time been incurred, all further progress in the scheme was abandoned.

Amongst much interesting work in which we were associated with Ward
& Lock, was a very charming edition of "The Pilgrim's Progress,"
containing 100 beautiful pictures, drawn entirely by Thomas
Dalziel--thus adding another to the many editions of this wonderful
book which we had been called upon to embellish.

Our connection with Messrs. Ward & Lock continued for many years after
"The Arabian Nights" transaction had terminated.

It was through an introduction by G. J. Pinwell that we first met J.
W. North. He began as a pupil of J. W. Whymper, in whose studio he
made many small drawings, most of which were modelled on the works of
Birket Foster. North said that all the art teaching he ever got at
Whymper's was that when a subject was given him, a print of one of
Foster's was placed before him, with instructions to make his drawing
in that manner. We were struck, not only with the earnestness of his
method, but the beautiful drawing and his sweet simplicity of style.
But it is a fact that publishers generally did not care for his work,
and, broadly speaking, all the drawings he did for us were in the
form of commissions given direct by ourselves, and at our own risk.
Most certainly we have nothing to regret in this; for in different
forms he gave us some of the finest English landscapes that have been
produced in black and white. Amongst the most important are those which
we placed in our "Round of Days," in "Home Thoughts," and in "Jean
Ingelow's Poems." And whatever reputation North may have gained in
other branches of art, we feel assured that these early works will form
no small part of that distinction.

    "_Silent they stood, each gazing on the dust
    Of kindred;--on the well-beloved ones
    Whom they should never lie beside in slumber._"

                           "The Exiles of Glen Oona."--ROBERT BUCHANAN.

BY WILLIAM SMALL.

_By permission of Mr. John Hogg._]

From his earliest practice of art he devoted much time to water colour
painting, and was elected, on his first "sending in," to the Royal
Water Colour Society, where he at once became one of its most prominent
members, producing, year by year, landscapes of singular beauty. He
also painted several important landscapes in oil, which called forth
much attention at the Grosvenor and at the New Gallery, and for some
years now has had the distinction of A.R.A. as an affix to his name.

It has always been a pleasant memory to us in having had it in our
power to be of some service to this talented artist when he started on
"the battle of life."

We became possessed of several of his very charming water colour
drawings, one of the most important being two beautiful rustic children
looking at a dead robin lying on the snow; another, "An Old Wooden
Bridge," the design of which he used in illustrating one of Jean
Ingelow's poems; and "A Storm at Sea," which is an exquisite piece of
colour.

    "_Then calling to his henchman red,
    'Slit me the throat of the Priest,' he said;
    'His red heart's blood shall flow before
    A gracious sacrifice to Thor.'_"

                                             "Hahon."--ROBERT BUCHANAN.

BY EDWARD DALZIEL.

_By permission of Mr. John Hogg._]

Our first introduction to Jean Ingelow was through Mr. Niles, of
Roberts Brothers, Boston, U.S., who wanted some illustrations done for
her poems. Some six or eight page drawings were made by J. W. North,
and the success of that venture induced us to make terms with her for
the elaborately illustrated edition of "Jean Ingelow's Poems," for
which we retained the English rights, and which we produced and placed
in the hands of Messrs. Longman, her English publishers. The pictures
were by various artists--Pinwell is at his very best in "The High
Tide," "Winstanly," and many others; so is J. W. North, who gave us
numerous examples in his most refined manner. Wolf, Small, and Houghton
are all there in good form. There is one fine example of Sir E. J.
Poynter, P.R.A., of "Euphrosyne," and there are a number of our own
drawings of which it is needless to particularize.

It was in our connection with _Good Words_ that we first came in
contact with Robert Buchanan, who was at that time coming right to the
front as a popular poet. At our invitation he was induced to write
and procure verses to the set of pictures by Fred Walker and others,
which were published as "Wayside Posies," and for which he gave us much
beautiful work. After this we made arrangements with him to produce an
illustrated book, to be called "North Coast and Other Poems," which
afforded plenty of scope for pictures of varied kinds. Commencing with
"Meg Blane," a strong dramatic story of the sea is fully illustrated
by A. B. Houghton and Thomas Dalziel. "An English Eclogue" has a
fine example of G. J. Pinwell; the same may be said of "The Battle
of Drumlie Moor," and of the illustrations to "The Ballad Maker" and
"Sigurd of Saxony." Houghton's pictures to "The Northern Warning" and
to "The Saint's Story" are all powerful works. There are also two very
fine drawings by William Small from the truly pathetic story of "The
Exiles of Glen Oona."

[Illustration: MUSIC.--A MAN AT THE SPINET.

FROM "GOOD WORDS."

BY J. M. LAWLESS.

_Published by Mr. Alexander Strahan._]

"Ballad Stories of the Affections" was always a favourite book with
us--the fine old ballads giving such an opportunity for pictures of an
imaginative, poetic character. Two of Pinwell's--"Maid Mettelil" and
"Young Axelvold"--are of exceeding beauty. Of A. B. Houghton's those
for "Signelil, the Serving Maiden," and that for "The Two Sisters" are
amongst his best. J. D. Watson has some good pictures, and those by J.
Lawson illustrating "Aage and Elsie" are strong dramatic work. As to
our own drawings, which are numerous, we will only say that we loved
the subjects, and had much pleasure in making the drawings.

Among the many truly gifted young artists who came under our notice
at this period was J. M. Lawless. His drawings were of such a refined
and accomplished character that he at once took a place amongst the
distinguished men of the time. He exhibited some few pictures at the
Royal Academy which brought him prominently before the public; one of
these, "A Midnight Mass," another, "A Sick Call"--a poor woman has been
to fetch a priest, who, with his acolytes, is being rowed across a
river; the woman's deep grief, and the solemnity of the entire scene,
gives a touch of pathos to the group, and suggests it being a case _in
extremis_. From "A Man at the Spinet," which we give, he painted a
sweet water colour. Lawless was regarded as a "coming man," but, alas!
like others of that "golden period" of Illustrative Art he passed away
at quite an early age.

FOOTNOTES:

[18] It is a curious fact that on this occasion the picture was lost
for some two or three months, but was ultimately restored to us
uninjured.

CHAPTER VI.

    _LORD LEIGHTON, P.R.A., G. F. WATTS, R.A., SIR E. J. POYNTER,
        P.R.A. F. MADOX BROWN, HOLMAN HUNT, THOMAS DALZIEL, S. SOLOMON,
        SIR E. BURNE-JONES, BART., F. R. PICKERSGILL, R.A., SIR GEORGE
        GROVE._

"Dalziel's Bible Gallery" is composed of sixty-two pictures, most
of which are of a very high order; many quite up to the standard we
aimed at when planning our project for an "Illustrated Bible." Special
mention may be made of those by Lord, then Sir Frederick, Leighton,
Bart., P.R.A., whose drawing of "Cain and Abel" will always rank as
one of the grandest examples of Biblical art of modern times; nor less
highly must be estimated his "Death of the First Born." The "Samson"
subjects also are very fine, particularly that of "Carrying the Gates";
and another notable subject is "Moses Viewing the Promised Land"; but
all his contributions, nine in number, will stand amongst the finest of
his works in black and white.

An art critic, in an appreciative notice of works exhibited at the
Old Water Colour Galleries, where some of Lord Leighton's drawings
were on view, wrote the following words in reference to one of the
illustrations done for the "Bible" series:

    "Whenever we have had anything to write of the late Lord Leighton
    we have always praised him as a draughtsman; we have always pointed
    to his book illustration as his greatest achievement...."

    "It is not, we must confess, so impressive a design as the grand
    'Moses,' or the powerful 'Samson bearing away the Gates.' But it
    has been put together with all the dignity that the old decorators
    would have bestowed upon the subject, 'The Death of the First
    Born.' It might have been, with its three panels beneath, designed
    for an altar.... The drawing was done for 'Dalziel's Bible,' a
    publication that was packed with as good book illustrations, as
    varied illustrations, as ever were produced in England, but that
    was financially a failure. There is, therefore, every reason why
    the public should never have appreciated the original designs.
    But though for Messrs. Dalziel the book was financially never a
    success, some day their effort to produce the best engravings
    they could from the best drawings they could get will be
    acknowledged."--_Daily Chronicle, Feb. 20th, 1897._

The following letters will interest the reader, as showing how
earnestly Lord Leighton entered into this project of illustrating the
Bible:

    "DEAR SIRS,--I have begun to consider the subjects you propose
    to me, and will shortly send you a list of the passages in the
    stories of Samson, of Elijah, and of Jezebel, which appear to me
    particularly to suggest illustrations. One question I would ask:
    when you spoke of 'six designs' was it that you wished no more
    from those chapters, or was it that some are already given for
    variety to other hands, or that you thought I would not do more for
    you? I ask this because the subjects I shall send you may be more
    likely twelve than six. By-the-by, eventually when you get to the
    Apocalypse I have a great fancy to design the Four Riders.

                           "I am, dear Sirs,
                        "Yours very faithfully,
                                                      "FRED. LEIGHTON."

Again:

    "DEAR SIRS,--Many thanks for your letter. When I selected, as
    particularly congenial to me, the subjects from Elijah and those
    which concern Jezebel, it was only to secure them for myself
    eventually, as I have a great fancy for them, but I am quite ready
    to take the subjects of this year as early in the Bible as you
    please, if you will only send me your suggestions. Who is going to
    do that magnificent subject of the 'Promise to Abram that his seed
    shall be as the stars'? If no one, I shall be glad to take it. Of
    the three subjects you propose I should like to single out 'Moses
    Viewing the Promised Land' (not the design I made for St. Paul's)
    and 'David's Charge to Solomon,' also 'Balaam and his Ass' if you
    like. I don't see my way to making a good thing of the 'Judgment.'
    The others seem to call for a great many figures, and you expressed
    a wish, when I saw you last, to confine yourself to subjects
    expressed with very few, if possible.

    "The 'Samson' is indeed short, but contains much that lends itself
    for illustrations. I should have wished to treat the following
    subjects at least: 'The Angel Disappearing in a Flame after
    announcing to Manoah and his Wife, the Birth of Samson,' 'Samson
    and the Lions,' 'Samson and the Gates,' 'Samson in the Mill'; the
    other subjects from the wonderful story would require complicated
    groups. The above are all broad, simple, and very pictorial. As it
    is you will find it impossible to distribute your illustrations
    equally over a book like the Bible, in which one chapter will
    sometimes contain four or five subjects, and four or five chapters
    be without one. Will you let me know at your convenience what
    passages you would like me to treat _early_ in the Bible this
    summer? It will save time if you can; I shall meanwhile ripen them
    in my head.

                           "I am, dear Sirs,
                          "Yours faithfully,
                                                      "FRED. LEIGHTON."

[Illustration: CAIN AND ABEL.

BY LORD LEIGHTON, P.R.A.

FROM "DALZIEL'S BIBLE GALLERY."

_By permission of Messrs. Herbert Virtue & Co., Ltd._]

  Dear Sir

    I send the block I promised you for the end of this month.--I need
    not say I trust you will give peculiar care of the modelling of
    the flesh in which the lightest deviation from the drawing may
    destroy all anatomical correctness--I should with the execution the
    _facsimiles_ throughout--nevertheless in passages where the ink has
    changed and the shading become spotty you will use your discretion
    about leaving the effects--in one or two places also thin lines
    will perhaps require splitting to make them grey--the _white_
    troubles are of course only _corrections_--_not high lights_.

                               Dear sirs
                           Yours faithfully
                                                         Fred Leighton]

                                                             "_Monday._

    "DEAR SIRS,--Before starting for the Continent I write to tell you
    that you will, in a day or two, receive three wood cut drawings
    from me. I should have sent you a fourth which was also finished,
    and the best of the four (it represented the 'Escape of the Spies
    from the house of Rahab'); unfortunately at the last moment I spilt
    some Indian ink on the upper part of it, and shall have a very
    tedious day's work to restore it, when I return early in November.
    I am sorry for this as I rather pleased myself on this design. I
    shall be in Venice all September--a letter addressed to me, _poste
    restante_, in that town, will find me. I start in a few hours.

                              "In haste,
                          "Yours faithfully,
                                                      "FRED. LEIGHTON."

Why Lord Leighton did not execute so many drawings for our "Bible" as
he had originally intended, the following note will explain:

[Illustration: MOSES VIEWS THE PROMISED LAND.

BY LORD LEIGHTON, P.R.A.

FROM "DALZIEL'S BIBLE GALLERY."

_By permission of Messrs. Herbert Virtue & Co., Ltd._]

    "DEAR SIRS,--I send you two designs for the 'Bible' with apologies
    for the delay in finishing them. I very much regret I find that
    the minute work--without which I cannot satisfy myself--on these
    drawings has proved terribly trying to my eyes. I must therefore
    ask you to relieve me, for some time at least, of my promises to
    make some other drawings, as I know that you have already suffered
    much delay. I hope you will not scruple to give away my subjects.

                              "In haste,
                           "I am, dear Sirs,
                          "Yours faithfully,
                                                         "F. LEIGHTON."

G. F. Watts, R.A., also expressed himself in high approval of the
project, and promised his ready help, but ultimately he contributed
only three drawings. His letter will be of interest:

                                                 "LITTLE HOLLAND HOUSE,
                                                    "_July 19th, 1863_.

    "GENTLEMEN,--I am sorry my designs have been so long delayed. I
    have not succeeded in rendering one sufficiently satisfactory
    to myself to send to you. The fact is I have not the habit of
    making designs for wood cutting, and the subject is not a good
    one; my time also is fully occupied, and my health is not good.
    These reasons taken together may form some excuse for my apparent
    neglect; I don't think I can find time, anyhow, to make any fresh
    attempts for the next ten days or a fortnight, so perhaps I had
    better send you back the wood block. If you can wait till after
    that time I will again try what I can do, in order that you may not
    be disappointed, but I do not feel I can make much of the subject.

                             "Yours truly,
                                                         "G. F. WATTS."

Some slight objection having been taken to one of Mr. Watts' drawings,
and a reconsideration suggested, he wrote the following letter:

[Illustration: ESAU MEETING JACOB.

BY G. F. WATTS, R.A.

FROM "DALZIEL'S BIBLE GALLERY."

_By permission of Herbert Virtue & Co., Ltd._]

                                                "_December 16th, 1863._

    "GENTLEMEN,--I am always ready to receive and act upon criticism,
    and have therefore added a little to the size of the head of Noah,
    according to your suggestion; but my object is not to represent
    the phrenological characteristics of a mechanical genius, but the
    might and style of the inspired Patriarch. For the same reason I
    have thought it fit to give the length of limb and flexibility of
    joint still commonly seen in the East, tho' very rare in northern
    countries.

    "I made drawing my principle study for a great many years, and
    consider myself at liberty to depart from mere correctness if
    necessary for my purpose; especially if the incorrectness resulting
    be more apparent than real. The accompanying figure, traced from
    the drawing, as you can verify, will show that the disproportion is
    not much less than you imagined, and that the stretch of limb is
    perfectly possible; at the same time I think it most probable that
    it would be objected to, and I do not ask you to risk condemnation,
    and by no means wish you to keep the drawing; but if I do anything
    for you, or anybody else, I must carry out my own sentiment.

                         "I remain, Gentlemen,
                          "Yours very truly,
                                                         "G. F. WATTS."

Unstinted praise ought also to be given to the ten contributions of Sir
E. J. Poynter, P.R.A. For conception of subject, beauty of design, and
wonderful manipulation, they must all be regarded as fine examples of
Scriptural art. We must specially mention the drawings from "The Life
of Joseph": "Joseph Distributing the Corn," "Pharaoh Honours Joseph,"
and "Joseph Presents his Father to Pharaoh." From the latter design
he painted for us a most exquisite water colour drawing. Then, again,
"Moses and Aaron before Pharaoh," "Miriam," and "Daniel's Prayer," are
all remarkable for purity of treatment.

[Illustration: JOSEPH PRESENTS HIS FATHER TO PHARAOH. BY SIR E. J.
POYNTER, P.R.A.

_By permission of Messrs. Herbert Virtue & Co., Ltd._ FROM "DALZIEL'S
BIBLE GALLERY."]

While arranging subjects for illustration for the "Bible" we received
the following note:

                                              "62 GREAT RUSSELL STREET,
                                                 "_November 6th, 1865_.

    "DEAR DALZIEL,--May I do the following subjects from the Psalms?--

    "(1) 'David singing praises to the harp,' to be put either as a
    heading to the Book of Psalms or to illustrate any of the Hymns of
    Praise and Thanksgiving.

    "(2) 'David penitent,' or a figure of 'Penitence,' to head the
    Fifty-first Psalm. I have made sketches for these, which I think
    will do. Something, I think, might be made of the following,
    although I have no decided notion upon them as yet:

    "(3) 'The Heavens declared,' etc.--_Psalm xix. 21._

    "(4) 'Yea though I walk through the valley of the shadow of death I
    will fear no evil,' etc., etc., etc.--_Psalm xxiii. 4._

    "(5) 'The singers went before,' etc., etc., etc.--_Psalm lxviii.
    25._

    "I dare say I could find more, but these are enough to go on with
    for the present, no doubt; if I think of others I will let you
    know. I am sorry that you have again had to send in vain for the
    'Joseph' drawing, but the fault was not mine; I was out of town
    and had left word with the servant that she was to give it to the
    messenger, which she failed to do. I think I could go on with the
    two first subjects at once.

                          "Very truly yours,
                                                    "EDWARD J. POYNTER.

    "I will take up your 'Joseph' drawing as soon as I can manage to
    get up so far."

Sir E. J. Poynter, P.R.A., was born in Paris, 1836; and was educated
at Westminster, Ipswich, and Brighton College. He returned to Paris
to receive his art training, and entered the studio of Gleyre, going
afterwards to Antwerp, where he was fellow-student with Alma-Tadema and
George Du Maurier. In Rome he made the acquaintance of Leighton, and
for a short time worked in his studio there. He was elected into the
Royal Academy, 1869, and to full honours in that institution, 1876,
attaining the highest honour, that of President, November, 1896. This
is but a short record of a very brilliant career.

[Illustration: MIRIAM.

BY SIR E. J. POYNTER, P.R.A.

FROM "DALZIEL'S BIBLE GALLERY."

_By permission of Herbert Virtue & Co., Ltd._]

We were first attracted to his work, at a minor Exhibition in Newman
Street, by a small, but very charming water colour drawing of "Egyptian
Water Carriers"--two, half-length, beautiful girls--which we bought, on
its merits, not having any previous knowledge of the artist. Several
years after, this picture was engraved and included in our "Bible
Gallery."

The following letter, remarking upon a proof from one of his drawings
for the "Bible" submitted for correction, is one of several we received
from Sir Edward J. Poynter during the progress of the work:

                                                   "UNIVERSITY COLLEGE,
                                          "_Thursday, Nov. 28th, 1871_.

    "DEAR MR. DALZIEL,--I have touched a little on the proof with a
    view to getting a little more breadth of light. The reduction so
    concentrates the effect that it looks rather spotty; I was a little
    afraid it might. The light on the floor especially seems to want
    shading more gradually into the background; cutting out the cross
    lines in the hatching on the left hand side would, I should think,
    do this, and thinning the lines generally as they get nearer the
    light. I have made a slight alteration in the head of the young
    lady standing up by taking out some of the shading, and one or two
    other points are touched with a view to simplicity. I hope I am
    not giving you too much trouble! The engraving is most beautiful,
    especially the two near figures, which are wonderful; indeed,
    whatever is wrong is my own fault.

                          "Very truly yours,
                                                   "EDWARD J. POYNTER."

[Illustration: ELIEZER AND REBEKAH AT THE WELL.

BY HOLMAN HUNT.

FROM "DALZIEL'S BIBLE GALLERY."

_By permission of Messrs. Herbert Virtue & Co., Ltd._]

We are tempted here to print a letter received from him in reply to one
from us in congratulation upon his election as President of the Royal
Academy of Arts:

                                                 "28 ALBERT GATE, S.W.,
                                                "_November 16th, 1896_.

    "DEAR DALZIEL,--It was a very great pleasure to me to receive your
    letter recalling the delightful times when I was working for you,
    and the kind reception you always gave me and my work. There is no
    part of my life or of the practice of my part to which I look back
    with greater pleasure. Many and cordial thanks for your friendly
    congratulations and good wishes. I can hardly keep pace with my
    correspondence just now, or these should have been sent earlier,
    for one of the first to welcome me in my new and honourable post
    was your letter.

                             "Believe me,
                          "Very truly yours,
                                                   "EDWARD J. POYNTER."

The Holman Hunt drawing of "Eliezer and Rebekah at the Well" is a
work of such simplicity of design and delicate treatment as might be
expected from this distinguished artist, whose life has been mainly
devoted to Biblical art. Of the three grand designs made for us by
the veteran artist G. F. Watts, R.A., we have selected that of "Esau
Meeting Jacob," as being a fine example of the artist, who has always
worked with the highest and noblest aims. Of Ford Madox Brown's three
contributions we have chosen "Elijah and the Widow's Son," as being
not only an original conception of the subject, but perhaps one of the
most beautiful specimens of manipulative skill he ever produced. He
called it an etching, and so it was to all intents, it being perfectly
pure line work. Although more beautiful, it is in no way finer than
"Joseph's Coat," or "The Death of Eglon."

[Illustration: ELIJAH AND THE WIDOW'S SON.

BY FORD MADOX BROWN.

FROM "DALZIEL'S BIBLE GALLERY."

_By permission of Herbert Virtue & Co., Ltd._] F. Sandy's one drawing,
"Jacob hears the Voice of the Lord," is a very strong piece of work.
There are many other important pictures by F. R. Pickersgill, R.A., E.
Armitage, R.A., A. B. Houghton, R.W.S., H. H. Armstead, R.A., A. Murch,
William Small, E. F. Brewtnall, R.W.S., F. S. Walker, R.H.A., and Sir
E. Burne-Jones. There are also twelve designs by Thomas Dalziel, which
are regarded by many competent judges to be amongst the best work in
the collection. "Hosannah," by S. Solomon, is also a very beautiful
work. What joy and fervour of music are expressed in the drawing! We
well remember the small picture he painted of the subject; it hung on
the line at the R.A., and was looked upon as the work of a coming man.

Burne-Jones' "overwhelming" amount of work, as explained in the
following letter, must be accepted as the reason why he contributed
only one drawing to the "Bible," in which he took such keen interest at
its commencement.

                                                   "52 GT. RUSSELL ST.,
                                                           "BLOOMSBURY,
                                                             "_Friday_.

    "MY DEAR SIR.--In a few days you will have 'Ezekiel,' and soon
    after 'The Coming of the Dove to the Ark.' My work has simply
    overwhelmed me and my walks the last month, but for the fortnight
    I can almost give myself to your subject. Your private commission
    still delights me with its congenial nature. The three subjects you
    name explain the 'Noah' subject; as soon as I have made a scheme of
    the 'Carol' you shall have it, and consider about it. Do you think
    of having a 'Temptation of Adam and Eve'? It would be famous for
    engraving, with a horny snake all round the tree, and the naked
    figures could be sufficiently concealed in the thicket so as not
    to offend the prurient (for they ought not to offend the modest).
    I shall thoroughly enjoy all this work. You may depend on having
    the 'Ezekiel' in a few days. I should like a larger block for 'The
    Building of the Ark.'

                        "Yours very sincerely,
                                                         "E. B. JONES."

[Illustration: ABRAHAM PARTING WITH LOT. BY THOMAS DALZIEL.

_By permission of Messrs. Herbert Virtue & Co., Ltd._ FROM "DALZIEL'S
BIBLE GALLERY."]

Yet with all this vast array of talent our "Bible," commercially
speaking, was a dead failure. It was carefully printed on India
paper, and issued partly in portfolio and partly in book form, but
the British public did not respond, some two hundred copies being all
that were sold. The balance of the number printed were disposed of at
prices which we will not here record. Thus ended a work, begun with
the highest aims, over which we spent many years of careful, patient
labour, and several thousands of pounds.

Fortunately, many of the best of the original drawings have found their
way to the National Collection at the Kensington Museum, where they
will remain as records of some of the very finest examples of the black
and white work of this period, and to the lasting fame of the artists.

It may be interesting to state that, at the time we were placing
commissions for designs to illustrate the "Bible" and other important
works in the hands of such artists as Sir F. Leighton, P.R.A., Sir John
Millais, P.R.A., Sir E. J. Poynter, P.R.A., H. H. Armstead, R.A., A.
Armitage, R.A., Sir E. Burne-Jones, A.R.A., Marcus Stone, R.A., John
Pettie, R.A., W. Q. Orchardson, R.A., H. Stacey Marks, R.A., Professor
H. Von Herkomer, R.A., G. F. Watts, R.A., Fred Walker, A.R.A., Fred
Pickersgill, R.A., J. W. North, A.R.A., and J. MacWhirter, R.A.,
all of whom have since attained the highest position in their art,
without a single exception not one of them had at the time of our first
correspondence entered into the ranks of the Royal Academy.

[Illustration: JACOB AND THE FLOCKS OF LABAN. BY THOMAS DALZIEL.

_By permission of Messrs. Herbert Virtue & Co., Ltd._ FROM "DALZIEL'S
BIBLE GALLERY."]

Almost the same may be said of many young artists who were not
contributors to the "Bible Gallery," in whose hands we placed
commissions long before they had risen to fame and fortune.

Frederick Sandys, on having a proof submitted to him for correction,
wrote the following letter:

    "MY DEAR SIRS,--The proof is absolutely splendid--one or two things
    I should like a little altered, but these I will see you about. I
    have two of 'Joseph' nearly ready, and have been for some month or
    more, but I have, unfortunately, crushed the bone of the top joint
    of the middle finger of my right hand. It is getting on well, and
    I have this week commenced working on a large picture, but I am
    debarred for the present still from touching the wood cut. I could
    not have sent the portrait of Mrs. Lewis to the Academy had it not
    been for some assistance kindly given me by Holman Hunt. I think I
    may promise, without disappointing you, one, if not two,[19] blocks
    in the first week in May.

                          "Ever yours truly,
                                                    "FREDERICK SANDYS."

[Illustration: HOSANNAH. BY SIMEON SOLOMON.

FROM "DALZIEL'S BIBLE GALLERY."

_By permission of Messrs. Herbert Virtue & Co., Ltd._]

Our original intention being to publish an "Illustrated Bible," we were
desirous that it should be carefully watched through the press, and,
if necessary, some few explanatory notes appended. With this object we
offered the editorship to Sir George Grove. The following letter is of
interest, explaining his reasons for declining the responsibility:

                                                       "CRYSTAL PALACE,
                                                             "SYDENHAM,
                                                "_November 28th, 1863_.

    "DEAR SIRS,--I have carefully considered the proposition you were
    kind enough to make to me and am reluctantly compelled to decline
    it. If I edit a Bible at all I should prefer it to be one in which
    the notes might bear a larger proportion to the text than that
    which you contemplate, and in which modification of the arrangement
    of the text itself might be introduced without imperilling the sale
    of the work, which they would no doubt do in the present case.
    And as I am not likely to be able to edit more than one Bible in
    my lifetime, I've no alternative but to reserve myself for a more
    favourable opportunity. I should also like to be more certain than
    I am in the present case that there would be no discrepancies
    between the illustrations and the notes. If you are not provided
    with any person to undertake the work I think I can recommend you a
    gentleman who would do it very efficiently. I am sorry that we will
    not have the pleasure of working together in this instance. With
    many thanks for your courtesy,

                           "I am, dear Sirs,
                          "Yours faithfully,
                                                         "GEORGE GROVE.

  "Messrs. DALZIEL BROTHERS."

This refusal of Sir George Grove's co-operation, combined with other
insurmountable difficulties which came in the way, caused us very
reluctantly to abandon our _original project_.

Being invited to contribute to the Fine Art section of the Victorian
Era Exhibition held at Earl's Court in the summer of 1897, we sent a
frame containing selections from Tenniel's illustrations to "Through
the Looking Glass," some specimens after F. Walker, and a large frame
containing about twenty examples from "Dalziel's Bible," by Lord
Leighton, Sir E. J. Poynter, Holman Hunt, Ford Madox Brown, Thomas
Dalziel, Sir E. Burne-Jones, and others, with four proofs from Sir J.
E. Millais' illustrations to "The Parables." For these contributions
the Committee awarded us a Diploma for a Silver Medal.

[Illustration: DANIEL'S PRAYER.

FROM "DALZIEL'S BIBLE GALLERY."

BY SIR E. J. POYNTER, P.R.A.

_By permission of Messrs. Herbert Virtue & Co., Ltd._]

Among our schemes for publishing high-class works was "The Biblical
Life of Joseph," to be fully and carefully illustrated. We consulted
Frederick Sandys upon the subject. The following letter will show the
feeling with which he received the proposition:

                                                  "THORP, NEXT NORWICH,
                                       "_Thursday, October 24th, 1861_.

    "MY DEAR SIRS,--Many thanks, not only for my own proofs, but for
    those you were good enough to send Rose and Rossetti.

    "I have not yet commenced the drawings of 'Joseph'--it requires
    an immense amount of research, and it would be most unwise to
    spoil the series, and I promise you the drawings as soon as you
    reasonably can ask for them. When would you like to have the 'Life'
    out--in twelve months? If so you shall have my drawings in time. I
    am coming to town in a week to make some drawings at the British
    Museum from the Marbles, and to get some Jewish dresses--can you
    help me here?

    "I am doing all this that I may thoroughly, or, as far as it is
    my gift, make myself to be acquainted with Jews and Egyptians--to
    know all that is characteristic and beautiful, and avoid all that
    is hideous. Millais' 'Moses' is not a bit what I want--it is not a
    Princess; a daughter of Pharaoh he has drawn. Now, what do you say
    about time? Let's have it out in twelve months. Autumn is the right
    time, is it not, for publishing?[20]

    "With kindest regards to all of you.

                             "Believe me,
                        "Very faithfully yours,
                                                          "FRED SANDYS.

    "The more I look at the cutting of 'Life's Journey' the more I am
    delighted and full of hope for 'Joseph.'"

[Illustration: CHRISTIAN CLIMBING THE HILL OF DIFFICULTY. BY E. G.
DALZIEL.

FROM "BUNYAN'S PILGRIM'S PROGRESS."

_Published by Mr. Alexander Strahan._]

Of the many books placed in our hands for illustration, "The Pilgrim's
Progress," by John Bunyan, exceeded in number all others. That immortal
work came to us in every form--published at various prices, from
one shilling, with a large number of original outline designs by a
distinguished artist, to the edition produced by Alexander Strahan,
in 1880, at five guineas. In this instance we printed all the larger
pictures for him on India paper. There were one hundred drawings, no
less than sixty-six of them being by that highly-gifted artist, Fred
Barnard, whose dramatic power quite equalled his high sense of humour.
Of his large pictures in the book, while all are good, those of "The
Giant Despair," "The Man with the Muck Rake," and "The Atheist," are
amongst the best. As to his smaller designs, it is difficult to say
whether one admires them most for their strength of character or for
the delicate and refined touch of his pencil.

[Illustration: OLD HONEST. BY SIR JAMES D. LINTON, P.R.I.

FROM "BUNYAN'S PILGRIM'S PROGRESS."

_Published by Mr. Alexander Strahan._]

There were other men of distinction to help Strahan with the full-page
pictures. E. F. Brewtnall had ten drawings, all good. "The Three
Shining Ones" is very refined and original in treatment. William
Small's "Slough of Despond," and "At the Gate," are both worthy of
this accomplished artist. E. G. Dalziel had five pictures, of which
"Christian Climbing the Hill of Difficulty," and "Christian and
Faithful Crossing the River of Death," are most remarkable works. John
Ralston, another of the clever young Scotch artists who came to London,
had three pictures, "The Ladies of the House--Beautiful Reading to
Christian," being by far the finest. Sir James D. Linton, P.R.I., had
four very powerful drawings, which were typical of all the work of
this long-distinguished and painstaking artist, who always gives good
sound readings of his subjects: "Old Honest" is an admirable example.
Of Towneley Green's four pictures, "The Bundle Falls off Christian's
Back," we like best; but all are good. The one picture by Joseph Wolf,
"Lions in the Path," is simply grand.

A most important and comprehensive work which Messrs. Routledge
entrusted to us was the production of the pictures for the "Illustrated
Natural History," by the Rev. J. G. Wood. They were, of course, to be
under the superintendence of the author, who was at that time Chaplain
of St. Bartholomew's Hospital.

During the publication of the book, which was issued in monthly parts,
and extended over a period of nearly four years, it was our custom to
go there and see him every Monday morning, accompanied generally by Mr.
George Routledge, to receive new lists of subjects, to report progress
of those in hand, and to discuss the matter generally. From there
we went on to the printing office of Richard Clay & Sons, who were
printing the work under our supervision.

[Illustration: THE ATHEIST. BY FREDERICK BARNARD.

FROM "BUNYAN'S PILGRIM'S PROGRESS."

_Published by Mr. Alexander Strahan._]

Among the many distinguished artists engaged we would first mention
William Harvey, of whom we have spoken elsewhere. He did not, however,
make many drawings, from the fact that J. G. Wood thought them too
mannered and conventional; the same objection was held by the author to
Harrison Weir. Although this clever artist contributed considerably to
certain sections of the book, J. G. Wood summed up his drawings in a
few words: "Always picturesque, but never correct."

Joseph Wolf, a German by birth, made a large number of drawings for
the work, and gave the author every satisfaction. By many it is held
that his birds are more correct than those by any other draughtsman;
certainly his perfect manipulation gives them a beauty that cannot
be excelled. There can be no doubt that his contributions are by
far the best: take his lions, tigers, or his groups of monkeys and
of birds--all denoting the artist of high culture. He was appointed
Special Artist to the Zoological Society, and worked very much at their
Gardens in Regent's Park and also at their Museum.

While we were preparing the first sheets for the press, a very fine
specimen of the gorilla, preserved in spirits, most opportunely arrived
at the Zoological Gardens, one of the first, we were informed, that
had ever reached this country. Permission was obtained for Mr. Wolf to
be present at the opening of the barrel which contained the defunct
animal, so that he might have a better opportunity of making notes
for his guidance in doing the drawing, one of the best in the entire
book, than the indifferently stuffed specimen in the Museum afforded
him. Wolf afterwards remarked that opening the barrel and lifting the
animal out of the spirits was extremely interesting, but the effluvia
was sufficient to poison a regiment of soldiers--whether he considered
it a fact that soldiers as a rule are less susceptible to the influence
of poisonous gases than other men, he did not take the trouble to
explain.

[Illustration: MONKEYS. BY JOSEPH WOLF.

FROM "WOOD'S NATURAL HISTORY."

_By permission of Messrs. George Routledge & Sons._]

From J. B. Zwecker, who was also a German by birth, we had considerable
help. He was a highly-educated artist of the Dusseldorf School. He
painted in oil and water colour; his work always showed good drawing
and design, but was generally heavy in effect. He made a large number
of drawings for the "Natural History" and for other publications--his
being a ready pencil. He was an accomplished athlete, a genial
companion, a kind-hearted man, and an enthusiastic son of the
"Fatherland."

Another of the many-sided artists with whom we were connected in this
work was W. S. Coleman. On coming to London he called upon us and we
were of some service to him, we believe, in introducing him as a wood
draughtsman. Beyond his art taste and knowledge, he had considerable
skill in a literary way, creating some small books of his own--"A Book
on Butterflies," and another on "Birds' Eggs," being amongst the first
and best. The Rev. J. G. Wood always said he could rely on Coleman
doing his utmost, for when living specimens could not be obtained he
would take any amount of trouble in searching for the most reliable
representation of the objects required.

We must have had hundreds of his drawings through our hands. He painted
both in oil and water colour, his landscapes in the latter medium being
always very sweet and tender in feeling. In fact, Coleman's work ranges
from a careful drawing of a butterfly--as decoration for a Christmas
card--to classic or nude figures full life size.

T. W. Wood, an artist, in no way related to the Rev. J. G. Wood,
made many careful drawings for the book--principally of birds and
butterflies. Though always technically correct, he was deficient in
artistic treatment--in fact, a playful artist friend once dubbed him
the "Wooden Wood."

The commission to prepare the pictures for "The Natural History of Man"
was also placed in our hands by Messrs. Routledge, in the same manner
as for the "Natural History," with this difference, that, with the
exception of implements--warlike, domestic and otherwise, huts, etc.,
which were all copied from the best authorities by other hands, the
entire set of drawings were done by one artist, J. B. Zwecker, who,
having an excellent knowledge of the human figure, was well qualified
for dealing with the Kaffir, Zulu and other South African tribes, of
which the first portion of the "History" deals so exhaustively. Zwecker
always received his lists and instructions direct from the author;
our portion being the engraving of the wood blocks and a general
supervision of the printing.

FOOTNOTES:

[19] Notwithstanding this promise Sandys only made one drawing, "Joseph
hearing the Voice of the Lord," for the "Bible."

[20] Unfortunately, Sandys never sent in one drawing for the book.

CHAPTER VII.

    _TOM HOOD, EDWARD WYLAM, HENRY SAMPSON, PAUL GRAY, H. S. LEIGH,
        W. S. GILBERT, TOM ROBERTSON, CLEMENT SCOTT, G. A. SALA,
        ARTHUR SKETCHLEY, W. J. PROWSE, ASHBY STERRY, C. H. LELAND,
        GODFREY TURNER, DUTTON COOK, GEORGE R. SIMS, HENRY DOYLE, A.
        B. HOUGHTON, R.W.S., F. BARNARD, G. THOMSON, PROFESSOR VON
        HERKOMER, R.A., SIR JOHN GILBERT, R.A., HAL LUDLOW, G. J.
        PINWELL, R.W.S., E. G. DALZIEL, F. A. FRASER, J. F. SULLIVAN,
        LORD DUNRAVEN, ERNEST GRISET, EDWARD LEAR, JOHN RUSKIN._

Early in 1865 Mr. Edward Wylam became proprietor of the comic
periodical _Fun_--at that time the only competitor of _Punch_--and
was fortunate enough to secure Tom Hood as editor. On taking up the
direction, Hood informed us that one of the stipulations he made with
Wylam was that we should be solicited to undertake the engraving
of all the drawings. At first we felt some hesitation in accepting
the commission, thinking it might considerably interfere with very
important works we were then engaged upon; but ultimately satisfactory
arrangements were concluded, and our relationship continued in the most
amicable manner, without a break for six years. In 1870--Mr. Wylam
wishing to devote his entire attention to the development of "Spratt's
Dog Biscuits," the patent for which he had recently purchased--we
became the sole proprietors of the publication, paying for the goodwill
and copyright the sum of _£_6,000, Hood continuing editor until his
death.

[Illustration: THE OLD YEAR AND THE NEW.

_FUN_ CARTOON, 1867.

BY PAUL GRAY.]

In 1869 Hood commenced the publication of "Tom Hood's Comic Annual,"
which at once secured a large amount of public favour. The second
issue more than covered the slight loss sustained on the first. While
the third issue was in preparation we purchased from Hood the title,
copyrights, and stock of all literary and artistic matter connected
with it for the sum of _£_600.

Tom Hood was, as perhaps half the world knows, the only son of the
celebrated wit and poet, Thomas Hood, the author of "The Song of the
Shirt," "The Bridge of Sighs," "Eugene Aram," and many other poems of
great beauty and purport.

[Illustration: THE CHOSEN CHAMPION. BY FREDERICK BARNARD.

_FUN_ CARTOON, 1869.]

Tom Hood, like his father, was somewhat of an artist, possessing
considerable skill in caricature, and giving a comic "twist" to his
sketches. Many of his drawings are scattered through the pages of
_Fun_. He invariably expressed himself well pleased with the manner in
which they were reproduced. The following is only one of many letters
we received from him:

    "I am delighted beyond measure with the blocks. I have returned
    some of the proofs, which I have touched for alteration; which,
    with scarcely an exception, however, arises from my mistake and not
    from the engravers'.

                        "Ever yours faithfully,
                                                            "TOM HOOD."

During the many years of our intimate association with Tom Hood, we
received hundreds of letters and notes from his pen, but the following
is the first and only instance in which he signed his name "Thos.
Hood." After this, when he had resigned his post at the War Office
and sat down steadily to literary work, he always studiously signed
his name "Tom," with the express object that his name might not be
confounded with that of his father, or that he should be accused of
"making capital" out of his father's name and reputation.

                                                 "21 MONTPELIER SQUARE,
                                                        "BROMPTON, S.W.

    "DEAR SIR,--I believe Mr. Routledge has (or is going to do so)
    given you the illustrations of my book to engrave.

    "I need not ask you to do me justice, for I know you will do that;
    but as I am not a professional artist, but an amateur, I fancy I
    may give you more trouble to understand me at times.

    "There are one or two blocks that I wish particularly to call
    your attention to as requiring facsimile engraving, they being
    likenesses. Two drawn in pencil I wish you not to touch, as I
    intend, when I come to see you (which I hope to do soon), to put in
    initial letters, as I think the fun in them forced. I have drawn a
    rude sketch of them on the other side. I can introduce them thus: a
    'W' on the board, and an 'O' on the flag. At present I am sorry to
    say I am too ill to come over, but I hope to be on my legs again by
    the end of the week.

    "I am at the War Office from 10 till 4. Should I be able to see you
    at 5 if I called?

    "I hope this will not be our first and last connection in this
    line, but that it will be a case of 'cut and come again.'

                             "Believe me,
                             "Yours truly,
                                                          "THOS. HOOD."

                                FUN OFFICE.
                           80 FLEET STREET E.C.

                                                                  Friday.

  My dear Mr Dalziel

                  With joy I'd resort
    To dine with the Shandies at fair Hampton Court
    On Saturday, were I not bound on that day
    To navigate Thames in the opposite way
    As one of the crew of the scow "Albert-Victor"
    (A steamboat that knowing ones vow is a pictur)
    Which is bound for sweet Margate, the shore light beyond,
    Being chartered expressly by Spiers & Pond,

    (This is Spiers and Pond the bard continues)

    To take down a party--and 'mongst others me--
    To open their famous new Hall by the Sea.

    (This is the Haul by the Sea Again the bard urges on his wild
    careen)

    So I'm forced--though I'd much like to come if I could--
    To decline your kind offer.

                              Yours truly
                                                               Tom Hood

  E. Dalziel Esq]

All our transactions with Hood, which continued for close upon ten
years, were of the most friendly and agreeable character, leaving
behind delightful remembrances of his truly social and sympathetic
nature. The letter which we give in facsimile was received in reply
to an invitation to join us at an "up-the-river" dinner party, where
we promised he should meet a few kindred spirits and spend a very
enjoyable day.

Unhappily, Tom Hood died too soon, after an illness of some short
duration, against which he fought with great courage. He worked with
the assistance of his friend Henry Sampson, to the last--taking part
in preparing the number of _Fun_ that was published the day after his
death, which took place at his house, in Peckham Rye, on November 26th,
1874.

Subsequently his widow handed us the following letter, with the remark
that they were the last lines he ever wrote:

    "MY DEAR SIRS,--To the best of my ability, and to the utmost of
    my power, I have served you loyally and honestly while strength
    remained. If I have failed it has not been wilfully, and when we
    have differed in opinion I have only done what I have believed it
    right to do, or assert beyond mere matter of expediency.

    "Sampson has long co-operated with me, and now so well understands
    the working of the paper that it has been of the greatest comfort
    and use to me to have, for the first time in my life, some one on
    whom I could entirely rely when I was disabled.

    "A more disinterested and faithful friend man never had, and I
    am sure if you transfer the bauble from my hands to his you will
    have secured fidelity and ability of no unusual order, loyalty and
    discretion, zeal and determination. It is my dying wish that he
    might be my successor on _Fun_. Of course I only express this as
    simply a wish of

                            "Yours always,
                                                            "TOM HOOD."

[Illustration: OLD FATHER TIME. BY GORDON THOMSON.

A PORTION OF _FUN_ CARTOON, 1871.]

[Illustration: AN URBAN DELUSION.

Jones knew a thing too much for most people. "Nice bunch o'
water-cresses, just fresh in," said his greengrocer. "Oh, ah!" said the
knowing Jones; "_fresh_--oh, yes! after being brought all the way from
the country! Not for me, thankee!" For the fact was that the knowing
Jones was just off for a day or two in the country himself.]

[Illustration: AN URBAN DELUSION--(_continued_.)

But it so happened that the same bunch of water-cress went down by
the same train as Jones did, and alighted at the same rural station.
"Ha!" said Jones, in a stroll down the country lanes, "now, here comes
a fellow with a real fresh country bunch of water-cresses; I will
buy them and take them home to town with me the day after tomorrow.
_That's_ the way to get the real fresh article!"

BY J. F. SULLIVAN. FROM _FUN_.]

Among the many men, with whom our connection with _Fun_ and the "Comic
Annual" brought us into close communication, who have steadily ascended
the ladder of fame--some, alas! no longer with us,--mention ought to
be made of Henry S. Leigh, author of "Carols of Cockayne," "Strains
from the Strand," and other volumes of verse; a man possessed of rare
wit and unquestionable genius, but, unfortunately, without one atom of
application or appreciation of the value of time. On one occasion, when
some change of contributors was contemplated, Hood wrote:

    "As for Leigh, he is hopeless: when perpetual motion is patented,
    a machine might be invented to bring him to the scratch regularly,
    but--he is unluckily a 'genius.' You might give him a retaining
    salary that would ensure--his never doing a line."

Yet, notwithstanding his extreme dilatoriness, he was a thoroughly
good fellow, and Hood was at all times only too glad to receive any
contributions he cared to send, for they were certain to contain some
quaint conceit and out of the way sentiment.

[Illustration: THAT OR NOTHING. BY G. J. PINWELL, R.W.S. FROM _FUN_.

_Mrs. Vicar._--"Thomas, what has become of you lately? I haven't seen
you at Church for several months."

_Thomas._--"Noa, ye ain't. _But I haven't been nowheres else._"]

On Leigh being remonstrated with for non-delivery of promised copy, we
received the following:

                                                            "35 STRAND,
                                                     "_1st Feb., 1881._

  "_To_ MESSRS. DALZIEL BROTHERS,

    "You have treated me so kindly that I dared, a little blindly,
      An ambition and a future to your care to recommend.
    He is timid, he is nervous, but may God above preserve us
      If we cannot stretch a point or so to gratify a friend.
    I have sent you oft a lyric, either genial or satiric:
      Some were bad, and some indifferent, and some were very good.
    So my errors don't be hard on, but beneficently pardon,
      Were it only through the memory of dear old Tommy Hood."

Of W. S. Gilbert, of "Bab Ballads" and Comic Opera fame, it may not
be generally known that all those "topsy-turvy" rhymes were published
in _Fun_: though they were by no means the only work he did for
the journal. For a considerable period he wrote a comic paraphrase
upon the most popular play produced during the week, as well as an
extremely clever series of papers called "People I Have Met." He also
wrote several stories for the "Comic Annual." In his selected edition
of "Fifty Bab Ballads" he gives the following account of how these
happened to be published in _Fun_:

    "It may interest some to know that the first of the series, 'The
    Yarn of the _Nancy Bell_,' was originally offered to _Punch_,
    to which I was at that time an occasional contributor. It was,
    however, declined by the then editor on the ground that it was 'too
    Cannibalistic' for his readers' taste."

[Illustration: TO EVEN MONEY! BY E. G. DALZIEL. FROM _FUN_.

_Teetotal Wife._--"Ah, when that 'evingly Sir Wilfrid 'as 'is way,
'e'll put that nasty beer down!"

_Irreverent Brute._--"Hope he'll put it down to the price it used to
was--thruppence a pot."]

W. S. Gilbert, like many of his fellow workers on the staff of _Fun_,
began life in the Civil Service, he having been for a short time in the
Education Office; but the "diurnal drudgery" was not congenial. His
impetuous temperament would not brook direction or control, as his most
intimate friends were not slow to discover. Immediately on his fairly
breaking away from the "ten to four slavery," the first thing he did
was to buy a quire or more of foolscap paper, a bundle of quill pens,
and a few pieces of boxwood. Thus armed, he commenced to fire away
with pen and pencil, for at that time Gilbert contemplated turning his
attention to art. His connection with _Fun_ began in his early days,
when he sent some of his "topsy-turvy" things to Mr. Maclean, the first
proprietor, who, detecting the unquestionable merit, insisted upon
their being accepted and published.

Clement Scott, another early and very valued writer on _Fun_, in a
short sketch of his own career, referring to Gilbert, says:

    "He was courteously, as a contributor, invited to the weekly _Fun_
    dinners, and I fear from what I have heard, that at the outset the
    young writer was not very courteously treated by some of those
    who afterwards recognised his great talent to the utmost, and
    became his warmest friends and companions. Frank Burnand, owing
    to his novel, 'Mokeanna,' was promoted to _Punch_; Tom Robertson,
    the dramatist, whom I met at the club on the _Fun_ meetings every
    week of my life for half a dozen years; Arthur Sketchley, with his
    'Mrs. Brown'; and for verse writers, the delightful Henry S. Leigh,
    Saville Clarke, and your humble servant, who has been writing bad
    verses for over thirty-five years."

So long as Hood lived, George Augustus Sala was a constant contributor,
as were Edmund Yates and Arthur Sketchley; the latter gentleman's
"Mrs. Brown at the Play," as well as a long series of "Mrs. Brown"
papers, chiefly comments on the current events of the day, were all
published in _Fun_, and had immense popularity.

[Illustration: CHELSEA HOSPITALITY, UNDER A CLOUD. BY E. G. DALZIEL.
FROM _FUN_.

_Pensioner (to Workman)._--"Got e'er a bit o' baccy about ye?" |
_Workman._--"No, mate!--just smoking the last bit!"

_Pensioner._--"Come off that there grass--_directly!_"]

Another prominent member of the staff was William Jeffrey Prowse, a
journalist of great brilliancy and power, and a "leader writer" and
constant contributor to the _Daily Telegraph_. His advent, under the
_nom de plume_ of "Nicholas," was announced by Hood in the following
quaint terms:

    "With feelings of considerable pride we inform our readers that
    we have been enabled (at some expense) to secure the exclusive
    services of the celebrated 'Nicholas.' ... 'Nicholas,' that friend
    of man, has benevolently consented to impart (for a certain weekly
    stipend) the experience of--well, let us say _middle_ age to the
    generous ardour of youth: AND THIS IS HOW HE DOES IT."

But Jeffrey Prowse was something more than the ordinary journalist
working to order; he was a poet of no mean power. Some of his
productions in this way were published after his death at the end of
a small volume of "Nicholas Notes," edited by his friend, Tom Hood.
Among his best are "To Be, to Do, and to Suffer," a poem showing great
ability; and one named "The City of Prague," of which the following are
the first and last verses:

    "I dwelt in a city enchanted,
      And lonely indeed was my lot;
    Two guineas a week, all I wanted,
      'Twas certainly all that I got:
    Well, somehow I found it was plenty,
      Perhaps you may find it the same,
    If--if you are just five-and-twenty
      With industry, hope, and an aim.
    Tho' the latitude's rather uncertain,
      And the longitude also is vague,
    The persons I pity who know not the city:
      The beautiful City of Prague.

                 L'ENVOI.

    As for me I have come to an anchor,
      I have taken my watch out of pawn,
    I keep an account with a banker,
      Which, at present, is _not_ overdrawn;
    Tho' my clothes may be none of the smartest
      The 'snip' has receipted the bill;
    But the days I was poor and an artist
      Are the dearest of days to me still!
    Tho' the latitude's rather uncertain,
      And the longitude also is vague,
    The persons I pity who know not the city:
      The beautiful City of Prague."

[Illustration: PARK LANE. BY E. F. BREWTNALL. FROM _FUN_.

_He._--"What a dreadful noise there is down there with those cabs and
things! You can hardly hear yourself speak."

_She._--"Yes; almost as bad as being at the opera, isn't it?"]

Poor Prowse died at the early age of thirty-four. Hood, in a short
memoir, says:

    "Prowse, as a writer, was gifted with a great charm of style; with
    a fertile imagination he possessed a logical mind. The amount of
    work he has done is astonishing, writing often two or even three
    leaders a day; and yet amid this constant and fatiguing trial he
    found time to write poems and essays, papers for the magazines, the
    annuals, and for _Fun_."

[Illustration: A DRAP O' THE BEST. BY WILLIAM SMALL. FROM _FUN_.

_First Hielan'man._--"She'll pe ta pest wusky I shall have tastit for
efermore."

_Second Hielan'man._--"So tit I, neither!"

_Third Hielan'man._--"Neither tit I, too!"]

We must not omit to mention Ashby Sterry as one of the staff, and a
contributor to _Fun's_ pages of much graceful verse. He is well known
for his volume, "Lays of a Lazy Minstrel." Then, Charles H. Leland, who
gained considerable reputation as the genial Dutchman, Hans Breitmann.
This gentleman contributed very liberally to the "Comic Annual." He
is one of the most affable and interesting men it has been our good
fortune to be associated with. He was full of entertaining anecdote, a
true artist and no mean draughtsman--in appearance, a giant, in manner
as simple as a child. On one occasion in America he asked a negro the
name of a black man of rather fine physique and superior appearance,
who was standing near.

"He Injun," replied the nigger; "he big Injun; he heap big Injun; he
dam heap big Injun; he dam mighty great heap big Injun; HE JONES."
Jones appeared to be the nigger's culminating pinnacle of greatness!

Godfrey Turner, one of the talented young men who, in the early
days, did so much towards placing the _Daily Telegraph_ in the high
position which it attained among the London morning papers, worked very
constantly upon _Fun_, as well as on the "Comic Annual." Poor fellow! a
protracted illness, generally attributed to overwork, incapacitated him
during the last two or three years of his life.

Dutton Cook's short stories appeared constantly in the "Annual"--among
his very last work being one he wrote for that periodical. Nor must
we omit to mention Leman Blanchard, who was the author of more
Christmas pantomimes than can well be counted. He did this work for
Drury Lane under F. B. Chatterton, and then Sir Augustus Harris, for
many years, as well as for many of the Provincial theatres. The able
and accomplished editor of _Sketch_, John Latey, also was one of our
most-esteemed contributors.

Henry J. Byron did much good work for _Fun_ under Hood, but he retired
from the staff on commencing a paper of his own, under the title of the
_Comic News_, which unfortunately for the proprietor had but a short
existence.

Frank Barrat, Manville Fenn, Austin Dobson, Byron Webber, Moy Thomas,
H. C. Newton, and Christie Murray, are the names of others whose work
frequently appeared in _Fun_ and the "Comic Annual."

On the death of Tom Hood we complied with his dying request and placed
the "Bauble" in the hands of Henry Sampson, who had been a constant
fellow worker with Hood for some two or three years previous. One of
the first things Sampson did was to introduce George R. Sims upon the
staff. It is superfluous for us to comment upon Sims' great ability
as a dramatist, a writer of short stories and sympathetic ballads,
because the voices of the reading and the play-going world have already
proclaimed their high appreciation of his genius. Suffice it to say
that it was in the pages of _Fun_ that he found his first opportunity
of appearing in print.

In 1893 when _Fun_ passed out of our hands, he alluded to us in the
_Referee_, with which he had long been associated under the _nom de
plume_ of "Dagonet," in the following kind words:

    "It was by writing a small 'Poem' in _Fun_ that I first won
    a little journalistic recognition. It was called 'A Dumpty
    Captain....' It was in November, of 1874, that I first joined
    the staff of _Fun_ and made my bow to the British public as an
    anonymous journalist. Tom Hood had just been laid to rest. It was
    in those days that I commenced my life-long friendship with Henry
    Sampson, the new editor. Though for me it was a time of struggle,
    I would give a good deal for the light heart with which I braved
    the slings and arrows in those dear old days."

Again, Sims writes:

    "Although I left _Fun_ in 1877, my association with the Brothers
    Dalziel was never severed, and right up to the last issue (October,
    1893) I was a contributor to 'Hood's Comic Annual,' of which they
    were the proprietors and editors. I have nothing but pleasant
    memories of the cheery, generous-hearted brothers and their clever
    sons; and I am delighted to hear that this year the honoured name
    will still be on the front page of 'Hood's Annual,' for it is to
    appear as usual under the editorship of Mr. Charles Dalziel.[21]"

Later, in January, 1894, he kindly wrote in the same paper:

    "For nearly half a century the firm of Dalziel Brothers carried on
    the business of newspaper proprietors and engravers with credit to
    themselves and advantage to the public, and they gathered around
    them the best of young men, many of whom have become shining lights
    in the world of art and letters. To those who had the honour
    and pleasure of working under them, their friendship and their
    hospitality were always freely extended, and I have nothing but
    pleasant memories of the days when I was allowed to be one of their
    working staff.

    "The Brothers Dalziel paid me the first money I ever received
    for verse. Tom Hood, the editor of _Fun_, had gone to Paris for
    a holiday, and Henry Sampson edited the journal in his absence,
    and gave me half a column to fill, and I plunged into poetry at
    once; and when I left _Fun_, in 1876, the Brothers wrote me a
    charming letter, which I still possess. Though my connection with
    _Fun_ ended then, I remained one of the contributors to 'Hood's
    Annual' until last year; and so our business relations continued
    uninterruptedly and pleasantly for nearly twenty years--yes, for
    quite twenty years, for it was in 1874 that I did my first work
    for them. Had there been no Dalziels there might have been no
    'Dagonet.'"

[Illustration: MISTRESS AND MAID. BY A. BOYD HOUGHTON, R.W.S. FROM
_FUN_.

_Mistress._ "Biddy, how is it you did not answer the bell when I rang?'

_Maid._ "Sure, mem, 'twas bekase I didn't know what you was ringing
for, mem!"]

So long as Sims continued on the staff he was at all times a most
welcome contributor, and, with one exception, always to our entire
satisfaction. The exception came about from the severity of a criticism
which he wrote upon Sir Henry Irving's rendering of Macbeth, the
humour of the article not being quite as apparent as it was intended
to be. This caused Irving [and his friends] so much annoyance that
he commenced an action against us for libel. However, Sims at once
acknowledged the authorship of the article, with ample apologies and
regrets, and assurance that there was no "malice aforethought," and
Henry Sampson did the same as the responsible editor, so Sir Henry, in
a very handsome and kindly manner, withdrew from the prosecution, and
the matter ended.

For several years George Dalziel (the elder of the Brothers), regularly
contributed short stories and verse to "Hood's Annual." Among the
latter was a rather lengthy poem, of which we give a few of the verses:

WHAT THE MOON SAW.

    Oh, can the earth, so dream-like sleeping lie
      Beneath the rays of that pale silvery moon,
    That never gives a weary moan or cry,
      Or sign that sorrow dwelt 'twixt night and noon?
    There, calmly sailing on amid the stars,
      She looks as though no ruthless thought nor care,
    Nor wicked deed could ever be that mars
      And lays the black spots of our nature bare.

    She looks as though she never yet had seen
      An ill deed done in all the million years
    That she has gazed upon the earth, or been
      Pale witness to a flood of bitter tears,--
    Pale witness to the darkest deeds that man,
      With demon brooding in his heart, could frame:
    Foul, miry spots her gentle eye doth scan,
      And "Lady Moon" goes smiling, all the same.

    Lo! she did see the budding earth when young;
      She saw the first red rose that e'er did bloom;
    She heard the first grand carol that was sung,
      And saw the mountains clothed with golden broom.
    She heard each silvery stream and gurgling brook
      Hymn its new song of never-ending praise,
    And leaves and flowers, in every ferny nook,
      Sing psalms to greet the glorious king of days.

    She heard the first wild notes of Jubal's lyre,
      That fell upon the ear like magic sound--
    The first bright spark of that celestial fire
      That thrills with rapture rare the whole world round.
    She heard the first loud burst of ocean roar,
      And saw the crested waves careering fly;--
    She heard its ripple kiss the sandy shore,--
      And saw the white foam dash against the sky.

    Years, centuries told, come on, and quickly fly,
      And this world rolls beneath the silvery moon
    As she sails calmly through the deep blue sky
      Unheeding joy or sorrow, night or noon.
    Unheeding revel, wail, or bitter cry,
      Or joy, or grief, or weary toil, or rest,--
    She slowly climbs the ever-darkening sky,
      While dying sunlight pales upon her breast.

                                                         GEORGE DALZIEL.

From another issue of the "Annual" we make a few extracts from some
verses which are entitled:

MY BOOKS.

    My books! my friends, my dear companions all!
      My never-failing--ever true and fair!
    There standing round, come ready to my call,
      And talk, and sing, and tell their wonders rare.
    If I am sad, they give me joyous song;
      Or if I wish for pleasant talk the while,
    My friends are there, and will for short or long,
      Just as I please, the ling'ring hour beguile.
    With them at ease I play the conjurers part,--
      They bring for me the stores of other times,--
    Oh, rare the grace!--oh, rare the cunning art
      That stirs the sluggish heart with ringing rhymes!

    I see the patriot rear his banner high;
      The troops march gaily through the busy town;
    Methinks I hear the trembling maiden sigh
      As her true knight goes forth to seek renown.
    King Arthur, with his warriors brave and good,
      Comes forth, the dauntless flower of chivalry;
    And there be priests in monkish garb and hood,
      As well as motley fools of revelry.

    'Neath walls of Troy I see the valiant Greek,
      Brave Ajax, and the mighty Hector there;
    In fancy hear the aged Priam speak,
      And see fair Helen with the golden hair;
    The war-like braves in single combat stand,
      The ponderous spear each doughty hero hurled,--
    Fair Beatrice takes Dante by the hand,
      And shows the myst'ries of the hidden world.

    Sweet scenes of peace! here in my native land
      These loving friends will each a posie bring,
    With wooing words they take my ready hand,
      And lead, where meadows smile and brooklets sing;
    Where scented flow'rs cling round the cottage home,
      Sweet new-mown hay, and fields of ripening corn,--
    The broad smooth lake, the gorge where waters foam,
      The shady grove, or by the scented thorn.
    I see the fairies in the woody dells,
      I join their midnight revels on the green;
    The tower where the Enchanted Princess dwells,
      Embowered in a blaze of golden sheen.

    With them I travel o'er the arid plain,--
      And wander where the palm and plantain grow,--
    Through citron groves--or vine-clad summit gain,
      Climb mountains clad with thousand years of snow,
    The heathy moor, and o'er the high hill top,
      And seem to breathe the cold crisp frosty air,
    As from the lofty Alpine icy slope
      I see the fertile valleys stretching there.

    'Mong lofty pines, or where the olives grow;
      Through far-off lands with Livingstone I roam,
    Or loiter where the mighty rivers flow,
      While sitting in my easy chair at home.
    There is no land in all the world we know,
      There is no mighty lake or frozen sea,
    No hidden depth where foot of man can go,
      But my true friends will find and show to me.

    For some will sing, and some will tell a tale,
      A simple story full of jocund glee,--
    And anecdote with point that cannot fail
      To cheer the heart with true hilarity;
    Kind jovial friends that merry songs can sing,
      Or with a touch of pathos bring the tear;
    Anon I hear the wedding bells out-ring,
      And now for gallant deeds the sounding cheer.

    Here true they stand, the many great and good,
      The fairest names the world can ever tell;
    For some like gold the test of time have stood,
      And some!--Oh, there be "maidens fair" as well,
    That take a foremost place amid the true,
      Good trusty friends there loitering by the wall;
    Here Art and Poetry and Science too,
      With Travellers that come whene'er I call.

    When day is done, with all its toil and care,
      The time that busy men together strove,--
    My friends come forth the quiet hour to share,--
      The friends I trust, and trusting, best I love;
    Here motley fool may preach a sermon true,
      Or sombre garb may tell a merry tale;
    Here by the fire where these warm friendships grew
      They talk to me--the friends that never fail.

                                                         GEORGE DALZIEL.

[Illustration: THE THEATRE OF NATURE.

BOXES.]

[Illustration: PIT.]

[Illustration: THE THEATRE OF NATURE--(_continued_.)

GALLERY.]

[Illustration: AT THE DOOR.

BY ERNEST GRISET. FROM _FUN_.]

During the period that _Fun_ was in our possession George Dalziel was a
constant contributor, writing upon the passing events of the day under
the general heading of "Dots by the Way."

Few matters in modern history caused greater excitement in the public
mind than the many unsuccessful attempts of our troops to reach
Khartoum for the relief of General Gordon, and, on the news of how the
place had fallen and the brave hero had been murdered by a horde of
savage Dervishes, the following verses appeared:

DEATH OF GENERAL GORDON.

    ["The Fortress of Khartoum was treacherously delivered up
    to the Mahdi on January 26th, 1885, when General Gordon was
    slain."--_Daily Paper._]

    Hush! let no sound of revelry or song
      Be heard in all our busy streets to-day,--
    For such dark news falls 'mong the surging throng
      As sends men sadly pondering on their way.
    Sad news that sends a pang of crushing pain
      To every honest heart throughout the land.
    Khartoum betrayed! her brave defenders slain,
      And Gordon fallen by the assassin's hand.

    Great, noble Gordon, ever true and brave,
      That held this 'leagured city 'gainst the foe,--
    And all that man could do, he did to save
      The women and their babes from direful woe;
    But who can stand against the cunning art,
      The cruel, dark device, and darker sin
    That traitors use, when with a fiendish heart
      They ope' the gates and let the foemen in?

    Beloved by all who knew his noble heart,
      Or ever felt the warm grasp of his hand,
    The loving kindness and the ready part
      He took in each good work in every land.
    A gentle nature, kind as it was brave,
      To help the lowly in their poor estate,
    He spent his life to free the fettered slave,
      And guide the suffering to a better fate.

    O grand career, unsullied to its close!
      Its splendour yet shall brighter shine, and tell
    In glowing numbers how he faced his foes,
      And how by treason dire, great Gordon fell.
    With head bowed down we mourn the good man gone,--
      And with our sorrow comes a sense of shame,
    That in the midst of foes he stood alone,
      And died with added glory to his name.

    The tale spreads like a black cloud o'er the land;
      'Tis like a darkening blight that falls at noon,
    When men together meet and wondering stand,
      And gaze as though the stricken heart would swoon,--
    The flaming sword, the "lightning of the spear,"
      Shone in the place where multitudes were slain,
    The air is full of wailing, and we hear,
      Mingled with prayer, the groan of mortal pain.

                                                         GEORGE DALZIEL.

Again, when the decisive battle was fought under the command of Lord,
then Sir Garnet, Wolseley, at Tel-el-Kebir, which practically brought
the revolt led by Arabi Pasha to a close, this song appeared:

A SONG FOR OUR BRAVES.

    [On the return of Troops from Egypt in 1882, after the victory at
    Tel-el-Kebir.]

              A song now for the Guards,
                Right gallant deeds they've done,
              And liberal rewards
                Their bravery has won;
              The world beheld with pride
                On Egypt's sandy plain
              Their dreary midnight ride--
                The battle charge. Like rain
    Before the raging storm they swept the foe away,
    And victory was won at the dawning of the day.

              There in the dull grey morn,
                With paling stars o'erhead,
              We hear the bugle horn,--
                The shouts of those who led;
              We seem to hear the crash,
                To see the gleaming steel,--
              The cannons roar and flash,
                The dusky foemen reel:
    One moment at their guns they stood, then fled in wild dismay,
    And victory was won at the dawning of the day.

              Our heroes now come back,
                In pride they march along;
              Be sure they shall not lack
                Warm welcome, cheers and song;
              Tho' some were left behind,
                And fill a soldier's grave,
              Their honoured names we'll find
                'Mong records of the brave
    Who fell that morn while fighting and upheld old England's sway,
    When victory was won at the dawning of the day.

                                                         GEORGE DALZIEL.

For many years we published at intervals several small volumes of
short stories, by George Dalziel, some of them having been previously
printed in the various issues of the "Comic Annual." These volumes
had considerable popularity, the most successful being, "My Neighbour
Nellie," "Dick Boulin's Four-in-Hand," "The Story of a Shop," "A
Soldier's Sweetheart," and "Only a Flower Girl." We also put together
three volumes of verse, with the titles of "Mattie Grey, and Other
Poems," "Faces in the Fire," and, later, "Unconsidered Trifles." The
first two of these were printed exclusively for private distribution,
but the last volume was addressed to the public through the publishing
house of Mr. Elliot Stock. Some few of the poems in each of these
volumes appeared originally in the pages of the "Annual."

[Illustration: AN ILLOGICAL DE-DUCK-TION. BY E. G. DALZIEL. FROM _FUN_.

_New Mother._--"Now then, Polly, come and have your hat on, there's a
little duck!"

_Polly._--"Shan't! Other little ducks don't wear none--there now."

[_The rest of the argument is lost in outcries and dissolved in tears._]]

The following lines, printed in "Faces in the Fire," were written as
an affectionate tribute to the memory of one of the sweetest and most
loveable of women:

MY MOTHER'S SONGS.

    Of all the songs from sweetest voice,
      In the sweet days of old,
    That made my inmost soul rejoice,
      However oft they're told,
    Are those sweet songs my mother sung
      While we were round her knee;
    When all the world seemed blythe and young
      And fresh and fair to see.

    O, I have wandered far away
      In sunny lands of song,--
    And I have heard the minstrels play
      That thrilled the listening throng;
    Tho' sweet the charm when beauty sings,--
      And sweet the minstrelsie,--
    There is no charm that memory brings
      Like those old songs to me.

    Oft in the calm clear starry night,
      Among the leafy trees,--
    Or on the weird lone mountain height,
      And in the gentle breeze,--
    Or on the rough wild stormy sea,
      When all is dark and drear,
    The dear old songs will come to me,--
      My mother's songs I hear.

    Sweet is the strange enchanting spell
      That lures all thought away,
    To warm fireside or woody dell,
      Where we were wont to play.
    Around my boyhood's happy home
      Glad mem'ries fondly cling;
    And oft' the sweet old songs will come
      My mother used to sing.

    Through many years of joyous life
      I reach the sere and old;
    Now all the battle and the strife,
      The fierce sun, and the cold,
    Are o'er for me, and calm I wait
      Until the "joy-bells" ring;
    For I shall hear at Heaven's gate
      My angel mother sing.

                                                         GEORGE DALZIEL.

Of the many art contributors, it will be sufficient if we state the
names of the principal men whose works have adorned the pages of _Fun_
and Hood's "Comic Annual." Of these, naturally, the cartoonists take
the foremost place. Paul Gray, who held this position on Hood assuming
the editorship, was a young Irish artist of very considerable promise,
and displayed much fine feeling for black and white work. He also made
drawings for some of our "Fine Art Books." He was a man of delicate
constitution, and within twelve months of his joining the _Fun_ staff
he fell into a consumption and died. Shortly before the sad event,
writing to us on other subjects, he said:

    "I take the opportunity of saying how very pleased I am with the
    way in which the cartoons are engraved--some of the latter, more
    especially, could not possibly be better."

Jeffrey Prowse, in one of his poems, makes the following touching
allusion to the early death of his young friend:

    "There is one of our band whom we cherished--
      The youngest, the purest, the best--
    In the frost of the night-time he perished,
      Going quietly home to his rest;
    And we thought, as we buried our dear one,
      And mournfully turned us to go,
    That the summons was still sounding near one--
            Listen! _On bot,
            On bot le rappel là-haut!_"

[Illustration: GOING HOME TO LOVE IN A COTTAGE. BY F. A. FRASER. FROM
_FUN_.

The very spot where the Snorkers held a pic-nic. Oh! didn't the ladies
cry out in one voice, "I could live in such a charming place for ever,
if only----" At the self-same pic-nic, Tilbury Pawkins plighted his
troth to Amelia Softispoon. Now they are married, and Amelia has begun
trying to live in the "charming place," and Pawkins is going home to a
damp cottage and a rheumatic wife as blithely as a newly-married man
should.]

Then came W. J. Weigand, followed by A. Boyd Houghton. Notwithstanding
the great ability of the latter, his quality of mind hardly fitted him
to join in with Tom Hood's idea of the punctuality indispensable for
conducting a weekly periodical. Next came Henry Doyle, a brother of
the more famous Richard Doyle--an extremely careful and painstaking
artist--who subsequently became Keeper of the Dublin National Gallery,
with the distinction of C.B. After Doyle came Fred Barnard, an artist
of surpassing versatility and humour. Perhaps it is not too much
to say that in wit and true comicality he far outstripped all his
predecessors on the journal; but some slight difference of opinion with
the editor--or was it some interference on the part of Mr. Wylam, the
then proprietor--caused him to secede from the position. Then followed
Gordon Thomson, an artist upon the merits of whose productions there
was a wide difference of opinion; but he did much good work--the
series of double-pages in connection with the Franco-Prussian War
being exceptionally strong. His large pictures for Christmas and other
Holiday Numbers were remarkable for the varied topical events he
crowded into them, and those who remember his "Academy Skits" will know
what quaint burlesques they were. Here is an appreciation by one of his
most distinguished contemporaries:

Sir John Gilbert said:

    "These funny 'Academy Skits' are extravagant to a degree, and at
    the same time they give such a complete embodiment of the picture
    in hand as to stamp the subject in my mind far more fixedly than
    any careful copy could possibly do."

Among the general contributors to _Fun_ were many well-known
draughtsmen--Professor H. von Herkomer, R.A.; George J. Pinwell,
R.W.S.; Hal Ludlow, and "E. G. D." The last named (the eldest son
of Edward Dalziel) was a young artist full of promise and great
ability. Had he given continued attention to his oil painting he must
undoubtedly have taken a very high position. He exhibited many pictures
at the Royal Academy, the Grosvenor, and other galleries, but the
allurement of black and white became too much for him, and he laid
aside his brush for the pencil. He contributed many excellent works
to our various "Fine Art Books," as well as to our "Bible Gallery."
Unfortunately he died at the early age of 39. Amongst his many admirers
was Sir John Gilbert, as the following letter, which refers to his
drawings in _Fun_, will show:

                                            "VANBRUGH PARK, BLACKHEATH,
                                                "_20th December, 1878_.

    "DEAR MR. DALZIEL,--Pray accept my best thanks for your kind
    remembrance.

    "The drawings as they appear weekly in _Fun_ I always admired. The
    _uncommon_ humour, the wonderfully expressive faces, with attitude
    in accordance with the face, is always delightful and wonderful.

    "The idea of gathering them together in a volume was excellent and
    I had intended to get the book. I thank you again for it.

    "Pray remember me very kindly to your brother and your son,
    and with best wishes for your continued prosperity, health and
    happiness,

                       "I am, very truly yours,
                                                        "JOHN GILBERT."

[Illustration: ARGUMENTUM AD HOMINEM. BY J. MAHONEY. FROM _FUN_.

_Young Graceless._--"Natural selection!"

_Old Graceless._--"Certainly! Only the finest specimens of the race
survive."

_Young Graceless._--"Come now, _that_ won't do! Why, you're over sixty
now, and good for another twenty years!"]

Among other artists employed on _Fun_ were--William Small; Harry
French; "F. A. F." (Francis A. Fraser), and his brother, G. Gordon
Fraser, whose sketches of humorous Irish character were for several
years a prominent feature in the journal (poor fellow! during the very
severe winter of 1895 he was accidentally drowned while skating); E.
J. Brewtnall, R.W.S., the water colour painter; F. S. Walker, R.H.A.;
George Gatcombe, Harry Tuck; and J. W. Houghton. The last named also
contributed the dramatic criticisms, with illustrations, for several
years. Jack Houghton is a ready writer of smart, clever verse, and
wrote all the rhymed descriptions to Gordon Thomson's "Academy Skits."

Another very talented youth who it was our good fortune to introduce on
_Fun's_ pages, both in literature and art, was J. F. Sullivan. He was
a student at South Kensington, when he first forwarded some sketches
for our inspection; and seeing they gave evidence of considerable
ability, we at once availed ourselves of his drawings. Though he had
much originality of conception and design, he did not very readily
acquire a "style" of his own, such as is evidenced in his later
productions. Perhaps the most notable works Sullivan did were some very
clever character sketches--"The British Working-man" and "The British
Tradesman." But he was not an artist only, for, during the many years
he was associated with _Fun_, he contributed to it a fair amount of
very good verse and general comic matter.

[Illustration: OYSTERS.

    "Here you are! the finest natives! best of appetite-creatives.
                                  Come and buy! Taste and try!"

BY ERNEST GRISET. FROM _FUN_.]

There was a distinct cleverness about the quaint grotesque drawings of
Ernest Griset, a young Frenchman, who made his appearance in London
now many years ago. His drawings were at first exhibited in the
window of a book shop close to Leicester Square, where they attracted
considerable attention. Tom Hood had a great opinion of the artist's
ability. They were generally in pen and ink, lightly tinted with
delicate colour. We thought very highly of Griset's drawings, and soon
enlisted his services, not only on _Fun_ and "Hoods Annual," but upon
many other publications--for which we bought hundreds of his drawings,
and from them made selections. Tom Hood wrote clever verses to some of
these, and we published them in book form through Messrs. Routledge as
"Griset's Grotesques." We also got together several of his drawings
which had appeared in _Fun_ and published them as shilling books from
the _Fun_ Office.

Griset was, and is, a hard and rapid worker. He has been engaged in
many other ways as an illustrator; much on "Prehistoric Man." Also as a
decorator of public halls, he has done good things.

[Illustration: ÀPROPOS TO A PROPOSAL. BY HAL LUDLOW. FROM _FUN_.

_Frank (just accepted)._--"Love thee, dearest? Ay, and when time shall
have furrowed these youthful cheeks and dimmed the lustre of your eyes,
when age shall have threaded silver amidst these glossy locks and bowed
the figure erstwhile straight----"

_Laura (hastily)._--"Oh, Frank, I hope not! Think how old you will
be!"]

W. S. Brunton, known as "Billy" Brunton, was a young Irishman full of
racy humour and odd fancies. He was a constant contributor of comic
sketches dealing with passing events of every-day life. It is well
known that when the present Earl Dunraven was a young man he was
occupied for many years as a journalist, on the London Press. He was of
a genial disposition, a fluent writer, and a general favourite among
his brethren of the pen, as well as a popular member of the Savage Club
at the time that "Billy" Brunton and some few other kindred spirits
kept the place pretty lively with their jovial nights and merry Irish
rollicking. On one occasion, shortly after Dunraven had come into the
title and estates, a small group of "Savages" were standing gossiping
in the club smoke-room, when he very quietly said:

"By the way, old chums, now that my position in the world is a little
altered, and I have been obliged to change my name, I hope there may be
no reserve on your parts, or change of feeling towards me, and that we
shall continue to meet and chum together on precisely the same friendly
terms, and with the same cordial good-fellowship, that has always
existed among us."

"Billy" Brunton, who happened to be one of the group, laid his hand,
with a caressing pat, on Dunraven's shoulder, and in an encouraging
tone said:

"All right, old man, that shall be all right, so let your mind be
entirely at ease on that score. Bedad, I pledge my word for it; and
I'm sure I speak the sentiments of every member of this club, that
'although your position in the world is a little altered, and you have
been compelled to change your name,' you'll find no change in us--for
you shall at all times be treated with precisely the same respect and
the same consideration that has always been shown you here; and to
prove I'm entirely in earnest in what I say--gentlemen, I propose that
Dunraven stands glasses round."

It is hardly necessary to say that the proposal met with approval by
the entire party, or that it was responded to by the noble "Savage."

Henry Sampson remained editor of _Fun_ and "Tom Hood's Comic Annual"
for nearly four years, when he resigned that position to commence a
weekly newspaper--the _Referee_.

Early in the Sixties we made the acquaintance of Edward Lear, who
was a landscape painter of great distinction, a naturalist, a man
of high culture, and a most kind and courteous gentleman. He came
to us bringing an original chromo-lithographic copy of his "Book of
Nonsense"--published some years before by McLean of the Haymarket.
His desire was to publish a new and cheaper edition. With this view
he proposed having the entire set of designs redrawn on wood, and he
commissioned us to do this, also to engrave the blocks, print, and
produce the book for him. When the work was nearly completed, he said
he would sell his rights in the production to us for _£_100. We did not
accept his offer, but proposed to find a publisher who would undertake
it. We laid the matter before Messrs. Routledge & Warne. They declined
to buy, but were willing to publish it for him on commission, which
they did. The first edition sold immediately. Messrs. Routledge then
wished to purchase the copyright, but Mr. Lear said, "Now it is a
success they must pay me more than I asked at first." The price was
then fixed at _£_120, a very modest advance considering the mark the
book had made. It has since gone through many editions in the hands of
F. Warne & Co.

Lear told us how "The Book of Nonsense" originated. When a young man he
studied very much at the Zoological Gardens in Regent's Park. While he
was engaged on an elaborate drawing of some "Parrots," a middle-aged
gentleman used to come very frequently and talk to him about his work,
and by degrees took more and more interest in him. One day he said, "I
wish you to come on a visit to me, for I have much that I think would
interest you." The stranger was the Earl of Derby. Lear accepted the
invitation, and it was during his many visits at Knowsley that these
"Nonsense" drawings were made, and the inimitable verses written. They
were generally done in the evening to please the Earl's young children,
and caused so much delightful amusement that he redrew them on stone,
and published them as before stated. That is how this clever, humorous
book came into existence; a work that will cause laughter and pleasure
to young and old for all time. John Ruskin says of Lear's "Book of
Nonsense":

    "Surely the most beneficent and innocent of all books yet produced
    is the 'Book of Nonsense,' with its corollary carols, inimitable
    and refreshing, and perfect in rhythm. I really don't know any
    author to whom I am half so grateful for my idle self as Edward
    Lear. I shall put him first of my hundred authors."

John Proctor, the celebrated cartoonist, had retired from his position,
and had gone over to _Moonshine_, the then new "comic," and William
Boucher had taken his place, before we became connected in any way with
_Judy, or The London Serio Comic Journal_. Charles H. Ross was the
editor when the paper came into our hands in 1872.

[Illustration: MADAME. BY FREDERICK BARNARD.

"_She is one of the most amiable ladies I ever met, and has a pleasant
smile and a pretty something to say to one and all, and she doesn't
mean a word she says. Watch her now softly crossing the floor, no doubt
fearful of waking old Mr. Topperton, whose heavy breathing might by
the ill-disposed almost be likened to a snore. See, she is carrying
a pillow; doubtless it is to prop up Topperton's head, now resting
against the hard wooden edge of the chair at a painful angle. Not a bit
of it._"

                   "Behind a Brass Knocker" (_Judy_).--CHARLES H. ROSS.

_Published by Mr. Gilbert Dalziel._]

He was a gifted writer of varied powers, a dramatist and novelist of
the most sensational order. But above all, Ross was a great humorist,
with a manner peculiarly his own. He was also a skilful draughtsman,
and we engraved hundreds of his drawings. His pages of humorous
pictures, which appeared in _Judy_, were generally signed "Marie Duval"
(his wife's maiden name), and the subjects often savoured somewhat of
French origin.

One of the principal contributors to the paper at this period was
Ernest Warren, an admirable verse writer. He, too, wrote for the stage.
Of his books, many of which were of "The Round Table" series, the most
popular were "Four Flirts," and "The White Cat." Another, which had run
through the Journal, and was written in collaboration with his friend
Ross, was "Rattletrap Rhymes and Tootletum Tales." All three books went
through many editions.

"The Bloomin' Flower of Rorty Gulch" was published in the last-named
book, and shows Ross's power as a sarcastic verse writer. As a
recitation, the poem is very popular, and in the hands of that clever
and esteemed actor, E. J. Odell, who has made a feature of it for many
years, it is highly appreciated in Bohemian and other circles.

In his "Book of Beauty" Ross says "On Love":

    "Ladies and gentlemen! there is no such thing as love.

    "This fact is thrown in by A. Sloper without any extra charge.

    "Some people take a long while to find this out, and some never do
    quite find it out: those are the lucky ones.

    "During A. Sloper's infancy, when A. Sloper was a mere boy, he was
    under the impression that he was in love, and couldn't eat over two
    eggs and a couple of rashers for breakfast; but it turned out he
    was wrong, and only wanted medicine.

    "Later on he had another attack, and made poetry. He made a line
    that ended with _love_, and stuck _grove_ on to the end of another,
    and _move_ on to the end of a third, and _hove_ and _stove_ on to
    the end of the fourth and fifth, and still he was not happy, nor
    was any one else to whom he read the poem.

    "Love has been the stock-in-trade of all poets ever since the first
    poet started in business, and they have generally treated the
    subject from a thoroughly business-like point of view.

    "A young man once late at night told A. Sloper that some people
    never tell their love, but feed on their damask--and he fell down
    immediately after making the observation.

    "A. Sloper has known men who could not make love, but have made
    boots, Geneva watches, and other things, very well indeed. He has
    also known men who could make love, but could never propose. You
    might have brought actions against them, and still they couldn't."

[Illustration: MISTER MITE. BY FREDERICK BARNARD.

"_'What is it?' she asks._

"'_It is_ him--papa,' _responds Melia_; 'he has come back!'"

                   "Behind a Brass Knocker" (_Judy_).--CHARLES H. ROSS.

_Published by Mr. Gilbert Dalziel._]

And see the glowing description of "The Beautiful Gymnast: A Fragment":

    " ... Nothing could have been more lovely!

    "Scarcely eighteen summers had passed over the golden-hued
    silkiness of the tightly-bound tresses of that classic head. The
    flush of health was on her peachy cheeks. The joyousness of youth
    lit up her big blue eyes, and wreathed her red lips into a smile,
    that showed two rows of glistening teeth. The tightly-fitting dress
    revealed in all its glorious young beauty the faultless contour of
    her form.

    "She cast an eye of pardonable pride upon the shapely limbs
    supporting her; then turned her eyes upward towards the horizontal
    bar, set her teeth, and jumped.

    "An instant later, and she had sat down sharply on the resonant
    bounding-board with a deuce of a bump! and all the plain young
    women looking on were smiling...."

[Illustration: ON THE USELESSNESS OF NURSERY LORE. BY E. G. DALZIEL.

"NURSERY MORALS" (_JUDY_).

_Published by Mr. Gilbert Dalziel._]

One of the most interesting series of stories that Charles H. Ross
wrote for _Judy_, he called "Behind a Brass Knocker." This was done in
conjunction with Fred Barnard, who made all of the drawings. It was
rather a sad theme--the experiences of a lot of impecunious people
living together in a boardinghouse, the poorest of them all being Mrs.
Mite, whose shifts and cunning ways are told with a touch of pathos,
her crowning trouble being a drunken husband. The work had considerable
success in volume form. Fred Barnard's work in this was of his very
best kind.

Ross also wrote a series of wonderfully clever articles to accompany
a set of drawings by E. G. Dalziel, which were strangely unlike the
usual work of this artist--so much so, as to suggest the idea that he
must have been under the influence of Gustave Doré at the time. Ross
called them "Nursery Morals," which were of a fanciful character. After
playfully rebuking "Little Bo-Peep" on her vanity, he concludes:

    "I think the artist might as well have shown us the nose of one
    of the silly sheep peeping round a distant corner; but perhaps
    the sheep were all tired of her airs and graces, and had taken
    themselves off in disgust. I am not naturally of a malignant
    disposition, but I sincerely trust she never did find those sheep.
    Don't you?"

"On The Giant-Killer," he writes:

    "I have every reason to believe that abnormally large men are
    comparatively harmless. There must be exceptions, of course, and I
    will give you 'Sir Roger' and Count Fosco. The Count, by the way,
    is a fictitious personage, and perhaps 'Sir Roger' was also rather
    that way inclined.

    "These, however, were enormously fat men, not giants, and I have
    to do with giants. Now, we have it on good authority, that the
    intellect of a giant is generally as weak as his knees. We hear
    over and over again of giants in shows being awfully bullied by
    the 'smallest man in the world,' who travels with him, and who is
    exhibited outside on the parade in a largish-sized doll's house,
    through the roof of which he pokes out his head, whilst he rings a
    bell from the second-floor window, and rests his feet in the front
    parlour."

[Illustration: ON LOVE AS A PASSION. BY E. G. DALZIEL.

"NURSERY MORALS" (_JUDY_).

_Published by Mr. Gilbert Dalziel._]

He remarks "On the Utter Wrongness of Nursery Lore":

    "The more I reflect upon the unworthiness of the Nursery hero,
    as compared with the spotless purity of my own character (I am a
    London tradesman), the more am I lost in wonder to think that these
    alarming humbugs should so long have been tolerated by an indulgent
    public. When I think of that fellow whose name is associated with
    the beanstalk of abnormal growth--an unhappy combination of rogue
    and fool--when I think of that wholesale murderer (another Jack),
    and indeed all the rest of them, I ask myself 'Why so?' and all
    that remains of the _Echo_, at one halfpenny, is discreetly silent."

"On Love as a Passion":

    "The passion of love is very properly excluded from the subjects
    discussed in the best regulated nurseries. Indeed, in households
    where the young lady's material has reached a certain height and
    breadth and fulness, the love that has any particular amount of
    passion in it is not the one discussed. And I think it right that
    it should not be.

    "Writing as I do exclusively for female babes (or rather, I should
    say, young lady babes, because a young lady babe ought not to be
    called a female, and would with reason feel annoyed at being called
    one), I am anxious to do away with the passionate love-fiction
    altogether. Of course, I know I have only to explain the thing
    properly, in my own particular way, and the thing will at once be
    done away with; and surely it is my duty to do so, when by doing
    so, I know I shall do good."

[Illustration: "_Even Mr. Codlin had nothing to urge against a proposal
so seasonable. Nelly, kneeling down beside the box, was soon busily
engaged in her task, and accomplishing it to a miracle._"

        "The Old Curiosity Shop" (Household Edition).--CHARLES DICKENS.

BY CHARLES GREEN, R.I.

_By permission of Messrs. Chapman & Hall._]

In 1888, Gilbert Dalziel, who had been working in the interests of
the paper from the day it came into our hands, took over the journal,
paying the sum of eight thousand pounds for it. He at once made
considerable alterations in the conduct of the paper. Amongst his
artistic staff were that powerful draughtsman, W. G. Baxter; Bernard
Partridge, one of the most brilliant and deservedly popular black and
white men of our time; Maurice Greiffenhagen, whose drawings had graced
the pages of _Judy_ from the day of his early studentship; Alfred
Bryan, inimitable in his way; Fred Pegram, Raven Hill, F. H. Townsend,
and Fred Barnard.

With such a list of artists at work week by week, small wonder that it
should now be spoken of as "The Golden Period" of _Judy_.

In the pages of _Judy_, Charles H. Ross created the character of Ally
Sloper and also of his friend Ikey Moses. In the early part of 1884,
Gilbert Dalziel conceived and modelled a new publication, to be called
the _Half-Holiday_, in which Ally Sloper was to be a leading character.
It was finally decided, however, to add the Old Man's name to the
title, and on May 3rd, 1884, _Ally Sloper's Half-Holiday_ made its
first appearance.

Amongst the many quaint features of the paper, perhaps the "Award of
Merit" stands foremost. This decoration consists of a very clever
design by W. G. Baxter, executed in colours, and has been presented
to and accepted by men and women of the highest distinction in all
branches of art, science, literature, music, and the professions
generally.

[Illustration: "_'You're the wax-work child, are you not?' said Miss
Monflather._

"_'Yes, ma'm,' replied Nell, colouring deeply._"

        "The Old Curiosity Shop" (Household Edition).--CHARLES DICKENS.

BY CHARLES GREEN, R.I.

_By permission of Messrs. Chapman & Hall._]

Gilbert Dalziel has in his possession a collection of autograph
letters, in acknowledgment of the "Award," from some of the most
eminent folks before the public during the latter part of the old
century, amongst whom may be mentioned--Lord Tennyson, as representing
Literature; Sir John E. Millais, Bart., P.R.A., for Painting and
Drawing on Wood; Sir Arthur Sullivan, for Music; Sir Charles Russell,
for Law; Arthur W. Pinero and Sir Henry Irving, for the Drama; Lord
Charles Beresford, for the Navy; and Lord Roberts (when he was in
command in India), for the Army.

Charles H. Bennett was one of the most original artists of his period.
Alas! his life was all too short. There was an individual stamp about
his work--independent in manner and full of deep thought. We had many
of his drawings through our hands and knew him well. A more earnest
man concerning his work we never met; and, not unlike Pinwell, he held
it as a principle that time should never be allowed to enter into the
question; the task should be defined, but never trammelled by, "How
long will it take?"--whether it be days, weeks or years, for the proper
execution of the project. Perhaps his "Bunyan's Pilgrim's Progress"
will rank as his greatest achievement.

We have already spoken of our connection with Messrs. Chapman & Hall,
on that light feat of Doyle's, the "Panorama." There were also a very
clever set of drawings for "Fairy Tales of all Nations," by Richard
Doyle, and illustrations to Morley's "Oberon's Horn, and other Fairy
Tales," by Charles H. Bennett, which we produced for the same firm.

[Illustration: "_I made my way back to the 'Dolphin's Head.' In
the gateway I found J. Mellows looking at nothing, and apparently
experiencing that it failed to raise his spirits._

"_'I don't care for the Town,' said J. Mellows, when I complimented
him on the sanitary advantage it may or may not possess; 'I wish I had
never seen the Town.'_"

    "The Uncommercial Traveller" (Household Edition).--CHARLES DICKENS.

BY E. G. DALZIEL.

_By permission of Messrs. Chapman & Hall._]

When Charles Dickens abandoned the etchings of H. K. Browne as a means
of illustrating his books, the next work, "Our Mutual Friend," was
placed in the hands of Marcus Stone, whose father, Mr. Frank Stone,
A.R.A., had for many years been a next-door neighbour and a very
constant friend of Dickens. Some of these drawings, which are marked
with all the refinement and good taste of this popular artist, were
entrusted to us to engrave.

We were early engaged on the various editions of the works of Charles
Dickens, commencing (through our friend, Ebenezer Landells,) with the
wood engravings for "Master Humphrey's Clock," which were soon followed
by those for the "Christmas Books" from drawings by Richard Doyle, John
Leech, and Daniel Maclise.

But by far the most important commission ever placed in our hands
by Messrs. Chapman & Hall was the production and entire control of
the illustrations for the Household Edition of the Works of Charles
Dickens, which was commenced in serial form in 1871 and completed in
1879, thus extending over a period of eight years. The publishers began
the issue with "Pickwick," using the original designs by H. K. Browne
("Phiz"), but immediately after this Mr. Frederick Chapman placed the
entire control of the illustrations in our hands. We were to find the
best artists we considered suitable for the various works. The first
selected was James Mahoney, who had already attained some distinction
in drawing on wood. He did in all three books, the first being "Oliver
Twist," followed by "Little Dorrit" and "Our Mutual Friend." Mahoney
had a firm, clear style of manipulation, and no one knew better than he
how to make work look solid and firm by leaving large masses of white
in his arrangement of colour. He painted some good water colours. We
had several small examples, the most important of which is "A Bird
of Prey," a repeat of one of his designs for "Our Mutual Friend."
Charles Green, R.I., made a beautiful set of illustrations to "The
Old Curiosity Shop." Every picture is carefully studied both as to
character, scene, and subject; the picture of "Short and Codlin,"
with Nell and her Grandfather, being one of the most perfect. Green
painted many very fine water colour pictures, several of which we were
fortunate enough to possess.

[Illustration: "_On the second occasion of my seeing him he said,
huskily, to the man of sleep, 'Am I red to-night?' 'You are,' he
uncompromisingly answered._"

    "The Uncommercial Traveller" (Household Edition).--CHARLES DICKENS.

BY E. G. DALZIEL.

_By permission of Messrs. Chapman & Hall._]

                                                         "78 PARK ROAD.

    "DEAR MR. DALZIEL,--These proofs are so beautiful I cannot find
    any fault; and should be a brute if I did. The only one I have
    touched is because it is a little too dark and heavy--perhaps it is
    a heavy proof. I am delighted with them generally. I send two more
    drawings. Please do not forget to let me have the three proofs I
    mentioned in this morning's letter.

                          "Yours very truly,
                                                            "C. GREEN."

Again on another occasion:

    "I like those proofs very much indeed; they are beautiful. There
    is only one thing wants touching--the face of the Charwoman in No.
    27 is rather muddy, it wants clearing up a bit. I have touched the
    proof."

H. French, a clever and popular artist, the son of an accomplished wood
engraver, who came of the Bewick school, did the pictures for "Hard
Times," and very good they were.

[Illustration: "_He stooped a little, and with his tattered blue cap
pointed under the carriage. All his followers stooped to look under the
carriage._"

          "A Tale of Two Cities" (Household Edition).--CHARLES DICKENS.

BY FREDERICK BARNARD.

_By permission of Messrs. Chapman & Hall._]

F. A. Fraser, a well-known illustrator, made those for "Great
Expectations."

A. B. Frost, an American artist of great ability, did "American Notes,"
and Gordon Thomson "Pictures from Italy." E. G. Dalziel undertook
"Reprinted Pieces" and "The Uncommercial Traveller," as well as other
short stories. Of "E. G. D.'s" work we will here quote two letters by
distinguished artists in appreciation.

                                                        "2 PALACE GATE,
                                                 "_30th January, 1878_.

    "DEAR DALZIEL,--I ought to have thanked you for your kind and
    thoughtful present of Xmas books. The illustrations of your son to
    'The Uncommercial Traveller' are _admirable_. I recognise his work
    in _Fun_, and the care of his work is not lost upon

                          "Yours very truly,
                                                       "J. E. MILLAIS."

                                                        "VANBRUGH PARK,
                                                           "BLACKHEATH,
                                                "_23rd December, 1877_.

    "DEAR MR. DALZIEL,--I thank you for the volume, where your son's
    drawings show an amazing care and truth--a certain weirdness most
    telling in some subjects, notably, 'Chips, the Carpenter'--the
    Devil with the Rat on his shoulder is _grand_. There is a Donkey,
    taken into custody by the police, most beautifully drawn. The
    Cart is by Albert Durer, so also is 'Mr. Baker's Trap'; 'A Cheap
    Theatre' is good, full of varied character; so is the Group of
    Chair-menders on title--the man's eyes screwed up because of the
    sun, and the woman looking through the back of the chair. There
    is a group of old women on p. 136 which is capital; very good
    character on p. 101, also on p. 84. 'Mr. J. Mellows,' p. 112, very
    good.

    "With best wishes for health and happiness to you and yours,

                       "I am, dear Mr. Dalziel,
                          "Very truly yours,
                                                        "JOHN GILBERT."

[Illustration: "_'No matter! What do you mean, sir?' was the tart
rejoinder. 'No matter! Do you think you bring your paltry money here as
a favour or a gift; or as a matter of business, and in return for value
received?'_"

             "Nicholas Nickleby" (Household Edition).--CHARLES DICKENS.

BY FREDERICK BARNARD.

_By permission of Messrs. Chapman & Hall._]

But of all the artists engaged on this edition Frederick Barnard held
the most prominent position, he having fully illustrated no less than
nine out of twenty books.

Barnard ranks as one of England's truly comic artists; but he was not
only comic, he was one of the most versatile artists of our time. He
unquestionably stands among the foremost illustrators of Dickens. The
many drawings he made for the Household Edition, as well as some larger
pictures, illustrating the works of the great author, all possess a
certain peculiarity: while the drawings are strictly in his own style,
there is just enough resemblance to the figures created by H. K. Browne
to save you a shock; the Dick Swiveller, the Bill Sykes, and other
characters are the same as one had accepted when the stories were first
written.

A powerful set of drawings are those for "How the Poor Live," which
were commissioned by Gilbert Dalziel, in connection with G. R. Sims'
articles, for publication in the _Pictorial World_.

Again, how grand are many of his designs for the "Pilgrim's Progress,"
which we prepared for Alexander Strahan; one of the most effective
is "Lord Hategood," from which we commissioned him to paint an oil
picture. Barnard was no mean painter: perhaps his "Saturday Night in
the East End" and "The Guards' Band Marching" are amongst his most
important works. He also painted a "Ball-room Scene," of an elegant
character, from one of the Dickens' books, that had a very prominent
place in the Institute of Painters in Oil Colours.

Our long connection with Barnard was of close intimacy and friendship;
he was a delightful companion, amusing, and full of bright repartee,
and would often "set the table in a roar."

As a mimic and comic singer he was inimitable. A favourite song of
his at studio evenings was "I Long to be a Hartist, Mother," written
by himself, we believe, and screamingly funny. As a practical jokist,
Fred Barnard was simply _au fait_. On one occasion he called at Soane's
Museum in Lincoln's Inn Fields, and asked the porter if Sir John Soane
was at home. "Why, lor bless you, sir," said the man, "Sir John Soane
has been dead these sixty years." Barnard was staggered at the news and
overwhelmed with grief, and beating his breast he cried, "Dead! Dead!
Dead! And we were boys at school together!"

His own death, poor chap, was tragic, and a great shock to all who
knew him. He was an ardent smoker. One morning, having had breakfast
in bed, he requested that he should not be disturbed again for some
hours; when the servant went to call him there was no response, and
on the door being forced open the room was found to be full of smoke,
the bed-clothes smouldering fire. It is supposed that while courting
further sleep he lit a pipe, which, falling from his mouth, ignited the
clothes; although somewhat severely burnt, his death was, in fact, due
to suffocation, and he passed away while in a state of insensibility.

[Illustration: _George Dalziel_

_1901_

FROM A PHOTOGRAPH BY GRACE AND DORA DALZIEL.]

[Illustration: Edward Dalziel

1901

FROM A PHOTOGRAPH BY GRACE AND DORA DALZIEL.]

[Illustration: _Thomas BGS Dalziel_ 1901

FROM A PHOTOGRAPH BY LOVEL DALZIEL.]

FOOTNOTES:

[21] This is the fourth son of Edward Dalziel.

OUR PUPILS.

Early in the year 1844 we took our first pupil, Francis Fricker,
a very steady, industrious fellow, who was always punctual and
reliable. He became a good engraver, and remained with us, without
intermission--with the exception of two or three weeks' holiday in each
year, which we made a practice of giving to all our pupils--until we
broke up our establishment in 1893.

Being all draughtsmen ourselves, we did not take pupils specially for
engraving alone; although, from our earliest days, we made it a rule
to place any commission that was intrusted to us in the hands of the
best artists we could find, whose peculiar ability suited them for the
subject in question.

Nevertheless, we established a school to teach our pupils drawing. We
got together a good collection of plaster casts--the best obtainable;
also other matter suitable for study from the flat and round; works on
"Anatomy," on "Beauty," and on "Perspective." We also provided all the
materials for working free of cost. The engraver's day at that time was
a long one--nine hours--and the drawing only began after the day's work
had been finished; and to this, perhaps, is due the fact that all did
not avail themselves of what had been planned for them. The pupils who
did attend the meetings, and who doubtless possessed the stronger love
of art, benefitted to no small extent.

Among those who availed themselves of these advantages were Harry Fenn
and Charles Kingdon, two of our earliest and very cleverest pupils.
Soon after they completed their term with us they took ship to Canada,
having determined to visit the principal cities there and in the United
States of America. This they did, settling in New York City, where they
soon found profitable employment.

Harry Fenn took at once to drawing on wood and water colour painting,
making very rapid progress in both branches of art, and soon becoming
the most popular landscape draughtsman in America. It was he who
projected, planned, and made all the drawings for "Picturesque
America." It came about in this way. He was dining with the well-known
publisher, D. Appleton, who, during conversation, regretted that
America did not afford such fine material for landscape art as the Old
Country--that there was, in fact, nothing picturesque in America. Fenn
said: "Give me the chance and you shall see what a variety of beautiful
material you have got in America." The reply was: "Well, you shall have
a try if you like. Do a few drawings and let us see." Fenn made a few
drawings, which encouraged the publisher to carry out the idea; and he
did a work which was, perhaps, one of the most brilliantly successful
illustrated books ever published, and the forerunner of several
similar works, all of which were filled with beautiful examples of his
skilful pencil. He still continues to be a popular black and white
artist, but devotes much time to painting in water colours.

Joseph Pennell, in his "Modern Illustration," says, "Henry Fenn's
illustrations to 'Picturesque America' entitle him to be called the
Nestor of his Guild, not only for the delicacy, truth and refinement
of his drawing, but also because of the enormous success of the
publication."

Charles Kingdon, by far the best engraver of the two, was also very
popular in America, but he was of a restless nature and had not the
persistent industry of his companion. He died young, and in his death
the world lost a brilliant young artist. He married an American lady
soon after settling there, and it is worthy of mention, so we have
been told, that his daughter, who evidently inherited her father's art
instincts and good looks--for Kingdon was a very handsome fellow--was
a popular member of the celebrated Augustin Daly's company, and became
the wife of an American millionaire.

Another of the most industrious and constant workers was George G.
Kilburne, who, soon after completing his engagement with us, gave up
engraving altogether and took to painting--mostly in water colours--in
which he has long held a prominent position in the Royal Institute of
Painters in Water Colours, as well as being a very frequent exhibitor
at the Royal Academy. He was one of the most satisfactory pupils we
ever had. He took up engraving with great aptitude, and from the day
he came to us his work was always good. Only the second drawing given
to him to work upon was so perfect, that it was published with the set
to which it belonged. A peculiarity with Kilburne was that if he were
asked to do anything, you found him doing it immediately; with him no
time was wanted for preparation. Though he left our studio and forsook
the branch of art we taught him, our connection, instead of being
severed, became the closer by his marrying the elder daughter of our
late brother Robert.

Charles A. Ferrier, a young Scotchman of varied capabilities, who
had made some small efforts at wood engraving in his native town of
Arbroath, without instruction, came to us to seek employment through
an introduction he had obtained to William Harvey. He was a youth of
considerable promise and full of enthusiasm for his art. Though the
specimens he had to show were very crude, he had evidently been looked
upon as a genius by his Scottish friends; but on entering our studio
he was indefatigable in his studies, and eager for improvement. Before
he had been two months with us he became London correspondent to an
Arbroath weekly paper. This letter he generally knocked off during the
hour allowed for dinner in the middle of the day. We have reason to
believe he turned his attention very much to scientific subjects, and
became a Fellow of more than one of the learned Societies. During the
whole of his life he has been a staunch teetotaler, and has worked
hard in the temperance cause. He became the personal friend of George
Cruikshank, Dr. Richardson, and many scientific people, who preferred
him as an engraver because of the knowledge he possessed of the objects
he had to work upon. Taken altogether, Ferrier became one of the most
remarkable men who had their beginning in our studio.

"W. Y.," a pupil whose name for obvious reasons we will not give, came
to us when about nineteen years of age. He was a member of a good
county family--a younger son; he had good taste for art and some skill
as a draughtsman. By the wish of his elder brother, he was put with us
to learn engraving. His development in our art was simply wonderful,
his manipulative power was quite extraordinary; it was the one case in
our experience where it seemed as if the pupil had come to teach the
masters. He was steady, punctual to his long day's work, and in every
way exemplary, a gentleman in manner, and a great favourite with all
the assistants and other pupils; but it was known to his fellow-workers
that at a certain date he was to come into a considerable sum of money,
and he had often said that when he got it, "then farewell to industry,
to art, and to respectability." His words were: "When I get it I will
let fly." And, sad to relate, he did "let fly." He had been working
out of our studio for some two or three months, when he suddenly
disappeared, and the last we heard of him was that he was spending his
time, and his money chiefly in the immediate vicinity of the Surrey
Theatre, and that in an adjacent public-house bar he was seen lighting
his pipe with a five pound note. Poor fellow! It was the old, old
story--the drink--the drink that did it.

Alexander Aitcheson Dalziel and John Sanderson Dalziel, the two sons
of our brother Robert, also, on leaving school, became pupils to learn
wood engraving. The elder brother, Alexander, shortly after completing
his term, married and went out to South Africa, where for a time he
coupled scholastic work with his engraving; but after a bit he gave up
art altogether and went on with his teaching only--while John emigrated
to America, and settled down in Philadelphia for many years, where he
executed a large number of elaborate, highly-finished works, chiefly
of a scientific character, much of which has been reproduced in this
country. At the time we write he is turning his attention to fruit
culture in Colorado.

A. W. Bayes was introduced to us by H. Stacy Marks, R.A., as a young
man who had been engaged as a draughtsman at some manufacturing works
in the country, and had shown a wonderful capacity for design. We could
not say he came to us as a pupil; but whatever progress he made in our
studio was the result of the practice derived from the subjects given
to him, and owing to the advantage of his seeing a great variety of
drawings by the leading artists of the time. He was very industrious
and very rapid. He worked with us for many years, until, for the
further development in painting and other branches of his art, he found
it an advantage to have a place of his own. With us he had illustrated
a number of children's books, the most important being the works of
Hans Christian Andersen, for which he made a very large number of
drawings. These books went through many editions. He also made a set of
drawings from Bible history, and another set from the New Testament,
all of which were published for us by Messrs. Routledge, Warne & Co.,
with a fair amount of success. Bayes for some years has devoted himself
almost entirely to painting in oil, and has produced many important
works--chiefly of a historical order.

Phil Ebbutt came to us on the recommendation of our friend George R.
Sims. He had a natural taste for drawing, and was quick at design. He
worked much on our publication, _Jack and Jill_, including political
cartoons, and romances strictly historical. He also made many drawings
for _Fun_, which were mostly of a social character. In all he was
an industrious, willing worker, but his progress was hindered by an
affection of the eyes, which now and again demanded complete rest;
though that, for a time, was got over and he went to work again. He
also made many drawings as book illustrations, and was one of the
original artists on the _Daily Graphic_, working for the first number
of that journal. But the eye trouble again caused him to terminate so
close a connection, and he continued as an occasional contributor only.