The cover image was created by the transcriber and is placed in the public domain.

THE BROTHERS DALZIEL

A RECORD OF FIFTY YEARS' WORK

1840-1890

THE
BROTHERS DALZIEL
A RECORD
OF
FIFTY YEARS' WORK IN CONJUNCTION WITH MANY OF THE MOST DISTINGUISHED ARTISTS OF THE PERIOD
1840-1890
WITH SELECTED PICTURES BY, AND AUTOGRAPH LETTERS
FROM
LORD LEIGHTON, P.R.A., SIR J. E. MILLAIS, Bart., P.R.A., SIR E. J. POYNTER, P.R.A., HOLMAN HUNT, DANTE G. ROSSETTI, SIR JOHN TENNIEL, SIR E. BURNE-JONES, Bart., JOHN RUSKIN,
AND MANY OTHERS.

LONDON
METHUEN AND CO.
36 ESSEX STREET W.C.
1901

LONDON:
PRINTED BY DALZIEL AND CO., LTD.
CAMDEN PRESS, 110 HIGH STREET, CAMDEN TOWN.

TABLE OF CONTENTS

[PREFACE.]
[LIST OF ILLUSTRATIONS.]
[CHAPTER I.]
[CHAPTER II.]
[CHAPTER III.]
[CHAPTER IV.]
[CHAPTER V.]
[CHAPTER VI.]
[CHAPTER VII.]
[OUR PUPILS.]
[THE PRINTING OFFICE.]
[LIST OF FINE ART AND OTHER ILLUSTRATED BOOKS PRODUCED BY AND UNDER THE ENTIRE SUPERINTENDENCE OF THE BROTHERS DALZIEL.]
[FINE ART BOOKS PARTLY THE WORK OF THE BROTHERS DALZIEL.]
[INDEX.]
[TRANSCRIBER'S NOTES.]

[PREFACE.]

Thomas Bewick, who revived the art of wood engraving in England, was apprenticed to Ralph Beilby, as a copperplate engraver, in 1767. About 1770 he began to engrave on wood. The work at first was rough, and chiefly for newspaper advertisements; but he soon saw the capabilities of the material, and he rapidly developed into the great master of his art. The excellence of his wood engraving may be said to have culminated in his "Book of British Birds," the first volume of which was published in 1797. For a century from that date the art of wood engraving has been the most popular as well as the best method for the reproduction of all classes of drawings, and during that hundred years much beautiful work has been done.

Bewick's pupils were all artists in the fullest meaning of the word—John Bewick (his brother), Robert Johnson, Luke Clenell, Charlton Nesbit, Isaac Nicholson, and William Harvey. What a grand start the first half of the century of wood engraving had with such great men!

In the second half—in which we claim to have had our share—were such brilliant contemporaries as John Jackson, John Thomson, the Williams', J. W. Whymper, Orrin Smith, Mason Jackson, W. L. Thomas, W. J. Linton, J. D. Cooper, C. Roberts, Biscombe Gardner, Joseph Swain, and J. W. Palmer—all true artists, draughtsmen, and painters, as well as wood engravers.

Touching the old cry of defective reproduction, we say that at times there could not fail to be some amount of depreciation, but never such as justified the senseless and vulgar remarks made by certain critics, which can only be passed over in consideration of their total want of technical knowledge of the art, and of the conditions under which much of the work was produced. Coarse epithets have been used towards men who were devoting, with all possible earnestness, their skill to an art for the reproduction of work for popular issues. Wood engraving, being no exception to other arts, demands conditions necessary for the production of perfect work. First, the man who makes the drawing ought to know the capabilities of the material and should work accordingly; second, the engraver should have all the true instincts of an artist; and, third, he must have the full interval of time to perform his work with proper care.

A large amount of wood engraving being done on the rush, it was a common thing to "burn the midnight oil" and the engraver's eyes at the same time, and it is a marvel that so much beautiful artistic work was done under such conditions.

We have printed in this book many letters from distinguished artists expressing their satisfaction with our rendering of their drawings, with one object—to place beyond all doubt that if wood engravings were produced under the conditions named, the results would always prove satisfactory.

We have a letter before us from Sir Edward Burne-Jones, in which he says: "I was quite unprepared for such fidelity."

By the introduction of the various "processes" by which artists' drawings are nowadays made applicable for reproduction, the days of wood engraving are practically over, and we have to bow to the new light which we had long felt would come; and we need hardly say that, for the reproduction of good pen work, with the new process by line etching, the results are perfect.

Also, when we look at the reproductions of tint drawings by such men as William Small, De Haenen, the Pagets, Caton Woodville, W. L. and C. Wyllie, Edgar Bundy, Jacomb Hood, and many other artists of distinction, by the half-tone process, and when we think (beyond all this fine artistic work) of the vast mass of wonderful illustration given to the public, week by week, of every conceivable class of subject, direct from the camera, in which the draughtsman has no part at all, and this work is generally of singular beauty and truth—we feel that our occupation is gone. In saying this we wish to add that we hail with satisfaction the marvellous results from these many ingenious adaptations of photography, and the consequent wide spread of the art of illustration, which has ever been our greatest delight.

In preparing the contents of this book it would have been impossible to give the many specimens of our work but for the kind and liberal spirit with which our requests were responded to by the various publishers who had entrusted us with their commissions from our very earliest days. Our best thanks are due, in the first instance, to Messrs. Adam & Charles Black, for the loan of two engravings for the "Abbotsford Edition of Scott's Novels," which were amongst our first important works; the Art Union of London, for a specimen of Kenny Meadows'; Messrs. Macmillan, for specimens from "The Ingoldsby Legends," "Tennyson's Poems," and "Alice in Wonderland"; Messrs. Bradbury & Agnew, for selections from Richard Doyle's work; Messrs. George Routledge & Sons, for specimens from "Gilbert's Shakespeare" and various "Fine Art Books"; Messrs. Herbert Virtue & Co., for several from Millais' "The Parables of Our Lord" and "Dalziel's Bible Gallery"; Messrs. Blackwood & Son, for "Lays of the Scottish Cavaliers," by Sir J. Noel Paton; Messrs. James Nisbet & Co., for "Lays of the Holy Land;" Messrs. Longman & Co., for Tenniel's "Lalla Rookh"; Messrs. Smith, Elder & Co., for "Framley Parsonage" and the Cornhill Magazine; Mr. James Hogg, for "London Society"; Messrs. D. Appleton & Co., for "Poems by W. Cullen Bryant"; Mr. John Hogg, for "Poems by Robert Buchanan"; Messrs. Chapman & Hall, for many illustrations to the works of Charles Dickens; the Proprietors of the Graphic, for "The Sisters," by G. J. Pinwell; and to Messrs. Ward and Lock, for "Dalziel's Arabian Nights" and "Dalziel's Goldsmith."

Mr. Alexander Strahan has our warmest thanks for much help which he kindly gave us in procuring many valuable representative specimens of our work from his various publications.

And yet other thanks are due. Before publishing the letters to be found in the following pages, it was necessary to seek the permission of the writer of each, or the executors of those no longer with us. In every case the response has been so kind and so reminiscent, that the interest and pleasure derived from their receipt will remain till the end with

George and Edward Dalziel

Hampstead
1901

[LIST OF ILLUSTRATIONS.]

Dedicated

IN KIND REMEMBRANCE

OF THE

MANY FRIENDS WHOSE WORKS ADORN THE PAGES

OF THIS BOOK.

THE BROTHERS DALZIEL.

[CHAPTER I.]

Parentage—Four Brothers and a Sister, Ebenezer Landells, Thomas Bewick, William Harvey, and Samuel Lover.

We were members of a family of twelve children, and, with one exception, we were born at Wooler, Northumberland, the youngest having been born at Newcastle-on-Tyne. Our father spent a great part of his time in horticultural pursuits, and in middle life took up art as a profession. He also held a commission in the Northumberland Militia. His sons, eight in number, inherited strong artistic tastes, which they all carried out professionally, except the youngest, Davison, who applied himself very successfully to commerce. The eldest, William, whose art work was chiefly devoted to heraldic and occasional ornamental decoration for MSS. books, also painted a little in still-life subjects with remarkable fidelity; while the second son, Robert, devoted himself to art, and obtained a fair reputation as a portrait painter. He also studied landscape painting for some time under Thompson, of Duddingston, and having practiced his art successfully both in Glasgow and Edinburgh, he came ultimately to London, where he died, having attained only his thirty-second year. The next brother, Alexander, was a youth of rare artistic promise, and, had he lived, must of necessity have made a great name for himself as a designer and draughtsman in black and white; but early in life, while living in London, he caught a chill, which terminated in consumption. He, having returned to his mothers house in Newcastle-on-Tyne, died before completing his twenty-third year.

The next brother, George, early in 1835,[1] being then nineteen, came to London as a pupil to the late Charles Gray, an engraver on wood, with whom he remained four years, and on the completion of his engagement, he commenced operations on his own account, though continuing on the most friendly terms with Gray. A few weeks later he was joined by his brother Edward, and from that day we two have, for a period of over fifty-five years, worked hand in hand together, as "The Brothers Dalziel."

Alexander Dalziel,

OUR FATHER.

BORN, MAY 22, 1781; DIED, JUNE 30, 1832.

From a Bust, Modelled by his Second Son, Robert Dalziel.

"Alexander Dalziel, born at Wooler, in the County of Northumberland, on the 22nd May, 1781; married at Lamberton, North Britain, on the 4th day of January, 1805, to Elizabeth Hills, born at Mornington, North Britain, on the 11th May, 1783."

—Extract from Family Bible.

In 1852 our brother John became associated with us. He was a skilful and highly accomplished engraver; but his health, unfortunately, gave way, and early in 1868 he was compelled to give up all artistic work and went to reside at Drig, a delightfully picturesque locality, surrounded on the one side by the Cumberland Lakes and hills, and on the other by the broad sea, hoping that the fine bracing air of the North would restore him to health, but unhappily the change came too late, and he died in the summer of 1869.

In 1860 our brother Thomas, who had been educated as a copperplate engraver, joined the "Brotherhood," and from that time devoted himself entirely to painting and drawing on wood, contributing much excellent work to the various books we produced. Among them may be mentioned "Dalziel's Arabian Nights," "Dalziel's Bible Gallery"—of which we will have much to say further on, and a beautiful edition of "The Pilgrim's Progress," as well as many very charming drawings for nearly all the Fine Art Books created by ourselves, or produced under our entire supervision.

Elizabeth Dalziel,

OUR MUCH-BELOVED MOTHER.

BORN, MAY 11, 1783; DIED, FEBRUARY 4, 1853.

From a Picture by her Second Son, Robert Dalziel. Painted about 1837.

She was one of the brightest, the best, and kindest of women—a true embodiment of all that is good and just.

In the early part of our career, that is to say during the Forties, we George and Edward, worked very much in association with Ebenezer Landells, one of the original projectors and proprietors of Punch, and from whom (the other original proprietors having resigned their shares in a then unprofitable speculation) Messrs. Bradbury and Evans, the printers, acquired a two-thirds share. Subsequently the entire property passed into their hands. We may here state that while in association with Landells, we engraved the picture, "Foreign Affairs," which was the first drawing contributed to Punch by John Leech.

Landells was a man to whom illustrated literature, journalism in particular, owes much. It is an old story, well known at the time, how he parted with his interest in Punch, and how he lost the proceeds in the Illuminated Magazine, which was edited by Douglas Jerrold. Among his thousand and one journalistic ventures, he was the first to project and produce the Lady's Newspaper, but in this, as in other things, he was before his time and failed. He it was who suggested to Herbert Ingram that an artist should be sent to follow the progress of Queen Victoria on her first journey to Scotland; Landells undertook the commission, and it was the success of, and great interest taken in these pictures that had much to do with making the Illustrated London News. The Queen was so much pleased, that she bought all Landells' original drawings. He worked very much with Herbert Ingram, and it was through him that we were engaged upon the second number of the Illustrated London News. It was for him that we engraved the prospectus block for Punch, also the covers for that journal drawn by "Archie" Henning, William Harvey, and John Gilbert, as well as the "H. K. B." drawings every week for "Master Humphrey's Clock." In fact we were largely indebted to him for much sincere help at a time when such help was invaluable, and at his house we had the advantage of forming the friendship of Douglas Jerrold, the Brothers Mayhew, Mark Lemon, and others connected with the foundation of Punch.

George Dalziel.

BORN, DECEMBER 1, 1815.

From a Picture Painted by his Brother Robert.

Date about 1841 or '42.

Landells was a man brimful of ideas and full of energy. One hardly ever met him but that he had some new project which was "certain to be a fortune"—a fortune that never came to him.

His connection with the Illustrated London News continued until Herbert Ingram's departure for America, from which place he never returned, having been drowned on Lake Michigan. It is a curious fact that, when Ingram's body was brought home for interment, on the same day that his funeral took place at Boston the remains of Landells were interred at Highgate Cemetery. We were at the ceremonies. Edward attended the one, while George was present at the other.

An interesting anecdote is told of Thomas Bewick in reference to Ebenezer Landells. When it was proposed to place him as a pupil with that eminent wood engraver, the father of the lad said, "Well, Mr. Bewick, I hope you will make my son a clever fellow." "Mr. Landells," replied the veteran, "I'll do my best to teach him what I know, but if God Almighty hasn't put brains into your son's head, it's impossible for me to put them there!"

Edward Dalziel.

BORN, DECEMBER 5, 1817.

From a Picture Painted by his Brother Robert.

Date about 1841 Or '42.

This anecdote was told us by Landells himself, in illustration of a principle he was discussing, that unless a lad has a real, genuine love for the art he is studying, no teaching in the world will ever make him a skilful worker. His father not being able to arrange terms with Bewick, Landells did not remain long with him, but served his apprenticeship with Isaac Nicholson (an old pupil of Bewick's, who had opened an office on the opposite side of the way to his old master, in St. Nicholas' Churchyard, Newcastle-on-Tyne), with whom Charles Gray was also a pupil. And it was through those two young men coming to our Father to "learn to draw" that our brother Alexander became a pupil of Nicholson's, with whom he served a seven years' apprenticeship, and proved himself a very skilful draughtsman and engraver. Hence our somewhat close connection with the school of Thomas Bewick.

Landells was a man of slightly excitable temperament, and, as a rule, very demonstrative. One morning he called upon his old pupil, Edmund Evans, who was then commencing colour printing works in Racquet Court, saying "he was off to the Derby, and, as the morning looked rather doubtful, would he lend him an umbrella?" This Evans most willingly did, giving the best he had, almost a new one. Landells faithfully returned it the next morning, but the ferrule had disappeared, and the stick was battered down close to the silk. Landells had evidently been through some exciting scenes, and in expressing his high appreciation of the events Evans' umbrella had come sadly to grief.

When Landells got a little vexed or worried by anyone, which in his very much varied life he not unfrequently did, his invariable remark was, "Well, stop till I see him again and I'll give him a piece of my mind."

John Dalziel.

BORN, JANUARY 1, 1822; DIED, MAY 21, 1869.

From a Photograph.

During the time that "ructions" were on with his co-partners in Punch, he met Douglas Jerrold in Fleet Street and complained bitterly, winding up with, "There, I've just been to see them and have given them a bit of my mind," "Ah," said Jerrold, "I'm afraid they would not gain much by that, Landells."

His eldest son, Robert Landells, also an artist of considerable ability in black and white work, acted for many years as Art War Correspondent to the Illustrated London News, and, in that capacity, went through a great part of the Franco-Prussian Campaign.

The years of our boyhood having been spent in Newcastle-on-Tyne, we have constantly been identified as being natives of the Tyneside, and so became much associated with several artists of ability who hailed from that part of the kingdom. Among the foremost of those we would mention William Harvey, the justly celebrated artist and book illustrator, who was himself a favourite pupil of Thomas Bewick, and during his apprenticeship designed and engraved several of the smaller tailpieces to the "Fables," "Natural History," and other works published by his famous master.

William Harvey was born at Newcastle-on-Tyne, July 13th, 1796, and died at Richmond, Surrey, January 18th, 1866. He was apprenticed to Thomas Bewick, 1810, and the high esteem in which he was held by his master is shown in the letter here quoted.

"Gateshead, January 1st, 1815.

"Dear William,—I sent you last night, 'The History of British Birds,' which I beg your acceptance of as a New Year's gift and also as a token of my respect. Don't trouble yourself about thanking me for them; but, instead of doing so, let those books put you in mind of the duties you have to perform through life. Look at them (as long as they last) on every New Year's day, and at the same time resolve, with the help of the All-wise but unknowable God, to conduct yourself on every occasion as becomes a good man. Be a good son, a good brother, and (when the time comes) a good husband, a good father, and a good member of Society. Peace of mind will then follow you like a shadow; and when your mind grows rich in integrity, you will fear the frowns of no man, and only smile at the plots and conspiracies which it is probable will be laid against you by envy, hatred, and malice.

"Thomas Bewick.

"To William Harvey, Junr.,
"Westgate."

Thomas Dalziel.

BORN, MAY 9, 1823.

From a Photograph.

Two years later, 1817, when he had completed his apprenticeship, he went to London, where he studied drawing and painting under Benjamin Haydon, and anatomy with Sir Charles Bell, where he had, as fellow students, amongst others, Charles Lock Eastlake, the P.R.A., George Lance, the fruit painter, and Sir Edwin Landseer. He soon became a most distinguished draughtsman and illustrator of books, his fame rising rapidly. For many years he stood prominently in the front of all others. Amongst his earliest works were "Henderson's Book on Wines," for which he not only made the drawings but engraved them all himself. It is further interesting as being the first work that bore his name. His great ability both as draughtsman and engraver is shown in the reproduction of an elaborate work from Benjamin Haydon's picture of "Dentatus"—which even in these advanced days must be held as a remarkable example of wood engraving, being, strictly speaking, a marvellous imitation of a copperplate, done in the grand line manner. Haydon no doubt induced Harvey to undertake this work to satisfy his own vanity, for he was not a man "who cared for others."

About this time he gave up engraving altogether and devoted himself entirely to drawing on wood.

William Harvey was a great and highly-gifted artist, a true man, a friend and counsellor to us from the time of our earliest efforts to the day of his death. He was a fine conversationalist, brimful of anecdotes, chiefly concerning a notable group of artists, authors, and men of law, many of whom had gone, and others who were then passing away. As an illustrator he held the town for many years, and in connection with Charles Knight did much to popularise black and white work; but even in his own time what changes took place! He said that in his early days if merely a frontispiece were wanted for a book, John Murray would invite him and John Thomson, the engraver, to dinner at Albemarle Street, that they might discuss the subject fully before beginning the work.

always yours truly
William Harvey

In his more important works Harvey always tried to push forward one or more young and unknown engravers of promise—in fact he was the young man's friend.

Of course he had many imitators; coming men begin by imitating the manner of the successful men who have gone before. He used to say, "The young man jumps on the shoulders of the old man, looks over his head, and consequently sees much farther along the road." Strong examples of this are shown in the early works of Sir John Gilbert, which alternated in likeness to William Harvey, Kenny Meadows, and George Cruikshank; but in a later stage took on much from the great German artist, Menzel.

The following are a few instances in illustration of young men building up their style by studying the old professors in their art, which we call to mind as occurring in our own experience:

William Harvey felt complimented by John Gilbert gleaning from his works; while George Cruikshank was highly indignant with Gilbert for what he called "cribbing his brains," and threatened to go down to Blackheath and "thrash the fellow." Gilbert, on being told this, only laughed, and said, "I don't think he knows what sort of man I am."

J. Prior, the father of Melton Prior, assisted William Harvey very frequently; and after acquiring a fair style of imitation, did a good deal of work on his own account, which sometimes bore too strong a resemblance to the master. He would say to Harvey, "I know you don't mind." He was right; good-natured Harvey did not mind if Prior got any advantage by it. But, like other men, Prior ultimately acquired a style of his own, and did much good service in the early days of the Illustrated London News, to which journal his son Melton has long been a valuable power as War Correspondent.

The early drawings of that great art genius, Fred Walker, A.R.A., R.W.S., have a strong family resemblance to those of Sir John Gilbert. J.W. North's early drawings reminded one vividly of Birket Foster, while Birket Foster's style was undoubtedly built upon Thomas Creswick, R.A.—and so on, and so on.

Our connection with Harvey was so close, not only as regards work, but socially, that we can say he was in every sense one of "Nature's best"; lovable to a degree,—and would far more than stand the test of the guiding-lines laid down by his master in the letter printed on page [12].

Among William Harvey's chief works mention must be made of the charmingly fanciful designs for Lane's "Arabian Nights," "Northcoat's Fables," "The Tower Menagerie," several of the books in "The Abbotsford Edition" of Sir Walter Scott's novels, and many smaller books, notably "The Children in the Wood," and "The Blind Beggar's Daughter of Bethnal Green"; also an extremely beautiful frontispiece, as well as other illustrations, to each of the plays in Charles Knight's Edition of Shakespeare's Works. Subsequently he illustrated for us an edition of "The Pilgrim's Progress," in which he displayed all his tasteful fancy in decorating its pages. This book was published by David Bogue. From 1839 to the time of his death, William Harvey entrusted many of his drawings to our care, as well as in later years constantly working for the various books produced under our superintendence.

On the death of William Harvey, it was proposed that a monument should be erected over his grave in Richmond cemetery, and in seeking subscriptions for that purpose, among others, Samuel Lover, the famous Irish song-writer, composer and artist, was asked to assist and co-operate with a few friends in carrying out the object, when in reply he wrote:

"I wish instead of a few friends that many were engaged for what is proposed, for then this monument might be much more worthy the memory of so good an artist and so good a man. As to the extent, you may rely on me for help ... In sincere esteem for my much esteemed friend, I think few can exceed me, but my exchequer is rather limited. Could I convert my heart into a bank, and make its wishes into bank notes, I would build a monument out of my own purse to one so worthy of esteem and every kind remembrance.

"Truly,
"Samuel Lover."

Is not this just the letter we might expect from the warm-hearted Irishman and true poet who could write the following beautiful lines?

"I'll seek a four-leaved shamrock in all the fairy dells,
And if I find the charmed leaves, oh, how I'll weave my spells!
I would not waste my magic might on diamond, pearl or gold,
For treasure tires the weary sense—such triumph is but cold.
But I would play the enchanter's part in casting bliss around,
And not a tear or aching heart should in the world be found."

The monument was erected, as suggested, in the cemetery at Richmond, Surrey, as well as a brass tablet in St. Nicholas' Cathedral, Newcastle-on-Tyne, both from designs by John R. Clayton.

Having furnished several illustrations to a book of Irish songs edited by Samuel Lover, and published by John Maxwell, husband of Miss Braddon, we received several kind letters of commendation and thanks for the care bestowed in getting up the work. Among others we may quote the following:

"November 13th, 1857.

"I hope you will excuse me for not having sooner acknowledged your enclosure of your engraving of Gratton's Head, which is quite admirable, and for which I truly thank you."

Again, in writing of a drawing to illustrate the "Four-leaved Shamrock," which we had submitted for his approval, he says:

"I think your quadruple design most excellent. If that be carried out (as I have no doubt it will) with the care and spirit of the drawing on the wood, it will make a charming illustration.... I suggest that you place the initial letter 'I' encircled with the charmed leaves in the corner, to commence the first line of the song. I am glad for your own sake, as well as for the credit of the book, you have made the second illustration, as I am convinced it will do you much credit. For myself, pray accept my many thanks.

"My dear Sirs,
"Yours very truly,

"Samuel Lover."

Margaret Dalziel.

BORN, NOVEMBER 3, 1819; DIED, JULY 12, 1894.

From a Photograph.

She was the essence of kindness and generosity, a sister-mother to us all, and "Aunt Meg" to everybody.

During all our operations from the year 1851, we were fortunate enough to have the loyal and skilful help of our sister Margaret, who warmly entered into all our plans and worked very constantly upon the most highly finished engravings we produced. As much of the work we were engaged upon was intended for periodical publications, it may readily be supposed that there was, at times, great pressure to meet the requirements of the printer; on such occasions we could always be certain of her ever ready help, grudging neither time nor labour to render every assistance in her power. In all respects she was one of the most devoted, kind-hearted and sympathetic women that ever lived, and her great excellence of character, we have every reason to believe, was fully appreciated by all those who had the privilege of her acquaintance or friendship.

The Earl of Leicester's Levee.

FROM THE ABBOTSFORD EDITION OF "KENNILWORTH."

By William Harvey.

By permission of Messrs. Adam & Charles Black.

FOOTNOTES:

[1] With very trifling exceptions there was no railway traveling in England at that time, and only one steam vessel, the Hylton Jolliffe, sailed between Newcastle and the Metropolis, so that George Dalziel made the journey in a small trading vessel of some three or four hundred tons burden. The weather being calm and warm for the season, the little ship went pleasantly along until it had performed about half the journey, when, through negligence on the part of the chief mate, who was in charge at the time, the vessel was allowed to run aground upon a sand bank when nearly opposite Yarmouth. It was a beautiful sunny morning, and the ship was quickly surrounded by a great many fishing boats offering their services to take out part of the cargo, and so lighten it sufficiently that it might float again when the tide rose. This was done, and having gone a little further out to sea, the cargo was again put on board and the ship sailed away to London, where she finally cast anchor in the Thames nearly opposite the Tower, on a bright, fresh, Sunday morning, having occupied nearly a whole week in the journey.

[CHAPTER II.]

Charles Knight, Sir William Allan, R.A., P.R.S.A, John Franklin, William Mulready, R.A., George Routledge, Sir John Tenniel, George Cruikshank, W. E. Frost, R.A., F. R. Pickersgill, R.A., Fred Walker, A.R.A., R.W.S., Sir John Gilbert, R.A., P.R.W.S., Richard Doyle, and W. M. Thackeray.

Very early in our career we were, through our friend William Harvey, introduced to Charles Knight, the eminent publisher who did so much as a pioneer in introducing cheap and good literature to the people, as his "Penny Magazine," "Penny Cyclopædia," "Charles Knight's History of England," and many other kindred works bear ample evidence. And not only in literature but in art as well he took a bold and leading part: see his elaborately illustrated edition of Shakespeare's Works, the Bible, "The Land we Live in," and many highly interesting and instructive books. Perhaps the most beautiful of all was the illustrated edition of Lane's "Arabian Nights' Entertainments," a book which must always hold a foremost place among the most tastefully decorated volumes this country has produced.

It was only in association with Landells and Charles Gray that we were at all connected with this work, not having, at that time, any personal transaction with Mr. Knight, though we subsequently did a great deal of work for him, notably in his "Shakespeare" and "The Land we Live in."

Mr. Ramsay, Mr. Knight's sub-editor and literary manager, used to tell a curious story about one of the literary contributors to these volumes, whose name, for obvious reasons, we will withhold.

In this gentleman's early connection with Mr. Knight, he called and had a serious conversation with Ramsay, confessing his uncontrollable weakness for strong drink, and that his only safeguard was an empty pocket. He therefore begged of Ramsay never, under any circumstances, to advance him one penny upon his work, no matter how hard he might plead, or what story he might tell in urging the necessity for an advance of cash. Ramsay was to be firm and refuse to listen to him, and on no account to let him have money, and that all payment for work was to be forwarded to his wife. Ramsay promised faithful observance, and so matters went smoothly on for a considerable time. But one day M. N. came with a sad, doleful face, begging for an advance of ten pounds. Ramsay positively declined, reminding him of their compact.

"Yes, yes, that's all right, old fellow," he answered; "but this business is quite away from everything else. I don't forget the injunction I laid upon you, but this is altogether different; it is a case of the most urgent necessity." Then he went on and told a sad, touching tale of his boy having died suddenly, and the shock having brought on a serious illness with his wife, while, unfortunately, he was totally without funds to meet the unexpected demands upon his purse, or procure a nurse to attend upon her, as well as the comforts that were absolutely necessary under the circumstances.

For a time Ramsay stood firmly out, always reminding M. N. of his own proposition, but the man was so impressively urgent, appealing again and again on the score of his wife's critical condition, that at last Ramsay's scruples gave way, and M. N., lavish in his thanks, left the office with the ten pounds in his pocket.

It is, perhaps, needless to say that M. N. was not seen in Fleet Street for many days, and when he did turn up, shaky and dilapidated in appearance, it was only to load Ramsay with the most crushing abuse for having broken faith with him, and when Ramsay tried to shelter himself under the pathetic tale he had told about his sick wife and dead son, he only replied:

"D—— the sick wife and dead son! Why didn't you stick to your promise? I told you distinctly that it was possible I might come with some trumped-up story of urgent necessity, and a lot of such rubbish, and now see what a hole you have let me into. My son is perfectly well, and as healthy a lad as ever lived, and as for my wife, well, she was never better in her life, and is only suffering from the misery brought about by your unaccountably bad behaviour to me. I tell you, Ramsay, you are a traitor and a false friend, who has used me shamefully—shamefully!"

With these words M. N. left the office, but returned within half an hour seeking condonation, begging that Ramsay would overlook the foolish words he had used in a moment of unjustifiable irritation, and further show his good feeling by advancing him a trifle—say, a sovereign? No? Well, then, let it be five shillings? Still no! Ramsay was obdurate, and M. N., muttering, "Cruel man! Cruel, cruel man!" went away.

Mackay, as the Bailie Nicol Jarvie.

FROM THE ABBOTSFORD EDITION' OF "ROB ROY."

From a Painting by Sir William Allan, R.A., F.R.S.A.

By permission of Messrs. Adam & Charles Black.

In the year 1842 or 1843, through the kindness of the late Clarkson Stanfield, R.A., we were introduced to Mr. William Dicks, who officiated as art agent for Mr. Cadell, the Edinburgh publisher, then issuing a very elaborately illustrated edition of the Waverley Novels, which he named "The Abbotsford Edition," and employing on the work many of the very first artists of the day, both English and Scotch. We were entrusted to engrave a large number of the drawings. Among the first of these was a wonderfully life-like portrait of the Scotch actor, Mackay, in the character of "Bailie Nicol Jarvie," painted by Sir William Allan, R.A. and P.R.S.A.[2] The engraving of this portrait gave such entire satisfaction both to Mr. Cadell and Mr. Dicks that we were constantly employed upon the undertaking until its completion.

Among the artists whose drawings we had to engrave during the progress of this edition of the great "Wizard of the North's" novels, we may especially mention William Harvey, Clarkston Stanfield, R.A., Sir J. Noel Paton, P.R.S.A., John Franklin, Edward H. Corbould, Sir David Wilkie, R.A., Alexander Christie, and Robert McIan.

Children in the Wood. By John Franklin.

FROM CUNDALL'S SERIES OF CHILDREN'S BOOKS.

Through the friendship that sprung up with several of these gentlemen, and our connection with the Institute of the Fine Arts,[3] we became acquainted with many of the young artists who were introducing a new and more realistic feeling into the black and white work of the day. Among them were John Tenniel, at that time just returned from his studies in Germany, and strongly impressed with German Art, and what was termed "The Shaded Outline School"; Alfred Elmore, R.A.; Fred Pickersgill, R.A.; F. W. Topham; Edward Duncan; George Dodgson; John Absolon; all, except the Royal Academicians, members of the Old Water Colour Society, and the New—now called the Royal Institute of Water Colour Painters—besides many others who have since risen to great eminence in their profession.

John Absolon being then engaged on a set of illustrations to Collins' Poetical Works, to be published by David Bogue, he placed many of the drawings in our hands to engrave, which was the commencement of a long and intimate friendship—not only with the artist, for it also opened up a connection with Bogue which enabled us to produce some very creditable works together.

Early in 1851 John Franklin, many of whose illustrations to "The Abbotsford Scott" and the "British Ballads" we had engraved, placed in our hands some drawings he was making to illustrate a series of Fairy Tales, edited by Sir Henry Cole, then known to the literary world as "Felix Summerly," to be published by Mr. Joseph Cundall of Bond Street, who was an enlightened publisher with strong artistic taste, his great idea being a desire to raise the character of children's picture books. This was about the time that Van Voorst published "The Vicar of Wakefield," with Mulready's illustrations; one of the first high-class books of the period, which was so highly thought of that Mulready said he had commissions offered to him for pictures from these designs sufficient to keep him at work for the remainder of his life. It was at this time that Cundall induced Mulready to make a set of drawings for a child's primer: and very beautiful they are.

This series of Fairy Tales was continued, with pictures by Frederick Taylor, P.R.W.S., H. C. Horsley, R.A., and other artists of high repute.

Sleeping Child and Lamb. By William Mulready, R.A.

FROM A BOOK OF POEMS BY THE REV. T. J. JUDKIN.

Our connection with these two London publishing houses, added to the work we were doing for Mr. Cadell of Edinburgh, tended considerably to increase our responsibilities. And this may be the most convenient place to state that it was at Mr. Cundall's we were first introduced to Mr. George Routledge, who had called for the express purpose of asking Mr. Cundall to recommend a "good man" to engrave a small drawing on wood, a portrait of Sir Robert Peel, which he then had in his pocket. The commission was entrusted to us, and thus commenced a connection and a friendship which continued with unabated confidence and harmony for a period extending over forty years.

George Routledge, a strong-minded, clear-headed man of business, in his early days used to go personally to the larger north country towns, and get orders from the booksellers. His capacity in this branch was said to be something marvellous. An old Quaker bookseller, of Darlington, told us that Routledge never said, "Will thee buy this book?" but that it always was with him, "Thee must take it"; and as his wares were always good, the results were said to be many times beyond those of any other man "on the road." In the publishing business, he, in combination with his partners, William and Frederick Warne—both clever, energetic men,—made a force which developed their vast business so rapidly that Henry G. Bohn, the big publisher of that day, felt so jealous of their great success, that he used to say, "Well, it has taken three strong men to do it." After having produced sets of pictures by various artists, to many sorts of books, the most important of which was a small octavo of Longfellow's Poems, with illustrations by John Gilbert, they invited our co-operation, assistance, and direction in such matters, and it was then determined to do another edition of the same poems, more extensively illustrated by the same artist. They agreed to give us one thousand pounds for the pictures, which was to include Gilbert's charges as well as our own. The book proved a great success from every point of view, and to this day holds its own as one of the most beautiful examples of Sir John Gilbert's work as an illustrator. After the first edition many other poems were added, including "Miles Standish," all having Gilbert's illustrations to them.[4]

The book when first completed created a sensation. We remember asking Routledge what he thought of it. He was a pure business man. His reply was:

"We will wait and see what the trade has to say about it first—see whether they will subscribe largely, and then I will tell you what I think about it."

Edmondson, the binder, was so in love with his part of the work that, holding the volume in his hands, he said, "It is a beautiful book! a very beautiful book!" then added, in a slightly condescending tone, "And a good book inside, too."

William Warne dying rather early in life, Frederick Warne, his younger brother, separated from the Routledges, after the sons of George entered the firm, and built up a large publishing house of his own. We were on the very best of terms with all of them, and continued to work for both houses for many, many years.

Evangeline.

FROM THE POETICAL WORKS OF LONGFELLOW.

ILLUSTRATED BY SIR JOHN GILBERT, R.A., P.R.W.S.

By permission of Messrs. George Routledge & Sons.

Frederick Warne, a really clever, many-sided man, has now retired, but his three sons—all men worthy of their father—continue to conduct their large business on the old lines.

Of the many illustrated books which it has been our lot to superintend and issue to the world, there are two for which we are to a great extent exclusively responsible: these are "The Spirit of Praise," a collection of hymns, and "Golden Thoughts from Golden Fountains," a collection of such literary extracts from favourite authors as the title of the book will fully explain—one of us having spent much of his leisure hours in collecting and arranging their contents. The first of these volumes was originally published in the usual quarto form, with decorative borders and initial letters, printed in gold and colours, and subsequently much enlarged by the addition of many hymns as an octavo volume. The other, "Golden Thoughts," was in its main lines uniform with the first edition of "The Spirit of Praise." In both of these books are many of our own contributions, both in pen and pencil, in addition to several very fine examples of A. B. Houghton.

"The Abbotsford Edition" of the Waverley Novels did not prove a marked financial success, and when the property was acquired by Messrs. Adam and Charles Black, Edward H. Corbould, R.I., was commissioned to do a large number of illustrations for their new edition of these books, nearly all of which were entrusted to us to engrave.

In the early part of Queen Victoria's reign Corbould held a high position as a painter in water colour, and was one of the original members of the "Royal Institute of Water Colour Painters"—then called the "New Water Colour Society"—and so highly was his artistic ability appreciated by the Prince Consort that he was selected as art tutor to the Royal children. Perhaps no better selection could at that time have been made; for, though somewhat severe in style, he was a good draughtsman, painstaking, and of a kindly, genial disposition. He was ever full of amusing anecdotes of the sayings and doings of the Queen, Prince Albert, and his pupils.

Corbould did not appear to think it possible for any of those young people to commit a fault. In his eyes they were all sweetness and the perfection of goodness, "being," as he said, "without the least appearance of affectation." When asked if any of the young Princes or Princesses were clever, he invariably evaded a direct answer by saying:

"Er—well, you see, the Princess Royal makes up for the shortcomings of all the others, she is so very clever. Er—er—they are all clever and very nice."

During Corbould's connection with the Royal Family, on one occasion he wrote to us saying the Prince of Wales had got a scrapbook, and he was commissioned by the Prince to say how pleased he would be if we would give him some proofs of our engravings to put into it. We sent a large parcel, and in return Corbould wrote that the Prince was delighted with our contribution and wished him to express his "Warmest thanks to Messrs. Dalziel for their great kindness and liberality."

"26 July, 1863,
"21 Rutland Gate,
"Hyde Park.

"Dear Sirs,—I have received the impression, as well as my own, as also the proof for the Prince of Wales. I shall be at Osborne either on Thursday or Friday next, and I will give it to him. That which you engraved for the 'Keepsake, 1854,' is very beautiful, and so I shall keep the proof. Mr. Heath will be quite content and so shall I. You can tell him that I require nothing done to it. I thank you for the proof, but where are those from Spencer?[5]

"Yours very truly,

"Edward Henry Corbould."

During the early part of our career we became associated with Mr. Samuel Carter Hall, who was originator, editor and at that time proprietor of the Art Journal, and in a somewhat desultory fashion did a considerable amount of work together. Among other matters, we engraved many of the illustrations for "A Book of British Ballads," which was edited by Hall and published by Messrs. How and Parsons of Fleet Street. The drawings by Sir J. Noel Paton, P.R.S.A., John Franklin, W. B. Scott, E. H. Corbould, Henry Warren, and other artists, passed through our hands. When the great International Exhibition of 1851 was in preparation, and during the time it was open to the public, Hall published a series of profusely illustrated supplements to the Art Journal, showing the various classes of objects exhibited. On this work we were very liberally employed. These supplements were subsequently put together and published in one large, handsome quarto volume as an Illustrated Catalogue of that great and important Exhibition.

Many other catalogues, official and non-official, were published of the Exhibition, which contained a marvellous amount of every conceivable class of handicraft and ingenious device, but certainly, for comprehensive completeness, none of them at all approached the very beautiful volume which Mr. Hall gave to the world.

When we had finished our portion of the engravings, he was so grateful for the help we had given that he volunteered the promise that no other wood engravers should ever be employed upon his works. But perhaps it is only characteristic of the man to say that this promise was never carried out.

As already stated, we engraved a very large number of drawings for Mr. Hall with undeviating approval, and we were much gratified by the following passage in a letter addressed to him by E. M. Ward, the Royal Academician, on our submitting a proof of an engraving we had executed:

"The cut is admirable in every way. I have nearly finished the drawing of 'The Royal Family of France,' and will send it immediately it is done. I hope you will have the 'Royal Family' done by Dalziels', as you said it should be; they would manage the faces much better than——

"Yours ever truly,

"E. M. Ward."

Almost as a matter of course we became associated with Kenny Meadows, a clever, erratic genius, and an artist of great ability. He had a wonderful and strangely fanciful imagination, and perhaps will be best known in time to come by his "Illustrated Shakespeare" and his "Heads of the People"; there is one other work which is not likely to be forgotten, "A Head of 'Old Father Christmas,'" which did good service for a Christmas number of the Illustrated London News. He was intimately connected with Orrin Smith, the distinguished wood engraver; their earliest work being character sketches and heads of the people done for Bell's Life in London, which was somewhat a pioneer in illustrated journalism. Meadows at that time was generally known as "Iron Jack," from the fact of his robust health, which he attributed entirely to a simple style of living in his early life, much of which was spent in a lighthouse, where, he declared, they never had enough to eat. He said, "I used to devour my food like a ravening wolf."

No amount of alcohol ever appeared to hurt him, and to those who suffered from excess of indulgence he attributed it entirely to over-eating in their early days, before the constitution was fairly and properly formed.

"Or sweetest Shakespeare, Fancy's child,
Warble his native wood-notes wild."

"L'Allegro" and "Il Penseroso."—Milton.

By Kenny Meadows.

By permission of the Council of the Art Union of London.

We were so closely connected with him that when he was first asked to work for Punch, he stipulated that we should have all his drawings to engrave. This arrangement did not last long, for he was of a very uncertain nature, and changeable in his moods. His friendship was not of the kind that would stand much, if any, strain, and after he had "imbibed" a little, he not infrequently became "nasty." Once at a public dinner, on the name of Punch being mentioned, he started from his chair, saying, "Gentlemen, I am Punch!" which really was more than insulting to several Punch men who were present.

At one of the early Illustrated News dinners, Herbert Ingram, speaking of the great success of the journal, said, "And, gentlemen, we all share in the credit of producing this wonderful paper." Meadows was immediately on his legs, saying, "Yes, but have we all shared and shared alike in the recompense?" "Yes, Mr. Meadows," said Ingram, "we have all shared alike, according to what we put into the venture."

While Meadows worked for the Illustrated London News we engraved many of his drawings and saw much of Herbert Ingram and his partners, Nathaniel Cook and William Little. Ingram was the founder and principal proprietor of the paper; a man of strong character, self-willed, but both generous and just. We were in the habit of suggesting and procuring subjects for them.

We had induced Richard Doyle to make twelve drawings of the months for the Illustrated London Almanack. Nathaniel Cook disputed our charge, but we stood out. Ingram sat quiet whilst the talk went on. At last he said, "Have Messrs. Dalziel done the work well?" "Oh! there is no dispute about that; the work is well done." "Then," said Ingram, "pay the money and let there be no dispute about it."

That is a single, but a true, illustration of the sort of man Herbert Ingram was.

Meadows used to say that Nature put him out, and so it did. Looking at his raised hand with pointed finger, he would say, "I cannot see a hand as I would draw it."

The first time Meadows met John Leech after he began to draw on Punch, he raved about the drawings, said Leech was the greatest man who had ever drawn on wood, that he, Meadows, ought to retire from art altogether and seek some other occupation, that his light was out, and much more to the same purpose. But as the bottle went round, the feeling gradually changed, and it ended in Meadows praising his own work and telling Leech that he must alter his style altogether if he ever hoped to take a position as an artist—that his work was mere commonplace drivel, and that he must put imagination into his work "such as I do in mine, sir."

But judged by his time, Meadows was a very clever man with much quaint fancy. Many of his initials are singularly pretty, and his "Shakespeare" will always have a place in the history of black and white work.

In Kenny Meadows' days, the artist in black and white had not thought of the advantages of drawing from the living model; neither William Harvey nor Sir John Gilbert ever drew from Nature, and George Thomas was one of the first, if not indeed the very first, to draw on wood direct from life. This was about the early part of the Crimean War, and his subjects were chiefly of sailors and their doings, and very clever they were. It created something of a sensation at the time, for the idea of an illustration being drawn from the life had not before been heard of except in special cases. No doubt Mulready had life models for his "Vicar of Wakefield" drawings, and later on Millais never drew without the life, nor did any of the pre-Raphaelite School, but this was the gradual and natural development of a new method, and innumerable drawings by the younger artists which passed through our hands were all drawn direct on wood from the life.

After spending much time and labour in experimenting, as well as spoiling a great many blocks, we succeeded in getting fairly good photographs for the engraver's purpose on other pieces of wood, and so the valuable original drawings were preserved. This success was obtained about the beginning, though not at the very beginning, of our operation on the Bible illustrations. Then followed, as a matter of course, the constant practice of making drawings upon paper which were photographed on wood. By this means nearly all the exquisite drawings in black and white made by Leighton, Poynter, Houghton, and many other of the artists who worked in association with us have been preserved, and now adorn some of the public permanent galleries.

A Ball-Room. By Frederick Walker, A.R.A., R.W.S.

FROM "LONDON SOCIETY."

By permission of Mr. James Hogg.

Among the early drawings by John Leech that passed through our hands were those he made for Thackeray's "Irish Sketch Book," which were probably copied from Thackeray's own pencil work, for he was not above having help on his drawings, the result not always being such as he expected. One day he said to Joseph Swain, "Why don't you engrave my drawings to come out like John Gilbert's—his work always looks so strong and mine so weak and scratchy?" Swain tried other helping hands, but seldom with satisfactory results. It was in this way that Fred Walker's connection with Thackeray began, Swain having induced him to work on the author's drawings, which he did on one or two, but very soon declined to go on with them. Walker asked that he might make original drawings direct from the story in his own manner, to which Thackeray agreed; and the result was a fine set of drawings for "Philip" and for other stories, as well as a close friendship between author and artist, only broken by the death of the great novelist.

We engraved many of Leech's drawings, notably the first he did for Punch—"Foreign Affairs" (as before mentioned). It was a full page, and had to be worked at from the moment it came into our hands till it was given to the printer.

John Leech, speaking of Frith's picture of "The Derby Day," could not understand how it was that Frith, in this carefully thought out and elaborate work, had missed one of the most notable facts at such places—inasmuch as he had not depicted anyone of the crowd smoking a pipe or cigar.

A Lay of St. Dunstan. By George Cruikshank.

FROM THE "INGOLDSBY LEGENDS."

By permission of Messrs. Macmillan & Co.

The vain, versatile George Cruikshank believed himself another "Admirable Crichton." He really thought he could do anything, and that most of his time having been spent as an illustrator was the result of circumstance and not of choice. He was impressionable in the highest degree, and depending on the subject under notice, immediately realised and expressed his ideas of what "should be done, and what he would have done if things had favoured him for a career in that direction." Once, the question being of a naval character, he said, "It was by the merest chance that I did not go into the Navy; and with my knowledge of such matters, no doubt I would have been a Rear-Admiral." He was great, also, on the Army, and no doubt felt that had circumstances drifted him in that direction, he would have become another Duke of Wellington. No man ever had greater faith in self than the clever, excitable George Cruikshank.

On the occasion of his exhibiting a small oil picture at the British Institution, called "The Dropped Penny," the fact that it was purchased by Prince Albert no doubt called extra special attention to it, to the extent that it might have been sold many times over. One gentleman was most anxious to have it; or, if this was impossible, would he make a replica? This George declined to do, but undertook a commission, only on the understanding that choice of subject and of size were to be left to him. This was readily agreed to. "The Dropped Penny" was a little thing about 18 by 24 inches. It was a comic picture—two urchins in church, one of whom having dropped a penny on the stone floor is about to pick it up, but they are observed by the Beadle.

When the new work was completed, the gentleman was invited to see it. He found, to his amazement, a picture 16 feet by 20 feet; subject, "The Raising of Lazarus."

The Lord of Toulouse. By Sir John Tenniel.

FROM THE "INGOLDSBY LEGENDS."

By permission of Messrs. Macmillan & Co.

George always thought his true forte was the Grand Historical, and with much cause, when we think of his wonderful illustrations to Harrison Ainsworth's "Tower of London," "Windsor Castle," and other romantic histories.

In the illustrated edition of the "Ingoldsby Legends," published by Messrs. R. Bentley & Son, we had the good fortune to engrave nearly all the drawings contributed by John Tenniel and George Cruikshank. During the progress of the work we saw much of the latter gentleman, who was an exceedingly entertaining companion, being always ready with some anecdotes or reminiscences of his experience. Amongst his many grievances (and George Cruikshank's stock was an assorted one) he complained bitterly of the treatment he had received at the hands of Charles Dickens, with reference to the authorship of "Oliver Twist." Cruikshank maintained "that he had not only suggested the subject to Dickens, but that he had also given him the entire plot, sketched the characters, arranged all the incidents, and, in fact, constructed the entire story; so much so, indeed, that the book was, to all intents and purposes, HIS; for all that Dickens had to do with it was TO WRITE IT OUT, and any man who could hold a pen might have done it better"; concluding with, "I am only sorry now I didn't do it myself." Those were the old man's identical words, as spoken to us.

On one of his visits he related the following interesting circumstances in connection with his famous publication of "The Bottle."[6] This was a series of pictures, the first showing a young, well-conditioned mechanic, sitting in his small, comfortably furnished room surrounded by his wife and three or four children; then followed in order how, in consequence of a constantly increasing habit of intemperance, they sink gradually down in the scale of life, until they go entirely to ruin; his sons to penal servitude, and his daughter to degradation, while both his wife and himself die in the greatest misery and want.

The Wedding Day. By George Cruikshank.

FROM THE "INGOLDSBY LEGENDS."

By permission of Messrs. Macmillan & Co.

When on the eve of publication, Cruikshank obtained permission to submit the etchings to Dr. Blomfield, the then Bishop of London. The Bishop took great interest in looking at the pictures, and asked many questions as the series was turned over, expressing his great admiration in the warmest terms. Then turning and looking Cruikshank full in the face, he said:

"And am I right in coming to the conclusion, Mr. Cruikshank, that you are a staunch total abstainer?"

Cruikshank, in relating this incident to us, said he never in all his life felt himself in such an awkward position, for he was obliged to confess that he did indulge in a little alcohol—occasionally—and that in great moderation.

"You astonish me, Mr. Cruikshank!—you very greatly astonish me!" said the Bishop. "For how a man who is able to depict so forcibly all the misery, the horrors and degradation arising from the indulgence in strong drink as you have done, and himself indulge, even in a moderate degree, is a mystery which I cannot understand."

"On my way home," continued Cruikshank, "I felt so inexpressibly ashamed of myself, and how true the Bishop's remarks were, that I resolved at once to begin the change which I had long contemplated, and I subsequently succeeded in bringing about the desired effect.

"It so happened that a few days after my interview with the Bishop, I received an invitation to dine with a gentleman who was famous in Society for the recherché character of his frequent dinner parties, where the wines were of the choicest brands and most tempting quality, and everything was served in the most dainty and perfect fashion.

"Now is the time, I said to myself, to prove my strength of purpose. I was successful in resisting all temptation, and left the house after spending a delightful evening without having tasted a single drop of any other liquid than water.

"The next morning when I went into my study," continued Cruikshank, "I patted my head and said, 'George, old boy, you have done well! You have succeeded, George. You have gained a gigantic triumph, and now you must go on, unflinchingly, and conquer!'—and I did. From that day no alcohol of any description ever crossed my lips, and never shall! Never! I'd rather die first!"—here the gallant old fellow posed himself in a dramatic attitude, and throwing out his left arm, and striking his right hand sharply upon his breast, cried in his ringing voice, "Fire!"

During the latter half of his active life he gave much of his time to the cause of temperance, and no doubt his influence had very great effect. At one of his lectures on the subject at Exeter Hall he held up a brand new "pot" hat of shiniest kind and said, "Ladies and gentlemen, this hat as you see it represents George Cruikshank, the temperance advocate, as he now is." Then throwing the hat to the ground, the brim being undermost, he jumped on the crown, crushing it flat, then holding it up to the audience, shouted, "And this represents George Cruikshank, the drunkard, as he was!"

The old man stuck to his resolution for the remainder of his life, and even on his death-bed, when his medical attendant, the late Sir W. B. Richardson, himself a staunch total abstainer, prescribed that small quantities of brandy should be taken—of course medicinally—he persistently refused to drink it, and so died at an advanced age, firm in the determination which he had formed many years before that not a drop of alcohol of any description should ever pass his lips again.

The first drawings by F. R. Pickersgill that came into our hands to engrave were for "Poems and Pictures," an early "fine art" book, published by J. Burns, of Orchard Street, which contained designs by many of the leading artists of the time, including several by W. Dice, R.A., Cope, R.A., Creswick, R.A., and others. Our connection with Pickersgill—one of the kindest and best of men—soon ripened into a close friendship, and it was to him that we gave the first commission at our own cost for a set of drawings to illustrate "The Life of Christ," desiring to follow the example of Rethel's "Dance of Death," which had just been published in Germany at a very small price.

Our first Part contained six large pictures, printed with a flat tint, the price being one shilling. The second Part, "The Miracles of our Lord," contained the same number of pictures, and at the same price. Our attempt to produce high class art at what was then thought to be a nominal price was not responded to. Other interests were too strong for us; and although we tried the aid of some first-class publishers the scheme would not take. We well remember calling on a well-known publisher of Scripture work, who, admitting the excellence as well as the cheapness of the publication, summed up his refusal to purchase copies with the remark, "I really cannot afford to set your cask of wine alongside my barrel of beer."

The Adoration of the Maji. By F. R. Pickersgill, R.A.

REDUCED COPY FROM ONE OF HIS PICTURES FOR "THE LIFE OF CHRIST."

Published for the Brothers Dalziel by Messrs. Chapman & Hall.

Pickersgill made drawings for many of the fine art books produced under our care. He also made a series of large drawings on the subject of "The Lord's Prayer," the text of which was paraphrased in verse by Dean Alford; the book being published by Messrs. Longman & Co. He also contributed many beautiful drawings for our Bible Series.

A friend of Pickersgill, the Rev. T. J. Judkin, an eloquent preacher and clever amateur artist, and a pupil of Constable's, produced a Volume of Poems to which many of his artist friends contributed drawings, amongst whom were F. R. Pickersgill, R.A., W. Mulready, R.A., Clarkson Stanfield, R.A., E. M. Ward, R.A., and W. E. Frost, R.A., all of which we engraved for him.

F. R. Pickersgill, R.A., J. C. Hook, R.A., and W. E. Frost, R.A., formed a trio in their student days, working much together, and all illustrating the same subjects—chiefly passages from Spencer's "Fairy Queen," and Italian or Venetian History, basing their style very much upon the Early Italian School. Later in life a closer tie existed between two of these artists, Pickersgill marrying Hook's eldest sister.

Pickersgill told us a somewhat comical experience Hook had with the Council of "The Art Union of London," who were then procuring a set of drawings on wood by various artists. One subject having been entrusted to Hook, he sent his drawing in, and was asked to call at a stated time, which he did. He saw at once there was something wrong, as the gentlemen sat looking at each other. At last one mustered courage to speak, saying:

Fairy Dance. By W. E. Frost, R.A.

FROM A BOOK OF POEMS BY THE REV. T. J. JUDKIN.

"We like your drawing very much, Mr. Hook, but—er—doesn't it want colour?—er—where—er—where is your bit of black?"

"I don't want a bit of black," said Hook.

"Oh, but we must have a bit of black. There's Mr. B——, now, he always gives a bit of black."

Hook, feeling fearfully annoyed, took up the drawing, and dipping his finger in a glass of water, smeared it over, saying:

"There, gentlemen, there is your 'bit of black,'" and throwing down the drawing, left the room.

The following short letter from Mr. Hook, which bears upon this subject, will be of interest:

"Tor Villa, Kensington,
"8th April.

"Dear Sirs,—I do not manage wood-drawing well at all—not well enough even to do me credit, or I would have done you a drawing with pleasure. I failed some time back in doing one for the Art Union, and recollecting that the blocks they sent me had your name on them, I return them also.

"Believe me, dear Sirs,
"Yours truly,

"J. C. Hook.