,,english ,,book-,,illustration ,,of ,,to-,,day ,english ,book-,illustration of ,to-day ,,appreciations ,,of ,,the ,,work ,,of ,,living ,,english ,,illustrators ,,with ,,lists ,,of ,,their ,,books ,,by ,r4 ,e4 ,d4 ,,sketchley ,,with ,,an ,,introduction ,,by ,,alfred ,w4 ,,pollard ,illustration ,,london ,,kegan ,,paul1 ,,trench1 ,t,r,ue,b,n,e,r ,,and ,,co41 ,,ltd4 ,,paternoster ,,house1 ,,charing ,,cross ,,road1 ,w4,c4 #aijc ,,chiswick ,,press3 ,,charles ,,whittingham ,,and ,,co4 ,,tooks ,,court1 ,,chancery ,,lane1 ,,london4 ,,note4 ,the four articles and bibliographies contained in this volume originally appeared in ,the ,library4 ,in connection with the bibliographies1 ,i desire to express cordial thanks to the authorities and attendants of the ,british ,museum1 without whose courtesy and aid1 extending over many weeks1 it would have been impossible to bring together the particulars4 ,most of the artists1 too1 have kindly checked and supplemented the entries relating to their work1 but even with the help given me ,i cannot hope to have produced exhaustive lists4 ,my thanks are due to the publishers with whom arrangements have been made for the use of blocks4 ,r4 ,e4 ,d4 ,,sketchley4 ,,contents4 ,,page ,,note v ,,introduction xi ,i4 ,,some ,,decorative ,,illustrators #a ,,ii4 ,,some ,,open-,,air ,,illustrators #cj ,,iii4 ,,some ,,character ,,illustrators #ef ,,iv4 ,,some ,,children',s-,,books ,,illustrators #id ,,bibliographies4 ,i4 ,,some ,,decorative ,,illustrators #aba ,,ii4 ,,some ,,open-,,air ,,illustrators #acb ,,iii4 ,,some ,,character ,,illustrators #add ,,iv4 ,,some ,,children',s ,,books ,,illustrators #aeh ,,index ,,of ,,artists #agd ,,list ,,of ,,illustrations ,,from ,,page ,les ,quinze ,joies de ,mariage xii ,the ,dialogus ,creaturarum xiii ,a ,venetian ,chapbook xvii ,the ,rappresentazione di un ,miracolo del ,corpo di ,gesu xviii ,the ,rappresentazione di ,s4 ,cristina xix ,la ,nencia da ,barberino xxi ,the ,storia di ,ippolito ,buondelmonti e ,dianora ,bardi xxii ,ingold's ,guldin ,spiel xxiv ,the ,malermi ,bible xxv ,a ,french ,book of ,hours xxvii ,,from ,,by ,a ,farm in ,fairyland4 ,laurence ,housman xxx ,grimm's ,household ,stories4 ,walter ,crane #e ,undine4 ,heywood ,sumner #g ,keats' ,poems4 ,r4 ,anning ,bell #i ,stories and ,fairy ,tales4 ,a4 ,j4 ,gaskin #aa ,the ,field of ,clover4 ,laurence ,housman #bj and #ba ,cupide and ,psyches4 ,charles ,ricketts #bb ,daphnis and ,chloe4 ,charles ,ricketts and ,c4 ,h4 ,shannon #bc ,the ,centaur4 ,t4 ,sturge ,moore #be ,royal ,edinburgh4 ,sir ,george ,reid facing #ce ,the ,warwickshire ,avon4 ,alfred ,parsons #cg ,the ,cinque ,ports4 ,william ,hyde #db ,italian ,journeys4 ,joseph ,pennell facing #de ,the ,holyhead ,road4 ,c4 ,g4 ,harper #di ,the ,formal ,garden4 ,f4 ,inigo ,thomas #ea ,the ,natural ,history of ,selborne4 ,e4 ,h4 ,new #ec ,british ,deer and their ,horns4 ,j4 ,g4 ,millais #ee ,death and the ,ploughman's ,wife4 ,william ,strang #fa ,the ,bride of ,lammermoor4 ,fred ,pegram #ga ,shirley4 ,f4 ,h4 ,townsend #gc ,the ,heart of ,midlothian4 ,claude ,a4 ,shepperson #ge ,the ,school for ,scandal4 ,e4 ,j4 ,sullivan #gh ,the ,ballad of ,beau ,brocade4 ,hugh ,thomson #hb ,the ,essays of ,elia4 ,c4 ,e4 ,brock #he ,the ,talk of the ,town4 ,sir ,harry ,furniss #hi ,hermy4 ,lewis ,baumer #ajj ,to tell the ,king the ,sky is falling4 ,alice ,b4 ,woodward #aje ,fairy ,tales of the ,brothers ,grimm4 ,arthur ,rackham #aji ,indian ,fairy ,tales4 ,j4 ,d4 ,batten #aaa ,the ,pink ,fairy ,book4 ,h4 ,j4 ,ford #aac ,fairy ,tales by ,q4 ,h4 ,r4 ,millar #aae ,,introduction4 ,,some ,,present-,,day ,,lessons ,,from ,,old ,,woodcuts4 ,,by ,,alfred ,w4 ,,pollard4 ,,some explanation seems needed for the intrusion of a talk about the woodcuts of the fifteenth century into a book dealing with the work of the illustrators of our own day1 and the explanation1 though no doubt discreditable1 is simple enough4 ,it was to a mere bibliographer that the idea occurred that lists of contemporary illustrated books1 with estimates of the work found in them1 might form a useful record of the state of ,english book-illustration at the end of a century in which for the first time 7if we stretch the century a little so as to include ,bewick7 it had competed on equal terms with the work of foreign artists4 ,fortunately the bibliographer's scanty leisure was already heavily mortgaged1 and so the idea was transferred to a special student of the subject1 much better equipped for the task4 ,but partly for the pleasure of keeping a finger in an interesting pie1 partly because there was a fine hobby-horse waiting to be mounted1 the bibliographer bargained that he should be allowed to write an introduction in which his hobby should have free play1 and the reader1 who has got a much better book than he was intended to have1 must acquiesce in this meddling1 or resort to his natural rights and skip4 ,illustration3 ,,from ',,les ,,quinze ,,joies ,,de ,,mariage1' ,,paris1 ,,treperel1 ,c4 #aejj4 ,it is well to ride a hobby with at least a semblance of moderation1 and the thesis which this introduction is written to maintain does not assert that the woodcuts of the fifteenth century are better than the illustrations of the present day1 only that our modern artists1 if they will condescend1 may learn some useful lessons from them4 ,at the outset it may frankly be owned that the range of the earliest illustrators was limited4 ,they had no landscape art1 no such out-of-door illustrations as those which furnish the subject for one of ,miss ,sketchley's most interesting chapters4 ,again1 they had little humour1 at least of the voluntary kind1 though this was hardly their own fault1 for as the admission is made the thought at once follows it that of all the many deficiencies of fifteenth-century literature the lack of humour is one of the most striking4 ,the rough horseplay of the ,life of ,aesop prefixed to editions of the ,fables can hardly be counted an exception2 the wit combats of ,solomon and ,marcolphus produced no more than a title-cut showing king and clown1 and outside the ',dialogus ,creaturarum' ,i can think of only a single valid exception1 itself rather satirical than funny1 this curious picture of a family on the move from a ,french treatise on the ,joys of ,marriage4 ,on the ',dialogus' itself it seems fair to lay some stress1 for surely the picture here shown of the ,lion and the ,hare who applied for the post of his secretary may well encourage us to believe that in two other departments of illustration from which also they were shut out1 those of ,caricature 7for which we must go back to thirteenth-century prayer-books7 and ,christmas ,books for ,children1 the fifteenth-century artist would have made no mean mark4 ,it is1 indeed1 our ,children's ,gift-,books that come nearest both to his feeling and his style4 ,illustration3 ,,from ,,the ',,dialogus ,,creaturarum4' ,,gouda1 #adhj4 ,what remains for us here to consider is the achievement of the early designers and woodcutters in the field of ,decorative and ,character ,illustrations with which ,miss ,sketchley deals in her first and third chapters4 ,here the first point to be made is that by an invention of the last twenty years they are brought nearer to the possible work of our own day than to that of any previous time4 ,it has been often enough pointed out that1 not from preference1 but from inability to devise any better plan1 the art of woodcut illustration began on wholly wrong lines4 ,starting1 as was inevitable1 from the colour-work of illuminated manuscripts1 the illustrators could think of no other means of simplification than the reduction of pictures to their outlines4 ,with a piece of plank cut1 not across the grain of the wood1 but with it1 as his material1 and a sharp knife and1 perhaps1 a gouge as his only tools1 the woodcutter had to reproduce these outlines as best he could1 and it is little to be wondered at if his lines were often scratchy and angular1 and many a good design was deplorably ill handled4 ,after a time1 soft metal1 presumably pewter1 was used as an alternative to wood1 and perhaps1 though probably slower1 was a little easier to work successfully4 ,but save in some ,florentine pictures and a few designs by ,geoffroy ,tory1 the craftsman's work was not to cut the lines which the artist had drawn1 but to cut away everything else4 ,this inverted method of work continued after the invention of crosshatching to represent shading1 and was undoubtedly the cause of the rapid supersession of woodcuts by copper engravings during the sixteenth century1 the more natural method of work compensating for the trouble caused when the illustrations no longer stood in relief like the type1 but had to be printed as incised plates1 either on separate leaves1 or by passing the sheet through a different press4 ,the eighteenth-century invention of wood-engraving as opposed to woodcutting once again caused pictures and text to be printed together1 and the amazing dexterity of successive schools of wood-engravers enabled them to produce1 though at the cost of immense labour1 work which seemed to compete on equal terms with engravings on copper4 ,at its best the wood-engraving of the nineteenth century was almost miraculously good2 at its worst1 in the wood-engravings of commerce--the wood-engravings of the weekly papers1 for which the artist's drawing might come in on a ,tuesday1 to be cut up into little squares and worked on all night as well as all day1 in the engravers' shops--it was unequivocally and deplorably1 but hardly surprisingly1 bad4 ,upon this strange medley of the miraculously good and the excusably horrid came the invention of the process line-block1 and the problem which had baffled so many fifteenth-century woodcutters1 of how to preserve the beauty of simple outlines was solved at a single stroke4 ,have our modern artists made anything like adequate use of this excellent invention8 ,my own answer would be that they have used it1 skilfully enough1 to save themselves trouble1 but that its artistic possibilities have been allowed to remain almost unexplored4 ,as for the trouble-saving--and trouble-saving is not only legitimate but commendable--the photographer's camera is the most obliging of craftsmen4 ,only leave your work fairly open and you may draw on as large a scale and with as coarse lines as you please1 and the camera will photograph it down for you to the exact space the illustration has to fill and will win you undeserved credit for delicacy and fineness of touch as well4 ,thus to save trouble is well1 but to produce beautiful work is better1 and what use has been made of the fidelity with which beautiful and gracious line can now be reproduced8 ,the caricaturists1 it is true1 have seen their opportunity4 ,cleverness could hardly be carried further than it is by ,mr4 ,phil ,may1 and a caricaturist of another sort1 the late ,mr4 ,aubrey ,beardsley1 degenerate and despicable as was almost every figure he drew1 yet saw and used the possibilities which artists of happier temperament have neglected4 ,with all the disadvantages under which they laboured in the reproduction of fine line the craftsmen of ,venice and ,florence essayed and achieved more than this4 ,witness the fine rendering into pure line of a picture by ,gentile ,bellini of a tall preacher preceded by his little crossbearer in the ',doctrina' of ,lorenzo ,giustiniano printed at ,venice in #adid1 or again the impressiveness1 surviving even its little touch of the grotesque1 of this armed warrior kneeling at the feet of a pope1 which ,i have unearthed from a favourite volume of ,venetian chapbooks at the ,british ,museum4 ,a ,florentine picture of ,jacopone da ,todi on his knees before a vision of the ,blessed ,virgin 7from ,bonacorsi's edition of his ',laude1' #adij7 gives another instance of what can be done by simple line in a different style4 ,we have yet other examples in many of the illustrations to the famous romance1 the ',hypnerotomachia ,poliphili1' printed at ,venice in #adii4 ,of similar cuts on a much smaller scale1 a specimen will be given later4 ,here1 lest anyone should despise these fifteenth-century efforts1 ,i would once more recall the fact that at the time they were made the execution of such woodcuts required the greatest possible dexterity1 in cutting away on each side so as to leave the line as the artist drew it with any semblance of its original grace4 ,in many illustrated books which have come down to us what must have been beautiful designs have been completely spoilt1 rendered even grotesque1 by the fine curves of the drawing being translated into scratchy angularities4 ,but draw he never so finely no artist nowadays need fear that his work will be made scratchy or angular by photographic process4 ,it is only when he crowds lines together1 from inability to work simply1 that the process block aggravates his defects4 ,illustration3 ,la ,lega ,facta ,nouamente a ,morte e ,destructione de li ,franzosi suoi ,seguaci4 ,,venice4 ,c4 #aejj4 ,illustration3 ,,from ,,the ,,rappresentazione ,,di ,,un ,,miracolo ,,del ,,corpo ,,di ,,gesu1 #aegb4 ,,jac4 ,,chiti4 ,illustration3 ,,from ,,the ,,rappresentazione ,,di ,s4 ,,cristina1 #aeee4 ,i pass on to another point as to which ,i think the ,florentine woodcutters have something to teach us4 ,if we put pictures into our books1 why should not the pictures be framed8 ,a hard single line round the edge of a woodcut is a poor set-off to it1 often conflicting with the lines in the picture itself1 and sometimes insufficiently emphatic as a frame to make us acquiesce in what seems a mere cutting away a portion from a larger whole4 ,our ,florentine friends knew better4 ,here 7pp4 xiv-xv71 for instance1 are two scenes1 from some unidentified romance1 which in #aegb and #aeee respectively 7by which time they must have been about fifty and sixty years old7 appeared in ,florentine religious chapbooks1 with which they have nothing to do4 ,the little borders are simple enough1 but they are sufficiently heavy to carry off the blacks which the artist 7according to what is the true method of woodcutting7 has left in his picture1 and we are much less inclined to grumble at the window being cut in two than we should be if the cut were made by a simple line instead of quite firmly and with determination by a frame4 ,illustration3 ,,from ,,lorenzo ,,de' ,,medici',s ,,la ,,nencia ,,da ,,barberino1 ,s4,a4 ,i have given these two ,florentine cuts1 much the worse for wear though they be1 with peculiar pleasure1 because ,i take them to be the exact equivalents of the pictures in our illustrated novels of the present day of which ,miss ,sketchley gives several examples in her third paper4 ,they are good examples of what may be called the diffused characterization in which our modern illustrators excel4 ,every single figure is good and has its own individuality1 but there is no attempt to illustrate a central character at a decisive moment4 ,decisive moments1 it may be objected1 do not occur 7except for epicures7 at polite dinner parties1 or during the 'mauvais quart d'heure1' which might very well be the subject of our first picture4 ,but it seems to me that modern illustrators often deliberately shun decisive moments1 preferring to illustrate their characters in more ordinary moods1 and perhaps the ,florentines did this also4 ,where the illustrator is not a great artist the discretion is no doubt a wise one4 ,what for instance could be more charming1 more completely successful than this little picture of a messenger bringing a lady a flower1 no doubt with a pleasing message with it8 ,in our next cut the artist has been much more ambitious4 ,preceded by soldiers with their long spears1 followed by the hideously masked ',battuti' who ministered to the condemned1 ,ippolito is being led to execution4 ,as he passes her door1 ,dianora flings herself on him in a last embrace4 ,the lady's attitude is good1 but the woodcutter1 alas1 has made the lover look merely bored4 ,in book-illustration1 as in life1 who would avoid failure must know his limitations4 ,illustration3 ,,from ,,the ,,storia ,,di ,,ippolito ,,buondelmonti ,e ,,dianora ,,bardi1 ,s4,a4 ,whatever shortcomings these ,florentine pictures may have in themselves1 or whatever they may lose when examined by eyes only accustomed to modern work1 ,i hope that it will be conceded that as character-illustrations they are far from being despicable4 ,nevertheless the true home of character-illustration in the fifteenth century was rather in ,germany than in ,italy4 ,inferior to the ,italian craftsmen in delicacy and in producing a general impression of grace 7partly1 perhaps1 because their work was intended to be printed in conjunction with far heavier type7 the ,german artists and woodcutters often showed extraordinary power in rendering facial expression4 ,my favourite example of this is a little picture from the ',de ,claris ,mulieribus' of ,boccaccio printed at ,ulm in #adgc1 on one side of which the ,roman general ,scipio is shown with uplifted finger bidding the craven ,massinissa put away his ,carthaginian wife1 while on the other ,sophonisba is watched by a horror-stricken messenger as she drains the poison her husband sends her4 ,but there is a naivete about the figure of ,scipio which has frequently provoked laughter from audiences at lantern-lectures1 so my readers must look up this illustration for themselves at the ,british ,museum1 or elsewhere4 ,i fall back on a picture of a card-party from a ',guldin ,spiel' printed at ,augsburg in #adgb1 in which the hesitation of the woman whose turn it is to play1 the rather supercilious interest of her vis-a-vis1 and the calm confidence of the third hand1 not only ready to play his best1 but sure that his best will be good enough1 are all shown with absolute simplicity1 but in a really masterly manner4 ,facial expression such as this in modern work seems entirely confined to children's books and caricature1 but one would sacrifice a good deal of our modern prettiness for a few more touches of it4 ,illustration3 ,,from ,,ingold',s ',,guldin ,,spiel4' ,,augsburg1 #adgb4 ,the last point to which ,i would draw attention is that a good deal more use might be made of quite small illustrations4 ,the full-pagers are1 no doubt1 impressive and dignified1 but ,i always seem to see written on the back of them the artist's contract to supply so many drawings of such and such size at so many guineas apiece1 and to hear him groaning as he runs through his text trying to pick out the full complement of subjects4 ,the little sketch is more popular in ,france than in ,england1 and there is a suggestion of joyous freedom about it which is very captivating4 ,such small pictures did not suit the rather heavy touch of the ,german woodcutters2 in ,italy they were much more popular4 ,at ,venice a whole series of large folio books were illustrated in this way in the last decade of the fifteenth century1 two editions of ,malermi's translation of the ,bible1 ,lives of the ,saints1 an ,italian ,livy1 the ,decamerone of ,boccaccio1 the ,novels of ,masuccio1 and other works1 all in the vernacular4 ,at ,ferrara1 under ,venetian influence1 an edition of the ,epistles of ,s4 ,jerome was printed in #adig1 with upwards of one hundred and eighty such little cuts1 many of them illustrating incidents of monastic life4 ,both at ,venice and ,ferrara the cuts are mainly in outline1 and when they are well cut and two or three come together on a page the effect is delightful4 ,in ,france the vogue of the small cut took a very special form4 ,by far the most famous series of early ,french illustrated books is that of the ,hours of the ,blessed ,virgin 7with which went other devotions1 making fairly complete prayer-books for lay use71 which were at their best for some fifteen years reckoning from #adhh4 ,these ,hour-,books usually contained some fifteen large illustrations1 but their most notable features are to be found in the borders which surround every page4 ,on the outer and lower margins these borders are as a rule about an inch broad1 sometimes more1 so that they can hold four or five little pictures of about an inch by an inch and a half on the outer margin1 and one rather larger one at the foot of the page4 ,the variety of the pictures designed to fill these spaces is almost endless4 ,figures of the ,saints and their emblems and illustrations of the games or occupations suited to each month fill the margins of the ,calendar4 ,to surround the text of the book there is a long series of pictures of incidents in the life of ,christ1 with parallel scenes from the ,old ,testament1 scenes from the lives of ,joseph and ,job1 representations of the ,virtues1 the ,deadly ,sins being overcome by the contrary graces1 the ,dance of ,death1 and for pleasant relief woodland and pastoral scenes and even grotesques4 ,the popularity of these prayer-books was enormous1 new editions being printed almost every month1 with the result that the illustrations were soon worn out and had frequently to be replaced4 ,i have often wished1 if only for the sake of small children in sermon time1 that our ,english prayer-books could be similarly illustrated4 ,an attempt to do this was made in the middle of the last century1 but it was pretentious and unsuccessful4 ,the great difficulty in the way of a new essay lies in the popularity of very small prayer-books1 with so little margin and printed on such thin paper as hardly to admit of border cuts4 ,the difficulty is real1 but should not be insuperable1 and ,i hope that some bold illustrator may soon try his hand afresh4 ,illustration3 ,,from ,,the ,,malermi ,,bible4 ,,venice1 ,,giunta1 #adij4 ,illustration3 ,,from ,a ,,french ,,book ,,of ,,hours4 ,,paris1 ,,kerver1 #adih4 ,i should not be candid if ,i closed this paper without admitting that my fifteenth-century friends anticipated modern publishers in one of their worst faults1 the dragging in illustrations where they are not wanted4 ,in the fifteenth century the same cuts were repeated over and over again in the same book to serve for different subjects4 ,modern publishers are not so simple-hearted as this1 but they add to the cost of their books by unpleasant half-tone reproductions of unnecessary portraits and views1 and ,i do not think that book-buyers are in the least grateful to them4 ,miss ,sketchley1 ,i am glad to see1 has not concerned herself with illustrators whose designs require to be produced by the half-tone process4 ,to condemn this process unreservedly would be absurd4 ,it gives us illustrations which are really needed for the understanding of the text when they could hardly be produced in any other way1 and while it does this it must be tolerated4 ,but by necessitating the use of heavily-loaded paper--unpleasant to the touch1 heavy in the hand1 doomed1 unless all the chemists are wrong1 speedily to rot--it is the greatest danger to the excellence of our ,english book-work which has at present to be faced1 while by wearying readers with endless mechanically produced pictures it is injurious also to the best interests of artistic illustration4 ,illustration3 ,,from ,,mr4 ,,housman',s ,a ,,farm ,,in ,,fairyland4 ,,by ,,leave ,,of ,,messrs4 ,,kegan ,,paul4 ,,english ,,book-,,illustration ,,of ,,to-,,day4 ,i4 ,,some ,,decorative ,,illustrators4 ,,of the famous ',poems by ,alfred ,tennyson1' published in #aheg by ,edward ,moxon1 ,mr4 ,gleeson ,white wrote in #ahig3 ',the whole modern school of decorative illustrators regard it1 rightly enough1 as the genesis of the modern movement4' ,the statement may need some modification to touch exact truth1 for the 'modern movement' is no single-file1 straightforward movement4 ',kelmscott1' ',japan1' the ',yellow ,book1' black-and-white art in ,germany1 in ,france1 in ,spain1 in ,america1 the influence of ,blake1 the style of artists such as ,walter ,crane1 have affected the present form of decorative book-illustration4 ,such perfect unanimity of opinion as is here ascribed to a large and rather indefinitely related body of men hardly exists among even the smallest and most derided body of artists4 ,still1 allowing for the impossibility of telling the whole truth about any modern and eclectic form of art in one sentence1 there is here a statement of fact4 ,what ,rossetti and ,millais and ,holman ,hunt achieved in the drawings to the ',tennyson' of #aheg1 was a vital change in the intention of ,english illustrative art1 and whatever form decorative illustration may assume1 their ideal is effective while a personal interpretation of the spirit of the text is the creative impulse4 ,the influence of technical mastery is strong and enduring enough4 ,it is constantly in sight and constantly in mind4 ,but it is in discovering and making evident a principle in art that the influence of spirit on spirit becomes one of the illimitable powers4 ,to ,rossetti the illustration of literature meant giving beautiful form to the expression of delight1 of penetration1 that had kindled his imagination as he read4 ,he illustrated the ',palace of ,art' in the spirit that stirred him to rhythmic translation into words of the still music in ,giorgione's ',pastoral1' or of the unpassing movement of ,mantegna's ',parnassus4' ,not the words of the text1 nor those things precisely affirmed by the writer1 but the spell of significance and of beauty that held his mind to the exclusion of other images1 gave him inspiration for his drawings4 ,as ,mr4 ,william ,michael ,rossetti says3 ',he drew just what he chose1 taking from his author's text nothing more than a hint and an opportunity4' ,it is said1 indeed1 that ,tennyson could never see what the ,st4 ,cecily drawing had to do with his poem4 ,and that is strange enough to be true4 ,it is clear that such an ideal of illustration is for the attainment of a few only4 ,the ordinary illustrator1 making drawings for cheap reproduction in the ordinary book1 can no more work in this mood than the journalist can model his style on the prose of ,milton4 ,but journalism is not literature1 and pictured matter-of-fact is not illustration1 though it is convenient and customary to call it so4 ,however1 here one need not consider this1 for the decorative illustrator has usually literature to illustrate1 and a commission to be beautiful and imaginative in his work4 ,he has the opportunity of ,rossetti1 the opportunity for significant art4 ,the ',classics' and children's books give greatest opportunity to decorative illustrators4 ,those who have illustrated children's books chiefly1 or whose best work has been for the playful classics of literature1 it is convenient to consider in a separate chapter1 though there are instances where the division is not maintainable3 ,walter ,crane1 for example1 whose influence on a school of decorative design makes his position at the head of his following imperative4 ,representing the 'architectural' sense in the decoration of books1 many years before the supreme achievements of ,william ,morris added that ideal to generally recognized motives of book-decoration1 ,walter ,crane is the precursor of a large and prolific school of decorative illustrators4 ,many factors1 as he himself tells1 have gone to the shaping of his art4 ,born in #ahdf at ,liverpool1 he came to ,london in #aheg1 and there after two years was 'apprenticed' to ,mr4 ,w4 ,j4 ,linton1 the well-known wood-engraver4 ,his work began with 'the sixties1' in contact with the enthusiasm and inspiration those years brought into ,english art4 ,the illustrated ',tennyson1' and ,ruskin's ',elements of ,drawing1' were in his thoughts before he entered ,mr4 ,linton's workshop1 and the ',once a ,week' school had a strong influence on his early contributions to ',good ,words1' ',once a ,week1' and other famous magazines4 ,in #ahfe ,messrs4 ,warne published the first toy-book1 and by #ahfi-gj the ',walter ,crane ,toy-book' was a fact in art4 ,the sight of some ,japanese colour-prints during these years suggested a finer decorative quality to be obtained with tint and outline1 and in the use of black1 as well as in a more delicate simplicity of colour1 the later toy-books show the first effect of ,japanese art on the decorative art of ,england4 ,italian art in ,england and ,italy1 the prints of ,duerer1 the ,parthenon sculptures1 these were influences that affected him strongly4 ',the ,baby's ,opera' 7#ahgg7 and ',the ,baby's ,bouquet' 7#ahgi7 are classics almost impossible to criticise1 classics familiar from cover to cover before one was aware of any art but the art on their pages4 ,so that if these delightful designs seem less expressive of the ,greece1 ,germany1 and ,italy of the supreme artists than of the ',crane' countries by whose coasts ships 'from over the sea' go sailing by with strange cargoes and strange crews1 it is not in their dispraise4 ,as a decorative draughtsman ,mr4 ,crane is at his best when the use of colour gives clearness to the composition1 but some of his most 'serious' work is in the black-and-white pages of ',the ,sirens ,three1' of ',the ,shepheardes ,calendar1' and especially of ',the ,faerie ,queene4' ,the number of books he has illustrated--upwards of seventy--makes a detailed account impossible4 ,nursery rhyme and fairy books1 children's stories1 ,spenser1 ,shakespeare1 the myths of ,greece1 'pageant books' such as ',flora's ,feast' or ',queen ,summer1' or the just published ',masque of ,days1' his own writings1 serious or gay1 have given him subjects1 as the great art of all times has touched the ideals of his art4 ,illustration3 ,,from ,,mr4 ,,walter ,,crane',s ',,grimm',s ,,household ,,stories4' ,,by ,,leave ,,of ,,messrs4 ,,macmillan4 ,but whatever the subject1 how strong soever his artistic admirations1 he is always ,walter ,crane1 unmistakable at a glance4 ,knights and ladies1 fairies and fairy people1 allegorical figures1 nursery and school-room children1 fulfil his decorative purpose without swerving1 though not always without injury to their comfort and freedom and the life in their limbs4 ,an individual apprehension that sees every situation as a conventional 'arrangement' is occasionally beside the mark in rendering real life4 ,but when his theme touches imagination1 and is not a supreme expression of it--for then1 as in the illustrations to ',the ,faerie ,queene1' an unusual sense of subservience appears to dull his spirit--his humorous fancy knows no weariness nor sameness of device4 ,the work of most of ,mr4 ,crane's followers belongs to 'the nineties1' when the ',arts and ,crafts' movement1 the ',century ,guild1' the ,birmingham and other schools had attracted or produced artists working according to the canons of ,kelmscott4 ,mr4 ,heywood ,sumner was earlier in the field4 ,the drawings to ',sintram' 7#ahhc7 and to ',undine' 7#ahhh7 show his art as an illustrator4 ,undine--spirit of wind and water1 flower-like in gladness--seeking to win an immortal soul by submission to the forms of life1 is realized in the gracefully designed figures of frontispiece and title-page4 ,where ,mr4 ,sumner illustrates incident he is 'factual' without being matter-of-fact4 ,the small drawing reproduced is hardly representative of his art1 but most of his work is adapted to a squarer page than this1 and has had to be rejected on that account4 ,some of the most apt decorations in ',the ,english ,illustrated' were by ,mr4 ,sumner1 and during the time when art was represented in the magazine ,mr4 ,ryland and ,mr4 ,louis ,davis were also frequent contributors4 ,the graceful figures of ,mr4 ,ryland1 uninterested in activity1 a garden-world set with statues around them1 and the carol-like grace of ,mr4 ,davis's designs in that magazine1 represent them better than the one or two books they have illustrated4 ,illustration3 ,,from ,,mr4 ,,heywood ,,sumner',s ',,undine4' ,,by ,,leave ,,of ,,messrs4 ,,chapman ,,and ,,hall4 ,among those associated with the ',arts and ,crafts' who have given more of their art to book-decoration1 ,mr4 ,anning ,bell is first4 ,he has gained the approval even of the most exigent of critics as an artist who understands drawing for process4 ,since #ahie1 when the ',midsummer ,night's ,dream' appeared1 his winning art has been praised with discrimination and without discrimination1 but always praised4 ,trained in an architect's office1 widely known as the recreator of coloured relief for architectural decoration1 ,mr4 ,anning ,bell's illustrations show constructive power no less than that fairy gift of seeming to improvise without labour and without hesitancy1 which is one of its especial charms4 ,in feeling1 and in many of his decorative forms1 his drawings recall the art of ,florentine bas-relief1 when ,agostino di ,duccio1 or ,rossellino or ,mino da ,fiesole1 created shapes of delicate sweetness1 pure1 graceful--so graceful that their power is hardly realized4 ,the fairy by-play of the ',midsummer ,night's ,dream' is exactly to ,mr4 ,anning ,bell's fancy4 ,he knows better than to go about to expound this dream1 and it is not likely that a more delightful edition will ever be put into the hands of children1 or of anyone1 than this in the white and gold cover devised by the artist4 ,of his illustrations to the ',poems by ,john ,keats' 7#ahig71 and to the ',english ,lyrics from ,spenser to ,milton' of the following year--as illustrations--not quite so much can be said1 distinguished and felicitous as many of them are4 ,the simple profile1 the demure type of beauty that he affects1 hardly suit with ,isabella when she hears that ,lorenzo has gone from her1 with ,lamia by the clear pool ,wherein she passioned ,to see herself escaped from so sore ills1 or with ,madeline1 ',st4 ,agnes' charmed maid4' ,mr4 ,anning ,bell's drawings to ',the ,pilgrim's ,progress' 7#ahih7 reveal him in a different mood1 as do those in ',the ,christian ,year' of three years earlier4 ,his vision is hardly energetic enough1 his energy of belief sufficient1 to make him a strong illustrator of ,bunyan1 with his many moods1 his great mood4 ,a little these designs suggest ,howard ,pyle1 and ,anning ,bell is better in a way of beauty not ,gothic4 ,illustration3 ,,from ,,mr4 ,,anning ,,bell',s ',,keats4' ,,by ,,leave ,,of ,,messrs4 ,,george ,,bell4 ,so if ,mr4 ,anning ,bell represents the ',arts and ,crafts' movement in the variety of decorative arts he has practised1 and in the architectural sense underlying all his art1 his work does not agree with the form in which the influence of ,william ,morris on decorative illustration has chiefly shown itself4 ,that form1 of course1 is ,gothic1 as the ideal of ,kelmscott was ,gothic4 ,the work of the ',century ,guild' artists as decorative illustrators is chiefly in the pages of ',the ,hobby ,horse4' ,mr4 ,selwyn ,image and ,mr4 ,herbert ,horne can hardly be included among book illustrators1 so in this connection one may not stop to consider the decorative strength of their ideal in art4 ,the ,birmingham school represents ,gothic ideals with determination and rigidity4 ,morris addressed the students of the school and prefaced the edition of ',good ,king ,wenceslas1' decorated and engraved and printed by ,mr4 ,a4 ,j4 ,gaskin 'at the press of the ,guild of ,handicraft in the ,city of ,birmingham1' with cordial words of appreciation for the pictures4 ,these illustrations are among the best ,mr4 ,gaskin has done4 ,the commission for twelve full-page drawings to ',the ,shepheardes ,calendar' 7,kelmscott ,press1 #ahif7 marks ,morris's pleasure in ,mr4 ,gaskin's work--especially in the illustrations to ,andersen's ',stories and ,fairy ,tales4' ,if not quite in tune with ,spenser's ,elizabethan idyllism1 these drawings are distinctive of the definite convictions of the artist4 ,illustration3 ,,from ,,mr4 ,,gaskin',s ',,hans ,,andersen4' ,,by ,,leave ,,of ,,mr4 ,,george ,,allen4 ,these convictions represent a splendid tradition4 ,they are expressive1 in their regard for the unity of the page1 for harmony between type and decoration1 of the universal truth in all fine bookmaking4 ,only at times1 ,birmingham work seems rather heavy in spirit1 rather too rigid for development4 ,still1 judging by results1 a code that would appear to be against individual expression is inspiring individual artists4 ,some of these--as ,mr4 ,e4 ,h4 ,new--have turned their attention to architectural and 'open-air' illustration1 in which connection their work will be considered1 and many have illustrated children's books4 ,their quaint and naive fancy has there1 at times1 produced a portentous embodiment of the 'old-fashioned' child of fiction4 ,mr4 ,gere1 though he has done little book-illustration1 is one of the strongest artists of the school4 ,his original wood engravings show unmistakably his decorative power and his craftsmanship4 ,with ,mr4 ,k4 ,fairfax ,muckley he was responsible for ',the ,quest' 7#ahid-if74 ,mr4 ,fairfax ,muckley has illustrated and decorated a three-volume edition of ',the ,faerie ,queene' 7#ahig71 wherein the forest branches and winding ways of woodland and of plain are more happily conventionalized than are ,spenser's figures4 ,some of the headpieces are especially successful4 ,the artist uses the 'mixed convention' of solid black and line with less confusion than many modern draughtsmen4 ,once its dangers must have been evident1 but now the puzzle pattern1 with solid blacks in the foreground1 background1 and mid-distance--only there is no distance in these drawings--is a common form of black and white4 ,miss ,celia ,levetus1 ,mr4 ,henry ,payne1 ,mr4 ,f4 ,mason1 and ,mr4 ,bernard ,sleigh1 are also to the credit of the school4 ,miss ,levetus1 in her later work1 shows that an inclination towards a more flexible style is not incompatible with the training in ,gothic convention4 ,mr4 ,mason's illustrations to ancient romances of chivalry give evidence of conscientious craftsmanship1 and of a spirit sympathetic to themes such as ',renaud of ,montauban4' ,mr4 ,bernard ,sleigh's original wood-engravings are well known and justly appreciated4 ,strong in tradition and logic as is the work of these designers1 it is1 for many1 too consistent with convention to be delightful4 ,perhaps the best result of the ,birmingham school will hardly be achieved until the formal effect of its training is less patent4 ,the 'sixties' might have been void of art1 so far as these designers are concerned1 save that in those days ,morris and ,burne-,jones and ,walter ,crane1 as well as ,millais and ,houghton and ,sandys1 were about their work4 ,far other is the case with artists such as ,mr4 ,byam ,shaw1 or with the many draughtsmen1 including ,messrs4 ,p4 ,v4 ,woodroffe1 ,henry ,ospovat1 ,philip ,connard1 and ,herbert ,cole1 whose art derives its form and intention from the sixties4 ,differing in technical power and fineness of invention1 in all that distinguishes good from less good1 they have this in common--that the form of their art would have been quite other if the illustrated books of that period were among things unseen4 ,mr4 ,byam ,shaw began his work as an illustrator in #ahig with a volume of ',browning's ,poems1' edited by ,dr4 ,garnett4 ,he proved himself in these drawings1 as in his pictures and later illustrations1 an artist with a definite memory for the forms1 and a genuine sympathy with the aims of pre-,raphaelite art4 ,evidently1 too1 he admires the black-and-white of ,mr4 ,abbey4 ,he has the gift of dramatic conception1 sees a situation at high pitch1 and has a pleasant way of giving side-lights1 pictorial asides1 by means of decorative head and tailpieces4 ,his illustrations to the little green and gold volumes of the ',chiswick ,shakespeare' are more emphatic than his earlier work1 and in the decorations his power of summarizing the chief motive is put to good use4 ,there is no need of his signature to distinguish the work of ,byam ,shaw1 though he shows himself under the influence of various masters4 ,probably he is only an illustrator of books by the way1 but in the meantime1 as the ',boccaccio1' ',browning1' and ',shakespeare' drawings show1 he works in black and white with vigorous intention4 ,mr4 ,ospovat's illustrations to ',shakespeare's ,sonnets' and to ',matthew ,arnold's ,poems' are interesting1 if not very markedly his own4 ,he illustrates the ,sonnets as a celebration of a poet's passion for his mistress4 ,as in these1 so in the ,matthew ,arnold drawings1 he shows some genuine creative power and an aptitude for illustrative decoration4 ,mr4 ,philip ,connard has made spirited and well-realized illustrations in somewhat the same kind2 ,miss ,amelia ,bauerle1 and ,mr4 ,bulcock1 who began by illustrating ',the ,blessed ,damozel' in memory of ,rossetti1 have made appearance in the ',flowers of ,parnassus' series1 and ,mr4 ,herbert ,cole1 with three of these little green volumes1 prepared one for more important work in ',gulliver's ,travels' 7#aijj74 ,the work of ,mr4 ,woodroffe was1 ,i think1 first seen in the ',quarto'--the organ of the ,slade ,school--where also ,mr4 ,a4 ,garth ,jones1 ,mr4 ,cyril ,goldie1 and ,mr4 ,robert ,spence1 gave unmistakable evidence of individuality4 ,mr4 ,woodroffe's wood-engravings in the ',quarto' showed strength1 which is apparent1 too1 in the delicately characterized figures to ',songs from ,shakespeare's ,plays' 7#ahih71 with their borders of lightly-strung field flowers4 ,his drawings to ',the ,confessions of ,s4 ,augustine1' engraved by ,miss ,clemence ,housman1 are in keeping with the text1 not impertinent4 ,mr4 ,a4 ,garth ,jones in the ',quarto' seemed much influenced by ,japanese grotesques2 but in illustrations to ,milton's ',minor ,poems' 7#ahih7 he has shown development towards the expression of beauty more austere1 classical1 controlled to the presentment of ,milton's high thought4 ,his recent ',essays of ,elia' remind one of the forcible work of ,mr4 ,e4 ,j4 ,sullivan in ',sartor ,resartus4' ,mr4 ,sullivan's ',sartor' and ',dream of ,fair ,women' must be mentioned4 ,his mastery over an assertive use of line and solid black1 the unity of his effects1 the humour and imagination of his decorative designs1 are not likely to be forgotten1 though the balance of his work in illustrations to ,sheridan1 ,marryat1 ,sir ,walter ,scott1 obliges one to class him with character illustrators1 and so to leave a blank in this article4 ,mr4 ,laurence ,housman stands alone among modern illustrators1 though one may1 if one will1 speak of him as representing the succession of the sixties1 or as connected with the group of artists whose noteworthy development dates from the publication of ',the ,dial' by ,charles ,ricketts and ,charles ,shannon in #ahhi4 ,to look at ,mr4 ,housman's art in either connection1 or to record the effect of ,duerer1 of ,blake1 of ,edward ,calvert1 on his technique1 is only to come back to appreciation of all that is his own4 ,as an illustrator he has hardly surpassed the spirit of the 'forty-four designs1 drawn and written by ,laurence ,housman1' that express his idea of ,george ,meredith's ',jump to ,glory ,jane' 7#ahij74 ,these designs were the result of the appreciation which the editor1 ,mr4 ,harry ,quilter1 felt for ,mr4 ,housman's drawings to ',the ,green ,gaffer' in ',the ,universal ,review4' ,jane--the village woman with 'wistful eyes in a touching but bony face1' leaping with countenance composed1 arms and feet 'like those who hang1' leaping in crude expression of the unity of soul and body1 making her converts1 failing to move the bishop1 dying at last1 though not ingloriously1 by the wayside--this most difficult conception has no 'burlesque outline' in ,mr4 ,housman's work1 inexperienced and unacademic as is the drawing4 ',weird ,tales from ,northern ,seas1' by ,jonas ,lie1 was the next book illustrated by ,mr4 ,housman4 ,christina ,rossetti's ',goblin ,market' 7#ahic71 offered greater scope for freakish imagination than did ',jane4' ,the goblins1 pale-eyed1 mole and rat and weasel-faced2 the sisters1 whose simple life they surround with hideous fantasy1 are realized in harmony with the unique effect of the poem--an effect of simplicity1 of naive imagination1 of power1 of things stranger than are told in the cry of the goblin merchants1 as at evening time they invade quiet places to traffic with their evil fruits for the souls of maidens4 ,the frail-bodied elves of ',the ,end of ,elfin ,town1' moving and sleeping among the white mushrooms and slender stalks of field flowers1 are of another land than that of the goblin merchant-folk4 ,illustrations to ',the ,imitation of ,christ1' to ',the ,sensitive ,plant1' and drawings to ',the ,were-,wolf1' by ,miss ,clemence ,housman1 complete the list of ,mr4 ,housman's illustrations to writings not his own1 with the exception of frontispiece drawings to several books4 ,illustration3 ,,mercury ,,god ,,of ,,merchandise ,,look ,,on ,,with ,,favourable ,,eyes ,,by ,,leave ,,of ,,messrs4 ,,kegan ,,paul4 ,to explain ,mr4 ,housman's vision of ',the ,sensitive ,plant' would be as superfluous as it would be ineffectual4 ,in a note on the illustrations he has told how the formal beauty1 the exquisite ministrations1 the sounds and fragrance and sweet winds of the garden enclosed1 seem to him as 'a form of beauty that springs out of modes and fashions1' too graceful to endure4 ,in his pictures he has realized the perfect ensemble of the garden1 its sunny lawns and rose-trellises1 its fountains1 statues1 and flower-sweet ways2 realized1 too1 the spirit of the ,sensitive ,plant1 the lady of the garden1 and ,pan1 the great god who never dies1 who waits only without the garden1 till in a little while he enters1 'effacing and replacing with his own image and superscription1 the parenthetic grace 444 of the garden deity4' ,of a talent that treats always of enchanted places1 where 'reality' is a long day's journey down a dusty road1 it is difficult to speak without suggesting that it is all just a charming dalliance with pretty fancies1 lacking strength4 ,of the strength of ,mr4 ,housman's imagination1 however1 his work speaks4 ,his illustrations to his own writings1 fairy tales1 and poems1 cannot with any force be discussed by themselves4 ,the words belong to the pictures1 the pictures to the words4 ,the drawings to ',the ,field of ,clover' are seen to full advantage in the wood-engravings of ,miss ,housman4 ,only so1 or in reproduction by photogravure1 is the full intention of ,mr4 ,housman's pen-drawings apparent4 ,illustration3 ,,the ,,field ,,of ,,clover ,by ,laurence ,housman1 ,engraved by ,clemence ,housman ,,be ,,kindly ,,to ,,the ,,weary ,,drover ,,pipe ,,the ,,sheep ,,into ,,the ,,clover ,,by ,,leave ,,of ,,messrs4 ,,kegan ,,paul4 ,one may group the names of ,charles ,ricketts1 ,c4 ,h4 ,shannon1 ,t4 ,sturge ,moore1 ,lucien ,pissarro1 and ,reginald ,savage together in memory of ',the ,dial1' where the activity of five original artists first became evident1 though1 save in the case of ,mr4 ,ricketts and ,mr4 ,shannon1 no continuance of the classification is possible4 ,the first number of ',the ,dial' 7#ahhi7 had a cover design cut on wood by ,mr4 ,c4 ,h4 ,shannon--afterwards replaced by the design of ,mr4 ,ricketts4 ,twelve designs by ,mr4 ,ricketts may be said to represent the transitional--or a transitional--phase of his art1 from the earlier work in magazines1 which he disregards1 to the reticent expression of ',vale ,press' illustrations4 ,in #ahia the first book decorated by these artists appeared1 ',the ,house of ,pomegranates1' by ,oscar ,wilde4 ,there was1 however1 nothing in this book to suggest the form their joint talent was to take4 ,many delightful designs by ,mr4 ,ricketts1 somewhat marred by heaviness of line1 and full-page illustrations by ,mr4 ,shannon1 printed in an almost invisible1 nondescript colour1 contained no suggestion of ',daphnis and ,chloe4' ,the second ',dial'7#ahib7 contained ,mr4 ,ricketts' first work as his own wood-engraver1 and in the following year the result of eleven months' joint work by ,mr4 ,ricketts and ,mr4 ,shannon was shown in the publication of ',daphnis and ,chloe1' with thirty-seven woodcuts by the artists4 ,fifteen of the pictures were sketched by ,mr4 ,shannon and revised and drawn on the wood by ,mr4 ,ricketts1 who also engraved the initials4 ,it is a complete achievement of individuality subordinated to an ideal4 ,here and there one can affirm that ,mr4 ,shannon drew this figure1 composed this scene1 ,mr4 ,ricketts that2 but generally the hand is not to be known4 ,the ideal of their inspiration--the immortal ',hypnerotomachia'--seems equally theirs1 equally potent over their individuality4 ,speaking with diffidence1 it would seem as though ,mr4 ,shannon's idea of the idyll were more naive and humorous4 ,incidents beside the main theme of the pastoral loves of young ,daphnis and ,chloe--the household animals1 other shepherds--are touched with humorous intent4 ,mr4 ,ricketts shows more suavity1 and1 as in the charming double-page design of the marriage feast1 a more lyrical realization of delight and shepherd joys4 ,the ',hero and ,leander' of #ahid is a less elaborate1 and1 on the whole1 a finer production4 ,i must speak of the illustrations only1 lest consideration of ,vale ,press publications should fill the remaining space at my disposal4 ,obviously the attenuated type of these figures shows ,mr4 ,ricketts' ideal of the human form as a decoration for a page of type4 ,the severe reticence he imposes on himself is in order to maintain the balance between illustrations and text4 ,one has only to turn to illustrations to ,lord de ,tabley's ',poems1' published in #ahic1 to see with what eager imagination he realizes a subject1 how strong a gift he has for dramatic expression4 ,that a more persuasive beauty of form was once his wont1 much of his early and transitional work attests4 ,but ,i do not think his power to achieve beauty need be defended4 ,after the publication of ',hero and ,leander1' ,mr4 ,shannon practically ceased wood-engraving for the illustration of books1 though1 as the series of roundel designs in the recent exhibition of his work proved1 he has not abandoned nor ceased to go forward in the art4 ,illustration3 ,,from ,,mr4 ,,ricketts' ',,cupide ,,and ,,psyches4' ,,reproduced ,,by ,,his ,,permission4 ,illustration3 ,,of ,,the ,,apparition ,,of ,,the ,,three ,,nymphs ,,to ,,daphnis ,,in ,a ,,dream4 ,,from ,,messrs4 ,,ricketts ,,and ,,shannon',s ',,daphnis ,,and ,,chloe4' 7,,mathews ,,and ,,lane47 ,,reproduced ,,by ,,their ,,leave ,,and ,,the ,,publishers'4 ',the ,sphinx1' a poem by ,oscar ,wilde1 'built1 decorated and bound' by ,mr4 ,ricketts--but without woodcuts--was published in #ahid1 just after ',hero and ,leander1' and designs for a magnificent edition of ',the ,king's ,quhair' were begun4 ,some of these are in ',the ,dial1' as are also designs for ,william ,adlington's translation of ',cupide and ,psyches' in ',the ,pageant1' ',the ,dial1' and ',the ,magazine of ,art4' ,the edition of the work published by the new ,vale ,press in #ahig1 is not that projected at this time4 ,it contains roundel designs in place of the square designs first intended4 ,these roundels are1 ,i think1 the finest achievement of ,mr4 ,ricketts as an original wood-engraver4 ,the engraving reproduced shows of what quality are both line and form1 how successful is the placing of the figure within the circle4 ,on the page they are what the artist would have them be4 ,with the beginning of the sequence of later ,vale ,press books--books printed from founts designed by ,mr4 ,ricketts--a consecutive account is impossible1 but the frontispiece to the ',milton' and the borders and initials designed by ,mr4 ,ricketts1 must be mentioned4 ,as a designer of book-covers only one failure is set down to ,mr4 ,ricketts1 and that was ten years ago1 in the cover to ',the ,house of ,pomegranates4' ,mr4 ,reginald ,savage's illustrations to some tales from ,wagner lack the force of designs in ',the ,pageant1' and of woodcuts in ,essex ,house publications4 ,of ,m4 ,lucien ,pissarro1 in an article overcrowded with ,english illustrators1 ,i cannot speak4 ,his fame is in ,france as the forerunner of his art1 and we in ,england know his coloured wood-engravings1 his designs for ',the ,book of ,ruth and ,esther' and for ',the ,queen of the ,fishes1' printed at his press at ,epping1 but included among ,vale ,press books4 ,illustration3 ,,from ,,mr4 ,,sturge ,,moore',s ',,the ,,centaur4' ,,reproduced ,,by ,,permission ,,of ,,mr4 ,,ricketts4 ',the ,centaur1' ',the ,bacchant1' ',the ,metamorphoses of ,pan1' ',siegfried'--young ,siegfried1 wood-nurtured1 untamed1 setting his lusty strength against the strength of the brutes1 hearing the bird-call then1 and following the white bird to issues remote from savage life--these are subjects realized by the imagination of ,mr4 ,t4 ,sturge ,moore4 ,there are few artists illustrating books to-day whose work is more unified1 imaginatively and technically4 ,it is some years since first ,mr4 ,moore's wood-engravings attracted notice in ',the ,dial' and ',the ,pageant1' and the latest work from his graver--finer1 more rhythmic in composition though it be--shows no change in ideals1 in the direction of his talent4 ,he has said1 ,i think1 that the easiest line for the artist is the true basis of that artist's work1 and it would seem as though much deliberation in finding that line for himself had preceded any of the work by which he is known4 ,the wood-engraving of ,mr4 ,sturge ,moore is of some importance4 ,always the true understanding of his material1 the unhesitating realization of his subject1 combine to produce the effect of inevitable line and form1 of an inevitable setting down of forms in expression of the thought within4 ,only that gives the idea of formality1 and ,mr4 ,moore's art handles the strong impulse of the wild creatures of earth1 of the solitary creatures1 mighty and terrible1 haunting the desert places and fearing the order men make for safety4 ,designs to ,wordsworth's ',poems1' not yet published1 represent with innate perception the earth-spirit as ,wordsworth knew it1 when the great mood of 'impassioned contemplation' came upon his careful spirit1 when his heart leapt up1 or when1 wandering beneath the wind-driven clouds of ,march1 at sight of daffodils1 he lost his loneliness4 ',the ,evergreen1' that ',northern ,seasonal1' represented the pictorial outlook of an interesting group of artists--,robert ,burns1 ,andrew ,k4 ,womrath1 ,john ,duncan1 and ,james ,cadenhead1 for example--and the racial element1 as well as their own individuality1 distinguishes the work of ,mr4 ,w4 ,b4 ,macdougall and ,mr4 ,j4 ,j4 ,guthrie of ',the ,elf4' ,mr4 ,macdougall has been known as a book-illustrator since #ahif1 when ',the ,book of ,ruth1' with decorated borders showing the fertility of his designing power1 and illustrations that were no less representative of a unique use of material1 appeared4 ,the conventionalized landscape backgrounds1 the long1 straightly-draped women1 seemed strange enough as a reading of the ,hebrew pastoral1 with its close kinship to the natural life of the free children of earth4 ,their unimpassioned faces1 unspontaneous gestures1 the artificiality of the whole impression1 were undoubtedly a new reading of the ancient charm of the story4 ,two books in #ahig1 and ',isabella' and ',the ,shadow of ,love1' #ahih1 showed beyond doubt that the manner was not assumed1 that it was the expression of ,mr4 ,macdougall's sense of beauty4 ,the decorations to ',isabella' are more elaborate than to ',ruth1' and inventive handling of natural forms is as marked4 ,again1 the faces are de-characterized in accordance with the desire to make the whole figure the symbol of passion1 and that without emphasis4 ,mr4 ,j4 ,j4 ,guthrie is hardly among book-illustrators1 since ',wedding ,bells' of #ahie does not represent ,mr4 ,guthrie1 nor does the child's book of the following year1 while the illustrations to ,edgar ,allan ,poe's ',poems' are still1 ,i think1 being issued from the ,pear ,tree ,press in single numbers4 ,his treatment of landscape is inventive1 his rhythmic arrangements1 his effects of white line on black1 are based on a real sense of the beauty of earth1 of tall trees and wooded hills1 of mysterious moon-brightness and shade in the leafy depths of the woodlands4 ,mr4 ,granville ,fell made his name known in #ahif by his illustrations to ',the ,book of ,job4' ,in careful detail1 drawn with fidelity1 never obtrusive1 his art is pre-,raphaelite4 ,he touches ,japanese ideals in the rendering of flower-growth and animals1 but the whole effect of his decorative illustrations is far enough away from the art of ,japan4 ,in the ',book of ,job' he had a subject sufficient to dwarf a very vital imaginative sense by its grandeur4 ,in the opinion of competent critics ,mr4 ,granville ,fell proved more than the technical distinction of his work by the manner in which he fulfilled his purpose4 ,the solid black and white1 the definite line of these drawings1 were laid aside for the sympathetic medium of pencil in ',the ,song of ,solomon' 7#ahig74 ,again1 his conception is invariably dramatic1 and never crudely dramatic1 robust1 with no trace of morbid or sentimental thought about it4 ,the garden1 the wealth of vineyard and of royal pleasure ground1 is used as a background to comely and gracious figures4 ,his other work1 illustrative of children's books and of legend1 the cover and title-page to ,mr4 ,w4 ,b4 ,yeats's ',poems1' shows the same definite yet restrained imagination4 ,mr4 ,patten ,wilson is somewhat akin to ,mr4 ,granville ,fell in the energy and soundness of his conceptions4 ,each of these artists is1 as we know1 a colourist1 delighting in brilliant and iridescent colour-schemes1 yet in black and white they do not seek to suggest colour4 ,mr4 ,patten ,wilson's illustrations to ,coleridge's ',poems' have the careful fulness of drawings well thought out1 and worked upon with the whole idea realised in the imagination4 ,he has observed life carefully for the purposes of his art4 ,but it is rather in rendering the circumstance of poems1 such as ',the ,ancient ,mariner1' or1 in a ,chaucer illustration--,constance on the lonely ship--that he shows his grasp of the subject1 than by any expression of the spiritual terror or loneliness of the one living man among the dead1 the solitary woman on strange seas4 ,few decorative artists habitually use 'wash' rather than line4 ,among these1 however1 is ,mr4 ,weguelin1 who has illustrated ,anacreon in a manner to earn the appreciation of ,greek scholars1 and his illustrations to ,hans ,andersen have had a wider and not less appreciative reception4 ,his drawings have movement and atmosphere4 ,mr4 ,w4 ,e4 ,f4 ,britten also uses this medium with fluency1 as is shown by his successful illustrations to ,mr4 ,swinburne's ',carols of the ,year' in the ',magazine of ,art' in #ahib-c4 ,since that time his version of ',undine1' and illustrations to ,tennyson's ',early ,poems1' have shown the same power of graceful composition and sympathy with his subject4 ,,ii4 ,,some ,,open-,,air ,,illustrators4 ,,open-,,air illustration is less influenced by the tradition of ,rossetti and of the romanticists of 'the sixties' than any other branch of illustrative art4 ,the reason is obvious4 ,of all illustrators1 the illustrator of open-air books has least concern with the interpretation of literature1 and is most concerned with recording facts from observation4 ,it is true that usually he follows where a writer goes1 and studies garden1 village or city1 according to another man's inclination4 ,but the road they take1 the cities and wayside places1 are as obvious to the one as to the other4 ,the artist has not to realize the personal significance of beauty conceived by another mind2 he has to set down in black and white the aspect of indisputable cities and palaces and churches1 of the actual highways and gardens of earth4 ,no fugitive light1 but the light of common day shows him his subject4 ,so1 although ,stevenson's words1 that reaching romantic art one becomes conscious of the background1 are completely true in application to the drawings of ,rossetti1 of ,millais1 ,sandys and ,houghton1 these 'backgrounds' have had no traceable effect on modern open-air illustration4 ,nor are the landscape drawings in works such as ',wayside ,poesies1' or ',pictures of ,english ,landscape1' at the beginning of the style or styles--formal or picturesque--most in vogue at present4 ,birket ,foster has no followers2 the pensive landscape is not suited to holiday excursion books2 and1 though ,mr4 ,j4 ,w4 ,north is among artists of to-day1 as a book-illustrator he has unfortunately added little to his fine record of landscape drawings made between #ahfd and #ahfg4 ,one cannot include his work in a study of contemporary illustration1 though it is a pleasure passed over to leave unconsidered drawings that in 'colour1' in effects of winter-weather1 of leaf-thrown light and shade amid summer woods and over the green lanes of ,english country1 are delightfully remote from obvious and paragraphic habits of rendering facts4 ,with few exceptions the open-air illustrators of to-day began their work and took their place in public favour1 and in the estimation of critics1 after #ahij4 ,mr4 ,joseph ,pennell1 it is true1 had been making sketches in ,england1 in ,france1 and in ,italy for some years2 ,mr4 ,railton had made some preliminary illustrations2 ,mr4 ,alfred ,parsons illustrated ',old ,songs' with ,mr4 ,abbey in #ahhi2 and ,mr4 ,fulleylove contributed to ',the ,picturesque ,mediterranean1' and published his ',oxford' drawings1 in the same year4 ,still1 with a little elasticity1 'the nineties' covers the past activity of these men4 ,the only important exception is ,sir ,george ,reid1 ,president of the ,royal ,scottish ,academy1 much of whose illustrative work belongs to the years prior to #ahij4 ,the one subject for regret in connection with ,sir ,george ,reid's landscape illustrations is that the chapter is closed4 ,he makes no more drawings with pen-and-ink1 and the more one is content with those he has made1 the less does the quantity seem sufficient4 ,those who know only the portraits on which ,sir ,george ,reid's reputation is firmly based will find in his landscape illustrations a new side to his art4 ,here1 as in portraiture1 he sees distinctly and records without prejudice the characteristics of his subject4 ,he renders what he sees1 and he knows how to see4 ,his conception being clear to himself1 he avoids vagueness and obscurity1 finding1 with apparent ease1 plain modes of expression4 ,a straight observer of men and of the country-side1 there is this directness and perspicuity about his work1 whether he paints a portrait1 or makes pen-drawings of the village worthies of ',pyketillim' parish1 or draws ,pyketillim ,kirk1 small and white and plain1 with the sparse trees beside it1 or great river or city of his native land4 ,but in these pen-stroke landscapes1 while the same clear-headed survey1 the same logical record of facts1 is to be observed as in his work as a portrait painter1 there is besides a charm of manner that brings the indefinable element into one's appreciation of excellent work4 ,of course this is not to estimate these drawings above the portraits of ,sir ,george ,reid4 ,that would be absurd4 ,but he draws a country known to him all his life1 and unconsciously1 from intimate memory1 he suggests more than actual observation would discover4 ,this identification of past knowledge with the special scrutiny of a subject to be rendered is not usually possible in portraiture4 ,the 'portrait in-time' is a question of occasion as well as of genius4 ,the first book in which his inimitable pen-drawing of landscape can be properly studied is the illustrated edition of ',johnny ,gibb of ,gushetneuk1 in the ,parish of ,pyketillim1' published in #ahhj4 ,here the illustrations are facsimile reproductions by ,amand-,durand's heliogravure process1 and their delicacy is perfectly seen4 ,these drawings are of the ,aberdeenshire country-folk and country1 the native land of the artist2 though1 as a lad in ,aberdeen1 practising lithography by day1 and seizing opportunities for independent art when work was over1 the affairs and doings of ,gushetneuk1 of ,smiddyward1 of ,pyketillim1 or the quiet of ,benachie when the snow lies untrodden on its slopes1 were things outside the city of work4 ,it is as difficult to praise these drawings intelligibly to those who have not seen them1 as it is unnecessary to enforce their charm on those who have4 ,unfortunately1 a reproduction of one of them is not possible1 and admirable as is the drawing from ',royal ,edinburgh1' it is in subject and in treatment distinct from the ',gushetneuk' and ',north of ,scotland' illustrations4 ,the ',twelve ,sketches of ,scenery and ,antiquities on the ,great ,north of ,scotland ,railway1' issued in #ahhc1 were made in #ahha1 and have the same characteristics as the ',gushetneuk' landscapes4 ,the original drawings for the engraved illustrations in ',the ,life of a ,scotch ,naturalist1' belonging to #ahgf--;drawings made because the artist was 'greatly interested' in the story of ,thomas ,edward--must have been of the same delicate force1 and the splendid volumes of plates illustrating the ',river ,clyde1' and the ',river ,tweed1' issued by the ,royal ,association for the ,promotion of the ,fine ,arts in ,scotland1 contain more of his fine work4 ,it was this society1 that1 in the difficult days following the artist's abandonment of ,aberdeen and lithography for ,edinburgh and painting1 gave him the opportunity1 by the purchase of two of his early landscapes1 for study in ,holland and in ,paris4 ,there is something of ,bosboom in a rendering of a church interior such as ',the ,west ,kirk1' but of ,israels1 who was his master at the ,hague1 there is nothing to be seen in ,sir ,george ,reid's illustrations4 ,they are never merely picturesque1 and when too many men are 'freakish' in their rendering of architecture1 the drawings of ,north of ,scotland castles--well founded to endure weather and rough times of war--seem as real and true to ,scottish romance as the pleasant seat1 the martlet-haunted masonry of ,macbeth's castle set among the brooding wildness of ,inverness by the fine words of ,duncan and ,banquo4 ,the print-black of naked boughs against pale sky1 a snow-covered country where roofs are white1 and the shelter of the woods is thin after the passing of the autumn winds--this black and white is the black and white of most of ,sir ,george ,reid's studies of northern landscape4 ,to call it black and white is to stretch the octave and omit all the notes of the scale4 ,pure white of plastered masonry1 or of snow-covered roof or field in the bleak winter light1 pure black in some deep-set window1 in the figure of a passer-by1 or in the bare trees1 are used with the finesse of a colourist4 ,look at the ',pyketillim ,kirk' drawing in ',johnny ,gibb4' ,between the white of the long church wall1 and the black of the little groups of village folk in the churchyard1 how quiet and easy is the transition1 and how true to colour is the result4 ,of the ,edinburgh drawings the same may be said2 but1 except in facsimile reproduction1 one has to know the scale of tone used by ,sir ,george ,reid in order to see the original effect where the printed page shows unmodified black and white4 ,in ',holyrood ,castle' the values are fairly well kept1 and the rendering of the ancient building in the deep snow1 without false emphasis1 yet losing nothing of emphatic effect1 shows the dominant intellectual quality of the artist's work4 ,illustration3 ,,holyrood ,,castle4 ,,by ,,sir ,,george ,,reid4 ,,from ,,mrs4 ,,oliphant',s ,,royal ,,edinburgh4 ,,by ,,leave ,,of ,,messrs4 ,,macmillan4 ,it does not seem as though ,sir ,george ,reid as an illustrator had any followers4 ,he could hardly have imitators4 ,if a man had delicacy and patience of observation and hand to produce drawings in this 'style1' his style would be his own and not an imitation4 ,the number of artists in black and white who cannot plausibly be imitated is a small number4 ,sir ,george ,reid is one1 ,mr4 ,alfred ,parsons is another4 ,inevitably there are points of similarity in the work of artists1 the foundation of whose black and white is colour1 and who render the country-side with the understanding of the native1 the understanding that is beyond knowledge4 ,the difference between them only proves the essential similarity in the elements of their art2 but that1 like most paradoxes1 is a truism4 ,mr4 ,parsons is1 of course1 thoroughly ,english in his art4 ,he has the particularity of ,english nature-poets4 ,pastoral country is dear to him1 and homesteads and flowering orchards1 or villages with church tower half hidden by the elms1 are part of his home country1 the country he draws best4 ,it is interesting to compare his drawings for ',the ,warwickshire ,avon' with the ,scottish artist's drawings of the northern rivers4 ,the drawings of ,shakespeare's river show spring trees in a mist of green1 leafy summer trees1 meadowsweet and hayfields1 green earth and blue sky1 and a river of pleasure watering a pleasant country4 ,if a man can draw ,english summer-time in colour with black and white1 he must rank high as a landscape pen-draughtsman4 ,mr4 ,alfred ,parsons has illustrated about a dozen books1 and his work is to be found in ',harper's ,magazine1' and ',the ,english ,illustrated' in early days4 ,two books1 the ',old ,songs' and ',the ,quiet ,life1' published in #ahhg and #ahij1 were illustrated by ,e4 ,a4 ,abbey and ,alfred ,parsons4 ,the drawings of landscape1 of fruit and flowers1 by ,mr4 ,parsons1 the ,chippendale people and rooms of ,mr4 ,abbey1 fill two charming volumes with pictures whose pleasantness and happy art accord with the dainty verses of eighteenth-century sentiment4 ',the ,warwickshire ,avon1' and another river book1 ',the ,danube from the ,black ,forest to the ,sea1' illustrated in collaboration with the author1 ,mr4 ,f4 ,d4 ,millet1 belong to #ahib4 ,the slight sketches--passing-by sketches--in these books1 are among fortunate examples of a briefness that few men find compatible with grace and significance4 ,sketches1 mostly in wash1 of a farther and more decorated country--',japan1 the ,far ,east1 the ,land of ,flowers and of the ,rising ,sun1 the country which for years it had been my dream to see and paint'--illustrate the artist's ',notes in ,japan1' #ahie4 ,in the written notes are memoranda of actual colour1 of the green harmony of the ,japanese summer--harmony culminating in the vivid tint of the rice fields--of sunset and butterflies1 of delicate masses of azalea and drifts of cherry-blossom and wisteria1 while in the drawings are all the flowers1 the green hills and gray hamlets1 and the temples1 shrines and bridges1 that make unspoilt ,japan one of the perpetual motives of decorative art4 ,illustrations to ,wordsworth--to a selected ,wordsworth--gave the artist fortunate opportunities to render the ,england of ,english descriptive verse4 ,illustration3 ,,elms ,,by ,,bidford ,,grange4 ,,by ,,alfred ,,parsons4 ,,reproduced ,,from ,,quiller ,,couch',s ',,the ,,warwickshire ,,avon4' ,,by ,,leave ,,of ,,osgood1 ,mc,i,l,v,a,i,n,e ,,and ,,co4 ,it is convenient to speak first of these painter-illustrators1 because1 in a sense1 they stand alone among illustrative artists4 ,obviously1 that is not to say that their work is worth more than the work of illustrators1 who1 conforming to the laws of 'process1' make their drawings with brain and hand that know how to win profit by concession4 ,but popularisers of an effective topographical or architectural style are indirectly responsible for a large amount of work besides their own4 ,in one sense a leader does not stand alone1 and cannot be considered alone4 ,before1 then1 passing on to a draughtsman such as ,mr4 ,joseph ,pennell1 again1 to ,mr4 ,railton1 or to ,mr4 ,new1 whose successful and unforgettable works have inspired many drawings in the books whereby authors pay for their holiday journeys1 other artists1 whose style is no convenience to the industrious imitator1 may be considered4 ,another painter1 known for his work in black and white1 is ,mr4 ,john ,fulleylove1 whose ',pictures of ,classic ,greek ,landscape1' and drawings of ',oxford1' show him to be one of the few men who see architecture steadily and whole1 and who draw beautiful buildings as part of the earth which they help to beautify4 ,compare the ,greek drawings with ordinary archaeological renderings of pillared temples1 and the difference in beauty and interest is apparent4 ,in ,mr4 ,fulleylove's drawings1 the relation between landscape and architecture is never forgotten1 and he draws both with the structural knowledge of a landscape painter1 who is also by training an architect4 ,in aim1 his work is in accord with classical traditions2 he discerns the classical spirit that built temples and carved statues in the beautiful places of the open-air1 a spirit which has nothing of the museum setting about it4 ,the ',oxford' drawings show that ,mr4 ,fulleylove can draw ,gothic4 ,though not a painter1 ,mr4 ,william ,hyde works 'to colour' in his illustrations1 and is generally successful in rendering both colour and atmosphere4 ,he has done little with the pen1 and it is in wash drawings1 reproduced by photogravure1 that he is best to be studied4 ,of his early training as an engraver there is little to be seen in his work1 though his appreciation of the range of tone existing between black and white may have developed from working within restrictions of monotone1 when the colour sense was growing strong in him4 ,at all events he can gradate from black to white with remarkable minuteness and ease4 ,his earliest work of any importance after giving up engraving1 was in illustration of ',l',allegro' and ',il ,penseroso1' #ahie1 and shows his talent already well controlled4 ,there are thirteen illustrations1 and the opportunities for rendering aspects of light1 from the moment of the lark's morning flight against the dappled skies of dawn1 to the passing of whispering night-winds over the darkened country1 given in the verse of a poet sensitive as none before him to the gradations of lightness and dark1 are realized4 ,so are the hawthorns in the dale1 and the towered cities4 ,but it is as an illustrator of another towered city than that imagined by ,milton1 that some of ,mr4 ,hyde's most individual work has been produced4 ,in the etchings and pictures in photogravure published with ,mrs4 ,meynell's ',london ,impressions1' ,london beneath the strange great sky that smoke and weather make over the gray roofs1 ,london when the dawn is low in the sky1 or when the glow of lamps and lamp-lit windows turns the street darkness to golden haze1 is drawn by a man who has seen for himself how beautiful the great city is in 'between lights4' ,his other work is superficially in contrast with these studies of city light and darkness2 but the same love for 'big' skies1 for the larger aspects of changing lights and cloud movements1 are expressed in the drawings of the wide country that is around and beyond the ,cinque ,ports1 and in the illustrations to ,mr4 ,george ,meredith's ',nature ,poems4' ,the reproduction is from a pen drawing in ,mr4 ,hueffer's book1 ',the ,cinque ,ports4' ,there is no pettiness about it1 and the 'phrasing' of castle1 trees and sky shows the artist4 ,illustration3 ,,saltwood ,,castle4 ,,by ,,william ,,hyde4 ,,from ,f4 ,m4 ,,hueffer',s ',,the ,,cinque ,,ports4' ,,by ,,leave ,,of ,,messrs4 ,,blackwood4 ,mr4 ,d4 ,y4 ,cameron has illustrated a book or two with etchings--notably ,white's ',selborne' #aijb1--;but to consider him as a book-illustrator would be to stretch a point4 ,a few of his etchings are to be seen in books1 and one would like to make them the text for the consideration of other etchings by him1 but it would be a digression4 ,he is not among painter-illustrators1 but among painters who have illustrated1 and that would bring more names into this chapter than it could hold except in catalogue arrangement4 ,coming to artists who are illustrators1 not on occasion but always1 there is no question with whom to begin4 ,it is true that ,mr4 ,pennell is ,american1 but he is such an important figure in ,english illustration that to leave him out would be impossible4 ,he has been illustrating ,europe for more than fifteen years1 and the forcible fashion of his work1 and all that he represents1 have influenced black-and-white artists in this country1 as his master ,rico influenced him4 ,in range and facility1 and in getting to the point and keeping there1 there is no open-air illustrator to put beside ,mr4 ,pennell4 ,always interested and always interesting1 he is apparently never bewildered1 always ready and able to draw4 ,surely there was never a mind with a greater faculty for quick study2 and he can apply this power to the realization of an architectural detail1 or of a cathedral1 of miles of country with river curves and castles1 trees1 and hills and fields1 and a stretch of sky over all2 or of a great city-street crowded with traffic1 of new or old buildings1 of ,tuscany or of the ,stock ,exchange1 with equal ease4 ,to attempt a record of ,mr4 ,pennell's work would leave no room for appreciation of it4 ,as far as the ,english public is concerned1 it began in #ahhe with the publication of ',a ,canterbury ,pilgrimage1' and since then each year has added to ,mr4 ,pennell's notes of the world at the rate of two or three volumes4 ,the highways and byways of ,england--east1 west1 south and north--,france from ,normandy to ,provence1 the cities and spaces of ,italy1 the ,saone and the ,thames1 the 'real' ,alps and the ,new ,zealand ,alps1 ,london and ,paris1 the ,cathedrals of ,europe1 the gipsy encampment and the ,ghetto1 ,chelsea and the ,alhambra--,mr4 ,pennell has been everywhere and seen most things as he went1 and one can see it in his drawings4 ,he draws architecture without missing anything tangible1 and his buildings belong to cities that have life--and an individual life--in their streets4 ,but where he is unapproachable1 or at all events unapproached among pen-draughtsmen1 is in drawing a great scheme of country from a height4 ,if one could reproduce a drawing such as that of the country of ,le ,puy in ,mr4 ,wickham ,flower's ',aquitaine1' or1 better still1 the etching of the same amazing country1 one need say no more about ,mr4 ,pennell's art in this kind4 ,unluckily the page is too small4 ,this strange and lovely landscape1 where curving road and river and tree-bordered fields are dominated by two image-crowned rocks1 built about with close-set houses1 looks like a design from a dream fantasy worked out by a master of definite imagination4 ,one knows it is not4 ,mr4 ,pennell is concerned to give facts in picturesque order1 and here he has a theme that affects us poetically1 however it may have affected ,mr4 ,pennell4 ,his eye measures a landscape that seems outside the measure of observation1 and his ability to grasp and render the characteristics of actuality serves him as ever4 ,it is an unforgettable drawing1 though the skill displayed in the simplification and relation of facts is no greater than in other drawings by the artist4 ,that power hardly ever fails him4 ,the ',devils of ,notre ,dame' again stands out in memory1 when one thinks generally of ,mr4 ,pennell's drawings4 ,and again1 though it seems as if he were working above his usual pitch of conception1 it is only that he is using his keenness of sight1 his logical grasp of form and power of expression1 on matter that is expressive of mental passion4 ,the man who carved the devils1 like those who crowned the rocks of ,le ,puy with the haloed figures1 created facts4 ,the outrageous passion that made these evil things made them in stone4 ,you can measure them4 ,they are matter-of-fact4 ,mr4 ,pennell has drawn them as they are1 with so much trenchancy1 such assertion of their hideous decorativeness1 their isolation over modern ,paris1 that no drawings could be better1 and any others would be superfluous4 ,it is impossible to enumerate all that ,mr4 ,pennell has done and can do in black-and-white4 ,he is a master of so many methods4 ,from the sheer black ink and white paper of the ',devils1' to the light broken line that suggests ,moorish fantastic architecture under a hot sun in the ',alhambra' drawings1 there is nothing he cannot do with a pen4 ,nor is it only with a pen that he can do what he likes and what we must admire4 ,he covers the whole field of black-and-white drawing4 ,illustration3 ,,the ,,harbour1 ,,sorrento4 ,,by ,,joseph ,,pennell4 ,,from ,,howell',s ,,italian ,,journeys4 ,,by ,,leave ,,of ,,mr4 ,,heinemann4 ,after ,mr4 ,pennell comes ,mr4 ,herbert ,railton4 ,no architectural drawings are more popular than his1 and no style is better known or more generally 'adopted' by the illustrators of little guide-books or of magazine articles4 ,an architect's training and knowledge of structure underlies the picturesque dilapidation prevalent in his version of ,anglo-gothic architecture4 ,his first traceable book-illustrations belong to #ahhh1 though in ',the ,english ,illustrated1' in ',the ,portfolio1' and elsewhere1 he had begun before then to formulate the style that has served him so admirably in later work with the pen4 ,the illustrations to ,mr4 ,loftie's ',westminster ,abbey' 7#ahij7 show his manner much as it is in his latest pen drawings4 ,there is a lack of repose4 ,one would like to undecorate some of the masonry1 to reveal the austere lines under the prevalence of pattern4 ,at the same time one realizes that here is the style needed in illustration of picturesquely written books about picturesque places1 and that the stone tracery of ,westminster1 or the old brick and tiles of the ,inns of ,court1 are more interesting to many people in drawings such as these than in actuality4 ,but ,rico's 'broken line' is responsible for much1 and not every draughtsman who adopts it direct1 or through a mixed tradition1 has the architectural knowledge of ,mr4 ,railton to support his deviations from stability4 ,mr4 ,railton is the artist of the ,cathedral ,guide2 he has drawn ,westminster1 ,st4 ,paul's1 ,winchester1 ,gloucester1 ,peterborough1 and many more cathedrals1 inside and out1 within the last ten years4 ,in illustrations to books where a thread of story runs through historical fact1 books such as those written by ,miss ,manning concerning ,mary ,powell1 and the household of ,sir ,thomas ,more1 the artist has collaborated with ,mr4 ,jellicoe1 who has put figures in the streets and country lanes4 ,there are so many names in the list of those who1 in the beginning1 profited by the initiative of ,mr4 ,pennell or of ,mr4 ,railton that generally they may be set aside4 ,of artists who have made some position for themselves1 there are enough to fill this chapter4 ,mr4 ,holland ,tringham and ,mr4 ,hedley ,fitton were at one time unmistakable in their ,railtonism4 ,mr4 ,fitton has illustrated cathedral books1 and in later drawings by ,mr4 ,tringham exaggeration of his copy has given place to a more direct record of beautiful buildings4 ,miss ,nelly ,erichsen and ,miss ,helen ,james#a are two artists whose work is much in request for illustrated series1 such as ,dent's ',mediaeval ,towns4' ,miss ,james' drawings to ',rambles in ,dickens' ,land' 7#ahii7 showed study of ,mr4 ,railton1 which is also observable in other books1 such as ',the ,story of ,rouen4' ,at the same time1 she carries out her work from individual observation1 and gets an effect that belongs to study of the subject1 whether from actuality or from photographs4 ,miss ,james and ,miss ,erichsen have collaborated in certain books on ,italian towns1 but architectural drawing is only part of ,miss ,erichsen's illustrative work1 though an important part1 as the illustrations to the recently-published ',florentine ,villas' of ,mrs4 ,ross show4 ,illustrating stories1 she works with graceful distinctness1 and many of the drawings in the ',story of ,rome'--though one remembers that ,rome is in ,mr4 ,pennell's province--show what she can do4 ,mr4 ,c4 ,g4 ,harper and ,mr4 ,c4 ,r4 ,b4 ,barrett are the most prominent among those writers of travel-books who are also their own illustrators4 ,they belong1 though with all the difference of time and development1 to the succession of ,mr4 ,augustus ,hare4 ,mr4 ,hissey also has made many books out of his driving tours through ,england1 and may be said to have first specialized the subject that ,mr4 ,harper and ,mr4 ,barrett have made their own4 ,it is plain that the kind of book has nothing to do with the kind of art that is used in its making4 ,mr4 ,hare's famous ',walks' may be the prototypes of later books1 but each man makes what he can out of an idea that has obvious possibilities in it4 ,mr4 ,harper has taken to the ancient high-roads of ,england1 and has studied their historical and legendary1 past1 present1 and imagined aspects4 ,of these he has written2 while his illustrations rank him rather among illustrators who write than among writers who illustrate4 ,since #ahhi he has published a dozen books and more4 ,in ',royal ,winchester'--the first of these--he is illustrator only4 ',the ,brighton ,road' of #ahib is the first of the road-books1 and the illustrations of the road as it was and is1 of town and of country1 have colour and open air in their black-and-white4 ,since then ,mr4 ,harper has been from ,paddington to ,penzance1 has followed ,dick ,turpin along the ,exeter road1 and bygone fashion from ,london to ,bath1 while accounts of the ,dover road from ,southwark ,bridge to ,dover ,castle1 by way of ,dickens' country and hop-gardens1 and of the ,great ,north ,road of which ,stevenson longed to write1 are written and drawn with spirited observation4 ,his drawing is not so picturesque as his writing4 ,it has reticence and justness of expression that would not serve in relating tales of the road1 but which1 together with a sense of colour and of what is pictorial1 combine to form an effective and frequently distinctive style of illustration4 ,the drawing reproduced1 chosen by the artist1 is from ,mr4 ,harper's recent book on the ,holyhead road4 ,illustration3 ,,dunchurch4 ,,by ,c4 ,g4 ,,harper4 ,,from ',,the ,,holyhead ,,road4' ,,by ,,his ,,permission4 ,mr4 ,barrett has described and illustrated the 'highways and byways and waterways' of various ,english counties1 as well as published a volume on the battlefields of ,england1 and studies of ancient buildings such as the ,tower of ,london4 ,he is always well informed1 and illustrates his subject fully from pen-and-ink drawings4 ,mr4 ,f4 ,g4 ,kitton also writes and illustrates1 though he has written more than he has drawn4 ,st4 ,albans is his special town1 and the old inns and quaint streets of the little red city with its long cathedral1 are truthfully and dexterously given in his pen drawings and etchings4 ,mr4 ,alexander ,ansted1 too1 as a draughtsman of ,english cathedrals and of city churches1 has made a steady reputation since #ahid1 when his etchings and drawings of ,riviera scenery showed ambition to render tone1 and as much as possible of colour and atmosphere1 with pen and ink4 ,since then he has simplified his style for general purposes1 though in books such as ',london ,riverside ,churches' 7#ahig71 or ',the ,romance of our ,ancient ,churches' of two years later1 many of the drawings are more elaborate than is common in modern illustration4 ,the names of ,mr4 ,c4 ,e4 ,mallows and of ,mr4 ,raffles ,davison must be mentioned among architectural draughtsmen1 though they are outside the scope of a study of book-illustration4 ,some of ,mr4 ,raffles ,davison's work has been reprinted from the ',british ,architect1' but ,i do not think either of them illustrates books4 ,an extension of architectural art lies in the consideration of the garden in relation to the house it surrounds1 and ,mr4 ,reginald ,blomfield's ',formal ,garden' treats of the first principles of garden design as distinct from horticulture4 ,the drawings by ,mr4 ,inigo ,thomas1 whether one considers them as illustrating principles or gardens1 are worth looking at1 as ',the ,yew ,walk' sufficiently shows4 ,illustration3 ,,the ,,yew ,,walk2 ,,melbourne ,,derbyshire ,,by ,f4 ,,inigo ,,thomas4 ,,from ,,blomfield',s ',,the ,,formal ,,garden4' ,,by ,,leave ,,of ,,messrs4 ,,macmillan4 ,the sobriety and decorum of ,mr4 ,new's architectural and landscape drawings are the antithesis of the flagrantly picturesque4 ,i do not know whether ,mr4 ,gere or ,mr4 ,new invented this order of landscape and house drawing1 but ,mr4 ,new is the chief exponent of it1 and has placed it among popular styles of to-day4 ,it has the effect of sincerity1 and of respectful treatment of ancient buildings4 ,mr4 ,new does not lapse from the perpendicular1 his hand does not tremble or break off when house-walls or the ridge of a roof are to be drawn4 ,his is a convention that is frankly conventional1 that confines nature within decorous bounds1 and makes formality a function of art4 ,but though a great deal of ,mr4 ,new's work is mechanical and done to pattern1 so that sometimes little perpendicular strokes to represent grass fill half the pictured space1 while little horizontal strokes to represent brick-work1 together with 'touches' that represent foliage1 fill up the rest except for a corner left blank for the sky2 yet1 at his best1 he achieves an effective and dignified way of treating landscape for the decoration of books4 ,sensational skies that repeat one sensation to monotony1 scattered blacks and emphasized trivialities1 are set aside by those who follow ,mr4 ,new4 ,when they are trivial and undiscriminating1 they are unaffectedly tedious1 and that is almost pleasant after the hackneyed sparkle of the inferior picturesque4 ,mr4 ,new's reputation as a book-illustrator was first made in #ahif1 when an edition of ',the ,compleat ,angler' with many drawings by him appeared4 ,the homely architecture of ,essex villages and small towns1 the low meadows and quiet streams1 gave him opportunity for drawings that are pleasant on the page4 ,two garden books1 or strictly speaking1 one--for ',in the ,garden of ,peace' was succeeded by ',outside the ,garden'--contain natural history drawings similar to those of fish in ',the ,compleat ,angler' and of birds in ,white's ',selborne4' ,the illustrations to ',oxford and its ,colleges1' and ',cambridge and its ,colleges1' are less representative of the best ,mr4 ,new can do than books where village architecture1 or the irregular house-frontage of country high-streets are his subject4 ,illustrating ,shakespeare's country1 ',sussex1' and ',the ,wessex of ,thomas ,hardy1' brought him into regions of the country-town2 but the most important of his recent drawings are those in ',the ,natural ,history of ,selborne1' published in #aijj4 ,the drawing of ',selborne ,street' is from that volume4 ,illustration3 ,selborne ,street ,,by ,e4 ,h4 ,,new4 ,,from ,,white',s ',,selborne4' ,,by ,,leave ,,of ,,mr4 ,,lane4 ,with ,mr4 ,new1 ,mr4 ,r4 ,j4 ,williams and ,mr4 ,h4 ,p4 ,clifford illustrated ,mr4 ,aymer ,vallance's two books on ,william ,morris4 ,their illustrations are fit records of the homes and working-places of the great man who approved their art4 ,mr4 ,frederick ,griggs1 who since #aijj has illustrated three or four garden books1 also follows the principles of ,mr4 ,new1 but with more variety in detail1 less formality in tree-drawing and in the rendering of paths and roads and streams and sunshine1 in short1 with more of art outside the school1 than ,mr4 ,new permits himself4 ,the open-air covers so much that ,i have little room to give to another aspect of open-air illustration--drawings of bird and animal-life4 ,the work of ,mr4 ,harrison ,weir1 begun so many years ago1 is chiefly in children's books2 but ,mr4 ,charles ,whymper1 who has an old reputation among modern reputations1 has illustrated the birds and beasts and fish of ,great ,britain in books well known to sportsmen and to natural historians1 as also books of travel and sport in tropical and ice-bound lands4 ,the work of ,mr4 ,john ,guille ,millais is no less well known4 ,no one else draws animals in action1 whether ,british deer or ,african wild beast1 from more intelligent and thorough observation1 and of his art the graceful rendering of the play of deer in ,cawdor ,forest gives proof that does not need words4 ,birds in flight1 beasts in action--,mr4 ,millais is undisputably master of his subject4 ,many drawings show the humour which is one of the charms of his work4 ,illustration3 ,,figure-,,of-,,eight ,,ring ,,in ,,cawdor ,,forest4 ,,by ,j4 ,g4 ,,millais4 ,,from ,,his ',,british ,,deer ,,and ,,their ,,horns4' ,,by ,,leave ,,of ,,messrs4 ,,sotheran4 ,,footnotes3 ,footnote #a3 ,since this book was in type1 ,i have learned with regret of the death of ,miss ,helen ,james4 ,,iii4 ,,some ,,character ,,illustrators4 ,,so far1 in writing of decorative illustrators and of open-air illustrators1 the difference in scheme between a study of book-illustration and of 'black-and-white' art has not greatly affected the scale and order of facts4 ,the intellectual idea of illustration1 as a personal interpretation of the spirit of the text1 finds expression1 formally at least1 in the drawings of most decorative black-and-white artists4 ,the deliberate and inventive character of their art1 the fact that such qualities are non-journalistic1 and ineffective in the treatment of 'day by day' matters1 keeps the interpretative ideal1 brought into ,english illustration by ,rossetti1 and the artists whose spirits he kindled1 among working ideals for these illustrators4 ,for that reason1 with the exception of page-decorations such as those of ,mr4 ,edgar ,wilson1 the subject of decorative illustration is almost co-extensive with the subject of decorative black-and-white4 ,the open-air illustrator represents another aspect of illustration4 ,to interpret the spirit of the text would1 frequently1 allow his art no exercise4 ,much of his text is itinerary4 ,his subject is before his eyes in actuality1 or in photographs1 and not in some phrase of words1 magical with suggested forms1 creating by its gift of delight desire to celebrate its beauty4 ,still1 if the artist be independent of the intellectual and imaginative qualities of the book1 his is no independent form of black and white4 ,it is illustration2 the author's subject is the subject of the artist4 ,open-air facts1 those that are beautiful and pleasurable1 are too uneventful to make 'news illustration4' ,unless as background for some event1 they have1 for most people1 no immediate interest4 ,so it happens that open-air drawings are usually illustrations of text1 text of a practical guide-book character1 or of archaeological interest1 or of the gossiping1 intimate kind that tells of possessions1 of journeys and pleasurings1 or1 again1 illustrations of the open-air classics in prose and verse4 ,but in turning to the work of those draughtsmen whose subject is the presentment of character1 of every man in his own humour1 the illustration of literature is a part only of what is noteworthy4 ,these artists have a subject that makes the opportunities of the book-illustrator seem formal2 a subject1 charming1 poignant1 splendid or atrocious1 containing all the 'situations' of comedy1 tragedy or farce2 the only subject at once realized by everyone1 yet whose opportunities none has ever comprehended4 ,the writings of novelists and dramatists--life narrowed to the perception of an individual--are limitary notions of the matter1 compared with the illimitable variety of character and incident to be found in the world that changes from day to day4 ,and 'real' life1 purged of monotony by the wit1 discrimination or extravagance of the artist1 or--on a lower plane--by the combination only of approved comical or sentimental or melodramatic elements1 is the most popular and marketable of all subjects4 ,the completeness of a work of art is to some a refuge from the incompleteness of actuality2 to others this completeness is more incomplete than any incident of their own experience4 ,the first bent of mind--supposing an artist who illustrates to 'express himself'--makes an illustrator of a draughtsman1 the second makes literature seem no more than la reste to the artist as an opportunity for pictorial characterization4 ,character illustration is then a subject within a subject1 and if it be impossible to consider it without overseeing the limitations1 yet a different point of view gives a different order of impressions4 ,caricaturists1 political cartoonists1 news-illustrators and graphic humorists1 the artists who pictorialize society1 the stage1 the slums or some other kind of life interesting to the spectator1 are outside the scheme of this article--unless they be illustrators also4 ,for instance1 the illustrations of ,sir ,harry ,furniss are only part of his lively activities1 and ,mr4 ,bernard ,partridge is the illustrator of ,mr4 ,austin ,dobson's eighteenth-century muse as well as the ',j4 ,b4 ,p4' of 'socials' in ',punch4' ,an illustrator of many books1 and one whose illustrations have unusual importance1 both as interpretations of literature and for their artistic force1 ,mr4 ,william ,strang is yet so incongruous with contemporary black-and-white artists of to-day that he must be considered first and separately4 ,for the traditions of art and of race that find a focus in the illustrative etchings of this artist1 the creative traditions1 and instinctive modes of thought that are represented in the forms and formation of his art1 are forces of intellect and passion and insight not previously1 nor now1 by more than the one artist1 associated with the practice of illustration4 ,to consider his work in connection with modern illustration is to speak of contrasts4 ,it represents nothing that the gift-book picture represents1 either in technical dexterities1 founded on the requirements of process reproduction1 or in its decorative ideals1 or as expressive of the pleasures of literature4 ,one phase of ,mr4 ,strang's illustrative art is1 indeed1 distinct from the mass of his work1 with which the etched illustrations are congruous1 and the line-drawings to three masterpieces of imaginary adventure--to ,lucian1 to ,baron ,munchausen and to ,sindbad--show1 perhaps1 some infusion of ,aubrey ,beardsley's spirit of fantasy into the convictions of which ,mr4 ,strang's art is compounded4 ,but these drawings represent an excursion from the serious purpose of the artist's work4 ,the element in literature expressed by that epithet 'weird'--exiled from power to common service--is lacking in the extravagances of these voyages imaginaires1 and1 lacking the shadows cast by the unspeakable1 the intellectual chiaroscuro of ,mr4 ,strang's imagination1 loses its force4 ,these travellers are too glib for the artist1 though his comprehension of the grotesque and extravagant1 and his humour1 make the drawings expressive of the text1 if not of the complete personality of the draughtsman4 ,the 'types1 shadows and metaphors' of ',the ,pilgrim's ,progress1' with its poignancies of mental experience and conflict1 its transcendent passages1 its theological and naive moods1 gave the artist an opportunity for more realized imagination4 ,the etchings in this volume1 published in #ahid1 represent little of the allegorical actualities of the text4 ,not the encounters by the way1 the clash of blows1 the 'romancing1' but the 'man cloathed with rags and a great ,burden on his back1' or ,christiana his wife1 when 'her thoughts began to work in her mind1' are the realities to the artist4 ,the pilgrims are real and credible1 poor folk to the outward sight1 worn with toil1 limited1 abused in the circumstances of their lives2 and these peasant figures are to ,mr4 ,strang1 as to his master in etching1 ,professor ,legros1 symbols of endurance1 significant protagonists in the drama of man's will and the forces that strive to subdue its strength4 ,to both artists the peasant confronting death is the climax of the drama4 ,in the etchings of ,professor ,legros death fells the woodman1 death meets the wayfarer on the high-road4 ,there is no outfacing the menace of death4 ,but to ,mr4 ,strang1 the sublimity of ,bunyan's 'poor man1' who overcomes all influences of mortality by the strength of his faith1 is a possible fact4 ,his ballad illustrations deal finely with various aspects of the theme4 ,in ',the ,earth ,fiend1' a ballad written and illustrated with etchings by ,mr4 ,strang in #ahib1 the peasant subdues and compels to his service the spirit of destruction4 ,he maintains his projects of cultivation1 conquers the adverse wildness of nature1 makes its force productive of prosperity and order2 then1 on a midday of harvest1 sleeps1 and the 'earth fiend1' finding his tyrant defenceless1 steals on him and kills him as he lies4 ',death and the ,ploughman's ,wife' 7#ahid7 has a braver ending4 ,it interprets in an impressive series of etchings how ',death that conquers a'' is vanquished by the mother whose child he has snatched from its play4 ,the title-page etching shows a little naked child kicking a skull into the air1 while the peasant-mother1 patient1 vigilant1 keeps watch near by4 ,in ',the ,christ upon the ,hill' of the succeeding year1 a ballad by ,cosmo ,monkhouse with etchings by ,mr4 ,strang1 the artist follows1 of course1 the conception of the writer2 but here1 too1 his work is expressive of the visionary faith that discerns death as one of those 'base things' that 'usher in things ,divine4' ,illustration3 ,,from ,,william ,,strang',s ,,ballad1 ',,death ,,and ,,the ,,ploughman',s ,,wife' 7,,reduced ,,from ,,the ,,original ,,etching74 ,,by ,,leave ,,of ,,mr4 ,a4 ,h4 ,,bullen4 ,the twelve etchings to ',paradise ,lost' 7#ahif7 do not1 as ,i think1 represent ,mr4 ,strang's imagination at its finest4 ,it is in the representation of rude forms of life1 subjected to the immeasurable influences of passion1 love1 sorrow1 that the images of ,mr4 ,strang's art1 at once vague and of intense reality1 primitive and complex1 have most force4 ,adam and ,eve driven from ,paradise by the angel with the flaming sword1 are not directly created by the artist4 ,they recall ,masaccio1 and are undone by the recollection4 ,eve1 uprising in the darkness of the garden where ,adam sleeps1 the speech of the serpent with the woman1 the gathering of the fruit1 are traditionary in their pictorial forms1 and the tradition is too great1 it imposes itself between the version of ,mr4 ,strang and our admiration4 ,but in the thirty etchings illustrative of ,mr4 ,kipling's works1 as in the ballad etchings1 the imagination of the artist is unfettered by tradition4 ,the stories he pictures deal1 for all their cleverness and definition1 with themes that1 translated out of ,mr4 ,kipling's words into the large imagination of ,mr4 ,strang1 have powerful purpose4 ,as usual1 the artist makes his picture not of matter-of-fact--and the etching called ',a ,matter of ,fact' is specially remote from any such matter--but of more purposeful1 more overpowering realities than any particular instance of life would show4 ,he attempts to realize the value1 not of an instance of emotion or of endeavour1 but of the quality itself4 ,he sets his mind1 for example1 to realize the force of western militarism in the east1 or the attitude of the impulses of life towards contemplation1 and his soldiers1 his ',purun ,bhagat1' express his observations or imaginations of these themes4 ,certainly 'a country's love' never went out to this kind of ,tommy ,atkins1 and the ,india of ,mr4 ,strang is not the ,india that holds the ,gadsbys1 or of which plain tales can be told4 ,but he has imagined a country that binds the contrasts of life together in active operation on each other1 and in thirty instances of these schemed-out realities1 or of dramatic events resulting from the clash of racial and national and chronological characteristics1 he has achieved perhaps his most complete expression of insight into essentials4 ,mr4 ,strang's etchings in the recently published edition of ',the ,compleat ,angler1' illustrated by him and by ,mr4 ,d4 ,y4 ,cameron1 are less successful4 ,the charm of his subject seems not to have entered into his imagination1 whereas forms of art seem to have oppressed him4 ,the result is oppressive1 and that is fatal to the value of his etchings as illustrations of the book that 'it would sweeten a man's temper at any time to read4' ,intensity and large statement of dark and light2 fine dramatizations of line2 an unremitting conflict with the superfluous and inexpressive in form and in thought2 an art based on the realities of life1 and without finalities of expression1 inelegant1 as though grace were an affectation1 an insincerity in dealing with matters of moment3 these are qualities that detach the illustrations of ,mr4 ,strang from the generality of illustrations4 ,save that ,mr4 ,robert ,bryden1 in his ',woodcuts of men of letters' and in the portrait illustrations to ',poets of the younger generation1' shows traces of studying the portrait-frontispieces of ,mr4 ,strang1 there is no relation between his art and the traditions it represents and any other book-illustrations of to-day4 ,turning now to illustrators who are representative of the tendencies and characteristics of modern book-illustration1 and so are less conspicuous in a general view of the subject than ,mr4 ,strang1 there is little question with whom to begin4 ,mr4 ,abbey represents at their best the qualities that belong to gift-book illustration4 ,it would1 perhaps1 be more correct to say that gift-book illustration represents the qualities of ,mr4 ,abbey's black and white with more or less fidelity1 so effective is the example of his technique on the forms of picturesque character-illustration4 ,it is nearly a quarter of a century since the artist1 then a young man fresh from ,harper's drawing-office in ,new ,york1 came to ,england4 ,that first visit1 spent in studying the reality of ,english pastoral life in preparation for his ',herrick' illustrations1 lasted for two years1 and after a few months' interval in the ,states he returned to ,england4 ,resident here for nearly all the years of his work1 a member of the ,royal ,academy1 his art expressive of traditions of ,english literature and of the ,english country to which he came as to the actuality of his imaginings1 one may include ,mr4 ,abbey among ,english book-illustrators with more than a show of reason4 ,in #ahhb1 when the ',selections from the ,poetry of ,robert ,herrick' was published1 few of the men whose work is considered in this chapter had been heard of4 ,chronologically1 ,mr4 ,abbey is first of contemporary character-illustrators1 and nowhere but first would he be in his proper place1 for there is no one to put beside him in his special fashion of art1 and in the effect of his illustrative work on his contemporaries4 ,there is inevitable ease and elegance in the pen-drawings of ,mr4 ,abbey1 and for that reason it is easy to underestimate their intellectual quality4 ,he is inventive4 ,the spirit of ,herrick's muse1 or of ',she ,stoops to ,conquer1' or of the comedies of ,shakespeare1 is not a quality for which he accepts any formula4 ,he finds shapes for his fancies1 rejecting as alien to his purpose all that is not the clear result of his own understanding of the poet4 ,accordingly there is1 in all his work1 the expression of an intellectual conception4 ,he sees1 too1 with patience4 ,if he isolates a figure1 one feels that figure has stepped forward into a clear place of his imagination as he followed its way through the crowd4 ,if he sets a pageant on the page1 or some piece of turbulent action1 or moment of decision1 the actors have their individual value4 ,he thinks his way through processes of gradual realization to the final picture of the characters in the play or poem4 ,one writes now with special reference to the illustrations of the comedies of ,shakespeare--so far1 the illustrative work most exigent to the intellectual powers of the artist4 ,herrick's verse1 full of sweet sounds and suggestive of happy sights1 ',she ,stoops to ,conquer1' where all the mistakes are but for a night1 to be laughed over in the morning1 the lilt and measure of ',old ,songs1' and of the charming verses in ',the ,quiet ,life1' called for sensitive appreciation of moods1 lyrical1 whimsical1 humorous1 idyllic1 but--intellectually--for no more than this4 ,as to ,mr4 ,abbey's technique1 curious as he is in the uses of antiquity as part of the pleasure of a fresh realization1 clothing his characters in textiles of the great weaving times1 or of a dainty simplicity1 a student of architecture and of landscape1 of household fittings1 of armoury1 of every beautiful accessory to the business of living1 his clever pen rarely fails to render within the convention of black and white the added point of interest and of charm that these things bring into actuality4 ,truth of texture1 of atmosphere1 and of tone1 an alertness of vision most daintily expressed--these qualities belong to all ,mr4 ,abbey's work1 and in the ,shakespearean drawings he shows with greater force than ever his 'stage-managing' power1 and the correctness and beauty of his 'mounting4' ,the drawings are dramatic3 the women have beauty and individuality1 while the men match them1 or contrast with them as in the plays2 the rogues are vagabonds in spirit1 and the wise men have weight2 the world of ,shakespeare has been entered by the artist4 ,but there are gestures in the text1 moments of glad grace1 of passion1 of sudden amazement before the realities of personal experience1 that make these active1 dignified figures of ,mr4 ,abbey 'merely players1' his ,isabella in the extremity of the scene with ,claudio no more than an image of cloistered virtue1 his ,hermione incapable of her undaunted eloquence and silence1 his ,perdita and ,miranda and ,rosalind less than themselves4 ,as illustrations1 the drawings of ,mr4 ,abbey represent traditions brought into ,english illustrative art by the ,pre-,raphaelites1 and developed by the freer school of the sixties4 ,but1 as drawings1 they represent ideas not effective before in the practice of ,english pen-draughtsmen2 ideas derived from the study of the black and white of ,spain1 of ,france1 and of ,munich1 by ,american art students in days when ,english illustrators were not given to look abroad4 ,technically he has suggested many things1 especially to costume illustrators1 and many names might follow his in representation of the place he fills in relation to contemporary art4 ,but to work out the effect of a man's technique on those who are gaining power of expression is to labour in vain4 ,it adds nothing to the intrinsic value of an artist's work1 nor does it represent the true relationship between him and those whom he has influenced4 ,for if they are mere imitators they have no relation with any form of art1 while to insist upon derived qualities in work that has the superscription of individuality is no true way of apprehension4 ,what a man owes to himself is the substantial fact1 the fact that relates him to other men4 ,the value of his work1 its existence1 is in the little more1 or the much more1 that himself adds to the sum of his directed industries1 his guided achievements4 ,and to estimate that1 to attempt to express something of it1 must be the chief aim of a study1 not of one artist and his 'times1' but of many artists practising a popular art4 ,so that if1 in consideration of their 'starting-point1' one may group most character-illustrators1 especially of wig-and-powder subjects1 as adherents either of ,mr4 ,abbey and the ',american school1' or of ,mr4 ,hugh ,thomson and the ,caldecott-,greenaway tradition1 such grouping is also no more than a starting-point1 and everything concerning the achievements of the individual artist has still to be said4 ,considering the intention of their technique1 one may permissibly group the names of ,mr4 ,fred ,pegram1 ,mr4 ,f4 ,h4 ,townsend1 ,mr4 ,shepperson1 ,mr4 ,sydney ,paget1 and ,mr4 ,stephen ,reid as representing in different degrees the effect of ,american black and white on ,english technique1 though1 in the case of ,mr4 ,paget1 one alludes only to pen-drawings such as those in ',old ,mortality1' and not to his ,sherlock ,holmes and ,martin ,hewitt performances4 ,the art of ,mr4 ,pegram and of ,mr4 ,townsend is akin4 ,mr4 ,pegram has1 perhaps1 more sense of beauty1 and his work suggests a more complete vision of his subject than is realized in the drawings of ,mr4 ,townsend1 while ,mr4 ,townsend is at times more successful with the activities of the story2 but the differences between them seem hardly more than the work of one hand would show4 ,they really collaborate in illustration1 though1 except in ,cassell's survey of ',living ,london1' they have never1 ,i think1 made drawings for the same book4 ,mr4 ,pegram served the usual apprenticeship to book-illustration4 ,he was a news-illustrator before he turned to the illustration of literature2 but he is an artist to whom the reality acquired by a subject after study of it is more attractive than the reality of actual impressions4 ,neither sensational nor society events appeal to him4 ,the necessity to compose some sort of an impression from the bare facts of a fact1 without time to make the best of it1 was not an inspiring necessity4 ,that ,mr4 ,pegram is a book-illustrator by the inclination of his art as well as by profession1 the illustrations to ',sybil1' published in #ahie1 prove4 ,in these drawings he showed himself not only observant of facial expression and of gesture1 but also able to interpret the glances and gestures of ,disraeli's society4 ,from the completeness of the draughtsman's realization of his subject1 illustrable situations develop themselves with credibility1 and his graceful women and thoughtful men represent the events of the novel with distinction4 ,with ',sybil' may be mentioned the illustrations to ',ormond1' wherein1 five years later1 the same understanding of the ways and activities of a bygone1 yet not remote society1 found equally satisfactory expression1 while the technique of the artist had gained in completeness4 ,in ',the ,last of the ,barons' 7#ahig71 ,mr4 ,pegram had a picturesque subject with much strange humanity in it1 despite ,lord ,lytton's conventional travesty of events and character4 ,the names of ,richard and ,warwick1 of ,hastings and ,margaret of ,anjou1 are names that break through conventional romance1 but the illustrator has to keep up the fiction of the author1 and1 except that the sham-mediaevalism of the novel did not prevent a right study of costumes and accessories in the pictures1 the artist had to be content to ',bulwerize4' ,illustrations to ',the ,arabian ,nights' gave him opportunity for rendering textures and atmosphere1 and movements charming or grave1 and the ',bride of ,lammermoor' drawings show a sweet-faced ,lucy ,ashton1 and a ,ravenswood who is more than melancholy and picturesque4 ,mr4 ,pegram's drawings are justly dramatic within the limits prescribed by a somewhat composed ideal of bearing4 ,a catastrophe is outside these limits1 and the discovery of ,lucy after the bridal lacks real illustration in the artist's version1 skilful1 nevertheless1 as are all his drawings1 and expressed without hesitation4 ,averse to caricature1 and keeping within ideas of life that allow of unbroken expression1 the novels of ,marryat1 where action so bustling that only caricatures of humanity can endure its exigencies1 and sentimental episodes of flagrant insincerity1 swamp the character-drawing1 are hardly suited to the art of ,mr4 ,pegram4 ,still1 he selects1 and his selection is true to the time and circumstance of ,marryat's work4 ,in itself it is always an expression of a coherent and definite conception of the story4 ,illustration3 ,,from ,,mr4 ,,pegram',s ',,the ,,bride ,,of ,,lammermoor4' ,,by ,,leave ,,of ,,messrs4 ,,nisbet4 ,mr4 ,townsend has illustrated ,hawthorne and ,peacock1 as well as ,charlotte ,bronte and ,scott4 ,hawthorne's men and women--embodiments always of some essential quality1 rather than of the combination of qualities that make 'character'--lend themselves to fine illustration as regards gesture1 and ,mr4 ,townsend's drawings represent1 not insensitively1 the movement and suggestion of ',the ,blithedale ,romance' and ',the ,house of the ,seven ,gables4' ,in the ,peacock illustrations the artist had to keep pace with an essentially un-,english humour1 an imagination full of shapes that are opinions and theories and sarcasms masquerading under fantastic human semblances4 ,mr4 ,townsend kept to humanity1 and found occasions for representing the eccentrics engaged in cheerful open-air and society pursuits in the pauses of paradoxical discussion4 ,one realizes in the drawings the pleasant aspect of life at ,gryll ,grange and at ,crotchet ,castle1 the courtesies and amusements out of doors and within1 while the subjects of ',maid ,marian1' of ',the ,misfortunes of ,elphin' and of ',rhododaphne' declare themselves in excellent terms of romance and adventure4 ,mr4 ,townsend has humour1 and he is in sympathy with the vigorous spirit in life2 whether the vigour is intellectual as in ,jane ,eyre and in ,shirley ,keeldar1 or muscular as in ',rob ,roy1' in drawings to a manual of fencing1 and in ,marryat's ',the ,king's ,own1' or eccentric as in the fantasies of ,peacock4 ,his work is never languid and never formal2 and if in technique he is sometimes experimental1 and frequently content with ineffectual accessories to his figures1 his conception of the situation1 and of the characters that fulfil the situation1 is direct and effective enough4 ,illustration3 ,,from ,,mr4 ,,townsend',s ',,shirley4' ,,by ,,leave ,,of ,,messrs4 ,,nisbet4 ,as an illustrator of current fiction1 ,mr4 ,townsend has also a considerable amount of dexterous work to his name1 but a record of drawings contributed to the illustrated journals cannot even be attempted within present limits of space4 ,mr4 ,shepperson in his book-illustrations generally represents affairs with picturesqueness1 and with a nervous energy that takes the least mechanical way of expressing forms and substances4 ,illustrating the modern novel of adventure1 he is happy in his intrigues and conspiracies1 while in books of more weight1 such as ',the ,heart of ,midlothian' or ',lavengro1' he expresses graver issues of life with un-elaborate and suggestive effect4 ,the energy of his line1 the dramatic quality of his imagination1 render him in his element as an illustrator of events1 but the vigour that projects itself into subjects such as the murder of ,sir ,george ,staunton1 or the fight with the ,flaming ,tinman1 or the alarms and stratagems of ,mr4 ,stanley ,weyman1 informs also his representation of moments when there is no action4 ,technically ,mr4 ,shepperson represents very little that is traditional in ,english black and white1 though the tradition seems likely to be there for future generations of ,english illustrators4 ,illustration3 ,ye are ill1 ,effie1 were the first words ,jeanie could utter2 ye are very ill4 ,,from ,,mr4 ,,shepperson',s ',,the ,,heart ,,of ,,midlothian4' ,,by ,,leave ,,of ,,the ,,gresham ,,publishing ,,company4 ,in a recent work1 illustrations to ,leigh ,hunt's ',old ,court ,suburb1' ,mr4 ,shepperson collaborates with ,mr4 ,e4 ,j4 ,sullivan and ,mr4 ,herbert ,railton1 to realize the associations1 literary1 historical and gossiping1 that have ,kensington ,palace and ,holland ,house as their principal centres4 ,on the whole1 of the three artists1 the subject seems least suggestive to ,mr4 ,shepperson4 ,mr4 ,sullivan contributes many portraits1 and some subject drawings that show him in his lightest and most dexterous vein4 ,these drawings of beaux and belles are as distinct in their happy flattery of fact from the rigid assertion of the artist's ',fair ,women1' as they are from the undelightful reporting style that in the beginning injured ,mr4 ,sullivan's illustrations4 ,one may describe it as the ',daily ,graphic' style1 though that is to recognize only the basis of convenience on which the training of the ',daily ,graphic' school was necessarily founded4 ,mr4 ,sullivan's early work1 the news-illustration and illustrations to current fiction of ,mr4 ,reginald ,cleaver and of his brother ,mr4 ,ralph ,cleaver1 the black and white of ,mr4 ,a4 ,s4 ,boyd and of ,mr4 ,crowther1 show this journalistic training1 and show1 too1 that such a training in reporting facts directly is no hindrance to the later achievement of an individual way of art4 ,mr4 ,a4 ,s4 ,hartrick must also be mentioned as an artist whose distinctive black and white developed from the basis of pictorial reporting1 and how distinctive and well-observed that art is1 readers of the ',pall ,mall ,magazine' know4 ,as a book-illustrator1 however1 his landscape drawings to ,borrow's ',wild ,wales' represent another art than that of the character-illustrator4 ,nor can one pass over the drawings of ,mr4 ,maurice ,greiffenhagen1 also a contributor to the ',pall ,mall ,magazine1' if better known in illustrations to fiction in ',the ,ladies' ,pictorial1' though in an article on book-illustration he has nothing like his right place4 ,as an admirable and original technician and draughtsman of society1 swift in sight1 excellent in expression1 he ranks high among black-and-white artists1 while as a painter1 his reputation1 if based on different qualities1 is not doubtful4 ,illustration3 ,,from ,,mr4 ,e4 ,j4 ,,sullivan',s ',,school ,,for ,,scandal4' ,,by ,,leave ,,of ,,messrs4 ,,macmillan4 ,mr4 ,sullivan's drawings to ',tom ,brown's ,schooldays' 7#ahif7 are mechanical and mostly without charm of handling1 having an appearance of timidity that is inexplicable when one thinks of the vigorous news-drawings that preceded them4 ,the wiry line of the drawings appears in the ',compleat ,angler1' and in other books1 including ',the ,rivals' and ',the ,school for ,scandal1' ',lavengro' and ',newton ,forster1' illustrated by the artist in '#if and '#ig2 but the decorative purpose of ,mr4 ,sullivan's later work is1 in all these books1 effective in modifying its perversity4 ,increasing elaboration of manner within the limits of that purpose marks the transition between the starved reality of ',tom ,brown' and the illustrations to ',sartor ,resartus' 7#ahih74 ,these emphatic decorations1 and those illustrative of ,tennyson's ',dream of ,fair ,women and other ,poems1' published two years later1 are the drawings most representative of ,mr4 ,sullivan's intellectual ideals4 ,they show him1 if somewhat indifferent to charm1 and capable of out-facing beauty suggested in the words with statements of the extreme definiteness of his own fact-conception1 yet strongly appreciative of the substance and purpose of the text4 ,carlyle gives him brave opportunities1 and the dogmatism of the artist's line and form1 his speculative humour1 working down to a definite certainty in things1 make these drawings unusually interesting4 ,tennyson's ',dream1' and his poems to women's names1 are not so fit for the exercise of ,mr4 ,sullivan's talent4 ,he imposes himself with too much force on the forms that the poet suggests4 ,there is no delicacy about the drawings and no mystery4 ,they do not accord with the inspiration of ,tennyson1 an inspiration that substitutes the exquisite realities of memory and of dream for the realities of experience4 ,mr4 ,sullivan's share of the illustrations to ,white's ',selborne' and to the ',garden ,calendar1' are technically more akin to the ,carlyle and ,tennyson drawings than to other examples by him4 ,in these volumes he makes fortunate use of the basis of exactitude on which his work is founded1 exactitude that includes portraiture among the functions of the illustrator4 ,no portrait is extant of ,gilbert ,white1 but the presentment of him is undertaken in a constructive spirit1 and1 as in ',the ,compleat ,angler' and ',the ,old ,court ,suburb1' portraits of those whose names and personalities are connected with the books are redrawn by ,mr4 ,sullivan4 ,except ,mr4 ,abbey1 no character-illustrator of the modern school has so long a record of work1 and so visible an influence on ,english contemporary illustration1 as ,mr4 ,hugh ,thomson4 ,in popularity he is foremost4 ,the slight and apparently playful fashion of his art1 deriving its intention from the irresistible gaieties of ,caldecott1 is a fashion to please both those who like pretty things and those who can appreciate the more serious qualities that are beneath4 ,for ,mr4 ,thomson is a student of literature4 ,he pauses on his subject1 and though his invention has always responded to the suggestions of the text1 the lightness of his later work is the outcome of a selecting judgment that has learned what to omit by studying the details and facts of things4 ,in rendering facial expression ,mr4 ,thomson is perhaps too much the follower of ,caldecott1 but he goes much farther than his original master in realization of the forms and manners of bygone times4 ,some fashions of life1 as they pass from use1 are laid by in lavender4 ,the fashions of the eighteenth century have been so laid by1 and ,mr4 ,abbey and ,mr4 ,thomson are alike successful in giving a version of fact that has the farther charm of lavender-scented antiquity4 ,when ',days with ,sir ,roger de ,coverley1' illustrated by ,hugh ,thomson1 was published in #ahhf1 the young artist was already known by his drawings in the ',english ,illustrated1' and recognized as a serious student of history and literature1 and a delightful illustrator of the times he studied4 ,his powers of realizing character1 time1 and place1 were shown in this earliest work4 ,sir ,roger is a dignified figure2 ,mr4 ,spectator1 in the guise of ,steele1 has a semblance of observation2 and if ,will ,wimble lacks his own unique quality1 he is represented as properly engaged about his 'gentleman-like manufactures and obliging little humours4' ,mr4 ,thomson can draw animals1 if not with the possessive understanding of ,caldecott1 yet with truth to the kind1 knowledge of movement4 ,the country-side around ,sir ,roger's house--as1 in a later book1 that where the vicarage of ,wakefield stands--is often delightfully drawn1 while the leisurely and courteous spirit of the essays is represented1 with an appreciation of its beauty4 ',coaching ,days and ,coaching ,ways' 7#ahhh7 is a picturesque book1 where types and bustling action picturesquely treated were the subjects of the artist4 ,the peopling of high-road and county studies with lively figures is one of ,mr4 ,thomson's successful achievements1 as he has shown in drawings of the cavalier exploits of west-country history1 illustrative of ',highways and ,byways of ,devon and ,cornwall1' and in episodes of romance and warfare and humour in similar volumes on ,donegal1 ,north ,wales1 and ,yorkshire4 ,here the presentment of types and action1 rather than of character1 is the aim1 but in the drawings to ',cranford' 7#ahia71 to ',our ,village1' and to ,jane ,austen's novels1 behaviour rather than action1 the gentilities and proprieties of life and millinery1 have to be expressed as a part of the artistic sense of the books4 ,that is1 perhaps1 why ,jane ,austen is so difficult to illustrate4 ,the illustrator must be neither formal nor picturesque4 ,he must understand the 'parlour' as a setting for delicate human comedy4 ,mr4 ,thomson is better in ',cranford1' where he has the village as the background for the two old ladies1 or in ',our ,village1' where the graceful pleasures of ,miss ,mitford's prose have suggested delightful figures to the illustrator's fancy1 than in illustrating ,miss ,austen1 whose disregard of local colouring robs the artist of background material such as interests him4 ,three books of verses by ,mr4 ,austin ,dobson1 ',the ,ballad of ,beau ,brocade' 7#ahib71 ',the ,story of ,rosina1' and ',coridon's ,song' of the following years1 together with the illustrations to ',peg ,woffington1' show1 in combination1 the picturesque and the intellectual interests that ,mr4 ,thomson finds in life4 ,the eight pieces that form the first of these volumes were1 indeed1 chosen to be reprinted because of their congruity in time and sentiment with ,mr4 ,thomson's art4 ,and certainly he works in accord with the measure of ,mr4 ,austin ,dobson's verses4 ,both author and artist carry their eighteenth-century learning in as easy a way as though experience of life had given it them without any labour in libraries4 ,illustration3 ,,from ,,mr4 ,,hugh ,,thomson',s ',,ballad ,,of ,,beau ,,brocade4' ,,by ,,leave ,,of ,,messrs4 ,,kegan ,,paul4 ,mr4 ,c4 ,e4 ,brock and ,mr4 ,h4 ,m4 ,brock are two artists who to some extent may be considered as followers of ,mr4 ,thomson's methods1 though ,mr4 ,c4 ,e4 ,brock's work in ',punch1' and humorous characterizations by ,mr4 ,h4 ,m4 ,brock in ',living ,london1' show how distinct from the elegant fancy of ,mr4 ,thomson's art are the latest developments of their artistic individuality4 ,mr4 ,c4 ,e4 ,brock's illustrations to ,hood's ',humorous ,poems' 7#ahic7 proved his indebtedness to ,mr4 ,thomson1 and his ability to carry out ,caldecott-,thomson ideas with spirit and with invention4 ,an active sense of fun1 and facility in arranging and expressing his subject1 made him an addition to the school he represented1 and1 as in later work1 his own qualities and the qualities he has adopted combined to produce spirited and graceful art4 ,but in work preceding the pen-drawing of #ahic1 and in many books illustrated since then1 ,mr4 ,brock at times has shown himself an illustrator to whom matter rather than a particular charm of manner seems of paramount interest4 ,in the illustrated ,gulliver of #ahid there is little trace of the daintiness and sprightliness of ,caldecott's illustrative art4 ,he gives many particulars1 and is never at a loss for forms and details1 representing with equal matter-of-factness the crowds1 cities and fleets of ,lilliput1 the large details of ,brobdingnagian existence1 and the ceremonies and spectacles of ,laputa4 ,in books of more actual adventure1 such as ',robinson ,crusoe' or ',westward ,ho1' or of quiet particularity1 such as ,galt's ',annals of the ,parish1' the same directness and unmannered expression are used1 a directness which has more of the journalistic than of the playful-inventive quality4 ,the ,jane ,austen drawings1 those to ',the ,vicar of ,wakefield1' and to a recent edition of the ',essays of ,elia1' show the graceful eighteenth-centuryist1 while1 whether he reports or adorns1 whether action or behaviour1 adventure or sentiment1 is his theme1 ,mr4 ,brock is always an illustrator who realizes opportunities in the text1 and works from a ready and observant intelligence4 ,illustration3 ,,from ,,mr4 ,c4 ,e4 ,,brock',s ',,the ,,essays ,,of ,,elia4' ,,by ,,leave ,,of ,,messrs4 ,,dent4 ,mr4 ,henry ,m4 ,brock is also an effective illustrator1 and his work increases in individuality and in freedom of arrangement4 ',jacob ,faithful' 7#ahie7 was followed by ',handy ,andy' and ,thackeray's ',songs and ,ballads' in #ahif4 ,less influenced by ,mr4 ,thomson than his brother1 the lively ,thackeray drawings1 with their versatility and easy invention1 have nevertheless much in common with the work of ,mr4 ,charles ,brock4 ,on the whole1 time has developed the differences rather than the similarities in the work of these artists4 ,in the ',waverley' drawings and in those of ',the ,pilgrim's ,progress1' ,mr4 ,h4 ,m4 ,brock represents action in a more picturesque mood than ,mr4 ,charles ,brock usually maintains1 emphasizing with more dramatic effect the action and necessity for action4 ,the illustrations of ,mr4 ,william ,c4 ,cooke1 especially those to ',popular ,british ,ballads' 7#ahid71 and1 with less value1 those to ',john ,halifax1 ,gentleman1' may be mentioned in relation to the ,caldecott tradition1 though it is rather of the art of ,kate ,greenaway that one is reminded in these tinted illustrations4 ,mr4 ,cooke's wash-drawings to ,jane ,austen's novels1 to ',evelina' and ',the ,man of ,feeling1' as well as the pen-drawings to ',british ,ballads1' have more force1 and represent with some distinction the stir of ballad romance1 the finely arranged situations of ,miss ,austen1 and the sentiments of life1 as ,evelina and ,harley understood it4 ,in a study of ,english black-and-white art1 not limited to book-illustration1 ',punch' is an almost inevitable and invaluable centre for facts4 ,few draughtsmen of notability are outside the scheme of art connected with ',punch1' and in this connection artists differing as widely as ,sir ,john ,tenniel and ,mr4 ,phil ,may1 or ,mr4 ,linley ,sambourne and ,mr4 ,raven ,hill1 form a coherent group4 ,but1 in this volume1 ',punch' itself is outside the limits of subject1 and1 with the exception of ,mr4 ,bernard ,partridge in the present1 and ,sir ,harry ,furniss in the past1 the wits of the pencil who gather round the 'mahogany tree' are not among character-illustrators of literature4 ,mr4 ,partridge has drawn for ',punch' since #ahia1 and has been on the staff for nearly all that time4 ,his drawings of theatrical types in ,mr4 ,jerome's ',stage-land' 7#ahhi7--which1 according to some critics1 made1 by deduction1 the author's reputation as a humorist--and to a first series of ,mr4 ,anstey's ',voces ,populi1' as well as work in many of the illustrated papers1 were a substantial reason for ',punch's' invitation to the artist4 ,from the ',bishop and ,shoeblack' cut of #ahia1 to the 'socials' and cartoons of to-day1 ,mr4 ,partridge's drawings1 together with those of ,mr4 ,phil ,may and of ,mr4 ,raven ,hill1 have brilliantly maintained the reputation of ',punch' as an exponent of the forms and humours of modern life4 ,his actual and intimate knowledge of the stage1 and his actor's observation of significant attitudes and expressions1 vivify his interpretation of the middle-class1 and of bank-holiday makers1 of the 'artiste1' and of such a special type as the ',baboo ,jabberjee' of ,mr4 ,anstey's fluent conception4 ,if his 'socials' have not the prestige of ,mr4 ,du ,maurier's art1 if his women lack charm and his children delightfulness1 he is1 in shrewdness and range of observation1 a pictorial humorist of unusual ability4 ,as a book-illustrator1 his most 'literary' work is in the pages of ,mr4 ,austin ,dobson's ',proverbs in ,porcelain4' ,studied from the model1 the draughtsmanship as able and searching as though these figures were sketches for an 'important' work1 there is in every drawing the completeness and fortunate effect of imagination4 ,the ease of an actual society is in the pose and grouping of the costumed figures1 while1 in the representation of their graces and gallantries1 the artist realizes ce superflu si necessaire that distinguishes dramatic action from the observed action of the model4 ,problems of atmosphere1 of tone1 of textures1 as well as the presentment of life in character1 action1 and attitude1 occupy ,mr4 ,partridge's consideration4 ,he1 like ,mr4 ,abbey1 has the colourist's vision1 and though the charm of people1 of circumstance1 of accessories and of association is often less his interest than characteristic facts1 in non-conventional technique1 in style that is as un-selfconscious as it is individual1 ,mr4 ,abbey and ,mr4 ,partridge have many points in common4 ,sir ,harry ,furniss1 alone of caricaturists1 has1 in the many-sided activity of his career1 applied his powers of characterization to characters of fiction1 though he has illustrated more nonsense-books and wonder-books than books of serious narrative4 ,sir ,john ,tenniel and ,mr4 ,linley ,sambourne among cartoonists1 ,sir ,harry ,furniss1 ,mr4 ,e4 ,t4 ,reed1 and ,mr4 ,carruthers ,gould among caricaturists1 mark the strong connection between politics and political individualities1 and the irresponsible developments and creatures of nonsense-adventures1 as a theme for art4 ,to summarize ,sir ,harry ,furniss' career would be to give little space to his work as a character-illustrator1 but his character-illustration is so representative of the other directions of his skill1 that it merits consideration in the case of a draughtsman as effective and ubiquitous in popular art as is ',lika ,joko4' ,the pen-drawings to ,mr4 ,james ,payn's ',talk of the ,town1' illustrated by ,sir ,harry ,furniss in #ahhe1 have1 in restrained measure1 the qualities of flexibility1 of imagination so lively as to be contortionistic1 of emphasis and pugnacity of expression1 of pantomimic fun and drama1 that had been signalized in his ,parliamentary antics in ',punch' for the preceding five years4 ,his connection with ',punch' lasted from #ahhj to #ahid1 and the ',parliamentary ,views1' two series of ',m4,p4s in ,session1' and the ',salisbury ,parliament1' represent experience gained as the illustrator of ',toby ,m4,p4' ,his high spirits and energy of sight also found scope in caricaturing academic art1 ',pictures at ,play' 7#ahhh71 being followed by ',academy ,antics' of no less satirical and brilliant purpose4 ,as caricaturist1 illustrator1 lecturer1 journalist1 traveller1 the style and idiosyncrasies of ,sir ,harry ,furniss are so public and familiar1 and so impossible to emphasize1 that a brief mention of his insatiable energies is perhaps as adequate as would be a more detailed account4 ,illustration3 ,,from ,,sir ,,harry ,,furniss' ',,the ,,talk ,,of ,,the ,,town4' ,,by ,,leave ,,of ,,messrs4 ,,smith1 ,,elder4 ,other book-illustrators whose connection with ',punch' is a fact in the record of their work are ,mr4 ,a4 ,s4 ,boyd and ,mr4 ,arthur ,hopkins4 ,mr4 ,jalland1 too1 in drawings to ,whyte-,melville used his sporting knowledge on a congenial subject4 ,mr4 ,a4 ,s4 ,boyd's ',daily ,graphic' sketches prepared the way for 'canny' drawings of ,scottish types in ,stevenson's ',lowden ,sabbath ,morn1' in ',days of ,auld ,lang ,syne1' and in ',horace in ,homespun1' and for other observant illustrations to books of pleasant experiences written by ,mrs4 ,boyd4 ,mr4 ,arthur ,hopkins1 and his brother ,mr4 ,everard ,hopkins1 are careful draughtsmen of some distinction4 ,without much spontaneity or charm of manner1 the pretty girls of ,mr4 ,arthur ,hopkins1 and his well-mannered men1 fill a place in the pages of ',punch1' while illustrations to ,james ,payn's ',by ,proxy1' as far back as #ahgh1 show that the unelaborate style of his recent work is founded on past practice that has the earlier and truer ,du ,maurier technique as its standard of thoroughness4 ,mr4 ,e4 ,j4 ,wheeler1 a regular contributor to ',punch' since #ahhj1 has illustrated editions of ,sterne and of ',masterman ,ready1' other books also containing characteristic examples of his rather precise1 but not uninteresting1 work4 ,save by stringing names of artists together on the thread of their connection with some one of the illustrated papers or magazines1 it would be impossible to include in this chapter mention of the enormous amount of capable black-and-white art produced in illustration of 'serial' fiction4 ,such name-stringing1 on the connection--say--of ',the ,illustrated ,london ,news1' ',the ,graphic1' or ',the ,pall ,mall ,magazine1' would fill a page or two1 and represent nothing of the quality of the work1 the attainment of the artist4 ,neither is it practicable to summarize the illustration of current fiction4 ,one can only attempt to give some account of illustrated literature1 except where the current illustrations of an artist come into the subject 'by the way4' ,mr4 ,frank ,brangwyn may be isolated from the group of notable painters1 including ,mr4 ,jacomb ,hood1 ,mr4 ,seymour ,lucas and ,mr4 ,r4 ,w4 ,macbeth1 who illustrate for ',the ,graphic1' by reason of his illustrations to classics of fiction such as ',don ,quixote' and ',the ,arabian ,nights1' as well as to ,michael ,scott's two famous sea-stories4 ,to some extent his illustrations are representative of the large-phrased construction of ,mr4 ,brangwyn's painting1 especially in the drawings of the opulent orientalism of ',the ,arabian ,nights1' with its thousand and one opportunities for vivid art4 ,mr4 ,brangwyn's east is not the vague east of the stay-at-home artist1 nor of the conventional traveller2 his imagination works on facts of memory1 and both memory and imagination have strong colour and concentration in a mind bent towards adventure4 ,one should not1 however1 narrow the scope of ,mr4 ,brangwyn's art within the limits of his work in black and white1 and what is no more than an aside in the expression of his individuality1 cannot1 with justice to the artist1 be considered by itself4 ,other ',graphic' illustrators--,mr4 ,frank ,dadd1 ,mr4 ,john ,charlton1 ,mr4 ,william ,small1 and ,mr4 ,h4 ,m4 ,paget1 to name a few only--represent the various qualities of their art in black-and-white drawings of events and of fiction1 and the ',illustrated1' with artists including ,mr4 ,caton ,woodville1 ,mr4 ,seppings ,wright1 ,mr4 ,s4 ,begg1 ,m4 ,amedee ,forestier and ,mr4 ,ralph ,cleaver1 fills a place in current art to which few of the more recently established journals can pretend4 ,mr4 ,frank ,dadd and ,mr4 ,h4 ,m4 ,paget made drawings for the ',dryburgh' edition of the ,waverleys4 ,in this edition1 too1 is the work of well-known artists such as ,mr4 ,william ,hole1 whose ,scott and ,stevenson illustrations show his inbred understanding of northern romance1 and together with the character etchings to ,barrie1 shrewd and valuable1 represent with some justice the vigour of his art2 of ,mr4 ,walter ,paget1 an excellent illustrator of ',robinson ,crusoe1' and of many boys' books and books of adventure1 of ,mr4 ,lockhart ,bogle1 and of ,mr4 ,gordon ,browne4 ,in the same edition ,mr4 ,paul ,hardy1 ,mr4 ,john ,williamson and ,mr4 ,overend1 showed the more serious purpose of black and white that has earned the appreciation of a public critical of any failure in vigour and in realization--the public that follows the tremendous activity of ,mr4 ,henty's pen1 and for whom ,dr4 ,gordon ,stables1 ,mr4 ,manville ,fenn and ,mr4 ,sydney ,pickering write4 ,of ,m4 ,amedee ,forestier1 whose illustrations are as popular with readers of the ',illustrated' and with the larger public of novel-readers as they are with students of technique1 one cannot justly speak as an ,english illustrator4 ,he1 and ,mr4 ,robert ,sauber1 contributed to ,ward ,lock's edition of ,scott illustrated by ,french artists4 ,their work1 ,m4 ,forestier's so admirable in realization of episode and romance1 ,mr4 ,sauber's1 vivacious up to the pitch of ',the ,impudent ,comedian'--as his illustrations to ,mr4 ,frankfort ,moore's version of ,nell ,gwynn's fascinations showed--needs no introduction to an ,english public4 ,the black and white of ,mr4 ,sauber and of ,mr4 ,dudley ,hardy--when ,mr4 ,hardy is in the vein that culminated in his theatrical posters--has many imitators1 but it is not a style that is likely to influence illustrators of literature4 ,mr4 ,hal ,hurst shows something of it1 though he1 and in greater measure ,mr4 ,max ,cowper1 also suggest the unforgettable technique of ,charles ,dana ,gibson4 ,,iv4 ,,some ,,children',s-,,books ,,illustrators4 ,,leigh ,hunt is one of many authors gratefully to praise the best-praised publisher of any day1 ,mr4 ,newbery1 who1 at ,the ,bible and ,sun in ,st4 ,paul's ,churchyard1 dispensed to long-ago children ',goody ,two ,shoes1' ',beauty and the ,beast1' and other less famous little books1 bound in gilt paper and rich with many pictures4 ,charming memories prompt ,leigh ,hunt's mention of the little penny books 'radiant with gold1' that 'never looked so well as in adorning literature1' and if the radiance of his estimate of these nursery volumes is from an actual memory of gilt-paper binding1 his words exemplify the spirit that makes right appreciation of the newest picture-books so difficult4 ,in no other part of the subject of book-illustration are the books of yesterday fraught with charm so inimical to delight in the books of to-day4 ,the modern child's book--except1 let us hope1 to the child-owner--is merely a book as other books are4 ,its qualities are as patent as its size1 or number of illustrations4 ,the pictures are to the credit or discredit of a known and realized artist2 they are1 moreover1 generally plain to see as a development of the ideas of some 'school' or 'movement4' ,one knows about them as examples of ,english book-illustration of to-day4 ,but the pictures between the worn-out covers of the other child's books were known with another kind of knowledge1 discovered in a long intimacy1 and related1 not to any artist1 or fashion of art1 but to all manner of unreasonable and delightful things4 ,so it is well1 perhaps1 that the break between a subject of enthralling associations and a subject whose associations are unsentimental1 should1 by the ordering of facts1 occur before the proper beginning of a study of contemporary illustration in children's books4 ,for one reason or another1 little work by artists whose reputation is of earlier date than to-day comes within present subject-limits4 ,some1 like ,randolph ,caldecott and ,kate ,greenaway1 are dead1 some have ceased to draw1 or draw no longer for children4 ,happily1 the witching drawings of ,arthur ,hughes are still among nursery pictures1 in reprints of ',at the ,back of the ,north ,wind1' and its companions--though the illustrator of these books1 of ',the ,boy in ,grey1' and of ',tom ,brown's ,schooldays1' has long ceased to weave his fortunate dreams into pictures to content a child4 ,the drawings of ,robert ,barnes1 of ,mrs4 ,allingham and of ,miss ,m4 ,e4 ,edwards--illustrators of a sound tradition--are known to the present nursery generation2 and so are the outline and tinted drawings of ',t4 ,pym1' who devised1 so far back as the seventies1 the naive and sympathetic style of illustration that is pleasantly unchanged in recent child-books1 such as ',the ,gentle ,heritage' 7#ahic71 and ',master ,barthemy' 7#ahif74 ,the later work of ,walter ,crane is so bent to decorative and allegorical purpose1 that the creator of the best nursery-rhyme pictures ever printed in colours--,randolph ,caldecott's are rather ballad than nursery-rhyme pictures--is in his place among decorative illustrators rather than in this connection4 ,sir ,john ,tenniel's neat1 immortal little ,alice1 with her ankle-strap shoes and pocketed apron1 is still followed to ,wonderland by as many children as in #ahff1 when she and the splendid prototypes of the degenerate jargon-beasts of to-day first captivated attention4 ,the drawings of these artists1 and perhaps also of ',e4 ,v4 ,b4'--for ',child's ,play1' though published in #aheh1 is familiar to present children in a reprint--are mentioned because of the place they still take on nursery book-shelves4 ,but from such brief record of some among the books 'radiant with gold' that 'never looked so well as in adorning literature1' one must turn to work that has no such radiance of sentiment and association over its merits and defects4 ,since the eighties ,mr4 ,gordon ,browne has been in the forefront of illustrators popular with story-book publishers and with readers of story-books4 ,he is the son of ,hablot ,browne1 but no trace of the 'caricaturizations' of ',phiz' is in ,mr4 ,gordon ,browne's work4 ,probably his earliest published work appeared in ',aunt ,judy's ,magazine' some time in the seventies4 ,these unenlivening drawings suggest nothing of the picturesque and unhesitating invention that has shaped his style to its present serviceableness in the rapid production of effective illustrations4 ,the range and quantity of his work is best realized in the bibliographical list1 which records his illustrations to ,shakespeare and ,henty1 to fairy-tales and boys' stories1 girls' stories and toy-books1 ,gulliver1 ,cervantes1 and ,sunday-school books1 at the rate of six or seven volumes a year4 ,in addition1 one must remember unnumbered illustrations in domestic magazines4 ,and1 on the whole1 the stories illustrated by ,gordon ,browne are adequately illustrated4 ,it is true that as a general rule he illustrates stories whose plan is within limits of familiarity1 such as those by ,mrs4 ,ewing1 ,mrs4 ,l4 ,t4 ,meade1 or1 in a different vein1 the boys' stories of ,henty1 ,manville ,fenn1 or ,ascott ,hope4 ,romance and the clash of swords engaged the artist in the pages of ',sintram1' of ,froissart1 of ,sir ,walter ,scott1 and--pre-eminently--in the illustrations to the ',henry ,irving ,shakespeare1' numbering nearly six hundred1 and representing the work of five years4 ,illustrating these subjects1 though in varying degree1 the vitality and importance of an artist's conception of life and of art is put to the test4 ,so far as prompt and definite representation of persons1 places1 and encounters1 and unflagging facility in devising effective forms of composition constitute interpretation1 the artist maintained the level of the undertaking4 ,the illustration of stories such as those collected by the brothers ,grimm1 or those ,andersen discovered in his exile of dreams among the facts of life1 demands a quality of thought differing from1 yet hardly less rare than1 the thought needed to interpret ,shakespeare4 ,a fine aptitude for discerning and rendering 'the mysterious face of common things1' a fancy full of shapes1 perception of the rationale of magic1 are essential to the writer or artist who elects to send his fancy after the elusive forms of fairyland4 ,the recent drawings to ,andersen1 a volume of tales from ,grimm1 published in #ahid1 and illustrations to modern inventions1 such as ',down the ,snow ,stairs' 7#ahhf71 and ,mr4 ,andrew ,lang's ',prince ,prigio1' show that ,mr4 ,gordon ,browne's ideas of fairyland1 ancient and modern1 are no less brisk and picturesque than are his ideas of everyday and of romance4 ,his technique is so familiar that it is surely unnecessary to make even a brief disquisition on its merits in expressing facts as they exist in a popular scheme of reality and imagination4 ,it is a healthy style1 the ideals of beauty and of strength are never coarse1 wanton or listless1 the humour is friendly1 and if the pathos occasionally verges on sentimentality1 the writer1 perhaps1 rather than the artist is responsible4 ,mr4 ,gordon ,browne draws the average child1 and represents fun1 fancy and adventure as the average child understands them4 ,his art is unsophisticated4 ,to him1 the child is no motif in a decorative fantasy1 nor a quaint diagram figuring in nursery-,gothic elements of design1 nor a bold invention among picture-book monsters4 ,the artists whose basis of art is the unadapted child1 may1 perhaps1 be classed as the 'realists' among children's illustrators4 ,among these realists are the illustrators of ,mrs4 ,molesworth--with the exception of ,walter ,crane1 first and chief of them4 ,mr4 ,leslie ,brooke succeeded ,mr4 ,crane in #ahia as the illustrator of ,mrs4 ,molesworth's stories1 and the careful un-selfconscious fashion of his drawing1 his understanding of child-life and home-life as known to children such as those of whom and for whom ,mrs4 ,molesworth writes1 make these pen-drawings true illustrations of the text4 ,his drawings are the result of individual observation and of a sense of what is fit and pleasant1 though neither in his filling of a page1 nor in the conception of beauty1 is there anything definitely inventive to be marked4 ,on the whole1 his children and young people are rather representative of a class that maintains a standard of good looks among other desirable things1 than of a type of beauty2 and if they are not artistic types1 neither are they strongly individualized4 ,in his 'everyday' illustrations ,mr4 ,leslie ,brooke does not idealize1 but that his talent has a range of fancy is proved in illustrations to ',a ,school in ,fairyland' 7#ahif71 and to some imaginings by ,roma ,white4 ,graceful1 regardful of an unspoilt ideal in the fairies1 elves and flower-spirits1 there are also frequent hints in these drawings of the humour that finds more complete expression in ',the ,nursery ,rhyme ,book' of #ahig1 and in the happy extravagance of ',the ,jumblies' and ',the ,pelican ,chorus' 7#aijj74 ,outside the scope of picture-book drawings are the dainty tinted designs to ,nash's ',spring ,song1' and the skilful pen-drawings to ',pippa ,passes4' ,mr4 ,lewis ,baumer's drawings of children1 whether in ',the ,boys and ,i' and other stories by ,mrs4 ,molesworth1 or in less known child-stories1 have distinction that is partly a development of an admiration for ,du ,maurier1 though ,mr4 ,baumer is too quick-sighted and appreciative of charm to remain faithful to any model in art with the model in life before his eyes4 ,the children of ,mr4 ,baumer are of to-day4 ,the effect of the earlier ',punch' artist on the work of the younger man is hardly more than suggested in certain felicities of pose and expression added to those that a delightful kind of child discovers to an observer unusually sensitive to the vivid and engaging qualities of his subject4 ,these children are swift of movement and of spirit1 and the verve of the artist's style is rarely forced1 and still more rarely inadequate to the occasion4 ,illustration3 ,,from ,,mr4 ,,lewis ,,baumer',s ',,hermy4' ,,by ,,leave ,,of ,,messrs4 ,,chambers4 ,the acceptance of a formula1 rather than the expression of a hitherto unexpressed order of form1 is the basis of page-decoration by members of the ,birmingham ,school1 whose work in its wider aspect has already been considered4 ,originality finds exercise in modifying details1 but1 pre-eminent over differences in style1 is the similarity of style that suggests ',birmingham' before the variations in detail suggest the work of an individual artist4 ,the influence of ,kate ,greenaway is strongly marked in the work of many of these designers for children's books4 ,indeed1 ,miss ,winifred ,green's drawings to ,charles and ,mary ,lamb's ',poetry for ,children1' and to ',mrs4 ,leicester's ,school1' contain figures that1 if one allows for some assertion necessary to justify their reappearance1 might have come direct from ',under the ,window4' ,the typical illustrative art of ,birmingham is1 however1 of another kind4 ,the quaint propriety of 'old-fashioned' childhood1 which ,kate ,greenaway's delicate pencil first represented at its artistic value1 is akin to the conception of the child that prevails on the pages decorated by ,mrs4 ,arthur ,gaskin1 but the work of ,mrs4 ,gaskin shows nothing of the ,stothard-like ideal that seems to have been the suggesting cause of ',greenaway' play-pictures4 ,in the arabesques of flowers and leaves which decorate many pages designed by ,mrs4 ,gaskin one sees a freedom and fluency of line that are checked to quaintness and naive angularity when the child is the subject4 ,her conception of a pictorial child is very definite1 and in her later work1 one must confess1 it is a conception hardly corroborated by observation of fact4 ',horn ,book ,jingles' and ',the ,travellers' of #ahig and #ahih show the culmination of a style that had more sympathetic charm in the tinted pages of the ',a4 ,b4 ,c4' 7#ahie71 or the ',divine and ,moral ,songs' of the following year4 ,book-illustration is with ,mrs4 ,gaskin1 as with many members of the school1 only a part of craftsmanship4 ,miss ,calvert's winsome drawings in ',baby ,lays' and ',more ,baby ,lays' are obviously related to the drawings of ,mrs4 ,gaskin1 though observation of real babies seems to have come between a rigid adherence to the model4 ,the decorative illustrations by the ,miss ,holdens to ',jack and the ,beanstalk' 7#ahie71 and to ',the ,real ,princess1' show evidence of fancy that finds expression while nothing of ,mr4 ,gaskin's teaching is forgotten4 ,as different in spirit from the drawings of the ,birmingham designers as is the ,lambs' ',poetry for ,children' from ',a ,child's ,garden of ,verses1' the captivating illustrations of ,mr4 ,charles ,robinson seem a direct pictorial evocation of the mood of ,stevenson's child's rhymes1 or of ,eugene ,field's lullabies4 ,familiar now1 and exaggerated in imitations and in some of the artist's later work1 the children and child-fantasies of ,mr4 ,robinson1 as they were realized in the first unspoilt freshness of improvisation1 are among the delightful surprises of modern book-illustration4 ,in the pages of ',a ,child's ,garden of ,verses' 7#ahif71 of ',the ,child ,world1' and of ,field's ',lullaby ,land1' the frolic babes of his fancy play hide and seek wherever the text leaves space for them1 rioting1 or attitudinizing with spritely ceremony1 from cover to cover4 ,the mood of imaginative play1 of daylight make-believe with its realistic and romantic excesses1 and of the make-believe enforced by flickering fire-light1 and by the shadows in the darkened house1 is expressed in ,mr4 ,robinson's drawings4 ,not children1 but child's-play1 and the unexplored shadows and mysteries that lie 'up the mountain side of dreams' are the motives of the fantasies he sets on the page beside ,stevenson's rhymes of old delights1 and the rhymes of the land of counterpane1 where ,wynken ,blynken and ,nod1 the ,rockaby lady from ,hushaby ,street1 and all kind drowsy fancies close round and shut away the crooked shadows into the night outside the nursery4 ,the three books mentioned represent1 as ,i think1 the artist's work at its truest value4 ,there is variety of touch and of method1 and the heavier fact-enforcing line of ',child ,voices1' of ',lilliput ,lyrics1' or of the coloured pictures to ',jack of all ,trades' is used1 as well as the fanciful line of the by-the-way drawings1 and the arabesques and delicate detail of the fantasy and dream pictures4 ,a scheme of solid black and white1 connected and rendered fully valuable by interweaving with line1 white lines telling against black masses1 and black lines relieved against white1 with pattern as a resource to fill spaces when plain black or plain white seem uninteresting1 is1 of course1 the scheme of the majority of decorative illustrators4 ,but of this scheme ,mr4 ,charles ,robinson has made individual use4 ,whether his lines trace a fairy's transparent wing on a background of night-sky1 of drifting cloud or of dream mountain-side1 or make the child visible among dream-buildings1 or seated on the world of fancy in the immensity of night1 or passing in a sleep-ship through faery seas1 they have the quality of imagination1 imagination in their disposition to form a decorative effect1 and in the forms they express4 ,the full-page drawings to ',king ,longbeard' have this quality1 and hardly a drawing to any theme of fancy1 whether in old or in new fairy tales1 or in verses1 but is the result of a vision of charm and distinction4 ,it would seem that the imagination of ,mr4 ,charles ,robinson realizes a subject with more delight when the text is suggestive1 rather than impressive with definite conceptions4 ,the mighty forms of ',the ,odyssey1' the chivalric symbolism of ',sintram and ,aslaugas ,knight1' even the magical particularity of ,hans ,andersen1 are not1 apparently1 supreme in his imagination1 as is his vision of fairy-seeing childhood4 ,one is unenlightened by the graceful drawings to ',the ,adventures of ,odyseus1' or the romances of ,de la ,motte ,fouque4 ,that ,miss ,alice ,woodward has1 on occasion1 made one of the many illustrators who have profited by the example of ,mr4 ,charles ,robinson1 various drawings seem to show1 but few of these illustrators have the originality and purpose that allow ,miss ,woodward to enlarge her range of expression without nullifying the spontaneity of her work4 ,she has illustrated over a dozen books1 beginning with ',banbury ,cross' in #ahie1 and mostly she treats her subject with humour and variety and with a consistent idea of the pictorial aspect of things4 ,she has quick appreciation of unconscious humour in attitude and in expression1 though she seems at times to rely too much on memory1 thereby diminishing vividness4 ,when most successful she can draw a pleasing child with lines almost as few as those used by any modern artist4 ,miss ,gertrude ,bradley is another pleasant illustrator4 ,her later drawings of children are modified from the print-pinafore freshness of those in ',songs for ,somebody' 7#ahic71 to a type that has evident affinities with the ,charles ,robinson child1 though in ',just ,forty ,winks' 7#ahig7 ,miss ,bradley proves her individual sense of humour4 ,the taking simplicity of ,miss ,marion ,wallace-,dunlop's illustrations of elf-babies in ',fairies1 ,elves and ,flower ,babies1' and of the human twins who adventure in ',the ,magic ,fruit ,garden' also suggests the influence of the fortunate inventor of an admirable child4 ,illustration3 ,,from ,,miss ,,woodward',s ',,to ,,tell ,,the ,,king ,,the ,,sky ,,is ,,falling4' ,,by ,,leave ,,of ,,messrs4 ,,blackie4 ,the greater amount of ,mr4 ,bedford's work for children consists of coloured illustrations to nursery-books1 and1 when the humour of half-penny paper journalism is supposed to be entertainment for babies1 one may be thankful for the pleasant and peaceful drawings of this artist4 ,little ,miss ,muffet1 ,wee ,willie ,winkie1 and the activities of town and country1 are a relief from the jeunesse doree1 and the lethargy of the ,war ,office as toy-book subjects1 while ',the ,battle of the ,frogs and ,mice'--though ,miss ,barlow's version of ,aristophanes1 with ,mr4 ,bedford's effective decorations1 is hardly a nursery-book--is a better child's subject than the punishable pretensions of other nations4 ,in work hitherto noticed1 the child may be regarded as the central figure of the design1 whether fact or fancy be set about his little personality4 ,besides the illustrators whose subject is childhood in some aspect or another1 and those children's illustrators who pictorialize the wide imaginings of the national fairy tales1 there are others in whose work the child figures incidentally1 but not as the central fact4 ,in this connection one may consider those draughtsmen who illustrate modern wonder-books with ,zankiwanks1 ,krabs and ,wallypugs4 ,mr4 ,archie ,macgregor should be classed1 perhaps1 among artists of the child in wonderland1 but the personalities of ,tomakin and his sisters1 though ,judge ,parry sets them forth in prose and in verse with his usual high spirits1 are not the illustrator's first care4 ',katawampus1' ',the ,first ,book of ,krab1' and ',butterscotia1' have made ,mr4 ,macgregor's robust and strongly-defined drawings familiar1 and1 within the limits of the author's hearty imagination1 his droll and unflagging representations of adventures1 ceremonies and humours1 are extremely apt4 ,children1 goblins1 animals and queer monsters are drawn with unhesitating spirit and humour1 and with decorative invention that would be even more successful if it were less fertile in devising detail4 ,more fortunate in rendering action than facial expression1 without the mystery that is the atmosphere of the magical fairy-land1 the fact and fancy of ,mr4 ,macgregor are so admirably illustrative of ,judge ,parry's text that one is almost inclined to attribute the absence of glamour to the artist's strong conception of the function of an illustrator4 ,mr4 ,alan ,wright's work1 again1 is inevitably associated with the invention of an author1 though ,mr4 ,farrow's ',wallypug' books have not all been illustrated by one artist4 ,mr4 ,wright's drawings are proof of an energetic and serviceable conception of all sorts of out-of-the-way things4 ,his humour is unelaborate1 he goes straight to the fact1 and1 having expressed its extraordinary and fantastic characteristics1 he does not linger to develop his drawing into a decorative scheme4 ,apparently he draws 'out of his head1' whether his subject is fact or extravagance4 ,the three small humans who figure in ',the ,little ,panjandrum's ,dodo1' and the ambassador's son of ',the ,mandarin's ,kite1' are as briefly sketched as the whimsicalities with whom they consort4 ,mr4 ,arthur ,rackham's illustrations to ',two ,old ,ladies1 ,two ,foolish ,fairies1 and a ,tom-,cat' 7#ahig71 and to ',the ,zankiwank and the ,bletherwitch' show inspiriting talent for nursery extravaganza4 ,the children1 whirled from reality into a phantasmagoria of adventure1 are deftly and happily drawn1 the fairies have fairy grace1 and the rout of hobgoblins and grotesques fill their parts4 ,drawing real animals1 ,mr4 ,rackham is equally quick to note what is characteristic1 and his facility in realizing fact and magic finds expression in the illustrations to ',grimm's ,fairy ,tales' 7#aijj74 ,this is the most important work of ,mr4 ,rackham as a child's illustrator1 and if the drawings are somewhat calculated to impress the horrid horror of witches and forest enchantments on uneasy minds1 the charm of princesses and peasant maids1 the sagacious humour of talking animals and the grotesque enlivenment of cobolds and gnomes are no less vividly represented4 ,that ,mr4 ,rackham admires ,mr4 ,e4 ,j4 ,sullivan's scheme of decorative black-and-white is evident in these drawings1 but not to the detriment of their inventive worth4 ,illustration3 ,,from ,,mr4 ,,arthur ,,rackham',s ',,grimm',s ,,fairy ,,tales4' ,,by ,,leave ,,of ,,messrs4 ,,freemantle4 ,mr4 ,j4 ,d4 ,batten1 ,mr4 ,h4 ,j4 ,ford1 and ,mr4 ,h4 ,r4 ,millar represent1 in various ways1 the modern art of fairy-tale illustration at its best4 ,mr4 ,batten's connection with ,mr4 ,joseph ,jacob's treasuries of fairy-lore1 ,mr4 ,ford's long record of work in the multicoloured fairy and true story books edited by ,mr4 ,lang1 and the drawings of ,mr4 ,millar in various collections of fairy tales1 entitle them to a foremost place among contemporary illustrators of the world's immortal wonder-stories4 ,mr4 ,batten knows the rules of chivalry1 of sentiment1 humour1 and horridness1 as they exist in the magical convention of the real fairy-tales1 and whether their purpose be merry or sad1 heroic or grotesque1 he illustrates the old tales of ,celt and ,saxon1 of ,india1 ,arabia and ,greece with appreciation of the largeness and splendour of their conception4 ,one might wish for more vitality in his women1 and think that a representation of the mournful beauty of ,deirdre1 the passion of ,circe or of ,medea1 should differ from the untroubled sweetness of the ,king's daughter of faery4 ,still one appreciates the dignity of these smooth-browed women1 and1 after all1 the passionate figures of ,greek and ,celtic epics need translation before they can figure in fairy-tale books4 ,mr4 ,batten's ideas are never trite and never morbid4 ,his giants are gigantic1 his monsters of true devastating breed1 and his drawings--especially the later ones--are as able technically as they are apt to the occasion4 ,illustration3 ,,from ,,mr4 ,,batten',s ',,indian ,,fairy ,,tales4' ,,by ,,leave ,,of ,,david ,,nutt4 ,there can hardly be an existent fairy-story among the hundreds told before the making of books that ,mr4 ,ford has not illustrated in one version or another4 ,the telling-house of every nation has yielded stories for ,mr4 ,lang's annual volumes2 and since the appearance of ',the ,blue ,fairy ,book' in #ahhh1 ,mr4 ,ford1 alone or in collaboration with ,mr4 ,jacomb ,hood1 ,mr4 ,lancelot ,speed and other well-known artists1 has illustrated the stories ,mr4 ,lang has gathered4 ,moreover1 in addition to seven volumes of fairy tales1 and many true story and animal story books1 ,mr4 ,ford has made drawings for ,a,esop1 for the ',arabian ,nights1' and for ',early ,italian ,love ,stories4' ,his decorative and illustrative ideal has never lacked distinction1 and his recent work is the coherent development of that of fourteen years ago1 though he has gained in freedom and variety of conception and in quality of expression4 ,mr4 ,ford's art is obviously founded on that of ,walter ,crane1 but he looks at a subject with greater interest in its dramatic possibilities1 and in the facts of place and time than the later ',crane' convention admits4 ,an abundant fancy1 familiarity with the facts of legendary1 romantic and animal life1 over a wide tract of country and through long ages of time1 fill the decorative pages of the artist with a plentitude of graceful1 vigorous and persuasive forms4 ,the well-devised pages of ,miss ,emily ,j4 ,harding's ',fairy ,tales of the ,slav ,peasants and ,herdsmen1' are akin in form to the drawings of ,mr4 ,batten and of ,mr4 ,ford1 though regard for the national tone of the stories gives these illustrations individuality and interest4 ,illustration3 ,,from ,,mr4 ,,ford',s ',,pink ,,fairy ,,book4' ,,by ,,leave ,,of ,,messrs4 ,,longmans4 ,the principles of art represented by the drawings of ,mr4 ,ford have little in common with those which determine the scheme of ,mr4 ,millar's many illustrations4 ,vierge1 and ,gigoux1 the master of ,vierge1 are the indubitable suggesters of his style1 and the antitheses of sheer black and white1 the audacities1 evasions and accentuations of these jugglers with line and form1 are dexterously handled by ,mr4 ,millar4 ,he has not invented his convention1 he has accepted it1 and begun original work within accepted limits4 ,a less original artist would thereby have doomed himself to extinction1 but ,mr4 ,millar has a lively apprehension of romance1 especially in an oriental setting1 and interest in subject is incompatible with merely imitative work4 ,illustrations to ',hajji ,baba' 7#ahie71 and to ',eothen1' show how dramatic and true to picturesque notions of the ,east are the conceptions1 and the same vigour projects itself into themes of western adventure in ',frank ,mildmay' and ',snarleyow4' ,but his right to be considered here is determined by the rapid visions of fairy romance realized in the pages of ',fairy ,tales by ,q4' 7#ahie71 of ',the ,golden ,fairy ,book' with its companions1 and on the more concrete but not less sufficient drawings to ',the ,book of ,dragons1' and ',nine ,unlikely ,tales for ,children4' ,illustration3 ,,from ,,mr4 ,,millar',s ',,fairy ,,tales ,,by ,q4' ,,by ,,leave ,,of ,,messrs4 ,,cassells4 ,the pen-drawings of ,mr4 ,t4 ,h4 ,robinson in the ,andersen illustrated by the brother artists1 show ability to realize not only the incidents and ideas of the stories1 but also something of the national inspiration that is an element in all maerchen4 ,at times determinedly decorative1 his work is generally in closer alliance with actuality than is the typical work of ,mr4 ,charles or of ,mr4 ,w4 ,h4 ,robinson4 ,character1 action1 costume1 picturesque facts of life and scenery are suggested1 and suggested with interest in the actual geographical and chronological circumstances of the stories1 whether a poet's ,denmark1 the ,arabia of ,scheherazade1 the ,greece of ,kingsley's ',the ,heroes1' or the rivers and mountains of ,carmen ,sylva's stories determine the fact-scheme for his decorative invention4 ,in addition to these vigorous and generally harmonious illustrations1 the artist's drawings to ',cranford1' ',the ,scarlet ,letter1' ',lichtenstein1' ',the ,sentimental ,journey1' and ',esmond1' prove his interest and inventive sense to be effective in realizing actual historical and local conditions4 ,if ,mr4 ,w4 ,h4 ,robinson is also an apt illustrator of legends and of folk-tales1 whose setting demands attention to the facts of life as they were to story-tellers in far countries of once-upon-a-time1 the more individual side of his talent is discovered in work of wilder and more intense fancy4 ,andersen's ',marsh ,king's ,daughter1' the ,snow ,queen with her frozen eyes1 the picaresque mood of ,little ,claus1 or the doom of proud ,inger1 are to his mind1 and in illustrations to ',don ,quixote' 7#ahig71 to ',the ,pilgrim's ,progress1' and especially in the fully decorated volume of ,poe's ',poems1' the forcible conceptions of the text find pictorial expression4 ,mr4 ,a4 ,g4 ,walker1 though a sculptor by profession1 claims notice as an illustrator of various children's books1 notably ',the ,lost ,princess' 7#ahie71 ',stories from the ,faerie ,queene' 7#ahig71 and ',the ,book of ,king ,arthur4' ,his pen-drawings are expressive of a thoughtful realization of the subject in its actual and moral beauty4 ,the nobility of ,spenser's conceptions1 the remote beauty of the ,arthurian legend1 appeal to him1 and the careful rendering of costume1 landscape and the aspect of things1 is only part of a scheme of execution that has as its complete intention the rendering of the 'mood' of the narrative4 ,these drawings are realizations rather than illuminations of the text1 and one appreciates their thoroughness1 clearness1 and dignity4 ,miss ,helen ,stratton published some pleasant but not very vigorous drawings of children in ',songs for ,little ,people' 7#ahif71 and illustrations to a selection from ,andersen suggested the later direction of her ability4 ,this1 as the copiously illustrated ',fairy ,tales from ,hans ,christian ,andersen' 7#ahii71 and the large number of drawings contributed to ,messrs4 ,newnes' edition of ',the ,arabian ,nights1' show1 is in realizing themes less actual than those of ,nursery ,lyrics4 ,a sense of drama in the pose and grouping of the multitudes of figures on the pages of the ,danish and ,arabian stories1 and a sufficient care for the background1 as the poet's eyes might have seen it behind the dream-figures that passed between him and reality1 are qualities that give ,miss ,stratton's competent work imaginative value4 ,the work of ,miss ,r4 ,m4 ,m4 ,pitman comes within the subject in her illustrations to ,lady ,jersey's fairy tale1 ',maurice and the ,red ,jar1' and to ',the ,magic ,nuts' of ,mrs4 ,molesworth4 ,but though their decorative intention and technique represent the forms of the artist's work1 the spirit of fantasy that informs her illustrations to ',undine' finds only modified expression4 ,the symbolism of ',undine' is wrought into decorations of inventive elaborateness4 ,the technical ideal of ,miss ,pitman suggests study of ,duerer's pen-drawing1 and though at times there is too much sweetness and luxury in her representation of beauty1 at her best she expresses free fancy with distinction not common in modern book-illustration4 ,brief allusion only--where drawings of more definitely illustrative purpose over-crowd the available space--can be made to the numerous animal books1 serious and comic4 ,mr4 ,percy ,j4 ,billinghurst's full-page designs to ',a ,hundred ,fables of ,a,esop1' ',a ,hundred ,fables of ,la ,fontaine1' and ',a ,hundred ,anecdotes of ,animals' deserve more than passing mention for their decorative and observant qualities and their enlivening humour4 ,another decorative draughtsman of animals for children's books is ,mr4 ,carton ,moore ,park1 who1 since #ahii1 when the ',alphabet of ,animals' and ',the ,book of ,birds' appeared1 has published seven or eight volumes of his strongly devised designs4 ,one can hardly conclude without reference to ,mr4 ,louis ,wain1 the cats' artist of twenty years' standing1 and to ,mr4 ,j4 ,a4 ,shepherd1 chief caricaturist of animals2 but while toy-book artists such as ,mrs4 ,percy ,dearmer1 ,mrs4 ,farmiloe1 ,miss ,rosamond ,praeger1 ,mr4 ,aldin1 and ,mr4 ,hassall 7whose subject--the child--takes precedence of ,zoological subjects7 must be left unconsidered1 the humourists of the ,zoo can hardly be included4 ,,bibliography4 ,,bibliography4 7,to ,september1 #aija47 ,,some ,,decorative ,,illustrators4 ,,amelia ,,bauerle4 ,happy-go-,lucky4 ,ismay ,thorn4 #ho4 7,innes1 #ahid47 #c f4 p4 ,a ,mere ,pug4 ,nemo4 #ho4 7,long1 #ahig47 #f f4 p4 ,allegories4 ,frederic ,w4 ,farrar4 #ho4 7,longmans1 #ahih47 #bj f4 p4 ,sir ,constant4 ,w4 ,e4 ,cule4 #ho4 7,melrose1 #ahii47 #f f4 p4 ,glimpses from ,wonderland4 #ho4 ,j4 ,ingold4 7,long1 #aijj47 #f f4 p4 ,the ,day-,dream4 ,alfred ,tennyson4 #ho4 7,lane1 #aija4 ',flowers of ,parnassus4'7 #g illust4 7#e f4 p47 ,r4 ,,anning ,,bell4 ,jack the ,giant-,killer and ,beauty and the ,beast4 ,edited by ,grace ,rhys4 #cbo4 7,dent1 #ahid4 ,banbury ,cross ,series47 #ce illust4 7#ac f4 p47 ,the ,sleeping ,beauty and ,dick ,whittington and his ,cat4 ,edited by ,grace ,rhys4 #cbo4 7,dent1 #ahid4 ,banbury ,cross ,series47 #ce illust4 7#ac f4 p47 ,the ,christian ,year4 #ho4 7,methuen1 #ahie47 #e f4 p4 ,a ,midsummer ,night's ,dream4 #do4 7,dent1 #ahie47 #ei illust4 and decorations4 7#ae f4 p47 ,the ,riddle4 ,walter ,raleigh4 #do4 7,privately printed1 #ahie47 #b illust4 7#a f4 p47 ,an ,altar ,book4 ,fol4 7,merrymount ,press1 ,u4,s4,a41 #ahif47 #g f4 p4 ,keats' ,poems4 ,edited by ,walter ,raleigh4 #ho4 7,bell1 #ahig4 ,endymion ,series47 #fe illust4 and decorations4 7#bc f4 p47 ,the ,milan4 ,walter ,raleigh4 #do4 7,privately printed1 #ahih47 #a f4 p4 ,english ,lyrics from ,spenser to ,milton4 #ho4 7,bell1 #ahih4 ,endymion ,series47 #eg illust4 and decorations4 7#bj f4 p47 ,pilgrim's ,progress4 #ho4 7,methuen1 #ahih47 #ci illust4 7#bf f4 p47 ,lamb's ,tales from ,shakespeare4 #ho4 7,fremantle1 #ahii47 #ae f4 p4 ,w4 ,e4 ,f4 ,,britten4 ,the ,elf-,errant4 ,moira ,o',neill4 #ho4 7,lawrence and ,bullen1 #ahie47 #g f4 p4 ,undine4 ,translated from the ,german of ,baron de la ,motte ,fouque by ,edmund ,gosse4 #do4 7,lawrence and ,bullen1 #ahif47 #aj f4 p41 photogravure4 ,the ,early ,poems of ,alfred ,lord ,tennyson4 ,edited by ,john ,churton-,collins4 #ho4 7,methuen1 #aija47 #aj f4 p41 photogravure4 ,,percy ,,bulcock4 ,the ,blessed ,damozel4 ,dante ,gabriel ,rossetti4 #ho4 7,lane1 #aijj4 ',flowers of ,parnassus4'7 #h illust4 7#f f4 p47 ,,herbert ,,cole4 ,gulliver's ,travels4 ,j4 ,swift4 #ho4 7,lane1 #aijj47 #aad illust4 7#bj f4 p47 ,the ,rubaiyat4 #ho4 7,lane1 #aija4 ',flowers of ,parnassus4'7 #i illust4 7#f f4 p47 ,the ,nut-,brown ,maid4 ,a new version by ,f4 ,b4 ,money-,coutts4 #ho4 7,lane1 #aija4 ',f4 of ,p4'7 #i illust4 7#f f4 p47 ,a ,ballade upon a ,wedding4 ,sir ,john ,suckling4 #ho4 7,lane1 #aija4 ',f4 of ,p4'7 #i illust4 7#f f4 p47 ,the ,rime of the ,ancient ,mariner4 ,s4 ,t4 ,coleridge4 #ho4 7,gay and ,bird1 #aijj47 #f f4 p4 ,,philip ,,connard4 ,the ,statue and the ,bust4 ,robert ,browning4 #ho4 7,lane1 #aijj4 ',flowers of ,parnassus4'7 #i illust4 7#f f4 p47 ,marpessa4 ,stephen ,phillips4 #ho4 7,lane1 #aijj4 ',f4 of ,p4'7 #g illust4 7#e f4 p47 ,,walter ,,crane4 ,the ,new ,forest4 ,j4 ,r4 ,wise4 #do4 7,smith1 ,elder1 #ahfc47 #fc illust4 engraved by ,w4 ,j4 ,linton4 7,a new edition1 published by ,henry ,sotheran1 #ahhc1 with the original illust4 and #ab etchings by ,heywood ,sumner47 ,stories from ,memel4 ,mrs4 ,de ,haviland4 #abo4 7,william ,hunt1 #ahfd47 #f f4 p4 ,walter ,crane's ,toy-,books4 ,issued in single numbers1 from #ahfe-ahgf4 ---- ,collected ,editions1 all published in #do1 by ,george ,routledge1 and printed throughout in colours4 ,walter ,crane's ,picture ,book4 7#ahgd47 #fd pp4 ,the ,marquis of ,carabas' ,picture ,book4 7#ahgd47 #fd pp4 ,the ,blue ,beard ,picture ,book4 7#ahgf47 #cb pp4 ,song of ,sixpence ,toy-,book4 7#ahgf47 #cb pp4 ,chattering ,jack's ,picture ,book4 7#ahgf47 #cb pp4 ,the ,three ,bears ,picture ,book4 7#ahgf47 #cb pp4 ,aladdin's ,picture ,book4 7#ahgf47 #bd pp4 ,the ,magic of ,kindness4 ,h4 and ,a4 ,mayhew4 #ho4 7,cassell1 ,petter and ,galpin1 #ahfi47 #h f4 p4 ,sunny ,days1 or a ,month at the ,great ,stowe4 ,author of ',our ,white ,violet4' #ho4 7,griffith and ,farran1 #ahga47 #d f4 p41 in colours4 ,our ,old ,uncle's ,home4 ',mother ,carey4' #ho4 7,griffith and ,farran1 #ahga47 #d f4 p4 ,the ,head of the ,family4 ,mrs4 ,craik4 #ho4 7,macmillan1 #ahge47 #f f4 p4 ,agatha's ,husband4 ,mrs4 ,craik4 #ho4 7,macmillan1 #ahge47 #f f4 p4 ,tell me a ,story4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahge47 #h illust4 7#g f4 p47 ,the ,quiver of ,love4 ,a ,collection of ,valentines1 ,ancient and ,modern4 #do4 7,marcus ,ward1 #ahgf47 ,with ,kate ,greenaway4 #h f4 p4 in colours4 ,carrots4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahgf47 #h illust4 7#g f4 p47 ,songs of ,many ,seasons4 ,jemmett ,browne4 #do4 7,simpkin1 ,marshall1 #ahgf47 ,with others4 #a f4 p4 by ,walter ,crane4 ,the ,baby's ,opera4 #do4 7,routledge1 #ahgg47 #ee pictured pages in colours4 7#aa f4 p47 ,the ,cuckoo ,clock4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahgg47 #h illust4 7#g f4 p47 ,grandmother ,dear4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahgh47 #h illust4 7#g f4 p47 ,the ,tapestry ,room4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahgi47 #h illust4 7#g f4 p47 ,the ,baby's ,bouquet4 #do4 7,routledge1 #ahgi47 #ec pictured pages1 in colours4 7#aa f4 p47 ,a ,christmas ,child4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahhj47 #h illust4 7#g f4 p47 ,the ,necklace of ,princess ,fiorimonde4 ,mrs4 ,de ,morgan4 #ho4 7,macmillan1 #ahhj47 #be illust4 ,herr ,baby4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahha47 #h illust4 7#g f4 p47 ,the ,first of ,may4 ,a ,fairy ,masque4 ,j4 ,r4 ,wise4 ,fol4 7,henry ,sotheran1 #ahha47 #ef decorated pages4 7#a f4 p47 ,household ,stories4 ,translated from the ,german of the ,brothers ,grimm by ,lucy ,crane4 #ho4 7,macmillan1 #ahhb47 #abj illust4 7#aa f4 p47 ,rosy4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahhb47 #h illust4 7#g f4 p47 ,pan-,pipes4 ,a ,book of ,old ,songs4 ,theo4 ,marzials4 ,oblong folio4 7,routledge1 #ahhc47 #eb pictured pages1 in colours4 ,christmas ,tree ,land4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahhd47 #h illust4 7#g f4 p47 ,walter ,crane's ,new ,series of ,picture ,books4 #do4 7,marcus ,ward1 #ahhe-f47 ,slate and ,pencilvania4--,little ,queen ,anne4--,pothooks and ,perseverance4 #bd pages each1 in colours4 ,the ,golden ,primer4 ,j4 ,m4 ,d4 ,meiklejohn4 #ho4 7,blackwood1 #ahhe47 ,part ,i4 and ,part ,,ii4 #ad decorated pages in colours in each part4 ,folk and ,fairy ,tales4 ,c4 ,c4 ,harrison4 #ho4 7,ward and ,downey1 #ahhe47 #bd f4 p4 ,us4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahhe47 #h illust4 7#g f4 p47 ,the ,sirens ,three4 ,walter ,crane4 #do4 7,macmillan1 #ahhf47 #da pictured pages4 ,the ,baby's ,own ,a,esop4 #do4 7,routledge1 #ahhf47 #ef pictured pages1 in colours4 ,echoes of ,hellas4 ,the ,tale of ,troy and the ,story of ,orestes from ,homer and ,aeschylus4 ,with introductory essay and sonnets by ,prof4 ,george ,c4 ,warr4 ,fol4 7,marcus ,ward1 #ahhg47 #hb decorated pages4 ,four ,winds ,farm4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahhg47 #h illust4 7#g f4 p47 ,legends for ,lionel4 #do4 7,cassell1 #ahhg47 #dj pictured pages1 in colours4 ,a ,christmas ,posy4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahhh47 #h illust4 7#g f4 p47 ,the ,happy ,prince1 and other tales4 ,oscar ,wilde4 #do4 7,nutt1 #ahhh47 #ad illust4 and decorations with ,g4 ,p4 ,jacomb-,hood4 #c f4 p4 by ,walter ,crane4 ,the ,book of ,wedding ,days4 ,quotations for every day in the year1 compiled by ,k4 ,e4 ,j4 ,reid1 etc4 #do4 7,longmans1 #ahhi47 #ajj pictured pages4 ,the ,rectory ,children4 ,mrs4 ,molesworth4 #ho4 7,macmillan1 #ahhi47 #h illust4 7#g f4 p47 ,flora's ,feast4 ,a ,masque of ,flowers4 ,walter ,crane4 #do4 7,cassell1 #ahhi47 #dj pictured pages1 in colours4 ,the ,turtle ,dove's ,nest4 #ho4 7,routledge1 #ahij47 #hg illust4 7#h f4 p47 ,with others4 ,chambers ,twain4 ,ernest ,radford4 #do4 7,elkin ,matthews1 #ahij47 #a f4 p4 ,a ,sicilian ,idyll4 ,dr4 ,todhunter4 #do4 7,elkin ,matthews1 #ahij47 #a f4 p4 ,renascence4 ,a ,book of ,verse4 ,walter ,crane4 ,including ',the ,sirens ,three' and ',flora's ,feast4' #do4 7,elkin ,mathews1 #ahia47 #ci illust4 and decorations1 some engraved on wood by ,arthur ,leverett4 ,a ,wonder ,book for ,girls and ,boys4 ,nathaniel ,hawthorne4 7,osgood1 #ahib47 #fj illust4 and decorations in colours4 7#ai f4 p47 ,queen ,summer1 or the ,tourney of the ,lily and the ,rose4 ,walter ,crane4 #do4 7,cassell1 #ahib47 #dj pictured pages in colours4 ,the ,tempest4 #h illust4 to ,shakespeare's ',tempest4' ,engraved and printed by ,duncan ,c4 ,dallas4 7,dent1 #ahic47 ,under the ,hawthorn4 ,augusta de ,gruchy4 #ho4 7,mathews and ,lane1 #ahjc47 #a f4 p4 ,the ,old ,garden4 ,margaret ,deland4 #ho4 7,osgood1 #ahic47 #if decorated pages4 ,the ,two ,gentlemen of ,verona4 #h illust4 to ,shakespeare's ',two ,gentlemen of ,verona4' ,engraved and printed by ,duncan ,c4 ,dallas4 7,dent1 #ahid47 ,the ,story of the ,glittering ,plain4 ,william ,morris4 #do4 7,kelmscott ,press4 #ahid47 #bc illust4 ,borders1 titles and initials by ,william ,morris4 ,the ,history of ,reynard the ,fox4 ,english ,verse by ,f4 ,s4 ,ellis4 #do4 7,david ,nutt1 #ahid47 #ec illust4 and decorations4 7#a f4 p47 ,the ,merry ,wives of ,windsor4 #h illust4 to ,shakespeare's ',merry ,wives of ,windsor4' ,engraved and printed by ,duncan ,c4 ,dallas4 #do4 7,george ,allen1 #ahid47 ,the ,vision of ,dante4 ,miss ,harrison4 #ho4 #ahid4 #d f4 p4 ,the ,faerie ,queene4 ,edited by ,thomas ,j4 ,wise4 #c vols4 #do4 7,george ,allen1 #ahie47 #bca illust4 and decorations4 7#ih f4 p47 ,a ,book of ,christmas ,verse4 ,selected by ,h4 ,c4 ,beeching4 #ho4 7,methuen1 #ahie47 #aj illust4 7#e f4 p47 ,the ,shepheard's ,calendar4 ,edmund ,spenser4 #do4 7,harper1 #ahih47 #af illust4 and decorations4 7#ab f4 p47 ,the ,walter ,crane ,readers4 ,nelle ,dale4 #c vols4 #ho4 7,dent1 #ahih47 #aji pictured pages1 in colours4 7#h f4 p47 ,a ,floral ,fantasy in an ,old ,english ,garden4 ,walter ,crane4 #ho4 7,harper1 #ahii47 #dj pictured pages1 in colours4 ,h4 ,,granville ,,fell4 ,our ,lady's ,tumbler4 ,a ,twelfth ,century legend transcribed for ,lady ,day1 #ahid4 #do4 7,dent1 #ahid47 #d f4 p4 ,wagner's ,heroes4 ,constance ,maud4 #ho4 7,arnold1 #ahie47 #h f4 p4 ,cinderella and ,jack and the ,beanstalk4 #cbo4 7,dent1 #ahie4 ,banbury ,cross ,series47 #ch illust4 7#ad f4 p47 ,ali ,baba and ,the ,forty ,thieves4 #cbo4 7,dent1 #ahie4 ,banbury ,cross ,series47 #ch illust4 7#aa f4 p47 ,the ,fairy ,gifts and ,tom ,hickathrift4 #cbo4 7,dent1 #ahie4 ,banbury ,cross ,series47 #ch illust4 7#af f4 p47 ,the ,book of ,job4 #do4 7,dent1 #ahif47 #dc illust4 and decorations4 7#bd f4 p41 #c double pages47 ,the ,song of ,solomon4 #do4 7,chapman and ,hall1 #ahig47 #bi illust4 and decorations4 7#ab f4 p47 ,wonder ,stories from ,herodotus4 ,re-told by ,c4 ,h4 ,boden and ,w4 ,barrington ,d',almeida4 #ho4 7,harper1 #aijj47 #ai illust4 in colours4 7#ab f4 p47 ,a4 ,j4 ,,gaskin4 ,a ,book of ,pictured ,carols4 ,designed by members of the ,birmingham ,art ,school under the direction of ,a4 ,j4 ,gaskin4 #do4 7,george ,allen1 #ahic47 #ac illust4 and decorations with ,c4 ,m4 ,gere1 ,henry ,payne1 ,bernard ,sleigh1 ,fred4 ,mason1 and others4 7#a f4 p4 by ,a4 ,j4 ,gaskin47 ,stories and ,fairy ,tales4 ,hans ,andersen4 #ho4 7,george ,allen4 #ahic47 #ajj illust4 7#aa f4 p47 ,a ,book of ,fairy ,tales4 ,re-told by ,s4 ,baring ,gould4 #ho4 7,methuen1 #ahid47 #bj illust4 7#e f4 p47 ,good ,king ,wenceslas4 ,dr4 ,neale4 #do4 7,cornish ,brothers1 ,birmingham1 #ahie47 #f f4 p4 ,the ,shepheard's ,calendar4 ,e4 ,spenser4 #ho4 7,kelmscott ,press1 #ahif47 #ab f4 p4 ,c4 ,m4 ,,gere4 ,russian ,fairy ,tales4 ,r4 ,nisbet ,bain4 #ho4 7,lawrence and ,bullen1 #ahic47 #f f4 p4 ,news from ,nowhere4 ,william ,morris4 #ho4 7,kelmscott ,press1 #ahic47 #a f4 p4 ,the ,imitation of ,christ4 ,thomas a ,kempis4 ,introduction by ,f4 ,w4 ,farrar4 #ho4 7,methuen1 #ahid47 #e f4 p4 ,a ,book of ,pictured ,carols4 ,see ,a4 ,j4 ,gaskin4 ,j4 ,j4 ,,guthrie4 ,wedding ,bells4 ,a new old ,nursery ,rhyme by ,a4 ,f4 ,s4 and ,e4 de ,passemore4 #do4 7,simpkin1 ,marshall1 #ahie47 #g decorated pages4 ,the ,little ,men in ,scarlet4 ,frances ,h4 ,low4 7,jarrold1 #ahif47 #db illust4 7#h f4 p47 ,the ,garden of ,time4 ,mrs4 ,davidson4 #ho4 7,jarrold1 #ahif47 #dj illust4 7#h f4 p47 ,an ,album of ,drawings4 ,fol4 7,the ,white ,cottage1 ,shorne1 ,kent1 #aijj47 #bd f4 p4 from various magazines4 ,,laurence ,,housman4 ,jump-to-,glory ,jane4 ,george ,meredith4 #ho4 7,swan1 ,sonnenschein1 #ahib47 #dd illust4 7#h f4 p47 ,goblin ,market4 ,christina ,rossetti4 #ho4 7,macmillan1 #ahic47 #db illust4 and decorations4 7#ab f4 p47 ,weird ,tales from ,northern ,seas4 ,from the ,danish of ,jonas ,lie4 #ho4 7,kegan ,paul1 #ahic47 #ab f4 p4 ,the ,end of ,elfin-town4 ,jane ,barlow4 #ho4 7,macmillan1 #ahid47 #ae illust4 and decorations4 7#h f4 p47 ,a ,farm in ,fairyland4 ,laurence ,housman4 #ho4 7,kegan ,paul1 #ahid47 #ad f4 p4 ,the ,house of ,joy4 ,laurence ,housman4 #ho4 7,kegan ,paul1 #ahie47 #aj f4 p4 ,poems4 ,francis ,thompson4 #ho4 7,mathews and ,lane1 #ahie47 #a f4 p4 ,sister ,songs4 ,francis ,thompson4 #ho4 7,lane1 #ahie47 #a f4 p4 ,green ,arras4 ,laurence ,housman4 #ho4 7,lane1 #ahif47 #f f4 p4 ,all-,fellows4 ,laurence ,housman4 #ho4 7,kegan ,paul1 #ahif47 #g f4 p4 ,the ,were-,wolf4 ,clemence ,housman4 #ho4 7,lane1 #ahif47 #f f4 p4 ,the ,sensitive ,plant4 ,p4 ,b4 ,shelley4 #do4 7,aldine ,house1 #ahih47 #ab f4 p4 photogravure4 ,the ,field of ,clover4 ,laurence ,housman4 #ho4 7,kegan ,paul1 #ahih47 #ab f4 p41 engraved by ,clemence ,housman4 ,the ,little ,flowers of ,saint ,francis4 ,translated by ,t4 ,w4 ,arnold4 #abo4 7,dent1 #ahih1 ,temple ,classics47 #a f4 p4 ,of the ,imitation of ,christ4 ,thomas a ,kempis4 #ho4 7,kegan ,paul1 #ahih47 #e f4 p4 ,the ,little ,land4 ,laurence ,housman4 #ho4 7,grant ,richards1 #ahii47 #d f4 p4 ,at the ,back of the ,north ,wind4 ,g4 ,macdonald4 #ho4 7,blackie1 #aijj47 #a f4 p4 ,the ,princess and the ,goblin4 ,g4 ,macdonald4 #ho4 7,blackie1 #aijj47 #a f4 p4 ,a4 ,,garth ,,jones4 ,the ,tournament of ,love4 ,w4 ,t4 ,peters4 #ho4 7,brentano1 #ahid47 #c illust4 7#b f4 p47 ,the ,minor ,poems of ,john ,milton4 #ho4 7,bell1 #ahih4 ,endymion ,series47 #df illust41 and decorations4 7#bh f4 p47 ,contes de ,haute-,lisse4 ,jerome ,doucet4 7,bernoux and ,cumin1 #ahii47 #ef illust4 and decorations4 ,contes de la ,fileuse4 ,jerome ,doucet4 7,tallandier1 #aijj47 #afc illust4 and decorations4 ,,celia ,,levetus4 ,turkish ,fairy ,tales4 ,trans4 by ,r4 ,nisbet ,bain4 #ho4 7,lawrence and ,bullen1 #ahif47 #aj illust4 7#i f4 p47 ,verse ,fancies4 ,edward ,l4 ,levetus4 #ho4 7,chapman and ,hall1 #ahih47 #h illust4 7#g f4 p47 ,songs of ,innocence4 ,william ,blake4 #cbo4 7,wells1 ,gardner1 and ,darton1 #ahii47 #be illust4 7#ad f4 p47 ,w4 ,b4 ,,macdougall ,chronicles of ,strathearn4 #ho4 7,david ,philips1 #ahif47 #ae f4 p4 ,the ,fall of the ,nibelungs4 ,in ,two ,books4 ,translated by ,margaret ,armour4 #ho4 7,dent1 #ahig47 #h f4 p4 in each book4 ,thames ,sonnets and ,semblances4 ,margaret ,armour4 #ho4 7,elkin ,mathews1 #ahig47 #ab f4 p4 ,the ,book of ,ruth4 ,introduction by ,ernest ,rhys4 #do4 7,dent1 #ahif47 #h f4 p4 ,isabella1 or the ,pot of ,basil4 ,john ,keats4 #do4 7,kegan ,paul1 #ahih47 #h f4 p4 ,the ,shadow of ,love and other ,poems4 ,margaret ,armour4 #ho4 7,duckworth1 #ahih47 #b f4 p4 ,,fred4 ,,mason4 ,a ,book of ,pictured ,carols4 ,see ,a4 ,j4 ,gaskin4 ,the ,story of ,alexander4 ,robert ,steele4 #do4 7,david ,nutt1 #ahid47 #bg illust4 7#e f4 p47 ,huon of ,bordeaux4 ,robert ,steele4 #ho4 7,george ,allen1 #ahie47 #bb illust4 7#f f4 p47 ,renaud of ,montauban4 ,robert ,steele4 #ho4 7,george ,allen1 #ahig47 #ab f4 p4 ,t4 ,,sturge ,,moore4 ,the ,centaur4 ,the ,bacchant4 ,translated from the ,french of ,maurice de ,guerin by ,t4 ,sturge ,moore4 7,vale ,press1 #ahii47 #do4 #e wood engravings4 ,some ,fruits of ,solitude4 ,william ,penn4 #ho4 7,essex ,house ,press1 #aija47 ,wood engraving on title-page4 ,l4 ,,fairfax ,,muckley4 ,the ,faerie ,queene4 ,e4 ,spenser4 ,introduction by ,prof4 ,hales4 #c vols4 #do4 7,dent1 #ahig47 #db illust4 and decorations4 7#bd f4 p41 #aj double page47 ,fringilla4 ,r4 ,d4 ,blackmore4 #ho4 7,elkin ,mathews1 #ahie47 #ba illust4 and decorations4 7#aa f4 p47 #c by ,james ,linton4 ,,henry ,,ospovat4 ,shakespeare's ,sonnets4 #ho4 7,lane1 #ahii47 #ad illust4 7#aj f4 p47 ,poems4 ,matthew ,arnold4 #ho4 ,edited by ,a4 ,c4 ,benson4 7,lane1 #aijj47 #fe illust4 and decorations4 7#af f4 p47 ,,charles ,,ricketts4 ,a ,house of ,pomegranates4 ,oscar ,wilde4 #do4 7,osgood1 #ahia47 #ag illust4 with ,c4 ,h4 ,shannon4 #ac by ,c4 ,ricketts4 ,poems1 ,dramatic and ,lyrical4 ,lord de ,tabley4 #ho4 7,mathews and ,lane1 #ahic47 #e f4 p41 photogravure4 ,daphnis and ,chloe4 ,longus4 ,translated by ,geo4 ,thornley4 #do4 7,mathews and ,lane1 #ahic47 #cg illust4 drawn on the wood by ,charles ,ricketts from the designs of ,charles ,ricketts and ,charles ,shannon4 ,engraved by both artists4 ,the ,sphinx4 ,oscar ,wilde4 #do4 7,ballantyne ,press1 #ahid47 #aj illust4 7#i f4 p47 ,hero and ,leander4 ,christopher ,marlowe and ,george ,chapman4 #ho4 7,vale ,press1 #ahid47 #g illust41 border and initials1 drawn on the wood1 engraved by ,charles ,ricketts and ,charles ,shannon4 ,nymphidia and the ,muses ,elizium4 ,michael ,drayton4 #ho4 7,vale ,press1 #ahif47 ,frontispiece1 border and initials1 engraved on wood4 ,spiritual ,poems4 ,t4 ,gray4 #ho4 7,vale ,press1 #ahif47 ,frontispiece and border1 engraved on wood4 ,milton's ,early ,poems4 #ho4 7,vale ,press1 #ahif47 ,frontispiece1 border and initials1 engraved on wood4 ,songs of ,innocence4 ,w4 ,blake4 #ho4 7,vale ,press1 #ahig47 ,frontispiece1 border and initials1 engraved on wood4 ,sacred ,poems of ,henry ,vaughan4 #ho4 7,vale ,press1 #ahig47 ,frontispiece and border1 engraved on wood4 ,the ,excellent ,narration of the ,marriage of ,cupide and ,psyches4 ,translated from the ,latin of ,lucius ,apuleius1 by ,william ,adlington4 #ho4 7,vale ,press1 #ahig47 #e illust4 engraved on wood4 ,the ,book of ,thel1 ,songs of ,innocence and ,songs of ,experience4 ,william ,blake4 #do4 7,vale ,press1 #ahig47 ,frontispiece1 initials and border1 engraved on wood4 ,blake's ,poetical ,sketches4 #do4 7,vale ,press1 #ahii47 ,frontispiece and initials1 engraved on wood4 ,,reginald ,,savage4 ,der ,ring des ,nibelungen4 ,described by ,r4 ,farquharson ,sharp4 #do4 7,marshall1 ,russell1 #ahih47 #e f4 p4 ,,essex ,,house ,,press4 ,the ,pilgrim's ,progress4 ,venus and ,adonis4 ,the ,eve of ,st4 ,agnes4 ,the ,journal of ,john ,woolman4 ,epithalamium4 7#aijj-a47 ,frontispiece engraved on wood to each volume4 ,,charles ,,shannon4 ,see ,charles ,ricketts4 ',house of ,pomegranates1' ',hero and ,leander1' ',daphnis and ,chloe4' ,,byam ,,shaw4 ,poems by ,robert ,browning4 #ho4 7,bell1 #ahig4 ,endymion ,series47 #fg illust4 7#bb f4 p47 ,tales from ,boccaccio4 ,joseph ,jacobs4 #do4 7,george ,allen1 #ahii47 #bj f4 p4 ,the ,chiswick ,shakespeare4 #ho4 7,bell1 #ahii1 etc47 #aa illust4 and decorations 7#f f4 p471 in each volume4 ,,bernard ,,sleigh4 ,the ,sea-,king's ,daughter1 and other ,poems4 ,amy ,mark4 ,printed at the ,press of the ,birmingham ,guild of ,handicraft4 7,g4 ,napier1 ,birmingham1 #ahie47 #ci decorated pages 7#d f4 p471 engraved with ,l4 ,a4 ,talbot4 ,a ,book of ,pictured ,carols4 ,see ,a4 ,j4 ,gaskin4 #b f4 p41 by ,bernard ,sleigh4 ,,heywood ,,sumner4 ,the ,itchen ,valley4 ,fol4 7,seeley1 ,jackson and ,halliday1 #ahha47 ,the ,avon from ,naxby to ,tewkesbury4 ,fol4 7,seeley1 ,jackson and ,halliday1 #ahhb47 #ba etchings4 ,cinderella3 ,a ,fairy ,opera4 ,john ,farmer and ,henry ,leigh4 #do4 7,novello1 ,ewer1 #ahhb47 #ag illust4 ,epping ,forest4 ,e4 ,m4 ,buxton4 #ho4 7,stamford1 #ahhd47 #cf illust4 7#e f4 p47 ,sintram and his ,companions4 ,translated from the ,german of ,de la ,motte ,fouque4 #do4 7,seeley1 ,jackson and ,halliday1 #ahhc47 #bb illust4 7#a f4 p47 ,the ,new ,forest4 ,j4 ,r4 ,wise4 ,see ,walter ,crane4 ,undine4 #do4 7,chapman and ,hall1 #ahhh47 #af illust4 7#b f4 p47 ,the ,besom ,maker1 and other country ,folk ,songs4 ,collected by ,heywood ,sumner4 #do4 7,longmans1 #ahhh47 #bf decorated pages4 #a f4 p4 ,jacob and the ,raven4 ,frances ,m4 ,peard4 #ho4 7,george ,allen1 #ahif47 #dj illust4 and decorations4 7#i f4 p47 ,j4 ,r4 ,,weguelin4 ,lays of ,ancient ,rome4 ,lord ,macaulay4 #ho4 7,longmans1 #ahha47 #da illust4 7#g f4 p47 ,the ,cat of ,bubastes4 ,g4 ,a4 ,henty4 #ho4 7,blackie1 #ahhi47 #h f4 p4 ,anacreon3 with ,thomas ,stanley's translation4 ,edited by ,a4 ,h4 ,bullen4 #ho4 7,lawrence and ,bullen1 #ahib47 #aa f4 p4 ,the ,little ,mermaid and other ,stories4 ,hans ,andersen4 ,translated by ,r4 ,nisbet ,bain4 #do4 7,lawrence and ,bullen1 #ahic47 #fa illus4 7#cf f4 p47 ,catullus3 with the ,pervigilium ,veneris4 ,edited by ,s4 ,g4 ,owen4 #ho4 7,lawrence and ,bullen1 #ahic47 #h f4 p4 ,the ,wooing of ,malkatoon2 ,commodus4 ,lewis ,wallace4 #ho4 7,harper1 #ahih47 #ab f4 p4 with ,du ,mond4 #f by ,j4 ,r4 ,weguelin4 ,,patten ,,wilson4 ,miracle ,plays4 ,our ,lord's ,coming and ,childhood4 ,katherine ,tynan ,hinkson4 #ho4 7,lane1 #ahie47 #f f4 p4 ,a ,houseful of ,rebels4 ,walter ,c4 ,rhoades4 #ho4 7,archibald ,constable1 #ahig47 #aj f4 p4 ,selections from ,coleridge4 ,andrew ,lang4 #ho4 7,longmans1 #ahih47 #ah f4 p4 ,king ,john4 ,edited by ,j4 ,w4 ,young4 #ho4 7,longmans1 #ahii4 ,swan ,shakespeare47 #i f4 p4 ,,paul ,,woodroffe4 ,shakespeare's ,songs4 ,edited by ,e4 ,rhys4 #do4 7,dent1 #ahih47 #ab f4 p4 ,the ,little ,flowers of ,st4 ,francis4 #ho4 7,kegan ,paul1 #ahii47 #h f4 p4 ,the ,confessions of ,st4 ,augustine4 #ho4 7,kegan ,paul1 #aijj47 #d f4 p4 ,title-page by ,laurence ,housman4 ,the ,little ,flowers of ,st4 ,benet4 #ho4 7,kegan ,paul1 #aija47 #h f4 p4 ,,some ,,open-,,air ,,illustrators4 ,,alexander ,,ansted4 ,the ,rivers of ,devon4 ,j4 ,l4 ,warden-,page4 #ho4 7,seeley1 #ahic47 #ag illust4 7#d etched plates47 ,the ,riviera4 ,notes by the artist4 ,fol4 7,seeley1 #ahid47 #fd illust4 7#bj etched plates47 ,the ,coasts of ,devon4 ,j4 ,l4 ,warden-,page4 #ho4 7,h4 ,cox1 #ahie47 #ba illust4 ,episcopal ,palaces of ,england4 ,canon ,venables and others4 #do4 7,isbister1 #ahie47 ,etched frontispiece and #ajd illust4 7#g f4 p47 ,the ,master of the ,musicians4 ,emma ,marshall4 #ho4 7,seeley1 #ahif47 #h f4 p4 ,london ,riverside ,churches4 ,a4 ,e4 ,daniell4 #ho4 7,constable1 #ahig47 #hd illust4 7#bg f4 p47 ,,english ,,cathedral ,,series4 #ho4 7,isbister1 #ahig-h47 ,salisbury ,cathedral4 ,the ,very ,rev4 ,dean ,boyle4 #ae illust4 7#aj f4 p47 ,york ,minster4 ,the ,very ,rev4 ,dean ,purey-,cust4 #ad illust4 7#aa f4 p47 ,norwich ,cathedral4 ,the ,very ,rev4 ,dean ,lefroy4 #i f4 p4 ,ely ,cathedral4 ,the ,rev4 ,canon ,dickson4 #aj f4 p4 ,carlisle ,cathedral4 ,chancellor ,r4 ,s4 ,ferguson4 #aa f4 p4 ,the ,romance of our ,ancient ,churches4 ,sarah ,wilson4 #ho4 7,constable1 #ahii47 #ahj illust4 7#ae f4 p47 ,boswell's ,life of ,johnson4 ,edited by ,augustine ,birrell4 7,constable1 #ahii47 #f vols4 ,frontispiece to each vol4 ,c4 ,r4 ,b4 ,,barrett4 ,the ,tower4 ,c4 ,r4 ,b4 ,barrett4 ,fol4 7,catty and ,dobson1 #ahhi47 #bf illust4 7#ac etched plates47 ,essex3 ,highways1 ,byways and ,waterways4 ,c4 ,r4 ,b4 ,barrett4 #ho4 7,lawrence and ,bullen1 #ahib-c47 ,series ,i4 #ii illust4 7#ac etched plates47 ,series ,,ii4 #abh illust4 7#ac etched plates47 ,the ,trinity ,house of ,deptford ,strond4 ,c4 ,r4 ,b4 ,barrett4 #do4 7,lawrence and ,bullen1 #ahic47 #ah illust4 7#a etched plate47 ,barrett's ,illustrated ,guides4 #ho4 7,lawrence and ,bullen1 #ahib-c47 #i numbers4 ,somersetshire3 ,highways1 ,byways and ,waterways4 ,c4 ,r4 ,b4 ,barrett4 #do4 7,bliss1 ,sands and ,foster1 #ahid47 #afg illust4 7#f etched plates47 ,shelley's ,visit to ,france4 ,charles ,j4 ,elton4 #ho4 7,bliss1 ,sands1 #ahid47 #af illus4 7#b etched plates47 ,charterhouse1 in ,pen and ,ink4 ,by ,c4 ,r4 ,b4 ,barrett4 ,preface by ,george ,e4 ,smythe4 #do4 7,bliss1 ,sands and ,foster1 #ahie47 #dc illust4 7#a f4 p47 ,surrey3 ,highways1 ,byways and ,waterways4 ,c4 ,r4 ,b4 ,barrett4 #do4 7,bliss1 ,sands and ,foster1 #ahie47 #adj illust4 7#e etched plates47 ,battles and ,battlefields of ,england4 ,c4 ,r4 ,b4 ,barrett4 #ho4 7,innes1 #ahif47 #ajb illust4 7#b f4 p47 ,d4 ,y4 ,,cameron4 ,charterhouse1 ,old and ,new4 ,e4 ,p4 ,eardley-,wilmot and ,e4 ,c4 ,streatfield4 #do4 7,nimmo1 #ahie47 #d etchings4 ,scholar ,gipsies4 ,john ,buchan4 #ho4 7,lane1 #ahif4 ,the ,arcady ,library47 #g etchings4 ,,nelly ,,erichsen4 ,the ,novels of ,susan ,edmonstone ,ferrier4 ,introduction by ,r4 ,brimley ,johnson4 #ho4 7,dent1 #ahid47 #f vols4 #ag f4 p4 ,the ,promised ,land4 ,translated from the ,danish of ,henrik ,pontoppidan by ,mrs4 ,edgar ,lucas4 #ho4 7,dent1 #ahif47 #bi illust4 7#ad f4 p47 ,emanuel1 or ,children of the ,soil4 ,translated from the ,danish of ,henrik ,pontoppidan by ,mrs4 ,edgar ,lucas4 #ho4 7,dent1 #ahif47 #bi illust4 7#ag f4 p47 ,mediaeval ,towns4 #ho4 7,dent1 #ahih-aija47 ,the ,story of ,assisi4 ,lina ,duff ,gordon4 #ej illust41 with others4 #be 7#c f4 p47 by ,nelly ,erichsen4 ,the ,story of ,rome4 ,norwood ,young4 #dh illust41 with others4 7#aj f4 p47 by ,nelly ,erichsen4 ,the ,story of ,florence4 ,edmund ,g4 ,gardner4 #de illust41 with others4 #bj f4 p4 by ,nelly ,erichsen4 ,,hedley ,,fitton4 ,english ,cathedral ,series4 #ho4 7,isbister1 #ahii-aija47 ,worcester ,cathedral4 ,the ,rev4 ,canon ,teignmouth ,shore4 #i f4 p4 ,rochester ,cathedral4 ,the ,rev4 ,canon ,benham4 #aa illust4 7#aj f4 p47 ,hereford ,cathedral4 ,the ,very ,rev4 ,dean ,leigh4 #aa illust4 7#aj f4 p47 ,a,eschylos4 ,translated by ,g4 ,h4 ,plumtre4 #b vols4 #ho4 7,isbister1 #aija47 #a f4 p4 ,,john ,,fulleylove4 ,henry ,irving4 ,austin ,brereton4 #ho4 7,bogue1 #ahhc47 #ag f4 p4 ,with others4 ,the ,picturesque ,mediterranean4 #do4 7,cassell1 #ahii47 ,with others4 #fh illust4 by ,john ,fulleylove4 ,oxford4 ,with notes by ,t4 ,humphry ,ward4 ,fol4 7,fine ,art ,society1 #ahhi47 #dj illust4 7#cj plates47 ,in the ,footprints of ,charles ,lamb4 ,see ,herbert ,railton4 ,pictures of ,classic ,greek ,landscape and ,architecture4 ,with text in explanation by ,henry ,w4 ,nevinson4 #do4 7,dent1 #ahig47 #dj plates4 ,the ,stones of ,paris4 ,b4 ,e4 and ,c4 ,m4 ,martin4 #b vols4 #ho4 7,smith1 ,elder1 #aijj47 #fb illust4 #dj 7#af f4 p47 by ,j4 ,fulleylove4 ,,frederick ,l4 ,,griggs4 ,seven ,gardens and a ,palace4 ,e4 ,v4 ,b4 #ho4 7,lane1 #aijj47 #i illust4 with ,arthur ,gordon4 #e by ,frederick ,l4 ,griggs4 ,stray ,leaves from a ,border ,garden4 ,mary ,pamela ,milne-,home4 #ho4 7,lane1 #aija47 #h f4 p4 ,the ,chronicle of a ,cornish ,garden4 ,harry ,roberts4 #ho4 7,lane1 #aija47 #g f4 p4 ,,charles ,g4 ,,harper4 ,royal ,winchester4 ,rev4 ,a4 ,g4 ,l',estrange4 #ho4 7,spencer1 #ahhi47 #cg illust4 7#bb f4 p47 ,the ,brighton ,road4 ,c4 ,g4 ,harper4 #ho4 7,chatto and ,windus1 #ahib47 #ij illust4 #fj 7#bi f4 p47 by ,c4 ,g4 ,harper4 ,from ,paddington to ,penzance4 ,c4 ,g4 ,harper4 #ho4 7,chatto and ,windus1 #ahic47 #ajd illust4 7#cd f4 p47 ,the ,marches of ,wales4 ,c4 ,g4 ,harper4 #ho4 7,chapman and ,hall1 #ahid47 #aad illust4 #ie 7#bd f4 p47 by ,c4 ,g4 ,harper4 ,the ,dover ,road4 ,c4 ,g4 ,harper4 #ho4 7,chapman and ,hall1 #ahie47 #eg illust4 #dh 7#ab f4 p47 by ,c4 ,g4 ,harper4 ,the ,portsmouth ,road4 ,c4 ,g4 ,harper4 #ho4 7,chapman and ,hall1 #ahie47 #gg illust4 #dd 7#ab f4 p47 by ,c4 ,g4 ,harper4 ,some ,english ,sketching ,grounds4 ,c4 ,g4 ,harper4 #ho4 7,reeves1 #ahig47 #dd illust4 7#ah f4 p47 ,stories of the ,streets of ,london4 ,h4 ,barton ,baker4 #ho4 7,chapman and ,hall1 #ahii47 #ch illust4 #cj 7#ae f4 p47 by ,c4 ,g4 ,harper4 ,the ,exeter ,road4 ,c4 ,g4 ,harper4 #ho4 7,chapman and ,hall1 #ahii47 #fi illust4 #ea 7#bj f4 p47 by ,c4 ,g4 ,harper4 ,the ,bath ,road4 ,c4 ,g4 ,harper4 #ho4 7,chapman and ,hall1 #ahii47 #ge illust4 #fd 7#ai f4 p47 by ,c4 ,g4 ,harper4 ,the ,great ,north ,road4 ,c4 ,g4 ,harper4 #b vols4 #ho4 7,chapman and ,hall1 #aijj47 #acb illust4 #ajj 7#cj f4 p47 by ,c4 ,g4 ,harper4 ,,william ,,hyde4 ,an ,imaged ,world4 ,edward ,garnett4 #ho4 7,dent1 #ahid47 #e f4 p4 ,milton's ,l',allegro and ,il ,penseroso4 #ho4 7,dent1 #ahif47 #ac f4 p4 ,london ,impressions4 ,alice ,meynell4 ,fol4 7,constable1 #ahih47 #c etchings1 #bc photogravures4 7#ac f4 p47 ,the ,nature ,poems of ,george ,meredith4 #do4 7,constable1 #ahih47 ,etched frontispiece and #bj photogravures4 ,the ,cinque ,ports4 ,ford ,madox ,hueffer4 #do4 7,blackwood1 #aijj47 #cc illust4 7#bj f4 p41 #ad in photogravure47 ,the ,victoria ,history of the ,counties of ,england4 ,hampshire2 ,norfolk4 #ho4 7,constable1 #aija47 #a f4 p4 ,,frederic ,g4 ,,kitton4 ,charles ,dickens and the ,stage4 ,t4 ,edgar ,pemberton4 #ho4 7,redway1 #ahhh47 #c f4 p41 photogravure4 ,charles ,dickens by ,pen and ,pencil4 ,f4 ,g4 ,kitton4 #do4 7,sabini and ,dexter1 #ahhi-ij47 ,with others4 #ae by ,f4 ,g4 ,kitton4 ,in ,tennyson ,land4 ,j4 ,cuming ,walters4 #ho4 7,redway1 #ahij47 #ab f4 p4 ,a ,week's ,tramp in ,dickens' ,land4 ,wm4 ,r4 ,hughes4 #ho4 7,chapman and ,hall1 #ahia47 #ajj illust41 chiefly by ,f4 ,g4 ,kitton4 7#ab f4 p47 ,hertfordshire ,county ,homes4 7,published by subscription1 #ahib47 #dj f4 p4 ,st4 ,albans1 ,historical and ,picturesque4 ,c4 ,h4 ,ashdown4 #do4 7,elliot ,stock1 #ahic47 #gj illust41 chiefly by ,f4 ,g4 ,kitton 7#ae f4 p47 ,st4 ,albans ,abbey4 ,the ,rev4 ,canon ,liddell4 #ho4 7,isbister1 #ahig4 ,english ,cathedral ,series47 #i illust4 7#g f4 p47 ,the ,romany ,rye4 ,george ,borrow4 7,murray1 #aijj47 #h f4 p4 ,,john ,,guille ,,millais4 ,a ,fauna of ,sutherland1 ,caithness and ,west ,cromarty4 ,j4 ,harvie ,brown and ,t4 ,e4 ,buckley4 #ho4 7,douglas1 #ahhg47 #ab illust41 with others4 #b 7#a f4 p47 by ,j4 ,g4 ,millais4 ,shooting4 ,lord ,walsingham and ,sir ,r4 ,payne ,gallwey4 7,badminton ,library47 #ho4 7,longmans1 #ahhg47 ,with others4 #c illust4 7#a f4 p47 by ,j4 ,g4 ,millais4 ,a ,monograph of the ,charadriidae4 ,henry ,seebohm4 #do4 7,sotheran1 #ahhh47 #bh illust4 ,a ,fauna of the ,outer ,hebrides4 ,j4 ,harvie ,brown and ,t4 ,e4 ,buckley4 #ho4 7,douglas1 #ahhh47 #ab illust41 with others4 #a by ,j4 ,g4 ,millais4 ,a ,fauna of the ,orkney ,islands4 ,j4 ,harvie ,brown and ,t4 ,e4 ,buckley4 #ho4 7,douglas1 #ahia47 #ac illust41 with others4 #c f4 p4 photogravures by ,j4 ,g4 ,millais4 ,a ,fauna of ,argyll and the ,inner ,hebrides4 ,j4 ,harvie ,brown and ,t4 ,e4 ,buckley4 #ho4 7,douglas1 #ahib47 #i illust41 with others4 #a photogravure by ,j4 ,g4 ,millais4 ,game-,birds and ,shooting ,sketches4 ,j4 ,g4 ,millais4 #do4 7,sotheran1 #ahib47 #fd illust41 #cc plates4 ,a ,breath from the ,veldt4 ,j4 ,g4 ,millais4 #do4 7,sotheran1 #ahie47 #adi illust4 7#bd plates47 ,letters to ,young ,shooters4 #crd series4 ,sir ,r4 ,payne ,gallwey4 7,longmans1 #ahif47 #df illust4 ,elephant ,hunting in ,east ,equatorial ,africa4 ,arthur ,newmann4 #ho4 7,ward1 #ahig47 #c f4 p4 ,british ,deer and their ,horns4 ,j4 ,g4 ,millais4 #do4 7,sotheran1 #ahig47 #ahe illust41 mostly by the author4 7#bj plates47 ,pheasants4 ,w4 ,b4 ,tegetmeier4 #ho4 7,cox1 #ahig47 #af illust4 7#a f4 p4 by ,j4 ,g4 ,millais47 ,with others4 ,encyclopaedia of ,sport4 ,edited by the ,earl of ,berkshire4 7,lawrence and ,bullen1 #ahih47 #ca illust4 7#b f4 p4 in photogravure47 ,the ,wildfowler in ,scotland4 ,j4 ,g4 ,millais4 #do4 7,longmans1 #aija47 #fj illust41 #aj plates4 7#ac f4 p47 ,,edmund ,h4 ,,new4 ,the ,compleat ,angler4 ,izaak ,walton and ,charles ,cotton4 ,edited by ,richard ,le ,gallienne4 #do4 7,lane1 #ahif47 #bjj illust4 7#dg f4 p47 ,in the ,garden of ,peace4 ,helen ,milman4 #ho4 7,lane1 #ahif4 ,the ,arcady ,library47 #bd illust4 ,oxford and its ,colleges4 ,j4 ,wells4 #ho4 7,methuen1 #ahig47 #bg drawings from photographs4 ,cambridge and its ,colleges4 ,a4 ,hamilton ,thompson4 #ho4 7,methuen1 #ahih47 #bc drawings from photographs4 ,the ,life of ,william ,morris4 ,j4 ,w4 ,mackail4 #b vols4 #ho4 7,longmans1 #ahii47 #ae illus4 7#ad f4 p47 ,shakespeare's ,country4 ,bertram ,c4 ,a4 ,windle4 #ho4 7,methuen1 #ahii47 #ad f4 p4 ,drawings from photographs4 ,the ,natural ,history of ,selborne4 ,gilbert ,white4 ,edited by ,grant ,allen4 #do4 7,lane1 #aijj47 #agh illust4 7#dc f4 p47 ,outside the ,garden4 ,helen ,milman4 #ho4 7,lane1 #aijj47 #cj illust4 and decorations4 ,sussex4 ,f4 ,g4 ,brabant4 #ho4 7,methuen1 #aijj47 #ab f4 p4 ,drawings from photographs4 ,the ,malvern ,country4 ,bertram ,c4 ,a4 ,windle4 #ho4 7,methuen1 #aija47 #aa f4 p4 ,drawings from photographs4 ,,alfred ,,parsons4 ,god's ,acre ,beautiful4 ,w4 ,robinson4 #ho4 7,garden ,office1 #ahhj47 #h f4 p4 ,selections from the ,poetry of ,robert ,herrick4 #do4 7,sampson ,low1 #ahhb47 #ei illust4 7#b f4 p47 ,with ,e4 ,a4 ,abbey4 ,springhaven4 ,r4 ,d4 ,blackmore4 #ho4 7,sampson ,low1 #ahhh47 #fd illust4 7#ce f4 p47 ,with ,f4 ,barnard4 ,old ,songs4 #do4 7,macmillan1 #ahhi47 #ajb illust4 ,with ,e4 ,a4 ,abbey4 ,the ,quiet ,life4 ,certain ,verses by various hands3 ,prologue and ,epilogue by ,austin ,dobson4 #do4 7,sampson ,low1 #ahij47 #hb illust4 ,with ,e4 ,a4 ,abbey4 #db by ,alfred ,parsons4 7#i f4 p47 ,a ,selection from the ,sonnets of ,william ,wordsworth4 #ho4 7,osgood1 #ahia47 #ee illust4 and decorations4 7#bd f4 p47 ,the ,warwickshire ,avon4 ,notes by ,a4 ,t4 ,quiller-,couch4 #ho4 7,osgood1 #ahib47 #if illust4 7#be f4 p47 ,the ,danube from the ,black ,forest to the ,sea4 ,f4 ,d4 ,millet4 #ho4 7,osgood1 #ahib47 #acc illust4 ,with ,f4 ,d4 ,millet4 #fa by ,alfred ,parsons4 7#da f4 p47 ,the ,wild ,garden4 ,w4 ,robinson4 #ho4 7,murray1 #ahie47 #ij wood-engravings4 7#ad f4 p47 ,the ,bamboo ,garden4 ,a4 ,b4 ,freeman-,mitford4 #ho4 7,macmillan1 #ahif47 #aa illust4 and decorations4 7#g f4 p47 ,notes in ,japan4 ,alfred ,parsons4 #ho4 7,osgood1 #ahif47 #aai illust4 7#cf f4 p47 ,wordsworth4 ,andrew ,lang4 #ho4 7,longmans1 #ahig4 ,selections from the ,poets47 #ag illust41 and initials to each poem4 7#i f4 p47 ,,joseph ,,pennell4 ,a ,canterbury ,pilgrimage4 ,elizabeth ,robins ,pennell4 #ho4 7,seeley1 #ahhe47 #cj illust4 7#g f4 p47 ,tuscan ,cities4 ,w4 ,d4 ,howells4 #do4 7,ticknor1 ,boston1 #ahhf47 #fg illust41 chiefly by ,joseph ,pennell4 7#aa f4 p47 ,the ,saone4 ,p4 ,g4 ,hamerton4 #do4 7,seeley1 #ahhg47 #adh illust4 ,with the author4 #ajb by ,joseph ,pennell2 #bd by ,j4 ,pennell after pencil drawings by ,p4 ,g4 ,hamerton4 7#af f4 p47 ,an ,italian ,pilgrimage4 ,elizabeth ,robins ,pennell4 #ho4 7,seeley1 #ahhg47 #cj f4 p4 ,our ,sentimental ,journey through ,france and ,italy4 ,elizabeth ,robins ,pennell4 #ho4 7,longmans1 #ahhh47 #abb illust4 7#ba f4 p47 ,old ,chelsea4 ,benjamin ,ellis ,martin4 #ho4 7,fisher ,unwin1 #ahhi47 #bc illust4 7#bj f4 p47 ,our ,journey to the ,hebrides4 ,elizabeth ,robins ,pennell4 #ho4 7,fisher ,unwin1 #ahhi47 #dc illust4 7#bi f4 p47 ,personally ,conducted4 ,f4 ,r4 ,stockton4 #do4 7,sampson ,low1 #ahhi47 #dh illust4 ,with others4 ,charing ,cross to ,st4 ,paul's4 ,justin ,mc,carthy4 ,fol4 7,seeley1 #ahia47 #cf illust4 7#ab f4 p47 ,the ,stream of ,pleasure4 ,joseph and ,elizabeth ,robins ,pennell4 ,with a practical chapter by ,j4 ,g4 ,legge4 #do4 7,fisher ,unwin1 #ahia47 #ij illust4 7#af f4 p47 ,play in ,provence4 ,joseph and ,elizabeth ,robins ,pennell4 #ho4 7,fisher ,unwin1 #ahib47 #ib illust4 7#bi f4 p47 ,the ,jew at ,home4 ,joseph ,pennell4 #ho4 7,heinemann1 #ahib47 #bg illust4 7#ae f4 p47 ,english ,cathedrals4 ,mrs4 ,schuyler ,van ,rensselaer4 #ho4 7,fisher ,unwin1 #ahib47 #aed illust4 7#ah f4 p47 ,with others4 ,to ,gipsyland4 ,elizabeth ,robins ,pennell4 #ho4 7,fisher ,unwin1 #ahic47 #hb illust4 7#ce f4 p47 ,the ,devils of ,notre ,dame4 #ah illust41 with descriptive text by ,r4 ,a4 ,m4 ,stevenson4 ,fol4 7',pall ,mall ,gazette1' #ahid47 ,cycling4 ,the ,earl of ,albemarle and ,g4 ,lacy ,hillier4 #do4 7,longmans1 #ahid4 ,the ,badminton ,library47 #di illust4 ,with the ,earl of ,albemarle1 and ,george ,moore4 #ba by ,joseph ,pennell4 7#ab f4 p47 ,tantallon ,castle4 ,elizabeth ,robins ,pennell4 #ho4 7,constable1 #ahie47 #cc illust4 7#g f4 p47 ,with others4 #bd by ,joseph ,pennell4 ,the ,makers of ,modern ,rome4 ,mrs4 ,oliphant4 #ho4 7,macmillan1 #ahie47 #ga illust4 ,with ,henry ,p4 ,riviere1 and from old engravings4 #ec by ,joseph ,pennell4 7#g f4 p47 ,the ,alhambra4 ,washington ,irving4 ,introduction by ,elizabeth ,robins ,pennell4 #ho4 7,macmillan1 #ahif47 #bhh illust4 7#bd f4 p47 ,on the ,broads4 ,anna ,bowman ,dodd4 #ho4 7,macmillan1 #ahif47 #bi illust4 7#bd f4 p47 ,climbs in the ,new ,zealand ,alps4 ,e4 ,a4 ,fitzgerald4 #ho4 7,fisher ,unwin1 #ahif47 #be illust4 ,with others4 7#h f4 p4 by ,joseph ,pennell from paintings74 ,highways and ,byways in ,devon and ,cornwall4 ,arthur ,h4 ,norway4 #ho4 7,macmillan1 #ahig47 #ff illust4 7#ah f4 p47 ,with ,hugh ,thomson4 #eh by ,joseph ,pennell4 ,aquitaine1 a ,traveller's ,tales4 ,wickham ,flower4 #do4 7,chapman and ,hall1 #ahig47 #bd illust4 7#bb f4 p47 ,over the ,alps on a ,bicycle4 ,elizabeth ,robins ,pennell4 #ho4 7,fisher ,unwin1 #ahih47 #cd illust4 7#ah f4 p47 ,highways and ,byways in ,north ,wales4 ,a4 ,g4 ,bradley4 #ho4 7,macmillan1 #ahih47 #if illust4 7#ac f4 p47 ,with ,hugh ,thomson4 #hg by ,joseph ,pennell4 ,highways and ,byways in ,yorkshire4 ,arthur ,h4 ,norway4 #ho4 7,macmillan1 #ahii47 #aaj illust4 7#ad f4 p47 ,with ,hugh ,thomson4 #ajb by ,joseph ,pennell4 ,highways and ,byways in ,normandy4 ,percy ,dearmer4 #ho4 7,macmillan1 #aijj47 #aec illust4 7#ag f4 p47 ,a little ,tour in ,france4 ,henry ,james4 #ho4 7,heinemann1 #aijj47 #id illust4 7#dd f4 p47 ,the ,stock ,exchange in #aijj4 ,w4 ,eden ,hooper4 #do4 7,spottiswoode1 #aijj47 ,with ,dudley ,hardy4 #g illust4 by ,joseph ,pennell4 #c proof plates4 ,highways and ,byways in the ,lake ,district4 ,a4 ,g4 ,bradley4 #ho4 7,macmillan1 #aija47 #hf illust4 ,east ,london4 ,walter ,besant4 #ho4 7,chatto1 #aija47 #ed illust4 7#ag f4 p47 ,with others4 #cf by ,joseph ,pennell4 ,highways and ,byways in ,east ,anglia4 ,william ,a4 ,dutt4 #ho4 7,macmillan1 #aija47 #aej illust4 7#ae f4 p47 ,italian ,journeys4 ,w4 ,d4 ,howells4 #ho4 7,heinemann1 #aija47 #ajc illust4 7#ci f4 p47 ,,herbert ,,railton4 ,coaching ,days and ,coaching ,ways4 #do4 7,macmillan1 #ahhh47 #bac illust4 ,with ,hugh ,thomson4 #adj by ,herbert ,railton4 ,the ,essays of ,elia4 ,charles ,lamb4 ,edited by ,augustine ,birrell4 #ho4 7,dent1 #ahhh4 ,the ,temple ,library47 #c etchings4 ,select ,essays of ,dr4 ,johnson4 ,edited by ,george ,birkbeck ,hill4 #ho4 7,dent1 #ahhi4 ,the ,temple ,library47 #b vols4 #f etchings4 ,figures by ,john ,jellicoe4 ,the ,poems and ,plays of ,oliver ,goldsmith4 ,edited by ,austin ,dobson4 #ho4 7,dent1 #ahhi4 ,the ,temple ,library47 #b vols4 #f etchings with ,john ,jellicoe4 #c by ,herbert ,railton4 ,pericles and ,aspasia4 ,w4 ,s4 ,landor4 #ho4 7,dent1 #ahij4 ,the ,temple ,library47 #b vols4 #b etchings4 ,westminster ,abbey4 ,w4 ,j4 ,loftie4 ,fol4 7,seeley1 #ahij47 #ge illust4 ,the ,citizen of the ,world4 ,oliver ,goldsmith4 ,edited by ,austin ,dobson4 #ho4 7,dent1 #ahia4 ,the ,temple ,library47 #b vols4 #f etchings4 ,the ,poetical ,works of ,thomas ,lovell ,beddoes4 ,edited1 with a memoir1 by ,edmund ,gosse4 #ho4 7,dent1 #ahia4 ,the ,temple ,library47 #b vols4 #b etchings4 ,in the ,footsteps of ,charles ,lamb4 ,benjamin ,ellis ,martin4 #ho4 7,bentley1 #ahia47 #aa f4 p4 ,with ,john ,fulleylove4 #f by ,herbert ,railton4 ,the ,collected ,works of ,thomas ,love ,peacock4 ,edited by ,richard ,garnett4 #ho4 7,dent1 #ahia47 #aj vols4 #d etchings4 ,essays and ,poems of ,leigh ,hunt4 ,selected and edited by ,r4 ,brimley ,johnson4 #ho4 7,dent1 #ahia47 #b vols4 #e etchings4 ,dreamland in ,history4 ,the ,very ,rev4 ,dean ,spence4 #ho4 7,isbister1 #ahia47 #ei illust4 7#g f4 p47 ,engraved by ,l4 ,chefdeville4 ,the ,peak of ,derbyshire4 ,john ,leyland4 #ho4 7,seeley1 #ahia47 #bj illust4 7#h f4 p47 ,with ,alfred ,dawson4 #af by ,herbert ,railton4 ,ripon ,millenary4 #do4 7,w4 ,harrison1 ,ripon1 #ahib47 #adj illust4 ,with others1 also from old prints4 #cb by ,herbert ,railton4 7#aj f4 p47 ,the ,inns of ,court and ,chancery4 ,w4 ,j4 ,loftie4 ,fol4 7,seeley1 #ahic47 #eg illust4 7#aj f4 p47 #db by ,herbert ,railton4 ,the ,household of ,sir ,thomas ,more4 ,anne ,manning4 #ho4 7,nimmo1 #ahif47 #bf illust4 7#i f4 p47 ,with ,john ,jellicoe4 #ab by ,herbert ,railton1 figures by ,john ,jellicoe4 ,the ,haunted ,house4 ,thomas ,hood4 ,introduction by ,austin ,dobson4 7,lawrence and ,bullen1 #ahif47 #fc illust4 7#ba f4 p47 ,cherry and ,violet4 ,anne ,manning4 #ho4 7,nimmo1 #ahig47 #bf illust4 ,with ,john ,jellicoe4 ,hampton ,court4 ,william ,holden ,hutton4 #ho4 7,nimmo1 #ahig47 #dc illust4 7#cb f4 p47 ,,english ,,cathedral ,,series4 #ho4 7,isbister1 #ahig-i47 ,westminster ,abbey4 ,the ,very ,rev4 ,dean ,farrar4 #ab f4 p4 ,st4 ,paul's ,cathedral4 ,the ,rev4 ,canon ,newbolt4 #ab f4 p4 ,winchester ,cathedral4 ,the ,rev4 ,canon ,benham4 #g f4 p4 ,wells ,cathedral4 ,the ,rev4 ,canon ,church4 #ae illust4 7#ad f4 p47 ,gloucester ,cathedral4 ,the ,very ,rev4 ,dean ,spence4 #ac f4 p4 ,peterborough ,cathedral4 ,the ,very ,rev4 ,dean ,ingram4 #i f4 p4 ,lincoln ,cathedral4 ,the ,rev4 ,canon ,venables4 #i f4 p4 ,durham ,cathedral4 ,the ,rev4 ,canon ,fowler4 #i f4 p4 ,chester ,cathedral4 ,the ,very ,rev4 ,dean ,darby4 #i f4 p4 ,ripon ,cathedral4 ,the ,ven4 ,archdeacon ,danks4 #af illust4 7#ad f4 p47 ,the ,maiden and ,married ,life of ,mary ,powell and ,deborah's ,diary4 ,anne ,manning4 #ho4 7,nimmo1 #ahih47 #bf illust4 ,with ,john ,jellicoe4 ,the ,old ,chelsea ,bun ,shop4 ,anne ,manning4 #ho4 7,nimmo1 #ahii47 #aj illust4 ,with ,john ,jellicoe4 ,travels in ,england4 ,richard ,le ,gallienne4 #ho4 7,grant ,richards1 #aijj47 #f f4 p4 ,the ,natural ,history and ,antiquities of ,selborne and ,a ,garden ,kalendar4 ,gilbert ,white4 #ho4 7,freemantle1 #aijj47 #b vols4 #agf illust4 7#bc f4 p47 ,with others4 #ei by ,herbert ,railton4 ,the ,story of ,bruges4 ,ernest ,gilliat ,smith4 #ho4 7,dent1 #aija4 ,mediaeval ,towns47 #eg illust4 7#i f4 p47 ,with others4 #bc by ,herbert ,railton4 ,boswell's ,life of ,johnson4 ,edited by ,a4 ,glover4 ,introduction by ,austin ,dobson4 #ho4 7,dent1 #aija47 #ajj illust4 and portraits4 ,,sir ,,george ,,reid4 ,the ,selected ,writings of ,john ,ramsay4 ,alexander ,walker4 #ho4 7,blackwood1 #ahga47 ,portrait and #i illust4 ,life of a ,scotch ,naturalist4 ,samuel ,smiles4 #ho4 7,murray1 #ahgf47 ,portrait and #be illust4 7#ah f4 p47 ,george ,paul ,chalmers4 ,a4 ,gibson4 #do4 7,david ,douglas1 #ahgi47 #e heliogravure plates4 ,johnny ,gibb of ,gushetneuk in the ,parish of ,pyketillim4 ,w4 ,alexander4 #ho4 7,david ,douglas1 #ahhj47 ,portrait1 title-page and #ah heliogravure plates4 ,twelve ,sketches of ,scenery and ,antiquities on the line of the ,great ,north of ,scotland ,railway4 #ab heliogravure plates with illustrative ,letterpress by ,w4 ,ferguson of ,kinmundy4 #ho4 7,david ,douglas1 #ahhb47 ,natural ,history and ,sport in ,norway4 ,charles ,st4 ,john4 #ho4 7,douglas1 #ahhb47 #aj f4 p41 heliogravure4 ,the ,river ,tweed from ,its ,source to the ,sea4 ,fol4 7,royal ,association for the ,promotion of ,fine ,arts in ,scotland1 #ahhd47 #af f4 p41 heliogravure4 ,george ,jamesone1 the ,scottish ,van ,dyck4 ,john ,bulloch4 #do4 7,david ,douglas1 #ahhe47 #b heliogravure plates4 ,the ,river ,clyde4 ,fol4 7,royal ,association for the ,promotion of ,fine ,arts in ,scotland1 #ahhf47 #ab f4 p41 heliogravure4 ,salmon ,fishing on the ,ristigouche4 ,dean ,sage4 #do4 7,douglas1 #ahhh47 #b illust4 7#a f4 p4 photogravure74 ,lacunar ,basilicae ,sancti ,macarii ,aberdonensis4 #do4 7,new ,spalding ,club1 ,aberdeen1 #ahhh74 #b f4 p41 photogravure4 ,cartularium ,ecclesiae ,sancti ,nicholai ,aberdonensis4 #b vols4 #do4 7,new ,spalding ,club1 ,aberdeen1 #ahhh-ib47 #b f4 p41 photogravure4 ,st4 ,giles'1 ,edinburgh1 ,church1 ,college and ,cathedral4 ,j4 ,cameron ,lees4 #do 7,chambers1 #ahhi47 #c f4 p41 heliogravure4 ,royal ,edinburgh4 ,mrs4 ,oliphant4 #ho4 7,macmillan1 #ahij47 #fj illust4 7#bb f4 p47 ,familiar ,letters of ,sir ,walter ,scott4 ,edited by ,d4 ,douglas4 #b vols4 #ho4 7,douglas1 #ahid47 #b vignettes1 photogravure4 ,f4 ,,inigo ,,thomas4 ,the ,formal ,garden in ,england4 ,reginald ,blomfield and ,f4 ,inigo ,thomas4 #ho4 7,macmillan1 #ahib47 #gd illust4 7#ai f4 p47 #df by ,f4 ,inigo ,thomas4 ,,charles ,,whymper4 ,wild ,sport in the ,highlands4 ,charles ,st4 ,john4 #ho4 7,murray1 #ahgh47 #cj illust4 ,the ,game-,keeper at ,home4 ,richard ,jefferies4 #ho4 7,smith1 ,elder1 #ahhj47 #da illust4 ,siberia in ,europe4 ,henry ,seebohm4 #ho4 7,murray1 #ahhj47 #dg illust4 ,matabele ,land and ,victoria ,falls4 ,frank ,oates4 #ho4 7,kegan ,paul1 #ahha47 #ej illust4 7#ac f4 p47 ,with others4 ,siberia in ,asia4 ,henry ,seebohm4 #ho4 7,murray1 #ahhb74 #fg illust4 ,the ,fowler in ,ireland4 ,sir ,r4 ,payne ,gallwey4 #ho4 7,van ,voorst1 #ahhb47 #hh illust4 7#ag f4 p47 ,a ,highland ,gathering4 ,e4 ,lennox ,peel4 #ho4 7,longmans1 #ahhe47 #ce illust4 ,a ,highland ,gathering4 ,e4 ,lennox ,peel4 #ho4 7,longmans1 #ahhe47 #ca illust1 engraved on wood by ,e4 ,whymper4 7#f f4 p47 ,our ,rarer ,birds4 ,charles ,dixon4 #ho4 7,bentley1 #ahhh47 #bj illust4 7#a f4 p47 ,story of the ,rear-,guard of ,emin ,relief ,expedition4 ,j4 ,s4 ,jameson4 #ho4 7,porter1 #ahij47 #ig illust4 ,travel and ,adventure in ,south ,africa4 ,f4 ,c4 ,selous4 #ho4 7,ward1 #ahic47 #cg illust4 7#bc f4 p47 ,with others4 #c by ,charles ,whymper4 ,birds of the ,wave and ,moorland4 ,p4 ,robinson4 #ho4 7,isbister1 #ahid47 #dd illust4 7#ah f4 p47 ,with others4 ,sporting ,days in ,southern ,india4 ,lieut4-,colonel ,pollock4 #ho4 7,cox1 #ahid47 #bg illust4 7#ai f4 p47 ,big ,game ,shooting4 ,clive ,phillipps-,wolley and other writers4 #ho4 7,longmans1 #ahie4 ,the ,badminton ,library47 #b vols4 #aej illust4 ,with others4 7#bb f4 p47 #fg by ,charles ,whymper4 ,the ,pilgrim ,fathers of ,new ,england and their ,puritan ,successors4 ,john ,brown4 #ho4 7,religious ,tract ,society1 #ahie47 #ae illust4 7#i f4 p47 ,icebound on ,kolguev4 ,a4 ,trevor-,battye4 #ho4 7,constable1 #ahie47 #gj illust4 ,with others4 #e f4 p4 by ,charles ,whymper4 ,the ,hare4 ,the ,rev4 ,h4 ,a4 ,macpherson and others4 #ho4 7,longmans1 #ahif4 ,fur1 ,feather and ,fin ,series47 #i illust4 ,with others4 #b f4 p4 by ,charles ,whymper4 ,on the ,world's ,roof4 ,j4 ,macdonald ,oxley4 #ho4 7,nisbet1 #ahif47 #d f4 p4 ,in ,haunts of ,wild ,game4 ,frederick ,vaughan ,kirby4 #ho4 7,blackwood1 #ahif47 #ci illust4 7#ae f4 p47 ,in and ,beyond the ,himalayas4 ,s4 ,j4 ,stone4 #ho4 7,arnold1 #ahif47 #af f4 p4 ,sunshine and ,storm in ,rhodesia4 ,f4 ,c4 ,selous4 #ho4 7,ward1 #ahif47 #ah illust4 7#f f4 p47 ,with others4 #c by ,charles ,whymper4 ,letters to ,young ,shooters4 ,sir ,r4 ,payne ,gallwey4 7,longmans1 #ahif47 #bdf illust41 with ,j4 ,g4 ,millais4 ,the ,art of ,wildfowling4 ,abel ,chapman4 #ho4 7,cox1 #ahif47 #ci illust4 7#bc f4 p474 ,with author4 ,wild ,norway4 ,abel ,chapman4 #ho4 7,arnold1 #ahig47 #fc illust4 7#ac f4 p47 ,with others4 ,travel and ,big ,game4 ,percy ,selous and ,h4 ,a4 ,bryden4 #ho4 7,bellairs1 #ahig47 #f f4 p4 ,lost and ,vanishing ,birds4 ,charles ,dixon4 #ho4 7,john ,macqueen1 #ahih47 #aj f4 p4 ,off to ,klondyke4 ,gordon ,stables4 #ho4 7,nisbet1 #ahih47 #h f4 p4 ,the ,rabbit4 ,james ,edmund ,harting4 #ho4 7,longmans1 #ahih4 ,fur1 ,feather and ,fin ,series47 #aj illust4 ,with others4 #b f4 p4 by ,charles ,whymper4 ,exploration and ,hunting in ,central ,africa4 ,a4 ,st4 ,h4 ,gibbons4 #ho4 7,methuen1 #ahih47 #h f4 p4 by ,charles ,whymper4 ,the ,salmon4 ,hon4 ,a4 ,e4 ,gathorne ,hardy4 #ho4 7,longmans1 #ahih4 ,fur1 ,feather and ,fin ,series47 #h illust4 by ,charles ,whymper4 ,homes and ,haunts of the ,pilgrim ,fathers4 ,alexander ,mackennal4 #do4 7,the ,religious ,tract ,society1 #ahii47 #id illust4 from original drawings and photographs4 7#bj f4 p47 ,bird ,life in a ,southern ,county4 ,charles ,dixon4 7,scott1 #ahii47 #aj f4 p4 ,the ,cruise of the ,marchesa to ,kamschatka and ,new ,guinea4 ,f4 ,h4 ,h4 ,guillemard4 #ho4 7,murray1 #ahii47 #aci illust4 ,with others4 ,engraved by ,e4 ,whymper4 ,among the ,birds in ,northern ,shires4 ,charles ,dixon4 #ho4 7,blackie1 #aijj47 #da illust4 7#a f4 p47 ,shooting4 ,lord ,walsingham and ,sir ,ralph ,payne-,gallwey4 #ho4 7,longmans1 #aijj4 ,the ,badminton ,library47 #ajc illust4 ,with others4 #bf by ,charles ,whymper4 ,,some ,,character ,,illustrators4 ,,edwin ,a4 ,,abbey4 ,selections from the ,poetry of ,robert ,herrick4 #do4 7,sampson ,low1 #ahhb47 #ei illust4 ,with ,alfred ,parsons4 7#b f4 p47 ,the ,rivals and the ,school for ,scandal4 ,r4 ,b4 ,sheridan4 ,edited by ,brander ,matthews4 #ho4 7,chatto and ,windus1 #ahhe47 #ac illust4 ,with others4 #c f4 p4 by ,e4 ,a4 ,abbey4 ,sketching ,rambles in ,holland4 ,george ,h4 ,boughton4 #ho4 7,macmillan1 #ahhe47 #hi illust4 7#be f4 p47 ,with others4 #bf by ,e4 ,a4 ,abbey4 ,old ,songs4 #do4 7,macmillan1 #ahhi47 #ajb illust4 7#cb f4 p47 ,with ,alfred ,parsons4 #fa by ,e4 ,a4 ,abbey4 ,the ,quiet ,life4 ,certain ,verses by various hands4 ,prologue and ,epilogue by ,austin ,dobson4 #do4 7,sampson ,low1 #ahij47 #hb illust4 7#ba f4 p47 ,with ,alfred ,parsons4 #dj by ,e4 ,a4 ,abbey4 ,the ,comedies of ,shakespeare4 #d vols4 #ho4 7,harper1 #ahif47 #aca photogravure plates4 ,she ,stoops to ,conquer4 ,oliver ,goldsmith4 #ho4 7,harper1 #aija47 #fg illust4 7#ag f4 p47 ,a4 ,s4 ,,boyd4 ,peter ,stonnor4 ,charles ,blatherwick4 #ho4 7,chapman1 #ahhd47 #ae illust4 ,with ,james ,guthrie4 #f by ,a4 ,s4 ,boyd4 ,the ,birthday ,book of ,solomon ,grundy4 ,will ,roberts4 #abo4 7,gowan and ,gray1 #ahhd47 #cga illust4 7#f f4 p47 ,novel ,notes4 ,j4 ,k4 ,jerome4 #ho4 7,leadenhall ,press1 #ahic47 #ij illust4 ,with others4 #ae by ,a4 ,s4 ,boyd4 ,at the ,rising of the ,moon4 ,frank ,mathew4 #ho4 7,mc,clure1 #ahic47 #bg illust4 ,with ,f4 ,pegram4 #d by ,a4 ,s4 ,boyd4 ,ghetto ,tragedies4 ,i4 ,zangwill4 #abo4 7,mc,clure1 #ahid47 #c f4 p4 ,a ,protegee of ,jack ,hamlin's4 ,bret ,harte4 #ho4 7,chatto1 #ahid47 #bf illust4 ,with others4 #ah by ,a4 ,s4 ,boyd4 ,the ,bell-,ringer of ,angel's4 ,bret ,harte4 #ho4 7,chatto1 #ahid47 #ci illust4 ,with others4 #e by ,a4 ,s4 ,boyd4 ,john ,ingerfield4 ,jerome ,k4 ,jerome4 #abo4 7,mc,clure1 #ahid47 #i f4 p4 with 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p4 in each vol4 ,with ,lee in ,virginia4 ,the ,lion of ,st4 ,mark4 #aj f4 p4 in each vol4 ,orange and ,green4 ,for ,home and ,fame4 ,st4 ,george for ,england4 ,hold fast for ,england4 ,facing ,death4 #h f4 p4 in each vol4 ,,edith ,,calvert4 ,baby ,lays4 ,a4 ,stow4 #ho4 7,elkin ,matthews1 #ahig47 #af illust4 7#ae f4 p47 ,more ,baby ,lays4 ,a ,stow4 #ho4 7,elkin ,matthews1 #ahih47 #ad illust4 7#ac f4 p47 ,,marion ,,wallace-,,dunlop4 ,fairies1 ,elves and ,flower ,babies4 ,m4 ,rivett-,carnac4 ,obl4 #ho4 7,duckworth1 #ahii47 #ee pictured pages4 7#d f4 p47 ,the ,magic ,fruit ,garden4 ,marion ,wallace-,dunlop4 #ho4 7,nister1 #ahii47 #dh illust4 7#e f4 p47 ,h4 ,j4 ,,ford4 ,a,esop's ,fables4 ,arthur ,brookfield4 #do4 7,fisher ,unwin1 #ahhh47 #bi illust4 ,the ,blue ,fairy ,book4 ,edited by ,andrew ,lang4 #ho4 7,longmans1 #ahii47 #acg illust4 7#h f4 p47 ,with ,g4 ,p4 ,jacomb ,hood4 ,the ,red ,fairy ,book4 ,edited by ,andrew ,lang4 #ho4 7,longmans1 #ahij47 #ii illust4 7#d f4 p47 ,with ,lancelot 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7#aj f4 p47 ,the ,pink ,fairy ,book4 ,edited by ,andrew ,lang4 #ho4 7,longmans1 #ahig47 #fh illust4 7#cc f4 p47 ,the ,arabian ,nights' ,entertainment4 ,selected and ,edited by ,andrew ,lang4 #ho4 7,longmans1 #ahih47 #ff illust4 7#cc f4 p47 ,early ,italian ,love ,stories4 ,taken from the original by ,una ,taylor4 #do4 7,longmans1 #ahii47 #ab illust4 and photogravure frontispiece4 ,the ,red ,book of ,animal ,stories4 ,selected and edited by ,andrew ,lang4 #ho4 7,longmans1 #ahii47 #fg illust4 7#cb f4 p47 ,the ,grey ,fairy ,book4 ,edited by ,andrew ,lang4 #ho4 7,longmans1 #aijj47 #ei illust4 7#cb f4 p47 ,the ,violet ,fairy ,book4 ,edited by ,andrew ,lang4 #ho4 7,longmans1 #aija47 #ff illust4 7#cc f4 p41 #h in colours47 ,,mrs4 ,,arthur ,,gaskin4 ,a4 ,b4 ,c4 ,mrs4 ,arthur ,gaskin4 #ho4 7,elkin ,matthews1 #ahif47 #ef pictured pages4 ,divine and ,moral ,songs for ,children4 ,isaac ,watts4 #ho4 7,elkin ,matthews1 #ahif47 #ad illust4 7#ac f4 p47 ,in colours4 ,horn-book ,jingles4 ,mrs4 ,arthur 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,transcriber's ,notes ,italicized text is shown within underscores4 ,quarto1 7normally #dto71 is shown as #do1 and octavo1 7normally #hvo71 is shown as #ho4 ,illustrations were moved outside of paragraphs and closer to their pertinent paragraphs4 ,although the ,list of ,illustrations displays the original page number1 the html version of this book links the page numbers to the illustrations4 ,made minor punctuation corrections and the following changes3 ,page vii3 ,contents1 ,bibliographies3 ,changed ,book to ,books and ,illustrations to ,illustrators4 ,orig43 ,some ,children's-,book ,illustrations4 ,page #ee3 ,illustration3 ,changed ,,homes to ,,horns4 ,orig43 ,,from ,,his ',,british ,,deer ,,and ,,their ,,homes4' ,page #acj3 ,indented ,essex ,house ,press under author ,reginald ,savage4 ,changed ,woolam to ,woolman4 ,orig43 ,essex ,house ,press 444 ,the ,journal of ,john ,woolam4 ,page #ada3 ,changed ,tho to ,the4 ,orig43 ,ripon ,cathedral4 ,tho ,ven4 ,archdeacon ,danks4 ,page #agj3 ,changed ,ohe to ,the1 and ,hesla to ,herla4 ,orig43 ,the ,true ,annals of ,fairy ,land4 ,ohe ,reign of ,king ,hesla4 ,note3 ,the remainder of this text matches the original publication1 which might contain additional title1 author1 or spelling errors4