,,the ,,ex-,,libris ,,series4 ,,edited ,,by ,,gleeson ,,white4 ,,modern ,,illustration4 ,illustration3 ,,by ,f4 ,,walker4 ,,process ,,block ,,from ,,the ,,drawing ,,on ,,wood ,,in ,,south ,,kensington ,,museum4 ,modern ,illustration by ,joseph ,pennell1 author of ,pen ,drawing and ,pen ,draughtsmen1 etc4 ,illustration ,london3 ,george ,bell ,sons1 ,york ,street1 ,covent ,garden1 ,new ,york4 ,mdcccxcv ,,chiswick ,,press3--,,charles ,,whittingham ,,and ,,co4 ,,tooks ,,court1 ,,chancery ,,lane1 ,,london4 ,,contents4 ,,chap4 ,,page ,,index ,,of ,,illustrations vii ,,prefatory ,,chapter xiii ,,introduction #a ,i4 ,a ,,general ,,survey #i ,,ii4 ,,the ,,methods ,,of ,,to-,,day1 ,,their ,,origin ,,and ,,development #cc ,,iii4 ,,french ,,illustration #ej ,,iv4 ,,illustration ,,in ,,germany1 ,,spain1 ,,and ,,other ,,countries #gj ,v4 ,,english ,,illustration #ha ,,vi4 ,,american ,,illustration #aac ,,vii4 ,,conclusion #aca 999999 ,the ,publishers take this opportunity to thank especially the following owners of copyrights of various drawings for their kind permission to reproduce them here3--,the editors of ,the ,daily ,chronicle1 ,good ,words1 ,sunday ,magazine1 ,the ,studio1 ,the ,century ,magazine1 and ,scribner's ,magazine2 ,messrs4 ,chapman and ,hall1 ,h4 ,grevel and ,co41 ,harper and ,brothers1 ,c4 ,kegan ,paul and ,co41 ,thomas ,murby1 and ,ward1 ,lock and ,bowden4 ,,index ,,of ,,illustrations4 ,the full page engravings are indexed with the number of the page nearest to them4 ,,artist ,,engraver ,,and ,,source ,,page ,,fred4 ,,walker ,from an original drawing on the wood in the ,south ,kensington ,museum4 ,process block by ,c4 ,hentschel ,frontispiece ,process block by ,hentschel1 from a drawing in wash and pencil #ie ,,boutet ,,de ,,monvel ,process block from ,st4 ,nicolas1 the ,french xiii ,from ,jeanne d',arc1 by ,hentschel #fe ,w4 ,w4 ,,russell ,process block by ,hentschel1 from a pen drawing in ,the ,daily ,chronicle xiv ,,maurice ,process block by ,hentschel1 from a pen ,,greiffenhagen drawing in ,the ,daily ,chronicle xvi ,e4 ,j4 ,,sullivan ,process block by ,hentschel1 from a pen drawing in ,the ,daily ,chronicle xx ,j4 ,,mcneil ,,whistler ,from ,thornbury's ,legendary ,ballads wood-engraving by ,j4 ,swain xxii ,a4 ,s4 ,,hartrick ,process block by ,hentschel1 from a pen drawing in ,the ,daily ,chronicle xxv ,,john ,,constable ,from a pencil drawing1 process block unsigned #a ,,unknown ,st4 ,christopher1 from a woodcut1 #adbc #f ,,sir ,e4 ,,burne-,,jones1 ,pen drawing2 block by ,carl ,hentschel4 ,,bt4 ,from ,the ,daily ,chronicle #f ,process block by ,art ,reproduction ,co41 from original drawing for ,gatty's ,parables #dd ,,thomas ,,bewick ,wood-engraving from ,walton's ,angler #i ,,david ,,wilkie ,process block by ,carl ,hentschel1 from a pen drawing #i ,,the ,,linnells ,drawings on wood1 and engravings from ,national ,gallery ,handbook #aj1 #aa ,,thomas ,,stothard ,process block by ,carl ,hentschel1 from an unpublished pen and wash drawing #aj ,wood-engravings by ,l4 ,clennell #ab1 #ac ,,william ,,harvey ,wood-engravings by ,thompson1 from ,milton's ,works1 etc4 #ae1 #af ,original drawing on wood2 process1 unsigned #ag ,wood-engraving after ,b4 ,r4 ,haydon1 detail of ,dentatus1 process block from it by ,dellagana #di ,,john ,,thurston ,wood-engravings1 unsigned1 from ,butler's ,hudibras1 ,tasso1 etc4 #ai1 #ba ,,george ,,cruikshank ,engravings by ,s4 and ,t4 ,williams and others unsigned1 from ,three ,courses1 ,table ,book1 #bb1 #bc1 #be ,,dante ,,gabriel ,process block1 by ,clarke1 from original ,,rossetti unpublished pen drawing #bg ,wood-engraving1 by ,dalziel1 from ,tennyson's ,poems #bg ,,birket ,,foster ,wood-engraving from ,longfellow's ,works1 etc41 by ,dalziel1 ,vizetelly1 etc4 #bf-bi ,process block from an original drawing on wood #bh ,,harrison ,,weir ,two wood-engravings from ,poetry for ,schools by ,a4 ,slader #cj ,original wash drawing on wood1 process block unsigned #ca ,a4 ,,cooper ,engraved by ,m4 ,jackson1 for ,walton's ,angler #cb ,,randolph ,,caldecott ,engraved by ,j4 ,d4 ,cooper2 from ,old ,christmas #cc ,from the ,elegy on a ,mad ,dog1 wood engraving1 unsigned #hc ,from ,bracebridge ,hall1 wood-engraving1 unsigned #hf ,,charles ,,keene ,original unpublished pen drawings1 blocks by ,clarke and ,dellagana #cd1 #cf ,m4 ,e4 ,,edwards ,wood-engraving from ,gatty's ,parables1 by ,harral #ch ,g4 ,,du ,,maurier ,wood-engraving by ,j4 ,d4 ,cooper #dj ,process blocks1 from pen drawings for ,trilby #ajb1 #ajc ,,arthur ,,hughes ,wood-engraving from ,hake's ,parables1 unsigned #da ,,walter ,,crane ,process block by ,carl ,hentschel1 from wood-engraving printed in colours1 ,beauty and the ,beast #df ,,kate ,,greenaway ,key-block for wood-engraving in colour1 by ,edmund ,evans #dh ,e4 ,,isabey ,process block by ,dellagana1 after wood-engraving by ,slader1 from ,paul and ,virginia #ej ,,gavarni ,process block by ,dellagana1 after wood-engraving1 unsigned1 from ,parisians by themselves #ea ,j4 ,m4 ,l4 ,e4 ,engravings from the ,contes ,,meissonier ,remois #eb1 #eg ,,jean ,,gigoux ,process block1 unsigned1 from wood-engraving from ,gil ,blas #ec ,,jules ,,jacquemart ,pen drawings1 reproduced by ,c4 ,gillot1 from ,the ,history of ,furniture #ee1 #ef1 #fd ,a4 ,,de ,,neuville ,wood-engraving by ,farlet from ,coups de ,fusil #ei ,,gustave ,,dor ,wood-engraving by ,brunier1 from ,spain #eh ,process block by ,dellagana1 from a lithograph #fj ,d4 ,,vierge ,pen drawing1 process by ,gillot1 from ,pablo de ,sgovie #fj ,,louis ,,morin ,pen drawing1 process1 unsigned1 from ,l',art et l',ide #fb1 #fc ,,carlos ,,schw,,be ,pen drawing1 process1 unsigned1 from ,zola's ,le ,rve #fb ,e4 ,,grasset ,pen drawing1 process by ,hare1 from ,quatre ,fils ,aymon #fc ,j4 ,f4 ,,raffa,,lli ,pen drawing1 process1 unsigned1 from ,paris ,illustr #fd ,h4 ,,ibels ,pen drawing1 process1 unsigned1 from ,l',art du ,rire #fe1 #ff ,,steinlen ,chalk drawings1 two process blocks1 by ,carl ,hentschel1 from ,gil ,blas #ff ,a4 ,,willette ,pen drawing1 process1 unsigned1 from ,les ,pierrots #ff1 #fh ,,caran ,d',,ache ,pen drawing1 process1 unsigned1 ,album ,caran ,d',ache #fg ,a4 ,,robida ,pen drawing1 process1 unsigned1 from ,journal d'un vieux garon #fg ,j4 ,l4 ,,forain ,pen drawing1 process1 unsigned1 from ,la ,comdie ,parisienne #fh ,p4 ,,renouard ,wood-engraving1 unsigned1 from chalk drawing in ,the ,graphic #fh ,m4 ,,lalanne ,from pencil drawing1 process block by ,clarke #gj ,,martin ,,rico ,from a pen drawing1 process by ,dellagana #gj ,,hans ,,tegner ,unsigned process1 from an original pen drawing #gb ,pen drawing1 from ,holberg's ,comedies1 wood 787 unsigned #gc ,,adolph ,,menzel ,process block by ,hentschel1 from unpublished drawing #gc ,f4 ,,goya ,process by ,dellagana1 from etchings in ,caprices #gd1 #gh ,from a chalk drawing in the ,british ,museum1 process unsigned #gd ,m4 ,,fortuny ,process1 unsigned1 from a pen drawing #gd ,,joseph ,,sattler ,process1 unsigned1 from a pen drawing1 ,the ,dance of ,death #gd ,g4 ,,de ,,nittis ,process1 unsigned1 from wash and brush1 ,paris ,illustr #gf ,w4 ,,busch ,process1 unsigned1 from pen drawing1 ,balduin ,bahlamm #gg ,a4 ,,rethel ,wood-engraving1 by ,burkner1 ,death the ,friend1 process reduction #gh ,h4 ,,schlittgen ,process1 unsigned1 from pen drawing1 ,ein erster und ein letzter ,ball #gh ,,franz ,,st,,ck ,process1 unsigned1 from painting1 ,franz ,stck ,album #gi ,j4 ,,garcia ,y ,,ramos ,process1 unsigned1 from pen and wash drawing #gi ,w4 ,l4 ,,wyllie ,process1 unsigned1 pen drawing1 ,magazine of ,art #hj ,j4 ,w4 ,,north ,from a drawing on wood2 block by ,dellagana #ha ,,hugh ,,thomson ,process1 unsigned1 pen drawing from ,our ,village #hb ,j4 ,m4 ,w4 ,,turner ,process by ,dellagana1 from ,rogers' ,italy #he ,e4 ,,griset ,wood-engraving1 unsigned from ,hood's ,comic ,annual #hg ,,sir ,j4 ,e4 ,,millais1 ,wood-engravings1 by ,dalziel1 from ,,bt4 ,good ,words #hh1 #ij ,a4 ,,boyd ,,houghton ,wood-engraving1 by ,dalziel1 from ,dalziel's ,arabian ,nights #ib ,wood-engraving1 by ,dalziel1 from ,dalziel's ,arabian ,nights #ib ,g4 ,j4 ,,pinwell ,process by ,hentschel1 from drawing on wood for ,goldsmith's ,works #ic ,process by ,hentschel1 from drawing on wood for ,goldsmith's ,works #id ,,charles ,,green ,unknown #id ,f4 ,,sandys ,wood-engraving by ,swain1 from ,thornbury's ,legendary ,ballads #if ,f4 ,,shields ,wood-engraving1 unsigned1 from ,defoe's ,history of the ,plague #ih ,j4 ,,mahoney ,process block1 from wood-engraving in ,the ,sunday ,magazine #ajj ,j4 ,f4 ,,sullivan ,wood-engraving1 unsigned1 from ,hood's ,comic ,annual #ajj ,,sir ,,john ,,tenniel ,engraved on wood by ,h4 ,harral1 from ,gatty's ,parables #ajb ,,linley ,,sambourne ,engraved by ,h4 ,swain1 from ,kingsley's ,water ,babies #ajb ,w4 ,g4 ,,baxter ,process1 unsigned1 from pen drawing in ,ally ,sloper's ,cartoons #ajc ,,phil ,,may ,process1 unsigned1 from pen drawing in ,the ,graphic #ajc ,w4 ,,small ,engraving on wood by ,lacour1 from ,cassell's ,magazine #ajd1 #aje ,r4 ,,anning ,,bell ,process block by ,hare1 from a pen drawing #aje ,j4 ,,bernard ,process block1 unsigned1 from pen ,,partridge drawing in ,proverbs in ,porcelain #ajf ,w4 ,,holman ,,hunt ,engraving on wood by ,harral1 from ,gatty's ,parables #ajf ,e4 ,h4 ,,new ,process block1 from pen drawing in ,the ,quest #ajg ,,winifred ,,smith ,process block1 unsigned1 from pen drawing in ,singing ,games #ajg ,,alfred ,,parsons ,wood-engraving by ,j4 ,d4 ,cooper1 from ,the ,english ,illustrated ,magazine #ajg ,process block by ,hentschel1 from ,the ,daily ,chronicle #aji ,,sir ,,george ,,reid ,wash drawing1 engraving on wood1 unsigned1 from ,a ,scotch ,naturalist #ajh ,w4 ,,paget ,wash drawing1 process1 by ,andre and ,sleigh1 from ,cassell's ,magazine #aji ,l4 ,,raven-,,hill ,process1 unsigned1 from pen drawings in ,the ,butterfly #aaj1 #aaa ,,edgar ,,wilson ,process1 unsigned1 from ,the ,unicorn #aaa ,c4 ,e4 ,,mallows ,process1 from a pencil drawing in ,the ,builder #aaa ,r4 ,,caton ,,woodville ,process from a wood-engraving1 in ,the ,illustrated ,london ,news #aab ,,sidney ,p4 ,,hall ,wood-engraving from pencil drawing in ,the ,graphic #aab ,,aubrey ,,beardsley ,process block by ,clarke1 from a pen drawing #aac ,t4 ,,walter ,,wilson ,process reduction1 from ,the ,illustrated ,london ,news #aac ,f4 ,s4 ,,church ,process reduction1 from ,the ,continent #aac ,c4 ,s4 ,,reinhart ,wood-engraving by ,h4 ,davidson1 from ,the ,century ,magazine #aad ,,walter ,,shirlaw ,process block1 unsigned1 from charcoal drawing in ,the ,century ,magazine #aaf ,,howard ,,pyle ,process block1 unsigned1 from pen drawing for ,wonderful ,one ,hoss ,shay #aah1 #abj ,wood-engraving1 unsigned1 from wash drawing in ,the ,century ,magazine #aai ,,alfred ,,brennan ,process1 unsigned1 from pen drawing in ,the ,continent #aba ,a4 ,b4 ,,frost ,process1 unsigned1 from pen drawing in ,stuff and ,nonsense #abb1 #abc ,e4 ,a4 ,,abbey ,process1 unsigned1 from pen drawing in ,harper's ,magazine #abd ,wood-engraving1 unsigned1 from ,austin ,dobson's ,poems #abd ,c4 ,d4 ,,gibson ,process1 unsigned1 from pen drawing in ,the ,century ,magazine #abe ,,oliver ,,herford ,process1 unsigned1 from pen drawing in ,fables #abe ,,robert ,,blum ,process1 unsigned1 from pen drawing in ,scribner's ,magazine #abf ,process1 unsigned1 from chalk drawings in ,scribner's ,magazine #abi ,,childe ,,hassam ,process1 unsigned1 from pen drawing in ,the ,commercial ,advertiser #abf ,,hopkinson ,,smith ,process1 unsigned1 from chalk drawing in ,the ,century ,magazine #abf ,,frederic ,,remington ,process1 unsigned1 from pen drawing in ,the ,century ,magazine #abh ,r4 ,,birch ,process1 unsigned1 from pen drawing in ,little ,lord ,fauntleroy #abi ,t4 ,,cole ,wood-engraving after ,w4 ,m4 ,chase1 from ,the ,century ,magazine #abi ,s4 ,,parrish ,process1 unsigned1 from ,the ,continent #acj ,,gilbert ,,gaul ,wood-engraving1 unsigned1 from ,the ,century ,magazine #acj ,,selwyn ,,image ,process1 unsigned1 from ,the ,fitzroy ,pictures #aca ,,heywood ,,sumner ,process1 unsigned1 from ,the ,fitzroy ,pictures #aca ,a4 ,j4 ,,gaskin ,process1 unsigned1 from pen drawing in ,old ,fairy ,tales #acb ,,laurence ,,housman ,process1 unsigned1 from pen drawing in ,a ,farm in ,fairyland #acc ,t4 ,,cotman ,process reproduction by ,dellagana1 from ,architectural ,antiquities of ,normandy #acd ,,errata4 ,page xv1 for ,t4 ,w4 ,russell1 read ,w4 ,w4 ,russell4 ,page #bj1 for #ahce1 ,page #be1 for #ahch1 read #ahcf4 999999 ,i have seen four different dates given for the book4 ,page #be1 for #ahdb1 read #ahdj4 ,page #cb1 ,page #fi1 for ,pannemacker1 read ,pannemaker4 ,page #eb1 for ,lavoignal1 read ,lavoignat4 ,page #aab1 for ,sydney ,p4 ,hall1 read ,sidney4 for pen read pencil4 ,illustration3 ,,by ,,boutet ,,de ,,monvel4 ,,from ,,st4 ,,nicolas 7,,delegrave74 ,,preface4 ,this book is the result of a request1 made to me by the editor of the ,ex-,libris ,series1 that ,i should write for him something about the ,illustration of to-day4 ,the idea1 ,i must acknowledge1 and ,i am glad to do so1 is his1 not mine4 ,to the editor also ,i am indebted for much help1 especially in the matter of the illustrations which the book contains2 in fact1 if he has not selected and chosen them all1 he has performed the more difficult and thankless task of obtaining them4 ,only one who has gone through the drudgery of finding drawings or blocks1 in magazine1 book1 museum1 artist's studio1 or collector's portfolio1 and then of getting the permission of editor1 publisher1 curator1 artist1 or amateur1 to use or reproduce them1 knows what this means4 ,i know from past experience1 and ,i was therefore only too glad to shirk the work when ,i found ,mr4 ,gleeson ,white willing to undertake it4 ,i doubt1 however1 if he will ever again attempt such a task4 ,for the appearance of the illustrations in the book he deserves the credit2 for much advice and many suggestions of great value1 as well as to the articles he has written1 and the lectures he has delivered1 on this subject1 ,i am greatly indebted4 ,illustration3 ,,by ,t4 ,w4 ,,russell4 ,,pen ,,drawing ,,from ,,the ,,daily ,,chronicle4 ,there are many others also whom ,i must thank4 ,first of all ,mr4 ,austin ,dobson1 who1 when he learned ,i was making a study of the subject1 took the trouble to put me on the track of the ,french illustrated books of the early part of this century1 giving me a most helpful start4 ,without his assistance1 and that of ,m4 ,beraldi1 ,i might never have even been able to trace the true birth1 development1 and growth of modern illustration1 which springs from ,goya1 the ,spaniard1 as draughtsman1#a and ,bewick1 the ,englishman1 as engraver2 spreading1 spontaneously but quite independently1 to ,france2 thence to ,germany1 back again to ,england1 and finally to ,america1 whence it has been diffused again all over the world4 ,though in all its component parts--drawing1 engraving1 and printing--illustration is more advanced in the ,united ,states than anywhere else2 still to-day1 despite the excellence of much of the work done there1 remarkable results are being obtained in other countries4 ,yet this latter-day excellence is so marked in ,american work that in many ways it has overshadowed that of ,england1 ,france1 ,germany1 and ,spain1 from the artists and engravers of which countries we ,americans have derived our inspiration4 #a ,the ,spanish photographer to whom was given the commission by ,messrs4 ,bell to photograph the ,goya drawings in the ,museum of the ,prado1 never carried it out4 ,for nearly a year they have been promised manyana1 but the to-morrow has not yet dawned4 ,once again ,i must thank the authorities at ,south ,kensington and the ,british ,museum1 ,mr4 ,e4 ,f4 ,strange and the assistants2 ,mr4 ,a4 ,w4 ,pollard1 who1 though the editor of a rival series1 helped me as though the book was to appear in his own collection2 ,professor ,colvin and ,mr4 ,lionel ,cust1 the latter of whom1 during his stay in the ,print ,room of the ,british ,museum1 ,i bothered persistently2 his transfer to a more important post is a great loss to students at the ,museum2 ,dr4 ,hans ,singer of ,dresden1 and many others4 ,artists1 especially those of the older generation1 the men who gave illustration in this country thirty-five years ago a position it does not hold to-day1 have been untiring in their interest in the book1 and most helpful in every way2 it has been a delight and a pleasure to meet ,frederick ,sandys1 ,birket ,foster1 ,harrison ,weir1 ,frederick ,shields1 and ,w4 ,h4 ,hooper1 just as it is an undying proof of the artistic blindness of a generation which has not the intelligence to use the work of its masters4 ,mr4 ,hooper has told me that he does not believe the ,bewick blocks could be printed any better than they originally were2 this is an interesting problem1 but one which can never be solved2 from my point of view they were badly printed4 ,he also thinks that ,bewick used overlays4 ,mr4 ,hooper is the ,english master of facsimile wood-engraving2 and some day1 when this fact is generally discovered 7as ,mr4 ,william ,morris has found out1 for ,mr4 ,hooper has engraved the greater part1 if not all1 of ,sir ,edward ,burne-,jones's and ,mr4 ,morris's designs71 there will be a wild and fruitless discussion among bibliographers as to the engravers of the wonderful blocks in ,morris's books1 and of much of the best work of #ahfj to #ahgj1 signed with the name of a firm1 or a tiny mark in the most obscure corner4 ,mr4 ,laurence ,housman's article on ,a4 ,boyd ,houghton in ,bibliographica ,i wish ,i had seen before the ,english chapter was written1 and ,i wish ,i had had the benefit of his researches concerning this master1 as well as the advice of ,mr4 ,a4 ,strahan1 which would have been invaluable4 ,illustration3 ,,by ,,maurice ,,greiffenhagen4 ,,pen ,,drawing ,,from ,,the ,,daily ,,chronicle4 ,mr4 ,w4 ,j4 ,hennessy has given much help in the ,american chapter1 and ,i must thank ,mr4 ,emery ,walker1 ,mr4 ,horace ,townsend1 ,mr4 ,h4 ,orrinsmith1 ,mr4 ,c4 ,t4 ,jacobi1 ,mr4 ,w4 ,e4 ,henley1 and ,i cannot remember how many more4 ,mr4 ,edmund ,gosse kindly allowed us to reproduce his ,rossetti1 one of the strongest pieces of work1 ,i think1 that artist ever did in pen and ink4 ,the other drawings not contributed directly by artists1 or not obtained as electros1 etc41 are mainly from my own collection1 for strange as it may seem1 the collection of original drawings is one of my hobbies2 others may collect bad prints1 ,i prefer good originals4 ,the proprietors of ,the ,daily ,chronicle allowed us to reproduce a number of designs made for that paper1 and published in it during ,february1 #ahie4 ,that no drawings are included from many of the artists of ,fliegende ,bltter is because the proprietors refused to allow them to be reproduced or used2 no doubt the publishers have daily applications of the same sort1 but as a book like this is not intended as a rival to a comic paper1 ,i think their refusal in this case rather uncalled for4 ,still1 ,i have not allowed their decision to influence me1 nor yet the refusal of one or two artists1 who evidently prefer the advertisement of the vulgar type of weekly to being included with their equals or masters4 ,no doubt these confessions will be greeted with applause1 especially in that paper whose boast it was once to be written by gentlemen for gentlemen4 ,no doubt ,i shall be censured for leaving out the work of every man who ever happened to make an illustration or even a sketch1 especially if it was privately published4 ,no doubt the omission of ,miss ,alexander and other ,ruskin-boomed amateurs will be noted1 but ,i have no collection of their works which ,i should like to unload on the dear public4 ,and as for the misplaced energy contained in these drawings1 ,i am sorry that their authors wasted so much time over them4 ,no doubt for making these confessions1 unknown or anonymous nobodies will shriek out that ,i have stolen everything in the book from an authority of whom ,i never heard4 ,and1 finally1 no doubt an ordinarily rational paper like the ,spectator will remark of certain of the drawings1 they make us sick4 ,as to the text1 it is in no sense an attempt at a complete history of modern illustration2 such a subject would fill volumes1 and take a lifetime to prepare4 ,it is but a sketch1 and a very slight one1 of what ,i think is the most important work of this century2 from which ,i know ,i shall be told ,i have omitted almost all that ,i should have included1 and inserted much that should have been omitted4 ,but ,i should like to point out that there are no works that ,i have been able to consult on modern illustration1 that is on drawing1 engraving and printing as practised to-day in ,europe and ,america2 there are a few excellent books notably a ,chapter on ,english ,illustration1 by ,mr4 ,dobson1 in ,mr4 ,lang's ,the ,library1 and ,mr4 ,linton's works on engraving2 ,mason ,jackson's ,pictorial ,press2 a few good monographs on the great illustrators1 ,champfleury's ,vignettes ,romantiques1 for example2 many excellent scattered articles1 and an ocean of rubbish4 ,but ,i am the unfortunate who will be sacrificed for attempting to write the first book on a subject he loves4 ,there is another most serious1 really insurmountable difficulty1 for me or anyone else who attempts to write of modern illustration3 no illustrations are catalogued to any extent2 only the most important illustrators find a place in either the catalogues of ,south ,kensington ,art ,library or the ,british ,museum2 therefore a few years1 even a few weeks1 after an illustrated book is published1 if it has already passed through several editions1 it may require hours to find the edition one wants4 ,and as for a special illustration1 that necessitates almost always turning over thousands of pages--unless one knows exactly where to find it4 ,i know of but one magazine--,once a ,week--in the bound volumes of which the artist's work is properly indexed1 and even here the engraver's name is omitted4#b ,in ,harper's most excellently conducted magazine1 for some unknown reason artists and engravers are ignored in the index4 ,even ,the ,century leaves much to be desired in this way4 ,again1 it is almost impossible to obtain the date or the name of the work in which many an important illustration first appeared4 ,illustrations are used over and over again1 this has always been done2 even a publisher at times cannot help one3 for this reason it is very difficult to tell when one is consulting a first edition of an illustrated book4 ,sometimes ,i fancy this carelessness is not altogether unassociated with the author's or publisher's desire to palm off old blocks as new4 ,it is by no means uncommon to omit the name of the artist altogether from the work he has illustrated2 rarely indeed is it that the engraver's name is given2 sometimes no mention that the work is illustrated is even made on the title page1 or only that it contains so many illustrations2 usually if an attempt is made to describe the method by which the designs have been reproduced1 it is wrong2 in rare cases1 ,i am glad to say1 this is intentional--photogravures being called etchings1 for example--but it is mainly the result of sheer ignorance on the part of publisher1 author1 or at times1 the illustrator4 #b ,the ,pall ,mall ,magazine has just commenced to index artists and engravers completely4 ,hence there are two matters to which ,i should like to call attention2 that all library catalogues give the name of artist and engraver whenever these are printed in the book being catalogued2 naturally in a work like this or a magazine1 such a course would be impossible1 but at least the number of illustrations might be given4 ,the name of the illustrator should always appear on the title page when possible2 if his work is worth printing he should have a decent amount of attention drawn to it4 ,this matter is not so difficult1 nor would it entail in new catalogues so much work as librarians might think1 for ,i may say in the ,british ,museum and ,south ,kensington ,i find that ,menzel's work is so catalogued already4 ,illustration3 ,,by ,e4 ,j4 ,,sullivan4 ,,pen ,,drawing ,,from ,,the ,,daily ,,chronicle4 ,secondly1 that bibliographers everywhere should turn their attention more to modern illustrated works1 even if from the bibliographer of the future it removed much of that pleasant uncertainty which enhances1 for some1 the work of to-day4 ,there is scarce an illustrated book of the fifteenth or sixteenth century1 in which we are absolutely sure of the artist and engraver2 but the bibliographers of the future will have a far bigger puzzle to solve1 unless we pay some attention to the work of to-day1 when they come to catalogue and describe the books of this century4 ,most illustrators1 it is true1 now sign their drawings1 but ,i should not care to attempt a catalogue of my own work4 ,i have no doubt that ,i have omitted to mention some really important books1 but they have been omitted because ,i have never seen them2 with no good catalogue1 no guide1 many of the artists dead1 and the books dead too1 how is one to find them8 ,i have done what ,i could to make a start2 ,i only hope some one will carry it on2 certainly ,i am sure some of my sincere flatterers will imitate me1 as they always do4 ,but to-day the output of illustration is overwhelming2 to study the subject properly one must see all the books1 magazines1 and papers published all over the world4 ,no one man has a chance to do this1 and1 if he had1 the mere looking at such a mass of material would take up all his time4 ,yet one must get some idea of what is being done1 for in the most unexpected places the best work often appears2 originality is barred in many1 so-called1 high-class journals1 and has to struggle1 in the cheapest publications1 with the printing-press1 ink1 and paper4 ,what magazine1 for example1 has eclipsed ,the ,daily ,chronicle's experiment in illustration8 ,within the same short period no such distinguished band of contributors ever appeared4 ,again1 in this book it is repeatedly stated that certain artists are at work on certain publications2 these have since appeared2 ,i can only say that the book was not made in a day1 and the artists1 engravers1 and printers to whom ,i have referred1 have worked faster than ,i have4 ,even the ,yellow ,book has come into existence1 and been artistically eclipsed--,i hope but for a short while--since ,i have been working at this volume4 ,temporarily1 the shrieking brother and sisterhood have hurt the pockets of a few artists2 but illustrators may be consoled by remembering that from the time of ,drer to the pre-,raphaelites1 from ,whistler to ,eternity1 ,art never has been and never will be understanded of the people2 but they no longer dare to burn our productions1 they only write to the newspapers about them4 ,art can stand that--even though it1 for the moment1 is hard on the artist4 ,it is now no longer necessary for me to insist on the importance of illustration2 it is acknowledged1 and1 save that academic honours are denied him in this country1 the illustrator ranks with any other practitioner of the fine or applied arts4 ,illustration3 ,,by ,j4 ,mc ,,neil ,,whistler4 ,,from ,,legendary ,,ballads 7,,chatto74 ,nor do ,i propose to contradict the statement that one can see too much good art2 well1 the ,elgin marbles stood for centuries where only the blind could avoid them1 and ,i have not heard that the ,athenians were injured in consequence2 now they are shut up in boxes1 and only visible at certain times1 hence the ,british taste has been so elevated1 that the ha'penny comic and the photograph have become its ideal4 ,still1 if people could see every day1 as they had the chance of seeing this year in the ,chronicle1 illustrations by ,whistler and ,burne-,jones1 ,i do not think they would be harmed1 even if they did not happen to have to travel in a penny 'bus to the ,british ,museum1 or take a ,cook's ticket and a shilling ,ruskin in order to walk in ,florence4 ,my opinion is1 the better the art around us1 even in the penny paper1 the better shall we be able to appreciate the work we must travel to see4 ,as for the people who would vulgarize art and literature1 bringing everything down to their own low level1 we have them always with us4 ,and they and their hangers-on are the ones against whom the present puritans should level their attacks--not against men whose art they do not understand1 even if they do object to their personality4 ,still here it will be always impossible to separate a man from his work2 yet good art will live1 and good illustration is good art4 ,the world may or may not appreciate it1 still there never was an artistic period1 there never was an art-loving nation4 ,,note4 ,since this preface was written much has happened1 and ,i hope ,i have learned a little4 ,a show of wood-engravings was held in ,march1 #ahie1 in ,stationers' ,hall1 which demonstrated clearly that there are many capable artists in this branch of illustration1 though at present they have but little encouragement to practise their art2 in that exhibition one saw much good work1 and ,i must at least record the names of ,h4 ,harral and ,c4 ,roberts among ,english engravers on wood who have done notable large blocks--while excellent engraving has been recently accomplished by ,messrs4 ,m4 ,stainforth1 ,o4 ,lacour1 ,j4 ,d4 ,cooper1 ,r4 ,paterson1 ,a4 ,worf1 ,f4 ,babbage1 ,j4 ,m4 ,johnstone1 and ,w4 ,spielmeyer1 the latter of whom was good enough to give me much help in the ,german chapter of this book4 ,edmund ,evans1 the engraver and colour-printer1 loaned me the original drawings on the wood by ,birket ,foster1 ,william ,harvey1 and ,harrison ,weir1 now for the first time reproduced1 while ,william ,archer allowed us to reproduce the ,tegner on page #gb4 ,illustration3 ,,by ,a4 ,s4 ,,hartrick4 ,,from ,a ,,pen ,,drawing ,,in ,,the ,,daily ,,chronicle4 ,among artists too ,i should have noted the work of ,g4 ,h4 ,thomas and ,samuel ,palmer1 who made some designs for ,sacred ,allegories1 mainly engraved by ,w4 ,t4 ,green1 #ahef4 ,one of the earliest and best of modern illustrated books1 ,poets of the ,nineteenth ,century1 #aheg1 and ,wilmott's ,sacred ,poetry1 #ahfc1 are worth preservation for their illustrations4 ,the more ,i see of this illustration of twenty or thirty years ago1 the better and more interesting ,i find it4 ,arthur ,hughes' work grows on one2 certainly his illustrations to ,christina ,rossetti's ,sing ,song1 are very charming4 ,i have made no mention scarcely of the splendid work ,charles ,green1 ,luke ,fildes1 and ,fred4 ,barnard did for ,charles ,dickens4 ,my only excuse is that till yesterday ,i never saw it4 ,griset's grotesques1 too1 ,i have but just come across--but while one is looking up the work of a few years ago1 that of the present is unseen4 ,i have said nothing of many interesting illustrators who have come to the front almost within a few months1 illustrators are being made almost daily1 one cannot keep track of them1 good as their work is much of it is like journalism1 bound to perish1 only the best will live2 but when one is right in the midst of it1 difficult indeed is the task of picking out the good from the almost good1 the clever from the distinguished4 ,,london1 ,september #cjth1 #ahie4 ,illustration3 ,,by ,,constable4 ,,process ,,block ,,from ,,an ,,original ,,drawing ,,in ,,possession ,,of ,,the ,,author4 ,,modern ,,illustration4 ,,introduction4 ,illustration is not only the oldest1 but the only form of artistic expression which graphic artists have ever been able to employ4 ,for that matter1 every expression of the artist1 whether conveyed by means of monochrome or colour1 even the work of the plastic artist1 is but an illustration4 ,for an illustration is the recording1 by means of some artistic medium1 either of something seen by the artist which he wishes to convey to--that is1 illustrate for--others2 or else the direct interpretation by some artistic means of a written description1 or the chronicling of an historical event2 or1 it is a composition which has been suggested to him by some occurrence in nature2 or1 again1 his impression of some phase of nature or life4 ,therefore all art is illustration1 though it rather seems to follow that all illustration is not art4 ,in the past1 the great illustrators were employed by the great patrons of art in the church and at court4 ,the church1 by means of graphic or plastic illustration1 warned or encouraged her followers1 terrifying them by endless purgatories and infernos1 more gruesome and ghastly than the ,british idea of the ,salon picture2 turning their thoughts towards heaven mainly by cloying sweetness1 which the typical member of the ,royal ,academy finds much difficulty in approaching4 ,though such illustration1 in a certain sense1 was made for the people1 it was not given into their possession as modern illustration is to-day2 it was meant not for their pleasure1 but for their instruction4 ,the old illustrator in his work was simply nothing if not a moralist1 though he himself may have been a most amusing person1 while his treatment of even the most sacred subjects was frequently the broadest and most suggestive4 ,still1 he was commissioned solely to point a moral and adorn a tale4 ,as for the court painters1 their work was never seen by the people at all1 any more than it is now1 often luckily4 ,but what were the portraits of ,velasquez1 the groups of ,rembrandt1 the feasts of ,veronese1 the processions of ,carpaccio8 ,the work of all court and portrait painters is but the recording1 that is1 the illustration1 of human vanity2 and the work of all subject painters is but the recording1 that is1 the illustration1 of great and important events2 while landscape painting1 a modern invention1 is only more or less glorified topography4 ,with the writing and illustrating of manuscripts1 however1 there had been developed a school of minor artists and craftsmen3 illuminators and scribes who--mainly taking for their subjects either a portion of some painting by a master1 but usually the mere mechanical part of the early painters' backgrounds1 the mechanical gold punch design of the primitives1 the elaborate1 but mannered and conventional1 foregrounds of ,botticelli1 and the entire compositions1 more or less altered1 of ,fra ,angelico and ,pinturicchio--by lifting these things judiciously1 evolved the art of illumination4 ,it must be borne in mind that this illumination1 in its detail and accessories often very beautiful and conventionally decorative1 in its main subject almost always as realistic as possible1 was the work1 with two or three most notable exceptions1 of second- and third-rate clever technicians1 but in no sense great creative artists at all4 ,only a few well-known painters were ever employed to illuminate important manuscripts4 ,after the introduction of printing1 the same state of affairs continued4 ,although the most beautiful books which came from the early ,german press appeared during the lifetime of ,drer1 his contributions as an illustrator are curiously limited1 considering the amount of black-and-white work which he produced4 ,he illustrated not more than three or four books1 and of these only the ,missal of the ,emperor ,maximilian was worked out completely4#c ,the great ,italians never did anything of any importance1 if we except ,botticelli's designs for ,dante which were never completed4 ,velasquez has left nothing behind him2 nor has ,rembrandt4 ,a few of ,rubens' sketches for title-pages exist in ,antwerp1 and ,drer's monograms and various decorative designs have proved a veritable mine for the minor artists1 or greatest thieves--,i mean the decorators--who are with us still4 ,with the exception of ,hans ,holbein1 there never was in the past a great artist who devoted himself to illustration4 ,the glorification of these minor craftsmen into great illustrators is unjust1 incorrect1 and absurd1 when one seriously considers it4 ,drer's designs were really published and sold as portfolios of engravings1 or separately1 although there was a little text with them1 but not as illustrated books4 ,so1 too1 were those of ,rubens2 while ,rembrandt's etchings were altogether published separately4 ,it was the same with the work of the early ,italians4 ,holbein is almost the only exception proving the rule that great artists in the past were not illustrators of books4 ,still1 one can never be absolutely certain on this point1 since on some of the finest books1 like the ,hypnerotomachia1 a great artist was employed whose name has never been recorded4 #c ,this is a combination of illumination and printing1 the illustrations being original drawings by ,drer4 ,the text is printed2 but two or three copies exist4 ,although it is impossible now to give with absolute certainty the true reasons why the best-known artists did not illustrate the important publications of their own day1 there seem to be three very good ones4 ,first1 because it is almost certain that the wood-cutter1 when he was known at all1 and this implied his being reasonably successful1 was the head of a large shop in which the artist and the actual engraver were mere necessary evils2 the proprietor1 ,i do not doubt1 taking not only all the credit1 as we know1 but most likely the bulk of the cash as well4 ,secondly1 we have ,drer's own testimony that his wood-cutters were incompetent1 and careless1 and the much belauded line of ,drer which one is bidden to admire in the wood-block to-day1 he himself1 it is almost certain1 did not cut4#d ,but he sketched freely on paper1 his design was then copied by another person on the block1 and the third man cut it4 ,that ,drer did work on the wood1 correcting his designs and criticising his wood-cutters1 there can be little doubt1 simply from the improvement in this method of reproduction which began with him4 ,but the reason that a great artist like ,drer did not contribute illustrations to books most probably is because he was not decently paid for them1 and because his designs were all cut to pieces4 ,finally1 not only was almost all the engraving1 except work done under the direct supervision1 or influence1 of ,drer1 absolutely characterless so far as the quality of the line went1 but there is not a single early printed book to be found in which the illustrations are decently printed4 ,there is scarcely a solid black in any of them4#e #d ,see ,literary ,remains of ,albert ,drer1 and ,f4 ,didot's ,gravure sur ,bois4 #e ,some of ,ratdolt's are among the exceptions4 ,when one considers these facts1 which have been carefully ignored by a small set of artists1 and1 of course1 are absolutely unknown to the ordinary critic and authority on the early printed book1 two things become evident4 ,first1 that the great artists of the past did not illustrate2 and1 second1 that the reason they did not was because they could be neither decently engraved nor printed4 ,illustration3 ,,st4 ,,christopher1 #adbc4 ,illustration3 ,,by ,,sir ,,edward ,,burne-,,jones1 ,,bart4 ,,reduced ,,from ,a ,,large ,,process ,,block ,,in ,,the ,,daily ,,chronicle4 ,with the introduction of steel and copper-plate engraving and etching1 the paintings and sculptures of great artists were not infrequently used as the subjects of book illustrations1 but they were seldom made expressly for the books they illustrate4 ,and as the steel or copper engraving must be printed separately1 and as the best proofs of these engravings were almost always sold as separate works of art1 it hardly seems to me that engravings on metal or on stone1 like lithographs1 properly come under the head of illustration for printed books4 ,the use of what we call now clichs and stock blocks was almost universal1 even from the very invention of printing1 when the illustrations to the block-books were cut up for this purpose2 and not only this3 the same map was made to do duty for as many countries as were required1 and one and the same portrait or town served for as many characters and places as happened to figure in the book4 ,while1 under the heading of appropriateness of decoration and fitness1 it may be remarked that most of the old printers only had one set of initials1 and if they did possess two sets of borders1 they usually chopped them up1 and1 by judicious mixing1 obtained a variety apparently pleasing to their patrons4 ,it is not until the eighteenth century that one finds artists of note illustrating books1 always with the exception of ,holbein4 ,even then the illustrations were usually steel or copper-plate engravings made very freely from other men's drawings1 although the artists were beginning to be commissioned to produce designs themselves4 ,one might devote much space to the work of ,piranesi1 ,canaletto1 ,watteau1 ,greuze1 ,hogarth1 ,chodowiecki1 and the illustrators of ,la ,fontaine4 ,but this does not come really within my subject1 since the making of modern illustration1 that is1 the employment of great artists to produce great works of art to appear with letterpress in printed books1 dates entirely from this century1 and is due altogether to the genius of four men3 ,meissonier in ,france1 ,menzel in ,germany1 ,goya in ,spain1 and ,bewick in ,england4 ,it is to these four that modern illustration is solely and entirely due2 though a word--and a strong one--of praise should be given to the patrons and publishers who employed and encouraged them4 ,illustration3 ,,by ,,sir ,,david ,,wilkie4 ,,from ,,an ,,original ,,drawing ,,in ,,the ,,possession ,,of ,,the ,,author4 ,illustration3 ,,wood-,,engraving ,,by ,,thomas ,,bewick4 ,,from ,,walton',s ,,complete ,,angler 7,,bohn74 ,,chapter ,i4 ,a ,,general ,,survey4 ,nowhere were the conditions of illustration more deplorable than in ,england when ,bewick1 and ,stothard1 and ,blake appeared upon the scene4 ,there was a decided revolution when ,gay's ,fables1 the ,general ,history of ,quadrupeds1 ,british ,land and ,water ,birds1 all illustrated by ,bewick's wood-engravings1 were issued4 ,bewick1 as has been said before1 and cannot be repeated too often1 was an artist who happened to engrave his designs on wood1 instead of drawing them on paper or painting them on canvas2 he was not a mere wood-engraver1 interpreting other men's work which he only half understood or appreciated2 and this is a distinction to be borne in mind4 ,bewick1 virtually1 did for himself what the new mechanical processes almost succeed in doing for contemporary illustrators4 ,for him were none of the difficulties and miseries of the draughtsman who made his designs on the block1 saw them ruthlessly ruined by an incompetent1 or unscrupulous engraver1 and then had but the print1 which could not prove the reproduction to be the wretched caricature of the original that it really was4 ,this was the chief reason for ,bewick's success4 ,he invented wood-engraving2 he showed what good work ought to be2 in a word1 he revolutionized the art of illustration in ,england4#f #f ,the printing is1 however1 always bad4 ,whatever may have brought about this sudden activity and revival of excellence1 ,bewick's books were far from being its sole outcome4 ,the ,songs of ,innocence and ,experience1 the ,inventions to the ,book of ,job1 ,blair's ,grave1 ,mary ,wollstonecraft's stories1 with ,blake's illustrations1 belong to the same period1 though this was but a chance4 ,the illustrations were mostly done on metal1 and ,blake had his own peculiar methods4 ,he belongs to no special time or group4 ,illustration3 ,,christ ,,and ,,peter4 ,,by ,,caracci4 ,wood-engraving by the ,linnells4 ,illustration3 ,,the ,,holy ,,family4 ,,by ,,perugino4 ,wood-engraving by the ,linnells4 ,book after book with ,stothard's illustrations1 the ,pilgrim's ,progress1 ,richardson's novels1 tales now forgotten1 above all1 ,rogers' ,poems1 with the engravings by ,clennell1 helped to prove the possibilities of good illustration1 and emphasize1 by force of contrast1 the inappropriateness of work done by some of the most popular ,academicians of the day for ,boydell's ,shakespeare1 immortalized by ,thackeray as that black and ghastly gallery of murky ,opies1 glum ,northcotes1 straddling ,fuselis4 ,illustration3 ,,by ,,stothard4 ,,from ,,an ,,original ,,drawing ,,in ,,the ,,possession ,,of ,,the ,,author4 ,illustration3 ,,from ,a ,,painting ,,by ,,wilson4 ,wood-engraving by the ,linnells4 ,illustration3 ,,from ,a ,,painting ,,by ,,rubens4 ,wood-engraving by the ,linnells4 ,illustration3 ,,by ,,stothard4 ,,from ,,rogers' ,,poems 7,,cadell74 ,engraved on wood by ,clennell4 ,illustration3 ,,by ,,stothard4 ,,from ,,rogers' ,,poems 7,,cadell74 ,engraved on wood by ,clennell4 ,but the most important outcome of ,bewick's work was the appearance of an excellent school of wood-engravers in ,england3 ,clennell1 ,branston1 ,harvey and ,nesbit1 the ,thompsons1 the ,williamses1 and ,orrinsmith4 ,these engravers tried1 in the beginning1 to produce exactly the same sort of work that is being done by the so-called school of ,american wood-engravers to-day4 ,one has only to look at ,stothard's illustrations to ,rogers' ,poems1 engraved by ,clennell1 to see an example of facsimile engraving after pen drawing4 ,but1 as a general thing1 these men all endeavoured to imitate the qualities of steel engraving or etching4 ,first1 because steel or metal engraving was the prevailing form of illustration1 enjoying1 for a while1 tremendous popularity in the long series of ,keepsakes1 ,forget-,me-,nots1 and ,albums2 and1 secondly1 because they were forced mainly to copy old metal engravings1 since scarcely any artist1 always excepting ,stothard and a few others1 knew how to draw on the wood4 ,so great was the rage for popularizing engravings on metal1 that ,john ,thompson projected an edition of ,hogarth on wood1 about two inches by three1 showing that1 instead of being able to produce new work done specially for the wood1 engravers were continually thrown back upon the copying of steel or copper-plates1 or the work of their predecessors4 ,another notable instance1 though published much later1 is that of the first illustrated catalogue of the ,national ,gallery by the ,linnells4#g #g ,so far as ,i know1 the original of that system of abomination4 ,in ,france1 however1 there were plenty of artists1 willing to draw on the wood1 who could not get their designs engraved1 at the very time that in ,england there were plenty of engravers who could find no artists to draw for them4 ,illustration3 ,,from ,,titian1 ,,ariadne ,,and ,,bacchus4 ,wood-engraving by the ,linnells4 ,in #ahaf ,charles ,thompson went to ,paris1 partly for pleasure and partly in search of work4 ,he was at once successful4 ,he arrived at the right moment3 already a ,society for the ,encouragement of ,national ,industry in ,france had offered a prize of two thousand francs for wood-engravings done in that country1 so impressed had ,frenchmen been with the excellence of the work produced in ,england4 ,illustration3 ,,by ,,harvey4 ,,from ,,milton',s ,,poetical ,,works 7,,bohn74 ,engraved on wood by ,thompson4 ,illustration3 ,,by ,,harvey4 ,,from ,,milton',s ,,poetical ,,works 7,,bohn74 ,engraved on wood by ,thompson4 ,a little later on1 ,lavoignat and other engravers came over and worked in ,london with the ,williamses4 ,the result was1 that1 within ten years of their return1 a school of wood-engravers1 nearly as good as the ,english1 arose in ,france1 together with a number of draughtsmen1 greatly superior to those of ,england4 ,among the engravers who should be mentioned are ,best1 ,brvire1 ,leveille1 ,lavoignat1 ,piaud1 ,pisan1 and ,poirret4 ,they worked after ,gigoux1 the ,johannots1 ,isabey1 ,paul ,huet1 ,jacque1 ,meissonier1 ,charlet1 ,daubigny1 ,daumier1 ,gavarni1 ,monnier1 and ,raffet4 ,illustration3 ,,from ,,an ,,original ,,drawing ,,on ,,the ,,wood ,,by ,,harvey4 ,in both countries this new illustration began to make its mark about #ahce4 ,although1 in its own way1 ,bewick's engraving was unsurpassed1 still a refinement1 a freedom1 was introduced by the ,french artists1 and a faithfulness of facsimile by their engravers1 many of whom1 as ,i have said1 were ,english1 quite unknown at that time in work published in ,england4 ,so great was the reputation of these illustrators1 artists and engravers both1 that two ,germans1 ,braun and ,roehle1 came to ,paris to work with ,brvire4 ,this international exchange of engravers has kept up1 in a measure1 till the present time2 ,m4 ,lepre1 for instance1 studied in ,england with ,smeeton1 while it is well known that the director of the ,graphic was working in ,paris almost up to #ahgj4 ,illustration3 ,,by ,,harvey4 ,,from ,,milton',s ,,poetical ,,works 7,,bohn74 ,wood-engraving1 unsigned4 ,in #ahcj ,i think one may safely say that the first really important modern illustrated book1 in which wood was substituted for metal engraving1 appeared in ,france4 ,this was the ,histoire du ,roi de ,bohme1 by ,johannot4 ,though published twenty years later than ,rogers' ,poems1 with ,stothard's illustrations1 as an example of engraving it was scarcely any better4 ,but the designs--little head and tail-pieces--were so good that they were used over and over again by ,l',artiste1 the organ of the ,romanticists1 in which they were accepted as the perfection of illustration4 ,at this date there is to be noted in ,england1 among the best work done1 the beautiful alphabet by ,stothard1 published by ,pickering4 ,illustration3 ,,by ,,thurston4 ,,from ,,butler',s ,,hudibras 7,,bohn74 ,wood-engraving1 unsigned4 ,illustration3 ,,by ,,thurston4 ,,from ,,butler',s ,,hudibras 7,,bohn74 ,wood-engraving1 unsigned4 ,if1 up to #ahcj1 ,england and ,france were in equal rank1 so far as illustration went1 for the next ten or fifteen years ,france utterly eclipsed her earlier rival4 ,in #ahcc appeared the ,gil ,blas#h of ,gigoux1 containing hundreds of drawings1 which all ,frenchmen1 ,i believe1 consider to be the illustrated book of the period4 ,to ,gigoux1 ,daniel ,vierge owes more probably than he would care to acknowledge2 while ,gigoux himself is founded on ,goya4 ,in #ahch1 however1 was issued a book which1 in drawing1 engraving1 and printing1 completely outdistanced anything that had heretofore appeared in ,england or in ,france3 ,curmer's edition of ,paul et ,virginie1 dedicated by a grateful publisher1 ,aux artistes qui ont lev ce monument typographique la mmoire de ,j4 ,h4 ,bernardin de ,saint-,pierre4 ,these artists include the names of nearly everyone who was then1 or soon became famous in ,french art4 ,the book contains marines by ,isabey1 beautiful landscapes by ,paul ,huet1 animals and figures by ,jacque1 and1 above all1 drawings by ,meissonier1 who contributed over a hundred to this story and to the ,chaumire ,indienne1 published under the same cover4 ,all the best ,french and ,english engravers collaborated4 ,even the printing was excellent1 for the use of overlays1 made by ,aristide ,derniame1 had begun to be fully understood4#i ,the printers' name deserves to be remembered3 ,everal et ,cie4 #h ,my own copy1 apparently a first edition1 is dated #ahcf4 #i ,charles ,whittingham1 the founder of the ,chiswick ,press1 who died in #ahdj1 has the credit of being the first printer in ,england to use overlays1 and as an early example might be mentioned1 ,the ,gardens and ,menageries of the ,zoological ,society delineated1 published by ,tilt in #ahcj1 containing drawings by ,william ,harvey1 engraved by ,branston and ,wright1 assisted by other artists4 ,after this1 for some ten years1 there was a perfect deluge of finely illustrated books4 ,the ,vicar of ,wakefield1 with ,jacque's drawings1 ,molire1 ,don ,quixote1 ,le ,diable ,boiteux4 ,magazines1 too1 were brought out2 the ,magazin ,pittoresque1 which had started in #ahcc1 published in #ahdh ,meissonier's ,deux ,joueurs1 engraved by ,lavoignat2 in many ways this remains1 even to-day1 one of the best pieces of facsimile wood-engraving ever made4 ,at that time it was simply unapproached anywhere4 ,in ,l',artiste and ,gazette des ,entants1 #ahdj1 will be found many remarkable lithographs by ,gavarni2 but most of ,daumier's works must be looked for in the cheaper prints1 notably in ,la ,caricature1 where also may be found1 from #ahcj1 in lithography the work of ,delacroix1 ,monnier1 ,lami1 and others4 ,illustration3 ,,by ,,thurston4 ,,from ,,tasso 7,,bohn74 ,engraved on wood by ,corbould4 ,illustration3 ,,from ,,cruikshank',s ,,three ,,courses4 ,engraved on wood by ,s4 ,williams4 ,illustration3 ,,from ,,cruikshank',s ,,three ,,courses4 ,illustration3 ,,from ,,cruikshank',s ,,three ,,courses4 ,wood-engravings1 not signed4 ,in ,england1 too1 very good work was being done1 though it was not so absolutely artistic as the ,french4 ,among the men who were working were ,thurston1 ,stothard1 ,harvey1 ,landseer1 ,wilkie1 ,calcott1 and ,mulready4 ,the ,penny ,magazine was started in #ahcb by ,charles ,knight4 ,gray's ,elegy appeared in #ahcf1 the ,arabian ,nights in #ahch1 and1 about the same time the ,solace of ,song1 both containing much of ,harvey's best work2 while later came those drawings by ,cruikshank1 which mainly owe their claim to notice to the marvellous interpretations of them made by the ,thompsons and the ,williamses4 ,in ,england1 however1 the engravers were seeking more and more to imitate steel1 the artist's simplest washes being turned into the most elaborate cross-hatching1 which made each block look as if it were a mass of pen-and-ink or pencil detail1 when no such work was ever put on it by the draughtsman4 ,the artist was ignored by the engraver1 until finally the latter became absolutely supreme1 that is to say1 his shop became supreme1 while the artist who1 when he had the chance1 could give on a piece of wood an inch or two square1 most beautiful1 even great1 effects of landscape1 was subordinated wholly to his interpreter4 ,for an accurate account of this inartistic triumph ,i would recommend the works of ,mr4 ,w4 ,j4 ,linton4 ,in ,france the art of illustration continued to improve4 ,it culminated in #aheh in the ,contes ,rmois1 with ,meissonier for draughtsman and ,lavoignat and ,leveille for engravers4 ,these illustrations are absolutely equal to ,menzel's best work1 and are by far the finest ever produced in ,france4 ,illustration3 ,,from ,,cruikshank',s ,,table ,,book4 ,engraved on wood by ,t4 ,williams4 ,i had always supposed ,menzel to occupy a position quite as original as ,bewick's4 ,but ,i find that he was really a follower of ,meissonier4 ,his ,life of ,frederick the ,great was not published until #ahdb1 while the ,paul et ,virginie had appeared in #ahce4 ,besides1 the first of his drawings for the ,frederick ,menzel confided to ,french engravers1#aj especially to the men who had reproduced ,tony ,johannot4 ,but this artist's illustrations1 though in point of size the most important1 in point of excellence are the worst in the ,french book1 being not unlike characterless steel engravings4 ,it is therefore not surprising that ,menzel was dissatisfied with the results1 and that he proceeded at once to train a number of ,germans to produce engravings of his work in facsimile4 ,the best of these men were ,bentworth1 ,unzelmann1 the ,vogels1 ,kreitzschmar1 who engraved the drawings for the ,works of ,frederick the ,great1 and the ,heroes of ,war and ,peace1 those monuments to ,menzel's art and ,german illustration4 ,indeed1 it seems to me that1 until the introduction of photography1 there is little to be said of ,german illustration that does not relate entirely to ,menzel and ,dietz1 and some of the artists on ,fliegende ,bltter1 which was founded in #ahdd4 #aj ,rather ,english and ,french1 ,andrew1 ,best1 ,leloir4 ,but in ,england it is just before the invention of photographing on wood that some of the most marvellous drawings were produced2 really the most marvellous that have ever been done in the country4 ,it is true that ,sir ,john ,gilbert had been making his striking and powerful designs1 ,mr4 ,birket ,foster his exquisite drawings1 while much good facsimile work was done after ,mr4 ,harrison ,weir2 the ,abbotsford edition of ,scott was appearing1 and the ,liber ,studiorum2 true1 also1 that the ,illustrated ,london ,news1 started in #ahdb1 had done much to raise the general standard2 ,punch1 also1 was commenced in #ahdb2 much1 too1 had been accomplished in lithography4 ,still1 it is with the appearance of ,frederick ,sandys1 ,rossetti1 ,walker1 ,pinwell1 ,a4 ,boyd ,houghton1 ,small1 ,du ,maurier1 ,keene1 ,crane1 ,leighton1 ,millais1 and ,tenniel1 with the publication of the ,cornhill1 ,once a ,week1 ,good ,words1 the ,shilling ,magazine1 and such books as ,moxon's ,tennyson1 that the best period of ,english illustration begins4 ,mr4 ,ruskin's own drawings for his books must not be forgotten4 ,illustration3 ,,by ,,birket ,,foster4 ,,from ,,longfellow',s ,,poems 7,,bell74 ,engraved on wood by ,vizetelly4 ,illustration3 ,,by ,,sir ,,john ,,gilbert4 ,,from ,,marryat',s ,,mission 7,,bohn74 ,engraved on wood by ,dalziel4 ,illustration3 ,,by ,,dante ,,gabriel ,,rossetti4 ,,from ,,tennyson',s ,,poems4 ,moxon1 #aheg4 ,engraved on wood by ,dalziel4 ,illustration3 ,,by ,,dante ,,gabriel ,,rossetti4 ,,process ,,block ,,from ,a ,,drawing ,,in ,,the ,,possession ,,of ,,edmund ,,gosse1 ,,esq4 ,illustration3 ,,by ,,birket ,,foster4 ,,from ,,longfellow',s ,,poems 7,,bell74 ,engraved on wood by ,h4 ,vizetelly4 ,illustration3 ,,by ,,birket ,,foster4 ,,from ,,bell',s ,,school ,,reader4 ,wood-engraving unsigned4 ,among the ,english engravers1 outside of the large shops of ,dalziel and ,swain1 there are only two names that stand out conspicuously3 ,w4 ,j4 ,linton and ,w4 ,h4 ,hooper4 ,the excellent work of the latter1 unfortunately1 has been overshadowed by that of ,mr4 ,linton1 who1 however1 cannot be considered his equal as an engraver4 ,illustration3 ,,by ,,birket ,,foster4 ,,process ,,block ,,from ,,an ,,original ,,drawing ,,on ,,the ,,wood ,,block1 ,,never ,,engraved4 ,illustration3 ,,by ,,birket ,,foster4 ,,from ,,goldsmith',s ,,poems 7,,bell74 ,engraved on wood by ,dalziel4 ,in ,america ,f4 ,o4 ,c4 ,darley was certainly the first illustrator1 while the ,french tradition was carried on for years in ,harper's ,magazine by ,c4 ,e4 ,doepler1 who produced some very excellent little blocks4 ,harper's ,illuminated ,bible1 with more than fourteen hundred drawings by ,j4 ,g4 ,chapman1 engraved by ,j4 ,a4 ,adams1 was begun in #ahcg1 and finished in #ahdc4 ,but the greatest number of the better ,american drawings were either borrowed from ,english sources1 or1 as in the case of the ,american ,tract ,society1 ,english artists1 like ,sir ,john ,gilbert1 were commissioned to make them4 ,after the ,civil ,war1 the first man to appear prominently was ,winslow ,homer4 ,contemporary with him1 and later1 were ,john ,la ,farge1 ,thomas and ,peter ,moran1 ,alfred ,fredericks1 ,w4 ,l4 ,shepherd1 and the older of the men working to-day4 ,among the caricaturists1 ,thomas ,nast was preeminent4 ,illustration3 ,,by ,,harrison ,,weir4 ,,from ,,poetry ,,for ,,schools 7,,bell74 ,illustration3 ,,by ,,harrison ,,weir4 ,,from ,,poetry ,,for ,,schools 7,,bell74 ,engraved on wood by ,a4 ,slader4 ,illustration3 ,,by ,,harrison ,,weir4 ,,from ,a ,,wash ,,drawing ,,on ,,the ,,wood4 ,there is one ,american book1 however1 which deserves special mention4 ,this is ,harris's ,insects ,injurious to ,vegetation1 the drawings for which were the work of ,sourel and ,burckhardt4 ,it is one of the most artistic books of the sort ever published in ,america or elsewhere4 ,then1 too1 amid a flood of other things1 appeared1 in #ahgb1 ,picturesque ,america1 and later ,picturesque ,europe1 which then reached really the high-water mark of ,american publishing enterprise in the ,united ,states1 just as surely as ,dor at the same time in ,france and ,england was the most exploited of all illustrators4 ,the greater number of drawings for these books were made by ,harry ,fenn and ,j4 ,d4 ,woodward4 ,the profession of illustration at this period must have been almost equal to that of gold-mining4 ,everything the artist chose to produce was accepted4 ,it would be more accurate to say everything he half produced1 for the school of ,turner being then superseded by that of ,dor1 wood-engravers1 like ,pannemacker1 for instance1 had been specially trained by the artist to carry out the ideas which he merely suggested on the block4 ,but a change was coming2 the incessant output of illustration killed not only the artists themselves1 but the process4 ,in its stead arose a better1 truer method1 a more artistic method1 which we are even now1 only developing4 ,this later ,american illustration may be said to have had its beginning in the year #ahgf4 ,illustration3 ,,by ,a4 ,,cooper4 ,,from ,,walton',s ,,angler 7,,bohn74 ,engraved on wood by ,m4 ,jackson4 ,illustration3 ,,by ,,randolph ,,caldecott4 ,,from ,,old ,,christmas 7,,macmillan1 #ahge74 ,,chapter ,,ii4 ,,the ,,methods ,,of ,,to-,,day2 ,,their ,,origin ,,and ,,development4 ,modern illustration belongs essentially to our own times1 to our own generation4 ,to the last quarter of the eighteenth century several writers on the subject have traced its beginning4 ,but in a measure only is this theory justified by fact4 ,all dates are difficult and elusive4 ,it is not easy to point to the exact year when the old came to an end and the new began4 ,even in cases when a certain date1 #ahcj for example1 seems to mark a positive barrier1 it does so only because1 with constant use1 it has become the symbol of a certain change4 ,but the cause of this modern development is not hard to discover4 ,it was the application of photography to the illustration of books and papers which established the art on a new basis4 ,as the invention of printing gave the first great impetus to illustration1 so surely has it received its second and more important from the invention of photography4 ,the gulf between primitive illuminated manuscripts and ,holbein's ,dance of ,death is not wider than that which separates the antiquated ,keepsakes and ,forget-,me-,nots from the ,century ,magazine and the ,graphic4 ,the conditions have entirely altered4 ,greater ease of reproduction1 greater speed1 greater economy of labour have been secured1 as well as greater freedom for the artist1 and greater justice in the reproduction of his design4 ,as a consequence1 illustration has increased in popularity1 the comparative cheapness of production placing it within reach of the people who have ever taken pleasure in the art1 since the days when all writing was but picture-making2 it has gained artistically1 since the fidelity of the facsimile now obtained has induced many an artist of genius1 or distinction1 to devote himself wholly to black and white4 ,if1 on the one hand1 this popularity threatens its degradation 7foolish editors and grasping publishers flooding the world with cheap and nasty illustrated books and periodicals71 on the other1 the artistic gain promises to be its salvation1 for not in the days of ,drer himself was so large a proportion of genuinely good work published4 ,illustration3 ,,by ,,charles ,,keene4 ,,from ,a ,,pen ,,drawing ,,in ,,the ,,possession ,,of ,,the ,,author4 ,the first attempt to photograph a drawing on the block for the purpose of engraving1 is said to have been made in ,england1 in #ahea or #aheb1 by ,mr4 ,langton1 an engraver in ,manchester1 assisted by a photographer whose name unfortunately has not been preserved4 ,it may be granted that this was the first attempt4 ,but artistically it was of small importance1 as nothing1 so far as ,i know1 directly came of it4 ,that the process was well enough known in #ahfe is proved by the following extracts from the ,art ,student of that year3 ,the picture is obtained in the usual way1 and the film of collodion afterwards removed by using a pledget of cotton moistened in ether4 ,a block so prepared works as well under the graver as an ordinary drawing4 ,but ,i do not believe that even this process of photographing on the block was very practically used4#aa ,to take one case in point1 the ,amor ,mundi by ,sandys1 published in the ,shilling ,magazine for ,april1 #ahfe1 which ,i reproduced by photogravure in ,pen ,drawing and ,pen ,draughtsmen3#ab the plate was made from a negative taken from this design after it had been drawn on the block4 ,mr4 ,swain has told me that he photographed the drawing1 because he was so delighted with the original 7which he was about to cut to pieces7 that he wanted to preserve an exact copy4 ,now1 had the art of photographing drawings on wood been generally known1 ,mr4 ,swain would have photographed the drawing on to another block1 reversing the negative1 and kept the original4 ,instead1 he simply photographed the original before it was engraved4 ,the same thing is said to have been done with some of ,rossetti's illustrations for ,tennyson2 while ,messrs4 ,dalziel kept back their ,bible ,gallery for many years1 until drawings could be decently photographed on the wood4 ,but the practical application of photography to the transferring of drawings to wood blocks1 although probably known about as long ago as #ahej1 in a few offices is scarcely practised to-day4 ,i think1 however1 one may safely say that about the year #ahgf this practice became fairly general2 one may therefore1 for the sake of convenience1 take the year #ahgf as the date of the beginning of modern illustration4 #aa ,i am mistaken in this1 as many of ,pinwell and ,north's drawings1 made on paper in #ahfe-ff for ,dalziel1 were photographed on wood4 #ab ,first edition #ahhi4 ,as this change is probably the most important in the whole history of the art1 ,i think it may be well to explain shortly how drawings were produced before the introduction of photography1 and how they are made now4 ,illustration3 ,,by ,,charles ,,keene4 ,,from ,a ,,pen ,,drawing ,,in ,,the ,,possession ,,of ,,the ,,author4 ,before the time of ,drer and ,holbein1 the artist was of small importance2 indeed1 so too was the engraver1 though we hear much about him4 ,the artist made his drawing either on a piece of paper or on the block4 ,judging from some of the work in the ,plantin ,museum 7the sole place where we can obtain any actual data#ac71 the design was made in rather a free manner2 the argument against this conclusion1 of course1 is that comparatively few originals exist4 ,there is1 however1 in the ,british ,museum a drawing of an ,apollo by ,drer#ad on which are the marks of a hard lead pencil1 or metal point leaving a mark1 used to trace it1 while the word ,apollo in the mirror is written backwards4 ,on the other hand1 in the old ,herbals are cuts of the artist making his drawing from nature1 the draughtsman putting it on the block1 and the wood-cutter cutting it4 ,when we come to engraving on metal1 we find that1 though the wood-cutter need not have been an artist1 he only having to follow lines given him1 or to make certain mechanical ones to suit himself1 the metal engraver was obliged to be an artist1 because he had to be able to copy the picture or design entrusted to him4 ,but mechanical aids were found for him too1 with the result that the later engravings on metals1 as well as the old woodcuts1 became the productions of shops1 in which certain parts were done by certain men1 and the real artist1 whether he were draughtsman or engraver1 had a small share in the actual reproduction4 ,the next stage was the entire disappearance of the wood-cutter1 when finally all books were illustrated by means of steel and copper4 ,with ,bewick who1 with a graver1 engraved his own designs on the end of the block1 instead of cutting them with a knife on the side of a plank1 as everyone had previously done1#ae there was introduced a new phase--the possibility of drawing with a pen1 or pencil1 or brush1 or wash1 upon the whitened surface of box-wood1 a good medium1 a design which should be absolutely facsimiled by the engraver4 ,the engravers of ,bewick's time and until about #ahce or #ahdj1 being true artists and craftsmen1 knew that their business was to engrave the artist's design as accurately and carefully as they could1 since what the latter wanted was the absolute facsimile of his work and none of their suggestions4 ,but by the fifties1 the artist either had become wholly indifferent to the way in which his work was engraved1 or else he was absolutely under the thumb of the engravers4 ,his entire style1 all his individuality1 was sacrificed for the benefit of the engraving shop1 from which blocks after him were turned out4 ,the head of the firm whose signature they bore may never have done a stroke of work on them4 ,even a man strong as ,charles ,keene was completely broken up by this system1 though he may not have realized it4 ,artists were told that they must draw in such a way that the engravers could engrave them with the least time1 trouble1 and expense4 ,two attempts were made to escape from the wood-engraver who was again endeavouring to reduce everything to a facsimile of steel3 by the use of steel plates themselves1 as in the case of the later editions of ,rogers' ,italy2 and also1 by the practice of aquatint and lithography1 in ,france by such men as ,gavarni and ,daumier1 and in ,england by ,prout1 ,roberts1 ,harding1 ,nash1 and ,cotman4 ,but lithography in this country1 as a method of illustrating books and papers1 never can be said to have become very popular1 though in ,france for years its employment was general4 #ac ,there are two or three seventeenth-century drawings on the wood at ,south ,kensington1 and some1 ,i believe1 in the ,british ,museum4 #ad ,on paper4 #ae ,at least1 he was the first man to do important artistic wood-engraving4 ,the art of wood-engraving was dying in the clutch of the engraver1 when an artless process came to its aid4 ,for1 at this crisis it was discovered that a drawing made in any medium1 upon any material1 of any size 7so long as proportion was regarded71 might be photographed upon the sensitized wood-block in reverse4 ,the importance of the discovery will be appreciated when it is remembered that1 before this1 the poor artist1 if he were drawing the portrait of a place directly on the block1 was compelled to draw it the exact size it was to be engraved1 to reverse it himself1 and to have his actual drawing destroyed by engraving through it4 ,once photography was used1 the drawing could be made of any size1 it was mechanically reversed1 the original was preserved1 and the artist was free4 ,gone1 however1 according to the engraver1 was the engraver's art4 ,it is true that the wood-chopper disappeared3 the man who could not draw a line himself1 and yet would pretend that his mechanical lines1 made with a graver or ruling machine1 were more valuable than the artist's1 and who had no hesitancy in changing the entire composition of a subject if he did not like it4 ,but his disappearance was a great gain4 ,in his place there arose the latest school of wood-engravers4 ,many of the new were perhaps no better than the old men1 for not knowing how to draw1 not being artists1 they directed their energies often to the meaningless elaboration of unimportant detail4 ,but at least this work could always be corrected1 now that the original drawing was preserved and could be compared with the print from the engraved block4 ,illustration3 ,,by ,m4 ,e4 ,,edwards4 ,,from ,,gatty',s ,,parables 7,,bell1 #ahfg74 ,illustration3 ,,by ,g4 ,,du ,,maurier4 ,,from ,a ,,wood-,,engraving4 ,,the ,,english ,,illustrated ,,magazine4 ,illustration3 ,,by ,,arthur ,,hughes4 ,,wood-,,engraving ,,from ,,gordon ,,hake',s ,,parables 7,,chapman ,,and ,,hall74 ,in ,england1 from #ahfj to #ahgj some very remarkable drawings were made and engraved upon the block4 ,during the years just before the introduction of photography1 ,walker1 ,pinwell1 ,keene1 ,sandys1 ,shields1 and ,du ,maurier were illustrating4 ,to a certain extent1 they seem to have insisted upon their work being followed4 ,between #ahgj and #ahhj1 when the actual change was made from drawing on wood to drawing on paper1 even a larger number of men were at work4 ,the ,graphic and the ,century were founded1 and enormous were the improvements in ,france and ,germany4 ,but between #ahhj and #ahij came the greatest development of all4 ,for these years saw the perfecting and successful practice of mechanical reproduction3 that is1 the photographing of drawings in line upon a metal plate or gelatine film1 the biting of them in relief on this plate1 or the mechanical growth of a plate on the gelatine1 resulting in the production of a metal block which could be printed along with type4 ,this method of replacing the wood-engraver by a chemical agent has1 however1 been the aim of every photographer since the time of ,niepce1 who made the first experiments1 while the process was patented by ,gillot on the #bast of ,march1 #ahej4af ,these ten years are also noted for the invention of what is now generally known as the half-tone process3 that is the reproduction by mechanical means of drawings in wash1 or in colour1 worked out in ,europe by the ,meisenbach process1 in ,america by the ,ives method4 ,in many ways wood-engraving as a trade or business has been1 it may be only temporarily1 seriously damaged4 ,however1 in the very short period since mechanical reproduction has been introduced1 those wood-engravers who really are artists have been doing better work1 because they can now engrave1 in their own fashion1 the blocks they want to4 ,the art of wood-engraving has progressed if the trade has languished4 #af ,in ,france the credit for the invention is given to ,dr4 ,donn1 who1 about #ahdj1 discovered that certain acids could be used to bite in the whites or the blacks of a daguerreotype4 ,see also ,french chapter4 ,the most modern of these developments are worthy of special notice both in ,europe and ,america4 ,but before pointing out the changes and results that have come from them1 it may be well to say something about process4 ,upon this subject there are two widely differing factions4 ,it is not at all curious that the artists1 the men who practise the art of illustration1 should be found almost unanimously on one side1 while the critics1 whose business it is to preach about an art of which they know nothing in practice1 are ranged upon the other4 ,there are a few critics of intelligence1 who understand the requirements and limitations of both process and wood-engraving1 just as there are hack and superior illustrators who neither know nor care anything about any form of reproduction4 ,many advantages are claimed for wood-engraving4 ,the print from an engraving on wood gives1 it is said1 a softer1 richer1 fuller impression than the print from the mechanically engraved process block4 ,but not in one case out of a hundred thousand is the wood block itself printed from3 the illustration which delights the critics has1 in reality1 been printed from a cast of the block made of exactly the same metal as the cast from the process block1 and the softness1 the velvety quality1 is therefore due to the imagination of the critic who is unable to tell the difference4 ,indeed1 to distinguish between a mechanically produced block and one engraved on wood1 provided the subject of the drawing is reasonably simple1 is so difficult1 that when neither of the blocks is signed1 no living expert on the subject would venture an off-hand opinion4 ,between good facsimile engraving and good process there is really no difference at all1 excepting in a few particulars4 ,for in the mechanically engraved process block1 to use the ordinary term1 the lines made by the artist on paper1 are photographed directly on to the metal plate2 these lines are protected by ink which is rolled upon them with an ordinary ink roller1 the sticky ink adhering to the lines of the photograph1 and nowhere else4 ,this inked photograph is then placed in a bath of acid1 and the exposed portions are eaten away2 the zinc or other metal block is set up with a wooden back1 type high1 and is ready to print from4 ,the process is so ridiculously simple that it can be done in a very few hours4 ,process blocks for line work1 and nearly always half-tone blocks1 have to be finished by a clever engraver especially employed for the purpose4 ,it is very hard for him1 as it leaves him no chance for original work1 but in course of time it is hoped that the process will be so perfected that the services of the engraver can be dispensed with4 ,there are other methods1 such as that of using swelled gelatine1 to produce the same results1 but the biting of zinc that ,i have described is the most popular4 ,illustration3 ,,by ,g4 ,r4 ,,seymour4 ,,wood-,,engraving ,,from ,,the ,,magazine ,,of ,,art 7,,cassell74 ,in the case of the wood-engraving1 the drawing is photographed in the same way on the wood block1 but the engraver proceeds slowly1 tediously1 and laboriously with his tools to cut away the wood and leave the lines in relief4 ,this requires an amount of devotion to painstaking drudgery which is appalling4 ,as many days will be given to the production of a good wood-engraving1 as hours are needed to produce a good process block4 ,the results obtained by a first-class wood-engraver on the one hand1 on the other by the first-class mechanical reproduction which is always watched by a first-class man1 may be so close as to be indistinguishable4 ,but there is no artistic gain in employing the wood-engraver1 while great artistic loss is involved1 since the latter1 who can scarce enjoy doing this sort of thing1 is compelled to waste his time in competing with a chemical and mechanical combination which does the work just as well2 besides1 there is as much difference in the cost as in the methods themselves1 a process block being worth about as many shillings as the wood-engraving is pounds4 ,as the results are equal1 ,i see no reason why the publisher should be called upon to pay this large sum of money1 unless he wishes to1 simply for what is absolutely a fad4 ,i admit1 however1 that facsimile engravings by the early ,englishmen and ,frenchmen1 and some of the ,americans and ,danes of the present day1 are worth quite as much money as is asked for them4 ,but ,i am just as certain that mechanical engravers will go on improving their mechanical process until facsimile wood-engravers are left in the rear4 ,ordinary good process work1 which can be printed with type1 is1 at the present moment1 equal to any facsimile wood-engraving4 ,the more elaborate methods1 such as the photogravure of ,amand ,durand1 are infinitely better1 and only to be compared to etching4 ,illustration3 ,,by ,,sir ,,edward ,,burne-,,jones4 ,,from ,,the ,,original ,,drawing ,,for ,,gatty',s ,,parables 7,,bell1 #ahfg74 ,to contrast the mechanical reproductions of black and white wash1 or colour drawings with wood-engravings after them is1 however1 another matter4 ,many drawings1 owing to the medium in which they are done1 will not as yet reproduce well mechanically4 ,indeed1 to have one's drawings rendered satisfactorily1 by the half-tone process1 requires such an enormous experience and knowledge of the improvements continuously being made in the many different methods used by the different process men1 that the artist1 if he kept posted in all the developments and modifications1 would have very little time left to produce works of art of his own4 ,on the other hand1 the artist may admire the work of a sympathetic wood-engraver whom he is delighted to trust with his drawings3 it is always a pleasure to see the translation of a good drawing by a good wood-engraver4 ,from the point of view of engraving1 nothing is more hopelessly monotonous than process2 for the aim of the process-man1 as of some of the best wood-engravers1 is to render the drawing in wash1 or in colour1 so well1 that there should be no suggestion of the methods by which the results are obtained3 to give the drawing itself1 and this is exactly1 in the majority of cases1 what the artist wants4 ,naturally1 he prefers an absolute reproduction of his drawing1 to somebody else's interpretation of it4 ,he is not eager to have another person interpret his ideas for the public2 he would rather the public should see what he has done himself with his own hands4 ,this reasonable desire process now begins to realize4 ,by the half-tone process1 a photograph is made of a drawing with either a microscopically ruled glass plate or screen in front of it1 which breaks up the flat tones into infinitesimal dots1 or squares1 or lozenges2 or else1 there is impressed into the inked photo1 in some one of a dozen ways1 a dotted plate which will give the same effect4#ag ,these dots1 squares1 or lozenges lend a grain to the flat washes1 translating them into rectilinear relief1 yielding a printing surface1--accomplishing1 in a word1 the same end as the wood-engraver's translation of flat washes into lines and dots4 ,the great objection hitherto to half-tone process has been1 especially in large reproductions1 that the squares or lozenges produce a mechanical look which is entirely absent from a good wood-engraving1 the very essence of engraving being variety and1 therefore1 interest in the lines drawn with the graver4 ,the crucial point1 however1 is this3 even the greatest wood-engraver1 in reproducing a drawing made in tone1 is forced to translate this tone by lines or dots2 in fact1 instead of the wash1 to give lines which do not exist in the original drawing4 ,though he may be so clever as to succeed in reproducing the actual values of the original1 which he rarely does1 he has still entirely altered the original appearance of the work4 ,the object of the half-tone process is to give1 not only these actual values1 so often missed by the engraver1 but also the brush-marks and the washy or painty look of the original1 a result much further beyond the powers of any wood-engraver1 than beyond the possibilities of process at the present day4 ,it is said that process reproduction is but a mechanical makeshift1 and this is a term of reproach against it4 ,but it must be evident that wood-engraving1 especially for the reproduction of wash1 and1 in a less degree1 of line drawings1 is a far more mechanical makeshift4 ,there is no possible way in wood of representing the wash1 while in reproducing line on the block1 at least two cuts are required with the graver to get what the mechanical process gives at once4 ,moreover1 as soon as the line drawing becomes at all complicated1 it is impossible for the engraver to follow it on the wood block4 #ag ,this method1 ,i believe1 is no longer used4 ,therefore1 it seems to me that the strictures which have been applied to process are far more applicable to wood-engraving4 ,now that wood-engraving has become a medium for the reproduction of any and every sort of design1 it has stepped quite outside its proper province4 ,almost anything can be done with a block of wood and a graver1 but it must be evident to people of average intelligence that a very great gulf separates those things which possibly can be done1 from those which rationally should be attempted4 ,still1 to-day any subject that can be engraved on wood may be printed2 and if one likes to try experiments1 why should he be stopped8 ,the wood-engraver of to-day has been compelled to suppress and efface himself4 ,when he proposes to reproduce another man's designs1 if he is really a great wood-engraver1 he recognizes that his sole function is to render the original1 faithfully giving as much of the artist's handiwork as possible1 and as little of his own4 ,that this must be to many a most galling and annoying position is evident4 ,but to rebel against it is absurd1 and for the engraver to tamper with an artist's original design is as unwarrantable as for an editor to change an author's manuscript after the final proof has left the writer's hands4 ,illustration3 ,,by ,,walter ,,crane4 ,,process ,,block ,,from ,a ,,wood-,,engraving ,,by ,,edmund ,,evans1 ,,in ,,colours ,,in ,,beauty ,,and ,,the ,,beast 7,,routledge74 ,there have been two1 or perhaps three1 great periods of producing works of art on the block4 ,first1 that of the old woodcuts1 which were undoubtedly great1 though what the draughtsmen thought of them we shall never really know4 ,secondly1 the period of ,bewick1 who engraved his own designs1 and therefore was his own master1 doing what he wanted4 ,and thirdly1 to-day1 the greatest revival of all4 ,mr4 ,timothy ,cole1 in his interpretations of the old masters 7though some of the painters whom he has reproduced might object to certain things in his reproductions1 they could but admit that never before have such beautiful pictures been made out of their own71 has suggested one field for the artist who is a wood-engraver2 the creation of masterpieces in his own medium of the painted masterpieces of other1 or of his own time4 ,again1 we have a man like ,mr4 ,elbridge ,kingsley working directly from nature1 and producing the most amazing and interesting results2 or ,m4 ,lepre1 who is engraving his own designs exactly as ,bewick did1 or else giving us those marvellous originals in colour1 only equalled by the ,japanese who1 for ages1 have been masters among wood-cutters2 or ,mr4 ,kreull1 who is doing marvellous portraits on the block4 ,with so broad a scope at its service in the hands of artists1 wood-engraving is not in the slightest danger4 ,with the added possibilities of making new experiments1 such as printing from lowered blocks1 reviving chiaroscuro1 and an infinitude of other processes open to the artistic wood-engraver1 there is no probability of its becoming a lost art4 ,i have nothing but the highest praise for the work of men like ,cole1 ,kingsley1 ,gamm1 ,french ,jngling1 ,baude1 ,kreull1 ,florian1 ,hendriksen1 ,bork1 ,hooper1 and ,biscombe ,gardner4 ,this modern facsimile wood-engraving is magnificent in its way1 and is quite as legitimate and decorative as any of the old work1 only process is bound to supersede the greater part of it4 ,wood-engraving has survived the medival mechanical limitations which were imposed upon it by the primitiveness of the printing-press1 but which have been made into its chief merits4 ,it has survived the ghastly period immediately succeeding ,bewick1 when the sole end of the engravers on wood was to imitate the engraver on steel or on copper4 ,it has survived the stage of the shop run by a clever business-man who merged the individuality of all his artists and engravers into that of his own firm4 ,it has survived the backing of ,mr4 ,linton1 which at one time threatened to kill it entirely4 ,and the strain put upon it by magazine-editors and book-publishers has been relieved by the intervention of mechanical process4 ,illustration3 ,,by ,,kate ,,greenaway4 ,,key ,,block ,,wood-,,engraved ,,by ,,edmund ,,evans ,,for ,,colour ,,printing4 ,,from ,,mother ,,goose 7,,routledge74 ,i believe that it will continue and flourish as an original art1 side by side with process1 until it runs against another of the snags or quicksands which every half century seem to imperil it4 ,still1 at the present moment1 its artistic outlook is very bright1--so also is that of process4 ,illustration3 ,,detail ,,of ,,the ,,dentatus ,,engraved ,,on ,,wood ,,by ,,harvey1 ,,after ,,haydon4 ,illustration3 ,,by ,e4 ,,isabey4 ,,from ,,paul ,,and ,,virginia4 ,engraved by ,slader4 ,,chapter ,,iii4 ,,french ,,illustration4 ,the nearer we approach our own time1 the more difficult it becomes to write of illustration4 ,for1 although it is the duty of an editor1 and even of an artist1 to note all that is going on around him1 at the present time this is almost impossible1 so great is the output from the press1 so varying are the fortunes of many artists4 ,the man who1 one day1 promises to revolutionize all illustration1 the next1 disappears1 or1 worse still1 becomes absolutely common-place4 ,and process supersedes process with a rapidity that is perfectly bewildering4 ,but it seems best to begin with modern illustration in ,france1 where the greatest activity has1 until lately1 existed4 ,in the decade from #ahge to #ahhe1 nowhere in the world were such big men working1 or having their work so well reproduced4 ,fortuny and ,rico1 settled in ,paris1 were exhibiting their marvellous drawings4 ,if ,meissonier had ceased to illustrate1 ,dor1 ,detaille1 ,de ,neuville1 and ,jacquemart were at the height of their powers4 ,the first great book illustrated by process appeared in the midst of this period3 ,vierge's ,pablo de ,sgovie1 published in #ahhb2 while the last years saw the appearance of the ,guillaume series which1 it was believed1 would prove to be the final triumph of process4 ,at the same time ,baude1 ,leveille1 ,lepre1 and ,florian were busy producing their masterpieces of wood-engraving4 ,publishing houses were issuing the most artistic journals1 probably1 the world has ever seen3 ,la ,vie ,moderne1 ,l',art1 ,la ,gazette des ,beaux-arts1 ,paris ,illustr1 ,la ,revue ,illustre1 ,le ,monde ,illustr1 ,l',illustration1 and ,le ,courrier ,franais4 ,illustration3 ,,by ,,gavarni4 ,,from ,,parisians ,,by ,,themselves4 ,reduced from the wood-engraving4 ,but from #ahhe onward1 there has been a change1 and this change is not difficult to account for4 ,there are too many illustrators and too few publishers--,i mean publishers worthy of the name--and1 most important1 too few real artists4 ,illustration3 ,,by ,,meissonier4 ,,from ,,the ,,contes ,,remois4 ,engraved on wood by ,lavoignal4 ,when1 in #ahgi1 the new process of ,gillotage1 as all process is described in ,france1 was reasonably perfected--,jacquemart's ,histoire de ,mobilier1 being one of the first important books to be reproduced mechanically--every artist wished to try it4 ,the consequence was that the catalogues of the ,salon1 the weekly papers and monthly magazines1 were made bright and gay and charming with autographic artistic work2 while wood-engravers1 feeling that their art was in danger1 were put upon their mettle and engraved a multitude of amazing blocks4 ,now that illustration has arrived1 and by its aid many of the biggest men in ,france have arrived too1 there has come a period of commonplaceness and content4 ,the ,frenchman1 who is even more insular in his views of art than the ,englishman1--unless his art is brought to him1 when he proves himself catholic enough1--knows that bad work is being turned out in his own country1 but believes that the same thing must be happening the world over1 though he has heard vaguely of the ,american magazine1 the ,german paper1 and the ,english book4 ,but since #ahhe1 it may be said that every ,french periodical has fallen away in quality1 if it has not ceased to appear altogether4 ,the fine and expensive volumes1 which in #ahce were published in ,france1 have been succeeded by the three-franc-fifty ,guillaume form1 which1 since the immortal ,tartarin1 has degenerated steadily both in number and excellence of illustrations4 ,looking back on the original series1 it does not seem so very fine1 but eight years ago it was an enormous advance on anything that had been done4 ,even then1 however1 there was a rumour that this excellence was obtained at the expense of the artist1 and that most of the clever work of ,myrbach and of ,rossi was more in the nature of an advertisement than anything else4 ,it is perfectly well known that even ,vierge had to await the generosity of an ,english publisher to recompense him for ,pablo de ,sgovie4 ,it will also be found that certain of the large ,french publishing houses and leading magazines have become limited companies1 or ,socits ,anonymes2 while men1 who may be clever enough in business affairs1 have been set to direct artistic matters of which they are entirely ignorant4 ,if the standard of illustration is daily falling in ,france1 this fall is owing mainly to the incompetence of editors and the rapacity of publishers4 ,to-day1 if one wishes to see the best work of ,french draughtsmen and engravers1 one looks abroad for it1 to ,america first and then to ,england and ,germany1 where ,french artists are forced to publish their drawings in order to obtain adequate pay or decent printing4 ,it is pitiful1 but the example is very contagious4 ,illustration3 ,,jean ,,gigoux4 ,,from ,,gil ,,blas 7,,french74 ,wood-engraving1 unsigned4 ,another cause too has operated against the production of fine books and fine magazines4 ,this is the ,supplment littraire et artistique given away each week with papers like ,gil ,blas1 ,l',echo de ,paris1 ,la ,lanterne1 ,le ,petit ,journal1 and occasionally ,le ,figaro4 ,it is especially in ,gil ,blas that the best ,french work is now to be found1 usually printed in colour4 ,but most of the others--there are notable exceptions--either publish the veriest drivel and dirt1 both from the literary and artistic standpoint1 or else the drawings of mere boys and girls just out of the art schools1 who give their designs to the publishers for little more than the sake of having their names in the papers4 ,under these circumstances1 which actually exist1 it is becoming well-nigh impossible for a draughtsman to live in ,france4 ,printing1 too1 has degenerated1 until ,french printing now ranks with the worst4 ,illustration3 ,,by ,,jacquemart4 ,,pen ,,drawing4 ,,from ,,the ,,history ,,of ,,furniture4 ,on the other hand1 a few firms1 like ,goupils1 are producing excellent colour work in the most expensive fashion1 and good cheap prints as well4 ,the printing of ,guillaume for ,dentu's ,le ,bambou--most of the illustrations are on wood--is to be commended1 as it shows off the work of artists and engravers to perfection4 ,while one notes clever paper-cover designs on many new books4 ,illustration3 ,,by ,,jacquemart4 ,,pen ,,drawing4 ,,from ,,the ,,history ,,of ,,furniture4 ,that bad or mediocre work is supreme in ,france at the present time is proven by the fact that two of the most artistic journals have ceased to appear2 ,goupil's ,les ,lettres et les ,arts1 and ,octave ,uzanne's ,l',art et ,l',ide4 ,neither of these magazines was very expensive to produce1--that is in comparison with many others4 ,but it is a self-evident fact1 to anyone who has studied illustration1 that the art passes every few years through periods of great depression2 in ,france1 art of all sorts is at the present moment in the most disorganized and unsettled state1 and illustration is in as bad a way as any other branch4 ,nor is it for lack of illustrators1 but because some of the publishers and editors of the country--and ,france is not solitary and alone in this matter--are a set of money-grubbing1 ignorant fools1 who have been able temporarily to impress their contemptible view of art1 or rather their miserable failure to understand it from any other standpoint than that of their money-bags1 upon a sufficient number of gullible people to make a fairly good living for themselves out of the public ignorance4 ,and as for the rest of the world1 why what of it8 ,it is true ,steinlein rivals ,gavarni1 and ,marold1 engraved by ,florian1 equals in certain ways ,meissonier1 engraved by ,orrinsmith2--but in the majority of cases politics sit on art1 and the photograph glares from the pages of the dition de luxe4 ,illustration3 ,,by ,,meissonier4 ,,from ,,the ,,wood-,,engraving ,,in ,,the ,,contes ,,remois ,,by ,,lavoignal4 ,to-day an attempt is also being made to revive wood-engraving in ,france1 and almost all over the world1 except in ,england--where nothing would be known of any revival1 or improvement1 until long years after the whole matter had been settled and pigeon-holed everywhere else--and in ,america1 where every endeavour now is made to perfect process4 ,but the reason for this revival in ,france1 ,germany1 and the other countries of the ,continent is not the advancement of the art of wood-engraving1 or the benefit of the wood-engraver2 it comes from the willingness of good wood-engravers to work very cheaply1 simply to secure the chance of working at all1 and also from the increase of the electrotype business4 ,although an enormous trade has been developed in the production of electrotypes from large wood-engravings for publication in different papers1 ,i am informed that editors who wish to make use1 at so much an inch1 of the brains of other people1 will not publish electros from process blocks1 for some reason known to none but themselves1 only buying clichs from wood blocks4 ,however1 it is quite possible that this revival of wood-engraving may encourage original work1 and a new period of fine original engraving may be its result1 little as those who are bringing this result about are interested in it4 ,a few words as to the men1 and the books they have illustrated4 ,the artist who was most in evidence twenty years ago was ,gustave ,dor4 ,the unceasing stream of books which continued for years to delight the provinces and to amaze his biographers was then at its flood4 ,that ,dor was a man of the most marvellous imagination1 no one will doubt2 that his imagination ran completely away with him is equally true4 ,he has had no influence upon anything but the very cheapest form of wood-engraving4 ,though it is easy to understand his popularity1 it is difficult1 considering how much really good work he did1 to explain why he has been completely ignored as an artist4 ,there is no question that some of his compositions were magnificent1 even if every figure and type in them was mannered and hackneyed to a horrible degree4 ,the only way in which we can account for his utter failure as an artist1 is the fact that he was ruined by the praise of his friends4 ,although ,dor started as a lithographer1 carrying on the traditions of his immediate predecessors and contemporaries1 ,daumier and ,gavarni1 ,raffet and ,charlet1 he soon took to drawing on the block1 and for years the world was inundated with his work4 ,in popularity no one ever approached him1 but his drawing on the block is no more to be compared to ,meissonier's1 than his lithographs to ,gavarni's1 who contributed some of the most exquisite designs to ,l',artiste in its early days4 ,illustration3 ,,by ,,gustave ,,dor4 ,,wood-,,engraving ,,from ,,spain 7,,cassell ,,and ,,co41 ,,limited74 ,illustration3 ,,by ,a4 ,,de ,,neuville4 ,,from ,,coups ,,de ,,fusil 7,,charpentier74 ,wood-engraving by ,farlet4 ,illustration3 ,,by ,,gustave ,,dor4 ,process block1 from a ,lithograph4 ,illustration3 ,,pen ,,drawing ,,by ,d4 ,,vierge4 ,,from ,,pablo ,,de ,s,,govie 7,,fisher ,,unwin74 ,in ,alphonse de ,neuville's ,coups de ,fusil1 one will find most delightful renderings of the late war1 while many of his illustrations to ,guizot's ,history of ,france1 or ,en ,campagne are superb4 ,his rival and successor1 ,detaille1 has carried on the military tradition very well in ,l',arme ,franaise1 which contains the best illustrations of any sort that he ever did4 ,p4 ,g4 ,jeanniot also has done excellent work in the same field1 but his studies of ,parisian types are probably still more successful4 ,the best work of all is probably contained in ,dentu's edition of ,tartarin de ,tarascon4 ,l4 ,lhermitte1 too1 has made some striking drawings in charcoal1 both for reproduction by photography and for engraving on wood1 especially in ,la ,vie ,rustique1 where the designs were extraordinarily well engraved4 ,jean ,paul ,laurens heads a long list of painters who have made many pictures in black and white for the illustration of books1 but most of them are duller as illustrators than painters4 ,maurice ,leloir and ,v4 ,a4 ,poirson have illustrated the ,sentimental ,journey1 the ,vicar of ,wakefield1 and some other ,english books1 though their point of view is always that of the ,frenchman who knows little about ,england2 their drawings were reproduced mainly by photogravure1 with small blocks printed in colour1 or black and white process1 interspersed4 ,about #ahhj an illustrated theatrical journal was started1 ,les ,premires ,illustres1 and in this ,f4 ,lunel1 ,fernand ,fau1 ,l4 ,galice1 ,g4 ,rochegrosse1 and ,a4 ,f4 ,gourget did remarkable work4 ,some of the painters1 too1 have allowed their sketch-books to be used1 and from them books of travel have been manufactured1 but these are hardly to be considered seriously as illustrations1 as they were not specially made for the works which contain them4 ,daniel ,vierge's ,pablo de ,sgovie1 though the work of a ,spaniard1 has for twelve years held its own as the best example of pen drawing for process reproduction published in ,france4 ,following1 a long way behind1 come men like ,henri ,pille and ,edouard ,toudouze4 ,the development of the ,guillaume half-tone process produced the curious series of little books known under that title2 and also the larger series which contained ,madame ,chrysanthme and ,franois le ,champi1 books which made tone-process in ,france1 and also the reputation of ,myrbach and ,rossi4 ,illustration3 ,,by ,,louis ,,morin4 ,,pen ,,drawing4 ,,from ,l',,art ,,et ,l',,id,e4 ,illustration3 ,,by ,,carlos ,,schwabe4 ,,pen ,,drawing4 ,,from ,,zola',s ,,le ,r,,ve4 ,illustration3 ,,by ,,eugene ,,grasset4 ,,pen ,,drawing ,,from ,,les ,,quatre ,,fils ,d',,aymon 7,,paris74 ,illustration3 ,,by ,,eugene ,,grasset4 ,,pen ,,drawing ,,from ,,les ,,quatre ,,fils ,d',,aymon 7,,paris74 ,several fine and limited editions have been published lately1 illustrated by ,albert ,lynch1 ,mme4 ,lemaire1 and ,paul ,avril1 such as the ,dame aux ,camlias2 while ,octave ,uzanne's series on fans and fashions were a great success4 ,so1 too1 are many of the books issued by ,conquet4 ,robida's designs for ,rabelais virtually superseded those of ,dor1 and he followed up the success of this book with a number of others which have gradually degenerated in quality4 ,louis ,morin1 who is author as well as artist2 ,e4 ,grasset1 who1 not content with this1 is an architect too1 and whose ,quatre ,fils d',aymon should be seen as a beautiful piece of colour-printing2 and ,georges ,auriol have done extremely good work in their different ways4 ,flicien ,rops is a man who stands apart from all other illustrators2 he possesses a style and individuality so marked that1 at times1 it is not easy to obtain any of his books1 so carefully are they watched by that ,cerberus of the press3 the social puritan1 who never fails to see anything to which he can possibly find objection4 ,from the mystic ,rops1 have sprung1 one might almost say1 even more mystic ,rosicrucians1 headed by ,carlos ,schwabe1 who has produced1 in ,le ,rve of ,zola1 one of the most beautiful and refined books1 despite its disgraceful printing1 ever issued from the ,french press4 ,illustration3 ,,by ,,louis ,,morin4 ,,pen ,,drawing4 ,,from ,l',,art ,,et ,l',,id,e4 ,illustration3 ,,pen ,,drawing ,,by ,,jacquemart4 ,illustration3 ,,by ,,raffa,,lli4 ,,pen ,,drawing4 ,,from ,,paris ,,illustr4 ,illustration3 ,,by ,,boutet ,,de ,,monvel4 ,,pen ,,drawing ,,from ,,jeanne ,d',,arc 7,,paris1 ,,plon74 ,illustration3 ,,by ,h4 ,,ibels4 ,,from ,l',,art ,,du ,,rire ,,et ,,caricature4 ,but less mystical1 and1 possibly1 even more beautifully drawn1 are some of ,luc ,ollivier ,merson's designs1 notably those for ,victor ,hugo's works3 a charming series of drawings1 etched1 ,i think1 by ,lalauze--to the national edition of ,hugo almost every ,french painter has contributed--and the more mystic but less accomplished ,son is another of the same group2 while the latest and most advanced are the ,vebers4 ,the list of really clever men is long4 ,marchetti and ,tofani1 ,italians1 whose work1 continually seen in the supplements to ,l',illustration1 is engraved with the greatest charm and distinction2 ,raffalli1 who1 though he draws but little now1 has decorated during the last fifteen years some of the most notable ,french books4 ,giacomelli1 ,riou1 ,bayard1 ,haennen1 ,adrian ,marie1#ah ,metivet1 who are willing1 at a moment's notice1 to make you a drawing1 often distinguished1 of any subject1 no matter whether they have seen it or not1 though ,giacomelli is best known for his renderings of birds and flowers1 often very charming2 ,habert ,dys and ,felix ,rgamey1 who have adapted the methods of ,japan to their own needs2 ,paul ,renouard whose work is1 as it should be1 appreciated in ,england1 and who has the distinction1 when any important event is coming off in this country1 to be commissioned by the ,graphic to cross the ,channel and do it2 ,boutet de ,monvel1 whose books for children have gained him a world-wide reputation2 the long list of delineators of character1 costume1 and caricature who weekly fill the lighter papers3 ,ibels1 the decadent of decadents1 ,caran d',ache1 ,willette1 ,steinlein1 ,mars1 ,legrand1 ,forain1 ,job1 ,guillaume1 and ,courboin1 whose work can be seen more or less badly reproduced every week in the comic papers to which they contribute4 ,caran d',ache has made himself1 one might almost predict1 a lasting reputation with his ,courses dans l',antiquit1 his ,carnet de ,chques1 and his various other ,albums4 ,a4 ,willette1 when not playing at politics1 is seriously working at his adventures of ,pierrot4 ,steinlein1 in his illustrations to ,bruant's ,dans la ,rue1 probably did as much as the author to make known the life of ,batignolles4 ,mars rules the fashions of the provinces1 while if one were to take ,forain's ,albums as absolutely typical of ,french morals1 ,france certainly would seem the most distressful country on the face of the earth4 ,to ,grasset and ,chret1 ,lautrec and ,auriol have fallen the task of looking after the so-called decorative part of ,french work4 ,but the fact that not only these men will do you a poster1 a cover design1 a head1 or a tail-piece1 but that almost all others will too1 is a positive proof that decoration cannot be separated from illustration1 and also that all true artists are decorators4 #ah ,adrian ,marie and ,emile ,bayard died lately4 ,among wood-engravers1 ,baude and ,florian hold the foremost place as reproductive artists1 while ,lepre stands quite apart1 a brilliant many-sided man1 at once draughtsman1 engraver1 etcher1 and painter1 a true craftsman in the best sense4 ,another man1 ,f4 ,valloton1 is making an endeavour to revive original wood-cutting1 and though but few of his cuts are anything like so good as ,entrrement en ,province1 he is the leader of a movement which may result in the resurrection1 or indeed the creation of an original art of wood-cutting4 ,but this desire of artists to engrave and print their own work is growing in ,france1 as may be seen in such a collection as ,estampe ,originale4 ,pannemacker and his followers have been the most popular1 and their influence has been felt1 sometimes with distinction1 in all cheap ,french wood-engraving4 ,illustration3 ,,by ,h4 ,,ibels4 ,,from ,l',,art ,,du ,,rire ,,et ,,caricature4 ,illustration3 ,,by ,,steinlen4 ,,process ,,block ,,from ,,coloured ,,print ,,in ,,gil ,,blas4 ,illustration3 ,,by ,,steinlen4 ,,reproduced ,,from ,a ,,coloured ,,print ,,in ,,gil ,,blas4 ,illustration3 ,,by ,a4 ,,willette4 ,,pen ,,drawing4 ,,from ,,les ,,pierrots 7,,vanier74 ,illustration3 ,,by ,,caran ,d',,ache4 ,,from ,,album 7,,paris1 ,,plon74 ,illustration3 ,,by ,,robida4 ,,pen ,,drawing4 ,,from ,,journal ,d',,un ,,tr,s ,,vieux ,,gar,,on4 ,illustration3 ,,by ,a4 ,,willette4 ,,from ,,les ,,pierrots 7,,vanier74 ,illustration3 ,,by ,,forain4 ,,from ,,la ,,com,,die ,,parisienne 7,,charpentier74 ,illustration3 ,,by ,p4 ,,renouard4 ,,chalk ,,drawing4 ,,from ,,the ,,graphic4 ,after enumerating this long list1 it seems as if ,i had contradicted my own rather pessimistic view of illustration in ,france4 ,i do not think so4 ,it is true that the artists1 though few in number1 are in the country1 but to-day the opportunities for them to express their art are lacking3 as a proof1 the only book devoted solely to ,french illustration which has ever appeared has just been published in ,america4 ,illustration3 ,,by ,,lalanne4 ,,from ,a ,,pencil ,,drawing4 7,,french47 ,,chapter ,,iv4 ,,illustration ,,in ,,germany1 ,,spain1 ,,and ,,other ,,countries4 ,in writing upon drawing on the ,continent1 ,i have heretofore found it only necessary to classify illustrators under three nationalities4 ,in discussing illustration it seems to me that this question of nationality can be even further simplified4 ,italy and ,spain have not produced a single original illustrated book of real importance4 ,although several of the foremost illustrators of the day were born in one or the other of these countries and partially educated there1 they have left their native land as quickly as possible1 for ,france or for ,germany4 ,illustration3 ,,by ,,martin ,,rico4 ,,from ,a ,,pen ,,drawing4 ,in ,italy the important publishing house of the ,fratelli ,trevs1 in ,milan1 has made many attempts to bring out fine books1 the works of de ,amicis being among their best-known productions1 but this importance comes from their literary rather than artistic side2 and ,i am not aware that the ,fratelli ,trevs have ever done anything to surpass the ,c'era una ,volta of ,luigi ,capuana1 illustrated by ,montalti1 published in #ahhe1 a most extraordinary example of the skilful use of papier ,gillot1 or scratch paper4 ,the ,fratelli ,trevs issue a large number of magazines and papers1 a certain amount of good newsy wood-engraving is seen in these1 process having been almost entirely given up1 especially in the leading illustrated ,italian weekly1 ,l',illustrazion ,italiana4 ,in ,spain ,i know of no notable illustrated books published of late4 ,i may be labouring under a mistake1 but ,i must frankly admit that ,i have never heard of1 or seen any4#ai ,if they do exist ,i should be only too glad to have them brought to my notice4 ,but there are two very good illustrated papers1 ,illustracion ,espanola y ,americana and ,illustracion ,artistica4 ,to both1 ,fortuny1 ,rico1 ,vierge1 and ,casanova--especially ,rico--have contributed important drawings4 ,these journals are now almost entirely using wood-engravings1 some of which are very good indeed4 ,they are mainly1 however1 reproductions of the typical ,spanish historical1 or story-telling1 machine which is turned out with such facility by a large number of ,spaniards4 ,but the bulk of the work is made up of clichs from ,american papers and magazines1 in which matter ,i find that even ,i have proved a useful mine4 #ai ,see note p4 #gh4 ,dutch books are not remarkable4 ,here and there a good drawing may be found in a magazine called ,elsevir4 ,though in ,holland there is an artist1 ,h4 ,j4 ,icke1 who1 in his studies from the old masters in pen and ink1 evinces a power and brilliancy only equalled by reproductive etchers like ,mr4 ,hole1 ,mr4 ,macbeth1 or ,mr4 ,short4 ,the same is true of ,belgium4 ,austria and ,hungary have little to show1 their illustrators1 like ,myrbach1 ,marold1 and ,vogel1 coming to ,paris1 or sending their work to ,munich1 for the publishers mainly ignore their own artists1 and either send abroad for their designs1 or borrow and adapt from other men's work with a recklessness which is charming4 ,and yet1 the only international black-and-white exhibition was held in ,vienna a few years ago2 while one of the best photo-engraving firms in the world1 ,messrs4 ,anderer and ,gschl1 are located there4 ,russia and ,scandinavia are equally unfortunate in the matter of illustrated books1 all of the artists of these countries being in ,paris1 ,london1 or ,new ,york1 and their work only finds its way back to their native countries as clichs4 ,men like ,chelminski1 ,edelfelt1 ,rpine1 ,pranishnikoff really owe all their reputation1 not to their native land1 but to the country of their adoption4 ,illustration3 ,,from ,,an ,,original ,,pen ,,drawing ,,by ,h4 ,,tegner4 ,illustration3 ,,pen ,,drawing4 ,,by ,,hans ,,tegner4 ,,from ,,holberg',s ,,comedies 7,,bojesens74 ,illustration3 ,,by ,,adolph ,,menzel4 ,,process ,,block ,,from ,,original ,,drawing ,,in ,,the ,,possession ,,of ,,the ,,author4 ,there is1 however1 one little country that deserves more than a word of mention1 and this is ,denmark4 ,for it can boast an illustrator of individuality and character1 ,hans ,tegner4 ,his drawings for the jubilee edition of ,holberg's ,comedies1 published in ,copenhagen in #ahhd to #ahhh1 must be ranked as masterpieces of graphic art4 ,though evidently based on the style of ,menzel and ,meissonier1 they are quite individual2 especially in the rendering of interiors crowded with people he has surpassed any living illustrator4 ,this book is also interesting from the fact that while it was being produced the change was made from facsimile wood-engraving to process1 and though the engraving of ,hendricksen and ,bork is excellent1 the process blocks in some ways are even more interesting4 ,the decorations to these volumes1 head and tail-pieces1 are as atrociously bad as ,tegner's illustrations in the text are good4 ,there are also a number of lesser artists1 ,danes and ,norwegians1 who have done good work1 but to name them would merely be to make a catalogue1 as their work is never seen here4 ,illustration3 ,,by ,,goya4 ,,from ,,caprices4 ,during the last three-quarters of a century ,german illustration has been absolutely dominated by ,menzel4 ,not only has he been the leading spirit in his own country1 whether he was influenced originally by ,meissonier or not1 but he has himself influenced the entire world of illustrators1 his drawings having been received with rapture and applause by artists wherever they have been shown4 ,and1 most interesting of all1 he is a man who has been perfectly able1 throughout his long life1 to adapt himself to the various radical changes and developments which have been brought about in reproduction and printing4 ,commencing with lithography1 he produced the amazing series of drawings of the uniforms of ,frederick the ,great4 ,next1 taking up drawing on wood1 he introduced exquisite facsimile work into his own country1 educating his own engravers1 ,unzelmann1 ,bentworth and the ,vogels1 in his edition of the ,works of ,frederick the ,great4 ,later on he drew much more largely and boldly for the ,cruche ,casse1 which was freely interpreted on wood4 ,and now he has so arranged his beautiful drawings in pencil and chalk that they come perfectly by process4 ,he is a man who recognizes fully that we have not got to the end of art1 but that unless we are ever pushing onward1 and striving for improvements1 we may very easily get to the end of ourselves4 ,he looks backward for nothing but design2 he looks forward to the perfection of everything4 ,illustration3 ,,by ,,goya4 ,,from ,,an ,,original ,,drawing 7,a ,,portrait ,,of ,,the ,,duke ,,of ,,wellington7 ,,in ,,the ,,british ,,museum4 ,illustration3 ,,by ,,fortuny4 ,,from ,a ,,pen ,,drawing4 ,illustration3 ,,by ,,joseph ,,sattler4 ,,from ,,the ,,dance ,,of ,,death 7,,grevel74 ,following ,menzel1 and encouraged by ,fliegende ,bltter1 which started in the early forties1 came ,wilhelm ,dietz1 whose studies of armies on the march1 and of peasants at work or at play1 are inimitable4 ,he1 too1 has been followed by ,robert ,haug and ,hermann ,luders4 ,dietz was the mainstay for years of ,fliegende ,bltter1 the only weekly comic paper of which it can be said1 that during the half century of its existence it has been not only at the head of its contemporaries1 but has on the artistic side left far behind any pretended rival4 ,germany has for the last half century1 too1 possessed a remarkable school of interpretative wood-engravers3 men who have been able to take a large picture1 which they have either drawn on the wood themselves or had drawn for them1 and produce out of it an excellent rendering1 which would print perfectly in black and white1 under the rapid requirements of a steam-press4 ,the work of these engravers can be seen any week in the ,illustrirte ,zeitung1 ,uber ,land und ,meer1 and the other weeklies4 ,wood-engraving has been treated as a serious profession for years in ,germany1 as a ,professorship of the art was held in the ,berlin ,academy before the beginning of this century by ,j4 ,f4 ,g4 ,unger1 who died in #ahjd4 ,even in ,vienna1 a ,professorship has been established for many years4 ,the trouble with ,german wood-engravers1 however1 has been that most of the work1 though signed by the name of one man1 is produced really by another4 ,from one of these engraving shops1 that of ,braun and ,schneider1 issued a year after its establishment ,fliegende ,bltter1 in #ahdd4 ,save for ,menzel1 most of the work in the middle of the century was of that heavy1 pompous1 ponderous sort which we call ,german1 and1 though good in its way1 is now well forgotten4 ,the best-known of all these shops was that of ,richard ,brend'amour1 who since #ahef has been established in ,dusseldorf1 though he has branches--an artist with branches6--in ,berlin1 ,leipzig1 ,stuttgart1 ,munich1 and ,brunswick4 ,still1 as he seems to have been able to get an extremely good set of apprentices and workmen1 who were the real artists1 a great amount of very interesting work has been turned out1 and clichs from his excellent blocks have been used all over the world4 ,one sort of decorative design1 developed by a ,german1 or1 ,i presume1 a ,pole1 ,paul ,konewka1 though his work1 was1 ,i believe1 first published in ,copenhagen1 is the silhouette2 ,konewka has had imitators everywhere1 but none of them have surpassed him4 ,his edition of ,faust is one of the best-known examples4 ,retche's outline drawings for ,shakespeare are also good4 ,illustration3 ,,by ,,de ,,nittis4 ,,pen ,,drawing ,,from ,,paris ,,illustr4 ,illustration3 ,,by ,w4 ,,busch4 ,,from ,,balduin ,,bahlamm 7,,munich1 ,,bassermann74 ,following the classical tradition of ,overbeck and ,kaulbach1 but changing it rather into mysticism and decadence through the influence of ,bcklin1 and probably the pre-,raphaelites in ,england1 has been developed a school of mystical decorators who are unequalled1 unappreciated and curiously unknown outside of their own country4 ,the chief of these men is ,max ,klinger4 ,like his master1 ,bcklin1 and like ,schwabe in ,france1 he brings both his mysticism and his drawing up to date1 and makes no attempt to bolster up faulty design and incomplete technique by primitiveness1 or quaintness1 or archaism4 ,for his illustrations ,klinger usually makes an elaborate series of pen drawings1 and then etches from these4 ,the only example which ,i know of in ,england available for study is a copy of the ,apuleius which is in ,south ,kensington1 and this is not by any means one of his most successful books1 as the etchings are hard and tight1 and the inharmonious decorations which surround the small prints in the text are crude and unsatisfactory4 ,to know ,klinger's work one must visit the ,print ,rooms in the ,museums of ,berlin and ,dresden4 ,another group have devoted themselves to lithography4 ,h4 ,thoma in this has been probably the most successful1 but in the exhibition held this year in ,vienna he was closely followed by ,otto ,greiner1 ,w4 ,steinhausen1 and ,max ,dasio4 ,their work may be seen in ,neue ,lithographem1 by ,max ,lehers1 published in ,vienna4 ,whether there are two or three men of the name of ,franz ,stuck who draw1 or whether it is the same ,franz ,stuck who produces the mystic arrangements and the burlesques of them1 the decorative vignettes and the absurd caricatures in ,fliegende ,bltter1 ,i do not know4 ,i only do know that it is all very well worth study1 and very amusing and interesting4 ,busch and ,oberlnder1 ,meggendorfer1 and ,hengler1 are names so well known that their mere mention raises a laugh1 and that1 if anything1 is the mission of those artists3 while ,harburger's and ,aller's marvellous studies of character1 and ,ren ,reinecke's exquisite renderings in wash of fashionable life1 marvellously engraved by ,stroebel1 can be seen every week printed in the pages of ,fliegende ,bltter and other papers4 ,the works of ,hacklnder1 published in ,stuttgart1 have been illustrated mainly by process by that clever band of artists of whom ,schlittgen1 ,albrecht1 ,marold1 ,vogel1 and others are so much in evidence4 ,the ,german monthly magazines1 like ,daheim1 ,kunst fr ,alle1 ,felz und ,meer1 ,die ,graphischen ,kunste1 etc41 are very notable1 especially ,kunst fr ,alle1 which seems to me to be about the best-conducted art magazine in the world4 ,altogether the arts of illustration and reproduction1 and the business of publishing1 in ,germany are apparently in a most healthy condition4 ,it could scarcely be otherwise1 however1 when we consider that one of the greatest illustrators in the world is still alive and at work there1 as well as the most curious mystics1 the most amusing comic draughtsmen1 and the most conscientious and clever realists4 ,illustration3 ,,from ,,etching ,,by ,,goya4 ,,from ,,caprices4 ,illustration3 ,,death ,,the ,,friend4 ,,line ,,drawing ,,by ,,rethel4 ,,reduced ,,from ,a ,,wood-,,engraving ,,by ,h4 ,,burkner4 ,illustration3 ,,by ,h4 ,,schlittgen4 ,,from ,,ein ,,erster ,,und ,,ein ,,letzter ,,ball 7,,stuttgart1 ,,krabbe74 ,illustration3 ,,by ,,marold4 ,,from ,,zwischen ,,zwei ,,regen 7,,stuttgart1 ,,krabbe74 ,illustration3 ,,by ,,franz ,,st,,ck4 ,,from ,,bierbaum',s ,,franz ,,st,,ck1 ,,munich 7,,albert ,,and ,,co474 ,illustration3 ,,by ,,garcia ,y ,,ramos4 ,,gipsy ,,dance4 ,process block1 from pen and wash drawing4 ,note4--,a recent visit to ,spain shows me to be quite mistaken in this matter4 ,a very fine book has lately been published in ,barcelona by a ,seville artist1 ,f4 ,garcia y ,ramos1 ,la ,tierra di ,maria ,santissima1 and though ,seor ,garcia y ,ramos is greatly indebted to ,fortuny1 ,rico and ,vierge1 he has made a very notable series of designs2 he has also contributed several drawings to a comparatively new ,spanish paper1--,blanco y ,negro--which has printed very good work by a group of young men in ,madrid1 the most distinguished of whom is ,seor ,huertas4 ,another artist on the staff is ,jiminez ,lucena2 he is realistically decorative4 ,the most popular man in ,spain1 after the artists of ,la ,lidia 7the organ of the ,bull ,ring71 is ,angel ,pons1 who1 however1 is but an echo of ,caran d',ache4 ,la ,lidia is illustrated entirely by lithography and in colour2 the designs1 often full of go and life1 are the work of ,d4 ,perea4 ,i find1 too1 that the ,french work of #ahcj was seen and known in ,spain1 that some books were produced in the style of ,paul and ,virginia1 with drawings by ,spaniards1 though ,i imagine they were all engraved either in ,paris1 or by ,french engravers who went to ,spain4 ,the work1 however1 is but a reminiscence of the ,french1 and simply curious as showing the power of the ,romanticists1 but more especially of ,meissonier as an illustrator4 ,the most interesting of these books is ,spanish ,scenes1 illustrated by ,lameyer1 engraved by ,g4 ,fernandez1 rather in the manner of ,gavarni4 ,but there is one ,spaniard who as an illustrator is unknown1 at least to artists--for he only produced one set of designs for publication--but who is universally known in almost every other branch of art1 ,f4 ,goya4 ,the only widely published and generally circulated publications1 the bank-notes of ,spain1 are the work of this artist1 and they reflect little credit on him4 ,his etchings are to be found in all great galleries2 but1 interesting as they are1 they give no idea of the amazing drawings in chalk1 wash1 and ink1 in which mediums they were produced4 ,even in ,madrid the originals are but little known2 the greater number are in the ,library of the ,prado1 the ,national ,museum1 inaccessible to the ordinary visitor3 but a small selection1 undescribed1 and not even in the catalogue1 are placed upon a revolving screen in the ,room of ,drawings2 but as this is almost always closed1 most people leave ,madrid without even being aware of the existence of the greatest treasures possessed by the museum after the ,velasquez4 ,on this screen are the designs for the bull-fights1 admirably described by ,t4 ,gautier1 in his ,voyage en ,espagne1 from the literary artist's point of view1 but from the artistic stand-point1 they are quite the most uninteresting of all1 and do not in the slightest express the great passion ,goya is said to have always shown for the noblest sport in the world4 ,it is rather to the exquisite designs in red chalk for the ,scenes of ,invasion1 that one sees him at his best4 ,here he is the direct descendant of ,callot1 only there is a power in his work that ,callot never possessed4 ,it is1 ,i am now certain1 from these designs that ,vierge obtained many of his ideas--although they are worked out in an entirely different fashion4 ,the drawings for the ,caprices are in pen and wash1 and are as much finer than the aquatints made from them1 as the aquatints are superior to the caricatures of any of his contemporaries4 ,as ,goya passed1 an exile1 the latter part of his life in ,france1 his work must have been known to the men of #ahcj4 ,he died in #ahbh1 just as the few lithographs he has left show that he was aware of the work of ,delacroix in that newly invented art4 ,still1 ,goya cannot be called an illustrator1 for none of his work was published as illustration2 yet1 at the same time1 it is so well adapted to that end that it is perfectly incomprehensible that these drawings have not only never been published1 but ,i am informed they have never even been photographed4 ,the two that are in this book are from the ,caprices1 those of the ,invasion are too delicate to stand the necessary reduction4 ,the portrait of ,wellington in red chalk is in the ,british ,museum4 ,illustration3 ,,by ,w4 ,l4 ,,wyllie1 ,a4,r4,a4 ,,pen ,,drawing ,,from ,,the ,,magazine ,,of ,,art4 ,illustration3 ,,by ,j4 ,w4 ,,north4 ,,from ,a ,,drawing ,,on ,,the ,,wood ,,in ,,the ,,possession ,,of ,,the ,,author4 ,,chapter ,v4 ,,english ,,illustration4 ,it is in ,england alone1 that illustration1 like many other things1 has been taken seriously4 ,ponderous volumes have been written about it1 as well as clever essays4 ,it seemed at first sight rather unnecessary to repeat what has been said so well by ,mr4 ,austin ,dobson1 for example1 in his chapter on modern illustrated books in ,mr4 ,lang's ,library1 especially as he has added a postscript to the edition of #ahib which is supposed to bring his essay up to that date4 ,but there are other ways of looking at the matter1 and ,i have tried not to repeat what ,mr4 ,dobson has said1 nor yet to trench upon the preserves of ,mr4 ,c4 ,g4 ,harper and ,mr4 ,hamerton1 or ,mr4 ,blackburn4 ,illustration3 ,,by ,,hugh ,,thomson4 ,,from ,,our ,,village 7,,macmillan74 ,illustration3 ,,by ,,randolph ,,caldecott4 ,,from ,,the ,,elegy ,,on ,a ,,mad ,,dog 7,,routledge74 ,it appears to me1 that before discussing the ,english illustrators of to-day1 it might be well to take a glance at the state of ,english illustration4 ,english illustration has during the last twenty years suffered tremendously from over-writing and indiscriminate praise and blame4 ,i suppose that among artists and people of any artistic appreciation1 it is generally admitted by this time that the greatest bulk of the works of ,phiz1 ,cruikshank1 ,doyle1 and even many of ,leech's designs are simply rubbish1 and that the reputation of these men was made by critics whose names and works are absolutely forgotten1 or else1 by ,thackeray1 ,dickens1 and ,tom ,taylor1 whose books they illustrated1 and who had absolutely no intelligent knowledge of art1 their one idea being to log-roll their friends and illustrators4 ,it is true1 however1 that some of ,doyle's designs1 like those in ,brown1 ,jones1 and ,robinson1 were extremely amusing1 though too often his rendering of character was brutal1 as1 for example1 in the ,dinner at ,greenwich in the ,cornhill ,series4 ,technically1 there is little to study1 even in his most successful drawings4 ,leech's fund of humour was no doubt inexhaustible1 but one cannot help feeling to-day that his work cannot for a moment be compared to that of ,charles ,keene4 ,some of his best-known designs1 the man in a hot bath for instance1 praised by ,mr4 ,dobson may be amusing1 but the subject is quite as horrible as a ,middle ,age purgatory4 ,leech was the successor in this work of ,gillray and ,rowlandson1 and though his designs appealed very strongly to the last generation1 they do not equal those of ,randolph ,caldecott1 done in much the same sort of way4 ,though some of the editions containing the engravings from these men's drawings sell for fabulous prices1 on account of their rarity1 one may purchase to-day for almost the price of old paper1 lovely little engravings after ,birket ,foster1 and the other followers of the ,turner school2 while drawings after ,sir ,john ,gilbert1 and later1 ,whistler1 ,sandys1 ,boyd ,houghton1 ,keene1 ,du ,maurier1 ,small1 ,shields1 and the other men who made ,once a ,week1 ,good ,words1 and the ,shilling ,magazine1 really the most important art journals ,england has ever seen1 can be picked up in many old book-shops for comparatively nothing4 ,of the best period of ,english illustration there are but few of the really good books that cannot be purchased for1 at the present time1 less than their original price4 ,and only the works of one painter who did illustrate to any extent1 ,rossetti1 command an appreciable value4 ,for this1 the fortunate possessors of his drawings have to thank ,mr4 ,ruskin1 who1 himself1 is by no means a poor illustrator4 ,some of his work in ,modern ,painters1 ,stones of ,venice1 ,examples of ,venetian ,architecture1 is excellent1 while his original drawings at ,oxford are worth the most careful study4 ,many of ,rossetti's designs are1 it is true1 very beautiful1 and probably others were2 one can see that from1 the few which were never engraved4 ,but the bulk of his drawings are certainly not so good as those which several people working in ,london are producing to-day4 ,illustration3 ,,by ,,turner4 ,,from ,,rogers' ,,italy1 #ahcj4 ,illustration3 ,,by ,,randolph ,,caldecott4 ,,from ,,bracebridge ,,hall 7,,macmillan1 #ahgg74 ,while the magazines ,i have mentioned were being published1 the ,graphic was started in #ahgj1 taking on its staff most of the foremost artists of the day1 ,fildes1 ,holl1 ,gregory1 ,houghton1 ,linton1 ,herkomer1 ,pinwell1 ,green1 ,woods1 ,s4 ,p4 ,hall2 and about the same date ,walter ,crane made his far too little known designs for children's books--,king ,luckieboy's ,party1 the ,baby's ,opera1 the ,baby's ,bouquet1 and the many others--which have been not half enough appreciated4 ,in a measure1 the same may be said of ,randolph ,caldecott's books for children1--the ,house that ,jack ,built1 the ,mad ,dog1 the ,john ,gilpin1 which1 though they contain his cleverest drawings1 are usually given secondary rank to his ,bracebridge ,hall and ,old ,christmas1 of far less artistic importance4 ,miss ,kate ,greenaway has been more fortunate3 her ,under the ,window1 and the long series that followed1 have set the fashion for children1 and have enjoyed a popularity of which they are not by any means unworthy4 ,a trifle mannered and affected1 perhaps1 her illustrations are full of refined drawing1 charming colour1 and pleasing sentiment4 ,these artists1 in conjunction with ,mr4 ,edmund ,evans1 gave colour-printing for book illustration a standing in ,england1 while every one of their books is stamped with a decided ,english character4 ,a ,frenchman1 too1 ,ernest ,griset1 living here1 made some notable drawings about this time4 ,illustration3 ,,by ,e4 ,,griset4 ,,from ,,hood',s ,,comic ,,annual 7#ahgh74 ,when ,i commenced this book ,i have no hesitation in admitting that my knowledge of the really great period of ,english ,illustration was of the vaguest possible description4 ,i knew of ,good ,words1 ,once a ,week1 and the ,shilling ,magazine1 ,dalziel's ,bible ,gallery1 and a few other books1 but ,i had never seen and never even heard of the great mass of work produced during those ten years2 even now1 ,i am only slowly beginning to learn about and see something of it4 ,but a day is coming when the books issued between #ahfj and #ahgj1 in this country1 will be sought for and treasured up1 when the few original drawings that are still in existence will be striven for by collectors1 as they struggle for ,rembrandt's etchings to-day4 ,the source from which the ,english illustrators of #ahfj got their inspiration was ,adolph ,menzel's books2 pre-,raphaelites and all came under the influence of this great artist4 ,the change from the style of ,harvey1 ,cruikshank1 ,kenny ,meadows1 ,leech and ,s4 ,read1 to ,rossetti1 ,sandys1 ,houghton1 ,pinwell1 ,walker1 ,millais1 was almost as great as from the characterless steel engraving of the beginning of the century to the vital work of ,bewick4 ,the first ,english book to appear after ,menzel's work became known1 was ,william ,allingham's ,the ,music ,master1 #ahee1 illustrated by ,arthur ,hughes1 ,rossetti and ,millais2 the first book of that period which still lives is ,moxon's edition of ,tennyson published in #aheg1 containing ,rossetti's drawings for ,the ,palace of ,art and ,sir ,galahad2 ,millais' ,st4 ,agnes' ,eve1 and ,holman ,hunt's ,lady of ,shalott4 ,these drawings and a few others have given to the book a fame1 among illustrated volumes1 which it has no right or claim to4 ,illustration3 ,,by ,,sir ,j4 ,e4 ,,millais1 ,,bart4 ,,wood-,,engraving ,,by ,,dalziel4 ,,from ,,good ,,words 7,,isbister ,,and ,,co474 ,far more important and more complete is ,sir ,john ,gilbert's edition of ,shakespeare published by ,routledge in three volumes1 #aheh to #ahfj4 ,this edition of ,shakespeare has yet1 as a whole1 to be surpassed4 ,in #ahei ,once a ,week was started by ,bradbury and ,evans1 and the first volume contained illustrations by ,h4 ,k4 ,browne 7,phiz71 ,g4 ,h4 ,bennett1 ,w4 ,harvey1 ,charles ,keene1 ,w4 ,j4 ,lawless1 ,john ,leech1 ,sir ,j4 ,e4 ,millais1 ,sir ,john ,tenniel1 ,j4 ,wolf2 this is the veritable connecting link between the work of the past as exemplified by ,harvey1 and of the present by ,keene4 ,the next year1 #ahfj1 the ,cornhill appeared1 for the first number of which ,thackeray1 more or less worked over by ghosts1 and engravers1 did the illustrations to ,lovel the ,widower1 but ,millais was called in for the second or third number1 and then ,george ,sala4 ,frederick ,sandys illustrated ,the ,legend of the ,portent1 and the volume ends with ,millais' splendid design ,was it not a lie8 to ,framley ,parsonage4 ,it is curious to note that either ,thackeray or the publishers refuse to mention the names of the artists in any way1 only that ,millais and ,sala are allowed to sign their designs with their monograms4 ,leighton1 ,i imagine1 contributed the ,great ,god ,pan to the second volume1 and ,dicky ,doyle began his ,bird's ,eye ,views of ,society in the third1 but it is not until one is more than half way through this volume that the initials ,f4 ,w4 appear on what are supposed to be ,thackeray's drawings--or1 rather1 it is not until then that the great author acknowledged his failure as an illustrator2 though1 in the ,roundabout ,papers1 he admitted his indebtedness to ,walker4 ,the first drawing signed by ,walker faces p4 #eef1 ,nurse and ,doctor1 and illustrates ,thackeray's ,adventures of ,philip2 this is in ,may1 #ahfa4 ,good ,words was also started in #ahfj2 in it in #ahfc ,millais' ,parables were printed1 as well as work by ,holman ,hunt1 ,keene and ,walker1 while ,a4 ,boyd ,houghton1 ,frederick ,sandys1 ,pinwell1 ,north1 ,pettie1 ,armstead1 ,graham1 and many others began to come to the front in this magazine and ,once a ,week4 ,about #ahfe nearly as many good illustrated magazines must have been issued as there are to-day2 not only were the three ,i have mentioned continued1 but ,the ,argosy1 ,the ,sunday ,magazine1 and ,the ,shilling ,magazine1 among others1 printed fine work by all these artists4 ,illustration3 ,,by ,,sir ,j4 ,e4 ,,millais1 ,,bart4 ,,wood-,,engraving ,,by ,,dalziel4 ,,from ,,good ,,words 7,,isbister ,,and ,,co474 ,the illustration was done in a curious1 but very interesting sort of way4 ,the entire illustration began to be undertaken by two firms1 ,messrs4 ,dalziel and ,swain--and ,i believe in the case of ,good ,words the same system is still carried on by ,mr4 ,edward ,whymper4 ,these firms commissioned the drawings from the artists1 and then engraved them4 ,the method seems to have been so successful that the engravers1 notably the ,dalziels1 began not only to employ artists to draw for them1 and to engrave their designs1 but they became printers as well1 and produced that set of books which are now the admiration and despair of the intelligent and artistic collector4 ,when they were printed1 they were sold to a publisher1 who merely put his imprint on them4 ,to this day they are known as ,dalziel's ,illustrated ,editions4 ,the first important book of this series that ,i have seen is ,birket ,foster's ,pictures of ,english ,landscape1 #ahfc 7,routledge71 printed by ,dalziel2 with ,pictures in ,words1 by ,tom ,taylor1 though this was preceded by a horrid tinted affair by the same artist1 called ,odes and ,sonnets4 ,the binding is vile2 the paper is spotting and losing colour1 but the drawings must have been exquisite1 and here and there the ink is spreading and giving a lovely tone1 like an etching1 to the prints on the page4 ,in #ahfd ,messrs4 ,dalziel1 who had already engraved for ,good ,words in the previous year ,millais' ,parables of ,our ,lord1 published them through ,routledge4 ,this book1 in an atrocious binding described as elaborate1 and it truly is1 bound up so badly that it has broken all to pieces printed with some text in red and black1 contains much of the finest work ,millais ever did4 ,nothing could exceed in dramatic power1 in effect of light and shade1 ,the ,enemy sowing ,tares1 to mention one block among so many that are good4 ,but the whole book is excellent1 and excessively rare in its first edition4 ,but #ahfe is the most notable year of all2 in this ,dalziel's ,illustrated ,arabian ,nights' ,entertainments came out2 originally published in parts1 ,i believe1 and later in two volumes1 text and pictures within horrid borders4 ,in this book ,a4 ,boyd ,houghton first showed what a really great man he was4 ,he clearly proves himself the ,english master of technique1 as well as of imagination1 although in this volume1 issued by ,ward and ,lock1 he has as fellow illustrators ,sir ,j4 ,e4 ,millais1 ,j4 ,d4 ,watson1 ,sir ,john ,tenniel1 ,g4 ,j4 ,pinwell1 and ,thomas ,dalziel--the latter of whom is a very big man1 and for this1 and some of the subsequent books1 he made most remarkable drawings4 ,but ,houghton towers above them all1 and ,mr4 ,laurence ,housman in an able article on him in ,bibliographica well says3 ,among artists and those who care at all deeply for the great things of art1 he cannot be forgotten3 for them his work is too much an influence and a problem4 ,and though officially the ,academy shuts its mouth at him 444 certain of its leading lights have been heard unofficially to declare that he was the greatest artist who has appeared in ,england in black and white4 ,in '#fe1 also1 his ,home ,thoughts and ,home ,scenes was published1 much less imaginative than his later work1 but containing more beauty2 and after this1 for ten years1 he worked prodigiously1 and yet excellently4 ,his edition of ,don ,quixote 7,f4 ,warne and ,co471 must be sought for in the most out-of-the-way places2 easier to find are his ,kuloff's ,fables1 '#fi 7,strahan71 and best known of all1 the drawings in the early numbers of the ,graphic1--the ,american series--which were not all published1 ,i think1 before he died4 ,if some of these are grotesque1 even almost caricature1 they are amazingly powerful--and being the largest engraved works left1 show him fortunately at his best4 ,his original drawings scarce exist at all4 ,i happen to have one of the most beautiful1 ,tom the ,piper's ,son1 from ,novello's ,national ,nursery ,rhymes1 #ahga4 ,i have not pretended to give a list of ,houghton's drawings1 it would be nearly impossible2 but those books and magazines ,i have mentioned contain many of the most important4 ,in '#fe ,pinwell did a ,goldsmith for ,ward and ,lock1 which revealed his surprising powers4 ,illustration3 ,,by ,a4 ,,boyd ,,houghton4 ,,from ,,dalziel',s ,,arabian ,,nights 7,,ward1 ,,lock ,,and ,,co41 #ahfe74 ,illustration3 ,,by ,a4 ,,boyd ,,houghton4 ,,from ,,dalziel',s ,,arabian ,,nights 7,,ward1 ,,lock ,,and ,,co471 #ahfe4 ,illustration3 ,,by ,g4 ,j4 ,,pinwell4 ,,for ,,goldsmith',s ,,works 7,,ward1 ,,lock ,,and ,,co474 ,,process ,,block ,,from ,,the ,,original ,,drawing ,,on ,,the ,,wood ,,in ,,south ,,kensington ,,museum4 ,cassells may have been the originators of this sort of illustrated book1 or only the followers of a style which became immensely popular4 ,they issued many works by ,dor about the same time or later1 and a ,gulliver1 by ,t4 ,morten1 among others1 but as this volume is not dated1 ,i am unable to say when it appeared--still to this day they keep up the system of publishing illustrated books in parts at a low rate4 ,but soon expensive gift books1 illustrated by ,houghton1 ,pinwell1 ,north1 and ,walker1 began to appear1 perfectly new unpublished works3 in #ahff ,a ,round of ,days was issued by ,routledge2 ,walker1 ,north1 ,pinwell1 and ,t4 ,dalziel1 come off best in this gorgeous morocco covered volume1 especially the last1 who contributes a notable nocturne1 the beauty of night1 discovered by ,whistler1 being appreciated by artists1 even while ,ruskin was busy reviling or ignoring these illustrators4 ,houghton's edition of ,don ,quixote also belongs to this year4 ,how these men accomplished all this masterly work in such a short time1 ,i do not pretend to understand4 ,in #ahfg1 ,wayside ,posies1 and ,jean ,ingelow's ,poems were published by ,routledge and ,longmans4 ,these two books reach the high-water mark of ,english illustration1 ,north and ,pinwell surpass themselves1 the one in landscape and the other in figures4 ,t4 ,dalziel also did some amazing studies of mist1 rain1 and night1 which ,i imagine were absolutely unnoticed by the critics4 ,the drawings1 however1 must have been popular1 for ,smith and ,elder reprinted the ,walkers and ,millais'1 among others1 from the ,cornhill in a ,gallery 7this also included ,leightons and1 ,i think1 one ,sandys71 and ,strahan the ,millais drawings in another portfolio4 ,the ,cornhill ,gallery1 printed1 it is said1 from the original blocks1 came out in #ahfd1 possibly as an atonement for the shabby way in which the artists were treated in the magazine originally4 ,in #ahfh1 ,the ,north ,coast1 by ,robert ,buchanan1 was issued by ,routledge2 it has much good work by ,houghton hidden away in it4 ,in the next year the ,graphic started1 and these books virtually ceased to appear--why1 ,i know not4 ,there were some spasmodic efforts1 most notable of which were ,whymper's magnificent ,scrambles amongst the ,alps1 #ahga1 containing ,t4 ,mahoney's best drawings and ,whymper's best engraving2 and ,historical and ,legendary ,ballads1 ,chatto and ,windus1 #ahgf2 in this book1 made up from the early numbers of the magazines1 one will find ,whistler's and ,sandys' rare drawings2 it is almost the only volume which contains these men's work1 although the drawings were not done originally for it1 as the editor would like one to believe4 ,illustration3 ,,by ,g4 ,j4 ,,pinwell4 ,,for ,,goldsmith',s ,,works 7,,ward1 ,,lock ,,and ,,co474 ,,process ,,block ,,from ,,the ,,original ,,drawing ,,on ,,the ,,wood ,,in ,,south ,,kensington ,,museum4 ,illustration3 ,,by ,,charles ,,green4 ,illustration3 ,,by ,,fred4 ,,walker4 ,,process ,,block ,,from ,,an ,,original ,,study ,,in ,,the ,,possession ,,of ,,the ,,author4 ,whistler1 it is true1 illustrated a ,catalogue of ,blue and ,white ,nankin ,porcelain1 published by ,ellis and ,white1 #ahgh1 a very interesting work1 mainly in colours4 ,but ,sandys' drawings must be looked for in the magazines alone4 ,i know of no book that he ever illustrated1 a few volumes contain one or two1 that is all2 his drawings are separate distinct works of art1 every print from them worthy of the portfolio of the collector4 ,dalziels issued at least two books later on1 magnificent ,india proofs of ,english ,rustic ,pictures1 printed from the original blocks by ,pinwell and ,walker1 done for the books ,i have mentioned1 this volume is undated2 and their ,bible ,gallery in #ahha 7the drawings were made long before71 to which all the best-known artists contributed1 though the result was not altogether an artistic success2 but most notable drawings by ,ford ,madox-,brown1 ,leighton1 ,sandys1 ,poynter1 ,burne-,jones1 ,s4 ,solomon1 ,houghton1 and ,t4 ,dalziel1 are included in it4 ,this is the last great book illustrated by a band of artists and engravers working together in this country2 whether the results are satisfactory or not1 the fact remains that the engravers were most enthusiastic1 and encouraged the artists as no one has done since in the making of books2 and the artists were the most distinguished that have ever appeared in ,england4 ,possibly1 ,i should also have referred to the ,british ,workman1 which was probably the first penny paper to publish good work of a large size4 ,and ,i may have treated ,mr4 ,arthur ,hughes in a rather summary fashion4 ,but ,i know his original drawings far better than the books in which they were printed2 the only book which ,i really am acquainted with is ,tom ,brown's ,school ,days2 yet ,i know that he has made a very large number of illustrations1 especially for ,norman ,mac,leod's books among others4 ,after twenty-five years illustration is again reviving in ,england1 and one looks forward hopefully to the future of this branch of art4 ,ten years later than the ,graphic came the introduction of process1 and process was employed in ,england mainly for one reason only3 cheapness4 ,bad cheap process--which by the way is very little worse than cheap wood-engraving--has been responsible in this country for more vile work than in all the rest of the world put together4 ,the development of process has brought with it not only truth of reproduction1 which is its aim1 but evils which its inventors did not anticipate4 ,illustration3 ,,by ,f4 ,,sandys4 ,,from ,,thornbury',s ,,legendary ,,ballads 7,,chatto ,,and ,,windos74 ,too many process-engravers encourage the most commonplace1 because it is the easiest1 work4 ,they know perfectly well that mechanical engraving will reproduce almost any drawings at the present moment1 but then1 good reproduction demands time and trouble and artistic intelligence4 ,but it is no wonder that process-engravers are indifferent1 when we remember the lamentable ignorance displayed by some editors1 whose knowledge of art--in fact1 of all art work--is simply nil4 ,they may have piles of taste1 but all of it is bad4 ,they know exactly what the public wants1 for they themselves are the public they consider4 ,the slightest attempt at the artistic rendering of a drawing1 or the appearance of a new man with a new style1 is enough to put them in a rage1 because they cannot understand the one or the other4 ,and the selection of cuts which embellish--,i believe is the expression--their pages1 is left to the process man1 the photographer1 and the clich agent1 who of course pick out the easiest they can supply4 ,their other duty is to edit their contributors1 that is1 if screwing and jewing an artist1 and taking all life and soul for work out of him1 can be described as editing4 ,lately has sprung up a species of illustrator who licks the boots of these editors and grovels before the process man4 ,he turns out as much work as he can in the shortest space of time1 knowing that he must make as many drawings as possible before some miserable creature1 more contemptible than himself1 comes along with an offer to do the work at half the price which he is paid4 ,i am happy to say that this state of affairs is by no means universal in ,england2 but ,i regret that there seems to be a tendency in some quarters to prefer bad work because it is usually cheap4 ,on the other hand1 there are many notable exceptions3 intelligent publishers1 editors1 artists1 and process-engravers1 who strive to do good work and expect to pay1 or be paid1 for it4 ,but this state of things has produced three classes of artists4 ,first1 the men who loudly declare they care nothing about their work1 and who may therefore be dismissed with that contempt which they court4 ,second1 those who rush absolutely to the other extreme1 saying that all modern work is bad1 and that there is nothing to do but to follow in the track of the fifteenth-century craftsman1 not knowing1 or more probably not wanting to know1 that these same illustrators and engravers of the fifteenth century were1 according to their time1 as modern and up-to-date and fin-de-sicle as possible4 ,finally1 there is a saving remnant1 increasing as fast as good workmen do increase--and that is very slowly--who are going on1 endeavouring to perfect themselves to the best of their ability1 believing rightly that it is the business of engravers and printers to follow the artist1 and not the artist's duty to become a slave to a mere mechanic1 no matter how intelligent4 ,the second of these classes has always existed in almost every profession in ,england2 the class1 in short1 which is convinced that society and the world generally needs reforming1 and that it is their little fad which is going to bring about this reformation4 ,illustration3 ,,by ,,frederick ,,shields4 ,,from ,,defoe',s ,,history ,,of ,,the ,,plague 7,,longmans1 #ahfc74 ,now ,i do not hold for a moment that the man who is generally accepted as the leader of the pre-,raphaelite movement1 ,rossetti1 had any desire to reform anybody1 or improve anything4 ,a certain form of art interested him1 and he succeeded in reviving it for himself1 though he put himself and his century into his drawings4 ,it is the same with ,sir ,edward ,burne-,jones1 and ,mr4 ,william ,morris1 and ,mr4 ,walter ,crane4 ,but the praise which has been duly bestowed upon them has been unjustly lavished upon a set of people--or else1 they1 as they never weary of doing1 have exploited themselves--who have neither the power to design nor the intelligence to appreciate a drawing when it is made1 nor any technical understanding of how it was made4 ,they will tell you1 both by their work and in print1 that there is nothing worth bothering about save the drawings of the ,little ,masters1 and1 to prove their appreciation of these drawings1 they proceed at once not to copy the drawings1 but the primitive woodcuts which were made out of them1 not by the ,masters at all4 ,they will proceed to imitate painfully with pen and ink a woodcut1 have it reproduced by a cheap process man1 who1 of course1 is delighted to have work which gives him no trouble1 entrust it to a printer buried in cellars into which the light of improvement has never made its way1 that he may print it upon handmade paper1 which the old men never would have used had they had anything better2 and thus they succeed in perpetuating all the old faults and defects1 adding to them absurdity of design which triumphs in the provinces1 is the delight of ,boston and the ,western ,states of ,america1 and the beloved of the ,vicarage4 ,or1 again1 the young person1 reeking with the ,school of ,science and ,art at ,south ,kensington1 will have none of process1 and1 painfully 7for he usually cuts his finger71 and simply 7otherwise he should waste his time71 endeavours1 with halting execution but with perfect belief in his powers1 to cut his design upon the wood-block1 not knowing that the master woodcutter1 whom he essays to worship1 spent almost as many years in learning his trade1 as this person has spent minutes in knocking off a little illustration as a change from designing a stained-glass window1 or writing a sonnet4 ,this is the sort of work that exhausts first editions1 is remembered for a few months1 and produces leaders in the advanced organs of opinion4 ,it is unfortunately true that the leaders have little influence1 and that1 later on1 the first editions may be bought as old paper4 ,ignorance of printing and of the improvements in that art is really in this country too awful to contemplate4 ,the average critic will blame a competent artist for the imperfections of a process and the ignorance of a printer4 ,it never occurs to this critic that he knows nothing practically about the subject4 ,no attempt is made to surmount mechanical difficulties2 no attempt is made to study improvements2 one is simply told to work down to the lowest level and to copy the fads of an obsolete past4 ,quaintness and eccentricity1 too1 have their followers1 and though both are dangerous games to play1 still they imply1 if good1 such an amount of research1 study1 and invention1 whether original or not1 that from them good work may often come4 ,still ,i no longer dare to prophesy4 ,i know not what a man will do or will not4 ,there is possibility in every one4 ,illustration3 ,,by ,j4 ,,mahoney4 ,,from ,,the ,,sunday ,,magazine4 ,illustration3 ,,by ,j4 ,f4 ,,sullivan4 ,,from ,,hood',s ,,comic ,,annual4 ,as for the other men who calmly go on doing their work in their own way1 showing the process-engraver what is wanted1 instructing the printer on the subject of effects and colour1 and dealing satisfactorily with intelligent publishers and editors1 or even1 as some do1 ignoring all these factors1 which they should not1 their work is around us and delights us4 ,illustration3 ,,by ,,linley ,,sambourne4 ,,from ,,kingsley',s ,,water ,,babies 7,,macmillan74 ,of the older men1 though ,whistler has long ceased to illustrate1 ,du ,maurier1 ,sidney ,hall and ,william ,small are still with us1 producing characteristic designs4 ,charles ,green carries on the excellent method which he developed in his illustrations to ,dickens4 ,though ,j4 ,mahoney is dead1 the present re-issue of ,whymper's ,scrambles amongst the ,alps testifies marvellously to his powers4 ,the late ,a4 ,boyd ,houghton's abilities1 too1 are beginning to be appreciated1 and his designs for the ,arabian ,nights are now being sought for as they never were during his lifetime4 ,the success of ,messrs4 ,macmillan's re-issue of the ,tennyson of #aheg is gratifying proof that a large number of people do care for good work1 and that the endeavour to swamp us with poor drawings1 tedious photographs1 and worn-out clichs will probably have its just reward4 ,f4 ,sandys1 one of the greatest of all1 though still living1 scarcely produces anything2 ,f4 ,shields' designs for ,defoe's ,plague were ,rembrandt-like in power2 while ,h4 ,herkomer1 in his illustrations to ,hardy's ,tess of the ,d',urbervilles1 has1 within the last few years1 done some of his most striking work4 ,linley ,sambourne1 whose name was made years ago1 pursues the even tenor of his ways1 his reputation having been well secured by his illustrations to the ,water ,babies1 and his countless ,punch contributions4 ,from the quantity of work produced by ,harry ,furniss it is quite evident that he is one of the most popular men in ,england4 ,the fund of imagination which he devotes to perpetuating the unimportant actions of trivial members of ,parliament is truly amazing4 ,j4 ,f4 ,sullivan has made caricature of the ,british workman his speciality1 and he has recorded many of the antics of that personality with a truth that the labour organs might imitate to advantage4 ,sir ,john ,tenniel is the legitimate successor of the old political cartoonist1 but1 luckily for him1 his reputation rests1 not upon his portrayal of the events of the moment1 but upon his marvellous ,alice in ,wonderland and his classic illustrations to the ,legendary ,ballads4 ,political caricature rarely1 however1 has an exponent like ,tenniel1 and though the work of ,j4 ,proctor1 ,g4 ,r4 ,halkett1 and ,f4 ,c4 ,gould is good in its way1 owing to the conditions under which much of it has to be produced1 and the absolute artlessness of the subject1 their aim naturally is to drive home a political point1 and not to produce a work of art4 ,the most genuine caricaturist who has ever lived in ,england was ,w4 ,g4 ,baxter1 the inventor of ,ally ,sloper4 ,baxter died a few years ago4 ,happily1 the three men who1 in a great measure1 are responsible for modern ,english illustration are working to-day3 ,birket ,foster1 ,sir ,john ,gilbert1 and ,harrison ,weir1 but1 save the latter1 they now produce scarcely any designs4 ,few of the brilliant band who succeeded them1 however1 are at work save ,du ,maurier and ,w4 ,small4 ,one has to deplore the recent death of ,charles ,keene1 the greatest of all ,english draughtsmen4 ,illustration3 ,,by 7,,sir7 ,,john ,,tenniel4 ,,engraved ,,on ,,wood ,,by ,h4 ,,harral4 ,,from ,,gatty',s ,,parables 7,,bell1 #ahfg74 ,illustration3 ,,by ,w4 ,g4 ,,baxter4 ,,from ,,ally ,,sloper',s ,,cartoons4 ,illustration3 ,,by ,,phil ,,may4 ,a ,,pen ,,drawing ,,from ,,the ,,graphic4 ,illustration3 ,,by ,g4 ,,du ,,maurier4 ,,from ,,trilby 7,,osgood1 ,mc,i,l,v,a,i,n,e ,,and ,,co474 ,illustration3 ,,by ,g4 ,,du ,,maurier4 ,,from ,,trilby 7,,osgood1 ,mc,i,l,v,a,i,n,e ,,and ,,co474 ,one therefore turns with interest to some of the younger men--men who have made and are making illustration their profession4 ,among them1 one looks first to that erratic genius1 ,phil ,may1 who has produced work which not only will live1 but which successfully runs the gamut of all wit and humour4 ,nothing in its way has been done in ,england to approach his designs for the ,parson and the ,painter4 ,they appeared first in the pages of the ,st4 ,stephen's ,review1 where they were scarcely seen by artists4 ,but on their reappearance in book form1 though even more badly printed than at first1 what remained of them was good enough to make ,may's reputation4 ,between him and everyone else1 there is a great gulf fixed1 but the greatest is between ,may and his imitators4 ,illustration3 ,,by ,w4 ,,small4 ,,from ,,cassell',s ,,magazine4 ,illustration3 ,,by ,w4 ,,small4 ,,from ,,cassell',s ,,magazine4 ,illustration3 ,,by ,r4 ,,anning ,,bell4 ,,from ,,an ,,original ,,pen ,,drawing4 ,most of the younger men of individuality have studied abroad and1 like ,americans1 have returned home more or less affected by continental ideas4 ,it would be quite impossible for me to place any estimate on their work1 or even attempt to describe it4 ,but certainly it is to some of the new weekly and daily journals and less known monthlies that one must look for their illustrations4 ,it seems to me that ,e4 ,j4 ,sullivan1 ,a4 ,s4 ,hartrick1 ,t4 ,s4 ,crowther1 ,h4 ,r4 ,millar1 ,f4 ,pegram1 ,l4 ,raven-,hill1 ,w4 ,w4 ,russell are doing much to brighten the pages of the papers to which they contribute4 ,raven-,hill1 ,maurice ,greiffenhagen1 ,edgar ,wilson and ,oscar ,eckhardt have made a most interesting experiment in ,the ,butterfly1 which ,i hope will have the success it deserves4#bj ,r4 ,anning ,bell1 ,aubrey ,beardsley1 ,reginald ,savage1 ,charles ,ricketts1 ,c4 ,h4 ,shannon and ,l4 ,pissarro have the courage of their convictions and the ability often to carry out their ideas4 ,beardsley1 in his edition of the ,morte d',arthur1 ,salome1 and his ,yellow ,book pictures1 among other things1 has acquired a reputation in a very short space of time4 ,r4 ,anning ,bell has become known by his very delightful book-plates1 while ,ricketts1 ,shannon and ,pissarro1 are not only their own artists and engravers1 but editors and publishers as well4 ,the ,dial is their organ1 and it has contained very many beautiful drawings by them1 though they have contributed covers and title-pages to various books and magazines1 and have brought out an edition of ,daphnis and ,chloe which must serve to perpetuate the imperfections of the ,middle-,age wood-cutter4 ,wal ,paget1 ,w4 ,h4 ,hatherell1 and ,g4 ,l4 ,seymour1 in very different ways1 head a long list of illustrators who can decorate a story with distinction1 or depict an event almost at a moment's notice4 ,in facility1 ,i suppose there is no one to equal ,herbert ,railton1 unless it be ,hugh ,thomson4 ,they have together illustrated ,coaching ,days and ,coaching ,ways4 ,railton must have drawn almost all the cathedrals and historic houses in the country2 and ,thomson is in a fair way to resurrect many forgotten and unforgotten authors of the last century4 ,j4 ,d4 ,batten's illustrations to ,celtic1 ,english1 and ,indian fairy tales are extremely interesting1 while ,launcelot ,speed and ,h4 ,j4 ,ford have for several years been making designs for ,mr4 ,lang's series of fairy books4 ,laurence ,housman has this year scored a decided success with his illustrations for ,miss ,rossetti's ,goblin ,market4 ,to ,bernard ,partridge has fallen of late the task of upholding ,punch from its artistic end2 this has apparently proved too much even for him1 since ,i note that for the first time in its existence that paper is employing outsiders and even foreigners4 ,to what is ,england1 or rather ,punch1 coming8 ,his drawings for ,mr4 ,anstey's sketches have been deservedly well received1 while lately he1 too1 has fallen a victim to the eighteenth century in his striking illustrations for ,mr4 ,austin ,dobson's ,beau ,brocade4 ,mr4 ,e4 ,t4 ,reed1 of the same journal1 during the last year has developed not only a most delightful vein of humour1 but an original style of handling--his burlesques of the decadents are better than the originals almost4 ,reginald ,cleaver can probably produce a drawing for a cheap process with more success than anyone1 and yet1 at the same time1 his work is full of character4 ,it is pleasant to turn to men like ,sir ,george ,reid and ,alfred ,parsons1 with whom exquisite design and skilled technique1 and not cheapness1 is the aim in their illustrative work4 ,parsons has1 with ,abbey1 in ,old ,songs1 ,a ,quiet ,life1 etc41 and alone in ,wordsworth's ,sonnets1 and also in the ,warwickshire ,avon1 produced the books which reach the high-water mark of ,english illustration1 although they were first published in ,america4 ,on the other hand ,sir ,george ,reid's designs for ,johnny ,gibb1 ,the ,river ,tweed and the ,river ,clyde1 and several other publications of ,david ,douglas of ,edinburgh1 have been brought out altogether in this country4 #bj ,i did not mean ,i hoped it would die4 ,it has now ceased to appear4 ,i should like to discuss the schools that have been developed by the ,arts and ,crafts ,society in some of the provincial centres4 ,but as none of the students approach for a moment such an exquisite draughtsman as ,sandys1 to say nothing of the work of the older men whom they attempt to imitate1 it seems rather premature to talk about them4 ,illustration3 ,,by ,j4 ,,bernard ,,partridge4 ,,from ,,austin ,,dobson',s ,,proverbs ,,in ,,porcelain 7,,kegan ,,paul ,,and ,,co474 ,illustration3 ,,by ,,holman ,,hunt4 ,,from ,,gatty',s ,,parables 7,,bell1 #ahfg74 ,illustration3 ,,by ,e4 ,h4 ,,new4 ,,from ,a ,,pen ,,drawing ,,for ,,the ,,quest1 ,,no4 #c4 ,illustration3 ,,by ,,winifred ,,smith4 ,,from ,,children',s ,,singing ,,games 7,,nutt74 ,illustration3 ,,by ,,alfred ,,parsons4 ,,from ,,the ,,english ,,illustrated ,,magazine4 ,still1 ,a4 ,j4 ,gaskin1 limiting himself in a way that seems quite unnecessary1 has illustrated ,andersen's ,fairy ,tales very well1 if one adopts his standpoint4 ,e4 ,h4 ,new has made portraits that are decorative2 and1 under ,gaskin's direction1 a little book of ,carols has been illustrated by his pupils2 while1 in the same style1 ,c4 ,m4 ,gere and ,l4 ,f4 ,muckley are doing notable work1 and they are about to start a magazine ,the ,quest4 ,the ,hobby ,horse1 the organ of the ,century ,guild1 has contained many good designs by ,herbert ,horne and ,selwyn ,image4 ,on much the same lines1 too1 ,heywood ,sumner1 ,henry ,ryland1 ,reginald ,hallward1 ,christopher ,whall and others have been very successful4 ,nor can one ignore the initials and borders of ,william ,morris1 made for his own publications4 ,there are dozens of artists1 whose names1 like their works1 are household words1 ,forrestier1 ,montbard1 ,w4 ,l4 ,wyllie1 ,barnard1 ,nash1 ,overend1 ,wollen1 ,staniland1 ,caton ,woodville1 ,durand1 ,stacey1 ,rainey1 ,barnes1 and ,walter ,wilson1 who have a power of rendering events of the day in a fashion unequalled elsewhere1 and whose excellent designs are seen continuously in the pages of the ,graphic1 the ,illustrated ,london ,news1 and ,black and ,white4 ,there is also another set who amaze us by their power of compelling editors to publish weekly1 and even daily1 stacks of their drawings1 when those of better men go a-begging4 ,illustration3 ,,by ,,alfred ,,parsons4 ,,reduced ,,from ,a ,,large ,,drawing ,,in ,,the ,,daily ,,chronicle4 #ahie4 ,illustration3 ,,by ,,sir ,,george ,,reid4 ,,from ,,the ,,life ,,of ,a ,,scotch ,,naturalist 7,,murray74 ,illustration3 ,,by ,w4 ,,paget4 ,,from ,,cassell',s ,,magazine4 ,illustration3 ,,by ,l4 ,,raven-,,hill4 ,,from ,,the ,,butterfly4 ,illustration3 ,,by ,l4 ,,raven-,,hill4 ,,from ,,the ,,butterfly4 ,illustration3 ,,by ,,edgar ,,wilson4 ,,process ,,block ,,from ,,the ,,original ,,drawing ,,for ,,the ,,unicorn4 ,illustration3 ,,by ,c4 ,e4 ,,mallows4 ,,from ,,the ,,original ,,drawing1 ,,published ,,in ,,the ,,builder4 ,though wood-engraving is purely an ,english art1 and though some of the greatest wood-engravers even in modern times have been ,englishmen1 the art no longer flourishes here as it should4 ,the strongest of modern engravers1 ,cole and ,linton1 are both ,englishmen1 but their reputations are due chiefly to ,america4 ,w4 ,biscombe ,gardner is almost the only man who has continued to produce good interpretative work1 engraving his own designs1 while ,w4 ,h4 ,hooper easily leads in facsimile work4 ,this decline of wood-engraving has been especially felt by such important firms as ,dalziel and ,swain4 ,an ,international ,society of ,wood-engravers has lately been started1 and one hopes its members will succeed in the task they have set themselves3 that of encouraging original wood-engraving4 ,in colour-printing ,england has always held a leading place1 the work of ,edmund ,evans and the ,leighton ,brothers being universally appreciated4 ,a very strong endeavour is being made by ,messrs4 ,way to revive original lithography4 ,as this art is now beginning to be again practised by eminent artists1 there is every probability that their efforts will be successful4 ,vanity ,fair has always been illustrated by chromo-lithography1 and in it appeared the work of the late ,carlo ,perugini1 while ,spy and others still carry out his methods4 ,the architectural papers also use1 mainly1 photo-lithography for reproducing the drawings which they print4 ,in ,england the fashion of making pictorial perspective drawings for architects has been very extensively practised2 it is only an outgrowth of the work of ,prout and ,harding1 but it has been enormously developed since their day2 at present1 several architectural papers are published which solely contain drawings of this sort1 drawings mainly the outcome of the ,t-square1 and the inner consciousness of the architectural perspective man1 who has never seen the house1 nor the landscape1 nor street elevation in which his subject may be ultimately built2 nevertheless some of these drawings are most interesting4 ,the work of the late ,w4 ,burgess1 ,a4,r4,a41 of ,a4 ,b4 ,pite1 in medival design2 of ,g4 ,c4 ,horsley1 ,a4 ,b4 ,mitchell1 ,t4 ,raffles ,davison1 ,rowland ,paul1 and1 above all1 of ,c4 ,e4 ,mallows4 ,mr4 ,mallows is an artist2 to him a drawing is as important as the building it represents2 he does everything he can from nature1 and his drawings of old work1 notably difficult studies in perspective1 like the cloisters of ,gloucester1 have never been equalled by any of the ,prout-,harding-,cotman set4 ,he feels that architecture and the delineation of it are a part of the fine arts--and he makes others feel it too4 ,and to do this is simply to be an artist4 ,this fashion of architectural drawing has spread to ,america and ,germany1 but it has no support in ,france4 ,much has also been accomplished in etching1 and ,england possesses to-day in ,william ,hole1 ,robert ,macbeth1 ,william ,strang1 ,frank ,short1 ,d4 ,y4 ,cameron1 ,c4 ,j4 ,watson1 ,c4 ,o4 ,murray1 a number of etchers whose fame is justly great4 ,whether the idea of the special artist on the spot originated in ,england or not1 ,i cannot say2 certainly he was employed1 and his work acknowledged in the early numbers of the ,illustrated ,london ,news4 ,but1 at any rate1 many ,englishmen have devoted themselves almost entirely to this form of pictorial reporting and correspondence4 ,the man who has had probably the most extensive experience is ,william ,simpson1 of the ,illustrated ,london ,news1#ba but ,f4 ,villiers1 ,melton ,prior1 and ,sidney ,hall have assisted at almost all the scenes of national joy or grief--have followed the fortunes of war1 or the progress of royalty1 or any other important event in every quarter of the world4 ,these artists' methods of work were most interesting4 ,they trained themselves to sketch under the most dangerous1 fatiguing1 and difficult conditions--making rather shorthand notes than sketches1 which were quite intelligible to a clever band of artists attached to their various journals4 ,these artists1 on receiving the sketches1 produced finished drawings in a few hours1 or1 at longest1 a few days4 ,now1 however1 matters have changed somewhat4 ,the editors 7not the public7 have learned to appreciate sketches1 and men who can either produce a complete work of art on the spot1 or work from their own sketches1 are more generally engaged in this way4 ,i do not mean to say that the war correspondents ,i have named could not do this work1 only that often they did not1 owing to exigencies of time and other difficulties4 ,mr4 ,hall's work at present is finished on the spot4 ,his drawings at the ,parnell trial were most notable4 ,but ,i think in the next artistic generation the correspondent will have to work harder--if he produces less4 #ba ,s4 ,read was the first artist correspondent2 he worked during the ,crimean ,war4 ,illustration3 ,,by ,r4 ,,caton ,,woodville4 ,,reduced ,,from ,,the ,,illustrated ,,london ,,news4 ,illustration3 ,,by ,,sydney ,p4 ,,hall4 ,,pen ,,drawing ,,from ,,the ,,graphic4 ,illustration3 ,,by ,,aubrey ,,beardsley4 ,,from ,a ,,drawing ,,in ,,the ,,possession ,,of ,,the ,,author4 ,illustration3 ,,by ,,walter ,,wilson4 ,,reduced ,,from ,,the ,,illustrated ,,london ,,news4 ,illustration3 ,,by ,f4 ,s4 ,,church4 ,,from ,,an ,,etching ,,in ,,the ,,continent4 ,,chapter ,,vi4 ,,american ,,illustration4 ,in many ways the illustrative work of ,america is more interesting than that of any other country4 ,the rapidity of its growth1 the encouragement that has been given it by publishers1 and the surprisingly important artistic results obtained have won it recognition all over the world4 ,twenty-five years ago1 at the time that the best work was really being done in ,england1 scarcely anything was being produced in ,america4 ,it is true that some of the magazines had been started1 and that some of the men1 who are best known as illustrators to-day1 were at work4 ,but it was not until #ahgf1 the year of the ,centennial1 the first international exhibition held in ,america1 that ,american artists1 engravers1 printers1 and publishers were enabled to form an idea of what was being done in ,europe4 ,at the same time a brilliant band of young men1 who had been studying abroad1 returned to ,new ,york1 and it is mainly owing to their return1 and the encouragement which intelligent and far-seeing publishers gave to them1 and also to the artists and engravers who were already in ,america anxious to work1 that what is now known as the ,american school of wood-engraving1 together with ,american illustration and printing1 was developed4 ,the way in which this school has been built up is so interesting that it may be well to refer to it somewhat in detail4 ,from the time that ,mr4 ,a4 ,w4 ,drake1 and1 later1 ,mr4 ,w4 ,lewis ,fraser were appointed art editors of the ,century1 then ,scribner's1 they made it their business1 as art editors1 to assist and aid and encourage young artists4 ,and earlier1 too1 ,mr4 ,charles ,parsons who managed the art department of ,harper ,brothers1 gave such kind1 sensible1 and practical advice to many young artists that not only will his name never be forgotten as one who helped greatly to develop ,american art1 but many an ,american illustrator now looks back to ,mr4 ,parsons as the man who really started him on his career4 ,illustration3 ,,by ,c4 ,s4 ,,reinhart4 ,,wood-,,engraving ,,from ,,the ,,century ,,magazine4 ,mr4 ,drake's plan was this4 ,if an artist brought a drawing to him in which there were any signs of individuality1 intelligence1 or striving after untried effects1 his endeavour was to use that drawing1 at any rate as an experiment1 and to encourage the artist to go on and make others2 not to say to the artist1 the public won't stand this1 and our clientle won't know what you mean4 ,but then ,mr4 ,drake was a trained artist and engraver4#bb ,nor did ,mr4 ,drake and ,mr4 ,fraser put down their opinions as those of the public4 ,they did not pretend to be infallible1 nor did the literary editors2 with the consequence1 that the ,american magazines have gained for themselves the largest circulation among respectable publications4 ,in engraving1 too1 the engraver was asked to reproduce a drawing1 not in the conventional manner1 but as faithfully as he could1 not only rendering the subject of the drawing1 but suggesting its quality1 the look of the medium in which it was produced4 ,from this sprang the so-called ,american school of facsimile wood-engraving1 which1 until the advent of process1 was the favourite cockshy of the literary critic who essayed to write upon the subject of art4 ,now1 however1 that he believes ,american engraving is about to disappear in process--though of course there is not the slightest danger of anything of the sort happening--he is uttering premature wails over its disappearance1 which is really not coming to pass at all4 #bb ,i do not mean to say that the ,american idea of having artists for art editors is unique4 ,everyone knows the good editorial work that has been done1 and is still being done by ,mr4 ,bale1 ,mr4 ,w4 ,l4 ,thomas1 ,mr4 ,thomson1 ,mr4 ,mason ,jackson1 ,mr4 ,l4 ,raven-,hill1 to mention no others4 ,in printing1 too1 experiments were made from the very beginning with inks and paper and press-work4 ,and though stiff glazed paper has been the outcome of these experiments1 it is used simply because upon no other sort of paper can such good results be obtained4 ,if some of the people who raise such a wail about this paper would only produce something better1 ,i am sure they would be well rewarded for their pains1 because all the great magazines would at once adopt it4 ,another reason for the success and advancement of ,american illustrators is because the publishers of the great magazines1 like ,the ,century1 ,harper's1 ,scribner's1 have had the sense to see that if you want to get good work out of a man you have to pay him for it and encourage him to do it1 then reproduce1 and print it in a proper fashion4 ,naturally1 the artists have taken a personal pride in the success of the magazines with which they have been connected2 in certain cases1 greater probably than the proprietors themselves ever realized4 ,they have worked with engravers2 they have mastered the mysteries of process and of printing2 various engravers and printers have also worked with the artist1 and in many cases there has been a truer system of genuine craftsmanship than existed in the everlastingly belauded guilds of the ,middle ,ages4 ,within the last few years a new spirit has1 to a certain extent1 entered into ,american publishing1 and there have cropped up magazines which1 apparently1 have for their aim the furnishing to their readers of the greatest amount of the cheapest material at the lowest possible price4 ,syndicate stories and photographic clichs struggle with bad printing1 and possibly appeal to the multitude4 ,however1 these cheap and nasty journals will probably struggle among themselves to their own discomfiture1 without producing lasting effect1 unless the conductors of the better class of magazines choose to lower the tone of their own publications4 ,illustration3 ,,by ,,walter ,,shirlaw4 ,,from ,,the ,,century ,,magazine4 ,the illustrated newspaper has become an enormous factor in ,america4 ,the ,pall ,mall claims to have been the first illustrated daily1 and the ,daily ,graphic is the only complete daily illustrated paper yet in existence in ,england4 ,le ,quotidien ,illustr has just been started in ,paris4 ,the claim of the ,pall ,mall is without foundation1 as the ,london ,daily ,graphic but follows in the footsteps of the ,new ,york ,daily ,graphic1 which took its name from the ,london weekly2 its illustrations were almost altogether reproduced by lithography4 ,the ,new ,york ,graphic was never a great success4 ,many ,american daily newspapers print more drawings in a week than the ,london ,daily ,graphic4 ,the chances are that in a very few years the daily will have completely superseded many of the weeklies1 and quite a number of the monthly magazines too4 ,it is simply a question of improving the printing press1 and this improvement will be made4 ,anyone who has watched the progress of illustrated journalism during the last ten years can have no doubts upon the subject2 and ,i am almost certain that the very near future will see the advent of daily illustrated magazines of convenient size1 which will take the place of the monthly reviews and the ponderous and cumbersome machine we now call a newspaper4 ,illustration3 ,,by ,,howard ,,pyle4 ,,from ,,holmes',s ,,one ,,hoss ,,shay 7,,gay ,,and ,,bird74 ,if1 as is universally admitted1 ,america has produced the best example of an illustrated magazine that the world has to show1 it is not very difficult to find out the reason4 ,editors have secured the services of some of the best native artists1 and are ready to use the work of foreigners4 ,also many of the best engravers work for these periodicals1 and in machine printing ,theodore de ,vinne has set up a standard for the whole world4 ,if these men have become master craftsmen1 it is because they first studied their art profoundly1 and then learned the practical requirements and technical conditions under which drawings can best be reproduced for the printed page1 as well as the best methods of printing that page4 ,illustration3 ,,by ,,howard ,,pyle4 ,,from ,,the ,,century ,,magazine4 ,illustration3 ,,by ,,howard ,,pyle4 ,,from ,,holmes',s ,,one ,,hoss ,,shay 7,,gay ,,and ,,bird74 ,illustration3 ,,by ,,alfred ,,brennan4 ,,pen ,,drawing ,,from ,,the ,,continent4 ,illustration3 ,,by ,a4 ,b4 ,,frost4 ,,from ,,stuff ,,and ,,nonsense 7,,scribner',s74 ,illustration3 ,,by ,a4 ,b4 ,,frost4 ,,from ,,stuff ,,and ,,nonsense 7,,scribner',s74 ,in his own way ,mr4 ,abbey stands completely apart from all other artists4 ,his beautiful drawing1 conscientious attention to detail and costume1 interesting composition and perfect grace give him rank as a master4 ,his edition of ,herrick has become a classic1 while in his ,old ,songs1 and ,quiet ,life1 done in collaboration with ,mr4 ,parsons1 he has so successfully delineated the eighteenth century that he has made it a mine for less able men who have neither his power as draughtsman1 nor his appreciation that illustration is as serious as any other branch of art1 not to be entered upon lightly and without training4 ,he has transformed ,she ,stoops to ,conquer from a play into a series of pictures2 and his illustrations to ,shakespeare will1 without doubt1 become historic2 they are models of accurate learning and careful research1 and yet1 at the same time1 the most perfect expression of beauty and refinement4 ,the decorative or decadent craze has also reached ,america1 and its most amusing representative1 so far1 is ,w4 ,h4 ,bradley2 but ,g4 ,w4 ,edwards1 ,l4 ,s4 ,ispen1 and others1 decorated books long before mysticism became the rage4 ,mr4 ,reinhart and ,mr4 ,smedley have treated the more modern side of life with an intelligence which is almost equal to ,abbey's4 ,mr4 ,reinhart's most remarkable work is to be found in ,spanish ,vistas by ,mr4 ,george ,parsons ,lathrop1 and in his sketches in ,american ,watering ,places4 ,mr4 ,smedley's drawings may be seen any month in ,harper's ,magazine4 ,mr4 ,howard ,pyle has brought all the resources of the past to aid him in the present1 and is probably the most intelligent and able student of the fifteenth century living to-day4 ,yet ,mr4 ,pyle is1 when illustrating a modern subject1 as entirely modern4 ,he has treated with equal success the ,england of ,robin ,hood1 the ,germany of the fifteenth century1 colonial days in ,america1 children's stories1 and the ordinary everyday events which an illustrator is called upon to record4 ,he is deservedly almost as well known as a writer4 ,his principal books are ,otto of the ,silver ,hand1 the ,story of ,robin ,hood1 and ,pepper and ,salt4 ,illustration3 ,,by ,e4 ,a4 ,,abbey4 ,,from ,,harper',s ,,magazine 7,,copyright #ahid1 ,,by ,,harper ,,and ,,brothers74 ,illustration3 ,,by ,e4 ,a4 ,,abbey4 ,,from ,,austin ,,dobson',s ,,poems 7,,kegan ,,paul74 ,illustration3 ,,pen ,,drawing ,,by ,c4 ,d4 ,,gibson4 ,,from ,,the ,,century ,,magazine4 ,illustration3 ,,pen ,,drawing ,,by ,,oliver ,,herford4 ,,from ,,fables 7,,gay ,,and ,,bird74 ,mr4 ,c4 ,d4 ,gibson exhibits the follies and graces of society2 it was he who contributed so brilliantly to the success of ,life1 the ,american ,punch4 ,messrs4 ,frost1 ,kemble1 ,redwood1 ,remington1 show the life of the ,west and the ,south2 while1 as a comic draughtsman1 ,frost stands at the head of ,americans4 ,these men's work will one day be regarded as historical documents4 ,mr4 ,remington has given the rapidly vanishing ,indian and cowboy1 especially in the ,hunting ,trips of a ,ranchman4 ,mr4 ,frost's drawings of the farmer in the ,middle ,states will later be as valuable records as ,menzel's ,uniforms of ,frederick the ,great4 ,mr4 ,kemble is not alone in his delineation of darkey life and character4 ,in fact1 he has rather worked in a field which was marked out for him by ,w4 ,l4 ,shepherd and ,gilbert ,gaul4 ,w4 ,hamilton ,gibson has treated many beautiful and pleasing aspects of nature1 both as writer and illustrator4 ,blum1 ,brennan and ,lungren transported the ,fortuny1 ,rico1 ,vierge movement to ,america1 but have now worked out schemes for themselves4 ,blum has produced more complete work than the others1 however1 and his illustrations to ,sir ,edwin ,arnold's ,japonica1 and his own articles on ,japan1 have given him a deservedly prominent position4 ,elihu ,vedder1 most notably in his edition of ,omar ,khayyam1 ,kenyon ,cox1 and ,will ,low1 who have illustrated ,keats and ,rossetti1 are responsible for much of the decoration and decorative design in the country1 and there are many other extremely clever1 brilliant and most artistic men whose work can be found almost every month in the magazines4 ,mr4 ,childe ,hassam has brought ,parisian methods to bear upon the illustration of ,new ,york life2 and ,mr4 ,reginald ,birch's studies of childhood1 though frequently ,german in handling1 are altogether delightful in results1 his drawings having no doubt added much to the popularity of ,little ,lord ,fauntleroy2 in the same sort of work ,p4 ,newell and ,oliver ,herford are distinguished4 ,mrs4 ,mary ,halleck ,foote is one of the few who continue to draw upon the wood1 and very beautifully she does this2 while ,mrs4 ,alice ,barber ,stephens1 and ,miss ,katharine ,pyle prove that there is no earthly reason why women should not be illustrators4 ,mr4 ,otto ,bacher1 ,mr4 ,w4 ,h4 ,drake and ,mr4 ,charles ,graham turn the most uninteresting photograph1 if they are not doing original work1 into a pleasing design2 while that phenomenally clever ,frenchman1 ,a4 ,castaigne1 who1 ,i believe1 now considers himself to be naturalized1 gets more movement and dramatic feeling into his drawing than almost anyone else1 though he is closely approached in some ways by ,t4 de ,thulstrup4 ,illustration3 ,,by ,f4 ,,hopkinson ,,smith4 ,,from ,,the ,,century ,,magazine4 ,illustration3 ,,pen ,,drawing ,,by ,,robert ,,blum4 ,,from ,,scribner',s ,,magazine4 ,illustration3 ,,by ,,childe ,,hassam4 ,,from ,a ,,pen ,,drawing ,,made ,,for ,,the ,,new ,,york ,,commercial ,,advertiser4 ,in some ways ,mr4 ,harry ,fenn1 ,mr4 ,j4 ,d4 ,woodward1 and ,mr4 ,thomas ,moran were among the pioneers of ,american landscape illustration4 ,mr4 ,hopkinson ,smith1 whose work also is frequently seen in the magazines1 says that ,harry ,fenn's illustrations in ',picturesque ,america' entitle him to be called the ,nestor of his guild1 not only for the delicacy1 truth1 and refinement of his drawings1 but also because of the enormous success attending its publication--the first illustrated publication on so large a scale ever attempted--paving the way for the illustrated magazine and paper of to-day4 ,in this venture of ,appleton's1 ,mr4 ,woodward and ,mr4 ,moran had a large share4 ,among some of the younger men should be noted ,mr4 ,irving ,wiles1 whose work is as direct and brilliant as1 and much more true than1 ,rossi's2 ,mr4 ,metcalf1 whose illustrations to ,mr4 ,stevenson's ,wrecker are most notable2 ,mr4 ,a4 ,c4 ,redwood who1 with ,mr4 ,rufus ,zogbaum1 has made the ,american soldier his special study4 ,f4 ,s4 ,church is many-sided both in the mediums he employs and the subjects he selects4 ,j4 ,a4 ,mitchell has produced in ,life a society comic paper which is much more human than ,punch4 ,puck and ,judge are the leading illustrated political weeklies2 their conductors are ,d4 ,kepler and ,b4 ,gillom4 ,illustration3 ,,pen ,,drawing ,,by ,,frederic ,,remington4 ,,from ,,the ,,century ,,magazine4 ,illustration3 ,,pen ,,drawing ,,by ,r4 ,,birch4 ,,from ,,little ,,lord ,,fauntleroy 7,,warne74 ,illustration3 ,,ready ,,for ,,the ,,ride4 ,,wood-,,engraving ,,by ,t4 ,,cole1 ,,after ,w4 ,m4 ,,chase4 ,,from ,,the ,,century ,,magazine4 ,illustration3 ,,by ,,robert ,,blum4 ,,from ,,scribner',s ,,magazine4 ,the list of engravers is quite as important4 ,almost all of those who belong to the ,american ,society of ,engravers on ,wood are original artists and very well deserving of mention1 though their work itself has given them a position which ,i cannot better4 ,the best known is ,timothy ,cole1 whose engravings from the ,old ,masters have won him world-wide recognition4 ,he is followed by ,w4 ,b4 ,closson1 who has to some extent attempted the same sort of work4 ,messrs4 ,frank ,french1 ,kingsley1 and the late ,frederick ,jngling have1 with surprising success1 engraved directly from nature2 while for portraits1 ,g4 ,kruell and ,t4 ,johnson are deservedly well known4 ,in fine reproductive work ,henry ,wolf1 ,h4 ,davidson1 ,gamm1 ,miss ,c4 ,a4 ,powell1 ,j4 ,tinkey1 ,f4 ,s4 ,king1 ,j4 ,p4 ,davis have shown that wood-engraving is an art which can be used in the hands of a clever man or woman in a hundred ways undreamt of twenty years ago4 ,this list makes no pretension of being complete1 for new magazines1 new men and new methods are springing up all over the country every few weeks1 and a mere list of the illustrators and engravers would make a catalogue as large as this volume4 ,there was a period of great activity in ,american etching a few years ago4 ,among the most notable results were ,cassell's ,portfolios of the work of ,american etchers1 edited by ,mr4 ,s4 ,r4 ,koehler4 ,but the art seems now to be languishing4 ,mr4 ,frank ,duveneck1 ,mr4 ,otto ,bacher1 ,mr4 ,stephen ,parrish1 ,mr4 ,charles ,platt1 ,mrs4 ,mary ,nimmo ,moran did some of the best original work1 while1 as reproductive men1 ,peter and ,thomas ,moran1 ,stephen ,ferris1 and ,j4 ,d4 ,smillie were most notable4 ,however1 this brief spontaneous movement toward individual expression unfortunately seems rather to have spent itself2 and ,america1 like so many other countries1 is waiting for something new to turn up4 ,illustration3 ,,by ,s4 ,,parrish4 ,,from ,a ,,drawing ,,in ,,the ,,continent4 ,illustration3 ,,by ,,gilbert ,,gaul4 ,,from ,,the ,,century ,,magazine4 ,illustration3 ,,by ,,selwyn ,,image4 ,,from ,,the ,,fitzroy ,,pictures ,,series 7,,bell74 ,illustration3 ,,by ,,heywood ,,sumner4 ,,from ,,the ,,fitzroy ,,pictures ,,series 7,,bell74 ,,chapter ,,vii4 ,,conclusion4 ,i have tried to show the methods of modern illustration1 and to give a sketch of its present conditions4 ,it would be absurd to prophesy its future1 though ,i believe it will have a very brilliant one4 ,much of the work that is being turned out to-day is beneath contempt2 much of it is done by young men who are absolutely uneducated1 and an illustrator requires education as much as an author2 much of it is done by people who are too careless1 or too stupid1 to read or to understand the ,,mss4 which they illustrate4 ,thus1 in looking through late numbers of a magazine1 ,i learn that all the policemen in ,new ,york wear patent leather shoes2 while from another ,i find that when people are very poor in ,france1 they rock their babies in log cabin cradles1 cook their meals on ,american stoves and sit upon ,chippendale chairs4 ,illustration3 ,,by ,a4 ,j4 ,,gaskin4 ,,from ,,old ,,fairy ,,tales 7,,methuen ,,and ,,co474 ,but it is a pleasure to turn from budding geniuses of this sort and photographic hacks2 from the gentlemen who copy the imperfections of the woodcut of the ,middle ,ages2 from the people who enlarge the borders of their magazines with decorations that neither belong to our own time1 nor are good examples of any other2 from those who have succeeded in making a certain portion of the world believe that clumsy eccentricity is a cloak for all the sins in the artistic calendar1 to illustrators who are calmly and quietly pursuing their profession1 and producing work which may even drag other portions of the magazine or book1 to which they contribute1 to an unmerited immortality4 ,illustration3 ,,by ,,laurence ,,housman4 ,,from ,a ,,farm ,,in ,,fairyland 7,,kegan ,,paul74 ,i do not pretend to foretell what the ultimate form of the book of the future1 or of the magazine either1 may be4 ,but ,i do believe that illustration is as important as any other branch of art1 will live as long as there is any love for art1 long after the claims of the working classes have been forgotten1 and the statues of the statesmen1 who are the newspaper heroes of to-day1 have crumbled into dust1 unless preserved because a sculptor of distinction produced them4 ,illustration3 ,,by ,,cotman4 ,,from ,,an ,,etching ,,in ,,architectural ,,antiquities ,,of ,,normandy4 ,illustration is an important1 vital1 living branch of the fine arts1 and it will flourish for ever4 ,,index4 ,abbey1 ,e4 ,a41 ,herrick1 #abc2 ,old ,songs and ,quiet ,life1 #ajf1 #abd2 ,she ,stoops to ,conquer1 #abd2 ,shakespeare1 #abd4 ,abbotsford ,waverley ,novels1 #bf4 ,ache1 ,caran d'1 #ff2 ,courses dans l',antiquit1 ,carnet de ,chques1 ,albums1 etc41 #fg1 #gi4 ,adams1 ,j4 ,a41 #bi4 ,albrecht1 ,e41 #gh4 ,alexander1 ,miss1 xvii4 ,allers1 ,c4 ,w41 #gh4 ,allingham1 ,w41 ,the ,music ,master1 #hh4 ,ally ,sloper's ,half ,holiday1 #ajc4 ,american illustration1 xv1 #cj-cb1 #aac1 #acj4 ,american ,tract ,society1 #bi4 ,amicis1 ,e4 de1 #gj4 ,andersen's ,fairy ,tales1 #ajh4 ,andrew1 #be4 ,angelico1 ,fra1 #c4 ,angerer and ,gschl1 #gb4 ,anning ,bell1 ,r41 #aje4 ,aquatint1 #ch4 ,arabian ,nights 7,lane71 #bd2 7,dalziel71 #ia1 #aja4 ,architectural drawing1 #aaa4 ,argosy1 ,the1 #ij4 ,arme ,franaise1 ,l'1 #fj4 ,armstead1 ,h4 ,h41 #ij4 ,arnold1 ,sir ,edwin1 ,japonica1 and ,japan1 #abf4 ,art1 ,l'1 #ea4 ,art1 ,l'1 et l',ide1 #ef4 ,art ,student1 #ce4 ,artist-correspondents and their work1 #aab4 ,artiste1 ,l'1 #ah1 #bb1 #fj4 ,auriol1 ,georges1 #fc1 #fh4 ,avril1 ,paul1 ,la ,dame aux ,camlias1 #fb4 ,babbage1 ,f41 xxiv4 ,bacher1 ,otto1 #abg1 #acj4 ,bale1 ,edwin1 #aae4 ,bambou1 ,le1 #ef4 ,barnard1 ,fred41 xxiv1 #ajh4 ,barnes1 ,r41 #ajh4 ,batten1 ,j4 ,d41 illustrations to ,fairy ,tales1 #aje-ajf4 ,baude1 ,c41 #dh1 #ea1 #fi4 ,baxter1 ,w4 ,g41 ,ally ,sloper1 #ajc4 ,bayard1 ,emile1 #fe4 ,beardsley1 ,aubrey1 #aje2 ,yellow ,book1 ,morte d',arthur1 and ,salome1 #aje4 ,bennett1 ,g4 ,h41 #hi4 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