: A Tale about English Children in Italy_, illustrations for, 47;
publication of, in 1878, 67;
sale of drawings for, 76
‘Toy Horse, The,’ sold, 183
‘Tracts,’ payment for, 50
Trendell, Sir Arthur, Hon. Sec. of Memorial Committee, 256
Trojan, Herr, on _Under the Window_, 85
Trotter, Miss Lilias, reference to, by Ruskin, 155, 156
Turner, J. M. W., R.A., Ruskin on, 134
‘Two at a Stile,’ 271
‘Two Girls in a Garden,’ sold, 224
‘Two Little Girls in a Garden,’ at Royal Institute (1897), 211
‘Two Little Sisters,’ sold, 183
‘Under the Rose Tree,’ sold, 183
_Under the Window_, story of its production, 57;
popularity of, 60;
_Saturday Review_ on, 61;
verses in, 62;
exhibition of drawings for, at Fine Art Society, 63;
designs copied on majolica ware at Buda Pesth, 79;
translation into German, 85;
reception of, in Germany, 85, 281;
drawings for, criticised for lack of perspective, 167;
models for, 273;
French and Belgian edition of, 281
Valentines, first designs for, 44;
designed for Marcus Ward & Co., 47
Van Baerle’s Gallery, Glasgow, exhibition of Kate Greenaway’s drawings
at, 181
Varley, Miss, school of, 38
Velasquez, Kate Greenaway on, 218
Venetian Exhibition, Kate Greenaway on, 195
Verses by Kate Greenaway, 38, 62, 254, 257, _et seq._
Victoria and Albert Museum, Kate Greenaway’s work in, 256
Victorian Exhibition, Kate Greenaway on, 214
_Vie de Paris, La_, on Kate Greenaway’s work, 268
‘Violets, Sir?’ 277
Vyvyan, Miss, fellow-student and friend of Kate Greenaway, 167
Walker, Mr. David, purchaser of _Almanack_ (1893) drawings, 182
Walker, Fred, A.R.A., influence of, on Kate Greenaway’s work, 270
Wall-papers, _Almanack_ (1893) designs sold for, 182
Ward, Marcus, & Co., Christmas cards designed for, 46;
valentines designed for, 48;
cessation of connection with, 48;
Christmas cards for, 50;
_The Quiver of Love_, 53;
_Topo_, 68
Ward, Mr. William Marcus, as adviser, 49;
on illustrations to _Topo_, 68
Wardle, Sir Thomas, Chairman of Memorial Committee, 256
Warne, Frederick, & Co. _See_ Preface and List of Works
Webb, Sir Aston, R.A., on Memorial Committee, 256
Wedderburn, Mr. A., K.C., 112
_What the Moon Saw_, designs for, 251
_Wheels of Chance, The_, Kate Greenaway on, 215
Whistler, J. M’N., Kate Greenaway on, 218
White, Gleeson, on Kate Greenaway’s designs for Christmas cards, 76
Whitelands College, Kate Greenaway at May-day celebration at, 201
Wise, Aunt, visit to, 10
Women and Woman’s Suffrage, Kate Greenaway on, 212
‘Women of Amphissa, The’ (Sir L. Alma-Tadema, O.M., R.A.), Kate
Greenaway on, 219
_Wonderful Visit, The_, Kate Greenaway on, 203
_Woodlanders, The_ (Mr. Thomas Hardy), Kate Greenaway on, 238
Wordsworth, visit of Kate Greenaway to country of, 187;
Kate Greenaway on ‘Intimations of Immortality’ of, 189
‘Yes’ (Sir J. E. Millais, _P._R.A.), Kate Greenaway on, 228
Yonge, Charlotte, Kate Greenaway’s illustrations to novels of, 77, 281
THE END
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FOOTNOTES:
[1] The drawings of the cheese-press, the pump, and the fireplace in
the kitchen of the cottage, as well as of the croft at Rolleston, here
reproduced, were executed by Kate Greenaway while she was still a girl.
[2] _Little Ann and other Poems_, by Jane and Ann Taylor, illustrated
by Kate Greenaway, printed in colours by Edmund Evans. London: George
Routledge & Sons, etc. (n.d.)
[3] The head in water-colours, which won her the silver medal, was
bought by the late Sir Julian Goldsmid.
[4] Official inscription on the drawing: ‘National Medallion Award.
Finsbury, 1864. Stage 22. Aged 17 years. Time in School, 9 sessions, 4
hours a week. Medals already obtained in Stages 4^b, 10^a, 10^b, 22^c.
Teachers: S. A. Doidge, S. Hipwood.’
[5] The following is a complete list of her exhibits at the Dudley
Gallery:—
1868—Kilmeny.
1869—The Fairies of the ‘Caldon Low.’
1870—Apple Blossom—A Spring Idyll.
1872—(1) A Study.
(2) A Reverie.
1875—Little Miss Prim.
1876—Little Girls at Play.
1877—(1) In Spring Time.
(2) Dorothy.
(3) Birthday Tea.
(4) A Procession of Children with Flowers.
1878—(1) A Procession of Children.
(2) Darby and Joan.
(3) Miss Patty.
1879—(1) Prissy.
(2) A Morning Call.
[6] See Mr. Lionel Robinson’s introduction to the Exhibition of Kate
Greenaway’s Works in 1891.
[7] These were the first things she ever sold publicly. Mr. Loftie
forgets the apparent fact that the two remaining designs were also
published, though at a later date, for on looking through the volume of
the _People’s Magazine_ for 1873 we find on pp. 24 and 97 two of her
drawings (unsigned) written up to respectively by ‘M, E.’ and ‘E. J.
Ellis.’ The first illustrates a set of verses entitled ‘Nonsense about
Cat’s Cradle’; the second a sort of Alice-in-Wonderland story entitled
‘Bebel,’ an ingenious rendering of a somewhat cryptic design.
[8] This was also published by Messrs. Marcus Ward & Co.
[9] Of Messrs. Griffith, Farran, & Co., for whom she worked later.
[10] An excellent account of Mr. Evans’s work is to be found in _The
British and Colonial Printer and Stationer_ for March 31, 1904.
[11] _The April Baby’s Book of Tunes_, by the author of _Elizabeth and
her German Garden_.
[12] As ‘K. G.,’ the reader should be reminded, Miss Greenaway was
known to most of her friends, and even to many of her relations as well.
[13] The originator of _Punch_.
[14] In addition there were French and German editions, which probably
brought up the number to 100,000 copies.
[15] It should be understood, however—lest the strict facts of the
arrangement mislead the reader—that the half-share royalty only became
payable after the expenses of publication had been cleared off—that
is to say, after the sale had passed a given number of copies.
Consequently, as certain of the books never reached the limit, K. G.
only received payment for the use of the drawings, which were returned
to her. Such failures, commercially speaking, were _A Day in a Child’s
Life_, the Calendars, and one or two more. It was found in practice
that, except in rare cases, books with music were not successful.
[16] These words have been added in MS. by Mr. Evans.
[17] From a letter written in 1879 it will be seen that the heaviness
of her line had before been a matter of complaint with him.
[18] The reader will see that this is a misconception, as _Fairy Gifts_
preceded it by four years.
[19] See ‘Christmas Cards and their Designers, by Gleeson White.’ Extra
number of the _Studio_, 1894, which is full of interesting information
on the subject.
[20] At this sale Kate Greenaway’s illustrations to _Topo_
fetched—after the copyright had been used—35 guineas; whilst others of
her pictures sold were ‘Three Innocents,’ 12 guineas; ‘My Lady and her
Pages,’ 23 guineas; ‘The Seasons,’ 17 guineas; ‘The Time of Roses,’ 18
guineas; ‘On the Road to the Ball,’ and ‘The Fancy Dress Ball,’ £28;
and ‘My Lord’s Page and my Lady’s Maid,’ 13 guineas.
[21] ‘Those indisputably by Miss Greenaway,’ he proceeds, ‘include:
a set of children, 1878; another set, a Page in Red, with a cup,
etc.; children by ponds; a set of little people in initial letters; a
set of damsels with muffs, and lads in ulsters; another set of four
initials; a Red Riding Hood set; an oblong set, with processions of
little people; a tiny set of three; an upright set of three single
figures; a set of heads; and a set of “Coachmen.” To these may be added
the Calendars published by Marcus Ward, as well as the annual “Kate
Greenaway’s Almanack,” published by Geo. Routledge & Sons; a set in
circular panels on small cards, published by Goodall; a set, “The Four
Seasons”; also a calendar with four designs issued separately as cards,
and a few early cards published by Marcus Ward.
‘Without very minute and tedious detail, it is not possible to identify
even these in written descriptions; but, unless collectors have at
least as many sets (usually four in as I have noted), they may still be
certain that the most prized section of their collection is incomplete.
How many more can be traced it would be pleasant to discover.’
[22] Of these little drawings in pen-and-ink, many of them scarcely
more than an inch high, 292 have lately been offered for sale by
a London west-end bookseller, prettily mounted on pages, in an
elaborately-bound morocco-covered box, for the sum of £300.
[23] _Under the Window._
[24] By Miss Laffan, author of _Baubie Clarke_ (Blackwood, 1880).
[25] See _Under the Windows_, p. 35.
[26] Now Lady St. Helier.
[27] For authorisation to reproduce these letters we are indebted to
the German Ambassador.
[28] This word is illegible.
[29] The lurid and dramatic witch in _Under the Window_.
[30] The Greenaways were contemplating moving from Holloway to
Hampstead.
[31] Birket Fosters.
[32] William Black’s novel, published in 1871.
[33] By his American friend, Miss Francesca Alexander, the exquisite
artist of _The Roadside Songs of Tuscany_ and the charming writer and
poet who to this day with her mother are residents of Florence, famous
for their charity, kindliness, and hospitality.
[34] Ruskin’s body-servant.
[35] This includes an edition of 2,000, published by Hachette & Cie.,
of Paris.
[36] Miss Francesca Alexander.
[37] Page 22 of _Marigold Garden_.
[38] A water-colour drawing of ‘Rock, Moss, and Ivy’ by K. G. is now in
the Sheffield Museum. Of its origin the catalogue says ‘The sketch was
made by Miss Greenaway in consequence of Mr. Ruskin having told her one
day at Brantwood, that she could draw pretty children daintily enough
but she couldn’t make a drawing of that rock. Miss Greenaway hastily
produced this study of it, and presented it to Mr. Ruskin.’
[39] Portrait of the present Duke of Argyll.
[40] Portrait of Lady Campbell when a little girl—Miss Nina Lehmann.
Painted in 1865.
[41] Lady Campbell (Miss Nina Lehmann) on her marriage.
[42] ‘Aphrodite’ by Philip Calderon, R.A.
[43] The Society of British Artists.
[44] For _Claudian_—the play produced by Wilson Barrett, who acted the
title-rôle—Ruskin had a prodigious and rather unaccountable admiration.
To one of the present writers, he said during the run of the piece:
‘I admired it so much that I went to see it three times out of pure
enjoyment of it, although as a rule I cannot sit out a tragic play. It
is not only that it is the most beautifully mounted piece I ever saw,
but it is that every feeling that is expressed in the play, and every
law of morality that is taught in it, is entirely right.’
[45] A young lady who died young. Her fine character and sweet
disposition Ruskin greatly admired.
[46] Miss Francesca Alexander.
[47] _The Correspondence of Sir Philip Sidney and Hubert Languet. Now
first collected and translated from the Latin with Notes and Memoir of
Sidney._ By Stewart A. Pears (London, William Pickering, 1845).
[48] Miss Trotter.
[49] Miss Burne-Jones.
[50] Miss Anderson, his secretary, of whom on rare occasions Ruskin
spoke thus.
[51] Ruskin had much faith in the educational value of drawings from
Greek coins of the finest period.
[52] It was Mr. Ruskin’s practice to destroy everything not of special
interest to him or what was unlikely to be of use. On one occasion
the present writer sent him by request certain early proofs of etched
plates, the coppers of which were in the Professor’s possession. After
a time, on being requested to return them, he replied that he had
destroyed them—‘How else do you think I could do my work if I litter my
house with such?’—and offered by way of compensation to have as many
proofs pulled as his disconsolate correspondent might desire.
[53] Di Pa was the pet name Ruskin bore at that time in his immediate
family circle.
[54] ‘Venus, Mistress of the World’—one of the series of allegorical
subjects by Giovanni Bellini in the Academy of Fine Arts in Venice.
[55] These comprised designs from the _Almanack_ for 1884, and
drawings from _Marigold Garden_, the _Language of Flowers_, and _Little
Ann_.
[56] Reproduced as end-papers of this volume.
[57] It will be remembered that although Marie Bashkirtseff was given
out to be thirteen the facts in the book prove that she was four years
older.
[58] Held at the New Gallery, London.
[59] From the Hampton Court Collection.
[60] Lent by Louisa Lady Ashburton. The ‘beautiful lady’s name’ is
unknown.
[61] _The Wonderful Visit_, by H. G. Wells (1895).
[62] Robert Anning Bell, R.W.S.
[63] Miss Greenaway raised the point again later on with one of the
present writers, and was vastly interested to learn that Ruskin, as
she suspected, is presented as ‘Mr. Herbert,’ Huxley as ‘Storks,’
Tyndall as ‘Stockton,’ Jowett as ‘Jenkinson,’ Kingdon Clifford as
‘Saunders,’ Carlyle as ‘Donald Gordon,’ Matthew Arnold as ‘Luke,’ Pater
as ‘Rose,’ and Hardinge as ‘Leslie,’ while Lady Dilke is ‘Lady Grace’
and Mrs. Singleton ‘Mrs. Sinclair.’ ‘Then who is Lawrence?’ asked Miss
Greenaway. ‘Mallock himself.’ ‘Ah!’ she replied,’ that settles it; I
don’t like him.’
[64] By H. G. Wells.
[65] Mr. Stuart M. Samuel, M.P.
[66] By J. W. Waterhouse, R.A.
[67] Byam Shaw.
[68] An exhibition of the works of painters who had flourished during
Queen Victoria’s reign, held at the Guildhall Art Gallery.
[69] ‘An Idyll, 1745.’
[70] ‘The Proscribed Royalist.’
[71] ‘May Morning on Magdalen Tower,’ Oxford.
[72] The net profit to Miss Greenaway was £645. The most important
pictures sold were ‘Little Girl with Tea Rose’ (35 guineas), ‘Going to
School’ (35 guineas), ‘Betty’ (35 guineas),’Girl in Pink and Black—Grey
Muff’ (60 guineas), ‘Little Girl in Scarlet Coat and Tippet’ (35
guineas), ‘A Girl in Hat and Feathers’ (45 guineas), ‘Thoughts of the
Sea’ (35 guineas), ‘Two Girls in a Garden’ (35 guineas), ‘Lilies’ (35
guineas), and ‘Baby Boy in Blue Coat and Tippet’ (35 guineas).
[73] By George du Maurier.
[74] She here refers to Millais’ ‘Rescue,’ of which Ruskin had written
in 1855: ‘The only _great_ picture exhibited this year; but this is
_very_ great. The immortal element is in it to the full.’
[75] Apparently, Luini’s ‘St. Catherine.’
[76] First volume published in 1843, edited by Douglas Jerrold, and
written and illustrated by some of the most brilliant authors and
artists of the day.
[77] Published by Mr. Austin Dobson in his delightful article on Kate
Greenaway in the _Art Journal_, and written by him, on the 29th January
1902, in the Album of Mr. Ernest G. Brown, and here printed by consent
of both gentlemen.
[78] See p. 254.
[79] _The History of Modern Painting_, vol. iii. p. 137.
[80] The _Journal des Débats_.
[81] So true is it that ‘Greenawisme’ stands for a phase of art and
dress, that in that entertaining publication, the _Almanac Hachette_
for 1904 (p. 329), under the heading ‘L’Histoire du Costume des
Enfants,’ the ‘Coiffure Greeneway’ (_sic_) takes its place in the
series of woodcuts immediately preceding ‘la jupe cloche fin du xix^e
siècle’; and many more examples might be adduced.
[82] To consult the drawings mentioned see the Index of Illustrations.
[83] Translated by J. Levoison. The German version, _Am Fester_, was
translated by Frau Käthe Freiligrath-Kröker.