Sir John Tenniel's illustrations, beginning as they do with "Undine" (1845), already mentioned, include others in volumes for young people that need not be quoted. But with his designs for "Alice in Wonderland" (Macmillan, 1866), and "Through the Looking Glass" (1872), we touch the two most notable children's books of the century. To say less would be inadequate and to say more needless. For every one knows the incomparable inventions which "Lewis Carroll" imagined and Sir John Tenniel depicted. They are veritable classics, of which, as it is too late to praise them, no more need be said.

Certain coloured picture books by J. E. Rogers were greeted with extravagant eulogy at the time they appeared "in the seventies." "Worthy to be hung at the Academy beside the best pictures of Millais or Sandys," one fatuous critic observed. Looking over their pages again, it seems strange that their very weak drawing and crude colour could have satisfied people familiar with Mr. Walter Crane's masterly work in a not dissimiliar style. "Ridicula Rediviva" and "Mores Ridiculi" (both Macmillan), were illustrations of nursery rhymes. To "The Fairy Book" (1870), a selection of old stories re-told by the author of "John Halifax," Mr. Rogers contributed many full pages in colour, and also to Mr. F. C. Burnand's "Present Pastimes of Merrie England" (1872). They are interesting as documents, but not as art; for their lack of academic knowledge is not counterbalanced by peculiar "feeling" or ingenious conceit. They are merely attempts to do again what Mr. H. S. Marks had done better previously. It seems ungrateful to condemn books that but for renewed acquaintance might have kept the glamour of the past; and yet, realising how much feeble effort has been praised since it was "only for children," it is impossible to keep silence when the truth is so evident.



Alfred Crowquill most probably contributed all the pictures to "Robinson Crusoe," "Blue Beard," and "Red Riding Hood" told in rhyme by F. W. N. Bayley, which have been noticed among his books of the "forties." One of the full pages, which appear to be lithographs, is clearly signed. He also illustrated the adventures of "Master Tyll Owlglass," an edition of "Baron Munchausen," "Picture Fables," "The Careless Chicken," "Funny Leaves for the Younger Branches," "Laugh and Grow Thin," and a host of other volumes. Yet the pictures in these, amusing as they are in their way, do not seem likely to attract an audience again at any future time.

E. V. B., initials which stand for the Hon. Mrs. Boyle, are found on many volumes of the past twenty-five years which have enjoyed a special reputation. Certainly her drawings, if at times showing much of the amateur, have also a curious "quality," which accounts for the very high praise they have won from critics of some standing. "The Story without an End," "Child's Play" (1858), "The New Child's Play," "The Magic Valley," "Andersen Fairy Tales" (Low, 1882), "Beauty and the Beast" (a quarto with colour-prints by Leighton Bros.), are the most important. Looking at them dispassionately now, there is yet a trace of some of the charm that provoked applause a little more than they deserve.

In British art this curious fascination exerted by the amateur is always confronting us. The work of E. V. B. has great qualities, yet any pupil of a board school would draw better. Nevertheless it pleases more than academic technique of high merit that lacks just that one quality which, for want of a better word, we call "culture." In the designs by Louisa, Marchioness of Waterford, one encounters genius with absolutely faltering technique; and many who know how rare is the slightest touch of genius, forgive the equally important mastery of material which must accompany it to produce work of lasting value.



Mr. H. S. Marks designed two nursery books for Messrs. Routledge, and contributed to many others, including J. W. Elliott's "National Nursery Rhymes" (Novello), whence our illustration has been taken. Two series of picture books containing mediaeval figures with gold background, by J. Moyr Smith, if somewhat lacking in the qualities which appeal to children, may have played a good part in educating them to admire conventional flat treatment, with a decorative purpose that was unusual in the "seventies," when most of them appeared.

In later years, Miss Alice Havers in "The White Swans," and "Cape Town Dicky" (Hildesheimer), and many lady artists of less conspicuous ability, have done a quantity of graceful and elaborate pictures of children rather than for children. The art of this later period shows better drawing, better colour, better composition than had been the popular average before; but it generally lacks humour, and a certain vivacity of expression which children appreciate.

In the "sixties" and "seventies" were many illustrators of children's books who left no great mark except on the memories of those who were young enough at the time to enjoy their work thoroughly, if not very critically. Among these may be placed William Brunton, who illustrated several of the Right Hon. G. Knatchbull-Hugessen's fairy stories, "Tales at Tea Time" for instance, and was frequent among the illustrators of Hood's Annuals. Charles H. Ross (at one time editor of Judy) and creator of "Ally Sloper," the British Punchinello, produced at least one memorable book for children. "Queens and Kings and other Things," a folio volume printed in gold and colour, with nonsense rhymes and pictures, almost as funny as those of Edward Lear himself. "The Boy Crusoe," and many other books of somewhat ephemeral character are his, and Routledge's "Every Boy's Magazine" contains many of his designs. Just as these pages are being corrected the news of his death is announced.



Others, like George Du Maurier, so rarely touched the subject that they can hardly be regarded as wholly belonging to our theme. Yet "Misunderstood," by Florence Montgomery (1879), illustrated by Du Maurier, is too popular to leave unnoticed. Mr. A. W. Bayes, who has deservedly won fame in other fields, illustrated "Andersen's Tales" (Warne, 1865), probably his earliest work, as a contemporary review speaks of the admirable designs "by an artist whose name is new to us."



It is a matter for surprise and regret that Mr. Howard Pyle's illustrated books are not as well known in England as they deserve to be. And this is the more vexing when you find that any one with artistic sympathy is completely converted to be a staunch admirer of Mr. Pyle's work by a sight of "The Wonder Clock," a portly quarto, published by Harper Brothers in 1894. It seems to be the only book conceived in purely Duereresque line, which can be placed in rivalry with Mr. Walter Crane's illustrated "Grimm," and wise people will be only too delighted to admire both without attempting to compare them. Mr. Pyle is evidently influenced by Duerer—with a strong trace of Rossetti—but he carries both influences easily, and betrays a strong personality throughout all the designs. The "Merry Adventures of Robin Hood" and "Otto of the Silver Hand" are two others of about the same period, and the delightful volume collected from Harper's Young People for the most part, entitled "Pepper and Salt," may be placed with them. All the illustrations to these are in pure line, and have the appearance of being drawn not greatly in excess of the reproduced size. Of all these books Mr. Howard Pyle is author as well as illustrator.

Of late he has changed his manner in line, showing at times, especially in "Twilight Land" (Osgood, McIlvaine, 1896), the influence of Vierge, but even in that book the frontispiece and many other designs keep to his earlier manner.

In "The Garden behind the Moon" (issued in London by Messrs. Lawrence and Bullen) the chief drawings are entirely in wash, and yet are singularly decorative in their effect. The "Story of Jack Bannister's Fortunes" shows the artist's "colonial" style, "Men of Iron," "A Modern Aladdin," Oliver Wendell Holmes' "One-Horse Shay," are other fairly recent volumes. His illustrations have not been confined to his own stories as "In the Valley," by Harold Frederic, "Stops of Various Quills" (poems by W. D. Howells), go to prove.



It is strange that Mr. Heywood Sumner, who, as his notable "Fitzroy Pictures" would alone suffice to prove, is peculiarly well equipped for the illustration of children's books, has done but few, and of these none are in colour. "Cinderella" (1882), rhymes by H. S. Leigh, set to music by J. Farmer, contains very pleasant decoration by Mr. Sumner. Next comes "Sintram" (1883), a notable edition of De la Motte Fouque's romance, followed by "Undine" (in 1885). With a book on the "Parables," by A.L.O.E., published about 1884; "The Besom Maker" (1880), a volume of country ditties with the old music, and "Jacob and the Raven," with thirty-nine illustrations (Allen, 1896), the best example of his later manner, and a book which all admirers of the more severe order of "decorative illustration" will do well to preserve, the list is complete. Whether a certain austerity of line has made publishers timid, or whether the artist has declined commissions, the fact remains that the literature of the nursery has not yet had its full share from Mr. Heywood Sumner. Luckily, if its shelves are the less full, its walls are gayer by the many Fitzroy pictures he has made so effectively, which readers of THE STUDIO have seen reproduced from time to time in these pages.

Mr. H. J. Ford's work occupies so much space in the library of a modern child, that it seems less necessary to discuss it at length here, for he is found either alone or co-operating with Mr. Jacomb Hood and Mr. Lancelot Speed, in each of the nine volumes of fairy tales and true stories (Blue, Red, Green, Yellow, Pink, and the rest), edited by Mr. Andrew Lang, and published by Longmans. More than that, at the Fine Art Society in May 1895, Mr. Ford exhibited seventy-one original drawings, chiefly those for the "Yellow Fairy Book," so that his work is not only familiar to the inmates of the nursery, but to modern critics who disdain mere printed pictures and care for nothing but autograph work. Certainly his designs have often lost much by their great reduction, for many of the originals were almost as large as four of these pages. His work is full of imagination, full of detail; perhaps at times a little overcrowded, to the extent of confusion. But children are not averse from a picture that requires much careful inspection to reveal all its story; and Mr. Ford's accessories all help to reiterate the main theme. As these eight volumes have an average of 100 pictures in each, and Mr. Ford has designed the majority, it is evident that, although his work is almost entirely confined to one series, it takes a very prominent place in current juvenile literature. That he must by this time have established his position as a prime favourite with the small people goes without saying.



Mr. Leslie Brooke has also a long catalogue of notable work in this class. For since Mr. Walter Crane ceased to illustrate the long series of Mrs. Molesworth's stories, he has carried on the record. "Sheila's Mystery," "The Carved Lions," "Mary," "My New Home," "Nurse Heathcote's Story," "The Girls and I," "The Oriel Window," and "Miss Mouse and her Boys" (all Macmillan), are the titles of these books to which he has contributed. A very charming frontispiece and title to John Oliver Hobbs' "Prince Toto," which appeared in "The Parade," must not be forgotten. The most fanciful of his designs are undoubtedly the hundred illustrations to Mr. Andrew Lang's delightful collection of "Nursery Rhymes," just published by F. Warne & Co. These reveal a store of humour that the less boisterous fun of Mrs. Molesworth had denied him the opportunity of expressing.

Mr. C. E. Brock, whose delightful compositions, somewhat in the "Hugh Thomson" manner, embellish several volumes of Messrs. Macmillan's Cranford series, has illustrated also "The Parachute," and "English Fairy and Folk Tales," by E. S. Hartland (1893), and also supplied two pictures to that most fascinating volume prized by all lovers of children, "W. V., Her Book," by W. Canton. Perhaps "Westward Ho!" should also be included in this list, for whatever its first intentions, it has long been annexed by bolder spirits in the nursery.

A. B. Frost, by his cosmopolitan fun, "understanded of all people," has probably aroused more hearty laughs by his inimitable books than even Caldecott himself. "Stuff and Nonsense," and "The Bull Calf," T. B. Aldrich's "Story of a Bad Boy," and many another volume of American origin, that is now familiar to every Briton with a sense of humour, are the most widely known. It is needless to praise the literally inimitable humour of the tragic series "Our Cat took Rat Poison." In Lewis Carroll's "Rhyme? and Reason?" (1883), Mr. Frost shared with Henry Holiday the task of illustrating a larger edition of the book first published under the title of "Phantasmagoria" (1869); he illustrated also "A Tangled Tale" (1886), by the same author, and this is perhaps the only volume of British origin of which he is sole artist. Mr. Henry Holiday was responsible for the classic pictures to "The Hunting of the Snark" by Lewis Carroll (1876).

Mr. R. Anning Bell does not appear to have illustrated many books for children. Of these, the two which introduced Mr. Dent's "Banbury Cross" series are no doubt the best known. In fact, to describe "Jack the Giant Killer" and the "Sleeping Beauty" in these pages would be an insult to "subscribers from the first." A story, "White Poppies," by May Kendall, which ran through Sylvia's Journal, is a little too grown-up to be included; nor can the "Heroines of the Poets," which appeared in the same place, be dragged in to augment the scanty list, any more than the "Midsummer Night's Dream" or "Keats's Poems." It is singular that the fancy of Mr. Anning Bell, which seems exactly calculated to attract a child and its parent at the same time, has not been more frequently requisitioned for this purpose. In the two "Banbury Cross" volumes there is evidence of real sympathy with the text, which is by no means as usual in pictures to fairy tales as it should be; and a delightfully harmonious sense of decoration rare in any book, and still more rare in those expressly designed for small people.



The amazing number of Mr. Gordon Browne's illustrations leaves a would-be iconographer appalled. So many thousand designs—and all so good—deserve a lengthened and exhaustive eulogy. But space absolutely forbids it, and as a large number cater for older children than most of the books here noticed, on that ground one may be forgiven the inadequate notice. If an illustrator deserved to attract the attention of collectors it is surely this one, and so fertile has he been that a complete set of all his work would take no little time to get together. Here are the titles of a few jotted at random: "Bonnie Prince Charlie," "For Freedom's Cause," "St. George for England," "Orange and Green," "With Clive in India," "With Wolfe in Canada," "True to the Old Flag," "By Sheer Pluck," "Held Fast for England," "For Name and Fame," "With Lee in Virginia," "Facing Death," "Devon Boys," "Nat the Naturalist," "Bunyip Land," "The Lion of St. Mark," "Under Drake's Flag," "The Golden Magnet," "The Log of the Flying Fish," "In the King's Name," "Margery Merton's Girlhood," "Down the Snow Stairs," "Stories of Old Renown," "Seven Wise Scholars," "Chirp and Chatter," "Gulliver's Travels," "Robinson Crusoe," "Hetty Gray," "A Golden Age," "Muir Fenwick's Failure," "Winnie's Secret" (all so far are published by Blackie and Son). "National Nursery Rhymes," "Fairy Tales from Grimm," "Sintram, and Undine," "Sweetheart Travellers," "Five, Ten and Fifteen," "Gilly Flower," "Prince Boohoo," "A Sister's Bye-hours," "Jim," and "A Flock of Four," are all published by Gardner, Darton & Co., and "Effie," by Griffith & Farran. When one realises that not a few of these books contain a hundred illustrations, and that the list is almost entirely from two publishers' catalogues, some idea of the fecundity of Mr. Gordon Browne's output is gained. But only a vague idea, as his "Shakespeare," with hundreds of drawings and a whole host of other books, cannot be even mentioned. It is sufficient to name but one—say the example from "Robinson Crusoe" (Blackie), reproduced on page 32—to realise Mr. Gordon Browne's vivid and picturesque interpretation of fact, or "Down the Snow Stairs" (Blackie), also illustrated, with a grotesque owl-like creature, to find that in pure fantasy his exuberant imagination is no less equal to the task. In "Chirp and Chatter" (Blackie), fifty-four illustrations of animals masquerading as human show delicious humour. At times his technique appears somewhat hasty, but, as a rule, the method he adopts is as good as the composition he depicts. He is in his own way the leader of juvenile illustration of the non-Duerer school.



Mr. Harry Furniss's coloured toy-books—"Romps"—are too well known to need description, and many another juvenile volume owes its attraction to his facile pencil. Of these, the two later "Lewis Caroll's"—"Sylvia and Bruno," and "Sylvia and Bruno, Concluded," are perhaps most important. As a curious narrative, "Travels in the Interior" (of a human body) must not be forgotten. It certainly called forth much ingenuity on the part of the artist. In "Romps," and in all his work for children, there is an irrepressible sense of movement and of exuberant vitality in his figures; but, all the same, they are more like Fred Walker's idyllic youngsters having romps than like real everyday children.

Mr. Linley Sambourne's most ingenious pen has been all too seldom employed on children's books. Indeed, one that comes first to memory, the "New Sandford and Merton" (1872), is hardly entitled to be classed among them, but the travesty of the somewhat pedantic narrative, interspersed with fairly amusing anecdotes, that Thomas Day published in 1783, is superb. No matter how familiar it may be, it is simply impossible to avoid laughing anew at the smug little Harry, the sanctimonious tutor, or the naughty Tommy, as Mr. Sambourne has realised them. The "Anecdotes of the Crocodile" and "The Presumptuous Dentist" are no less good. The way he has turned a prosaic hat-rack into an instrument of torture would alone mark Mr. Sambourne as a comic draughtsman of the highest type. Nothing he has done in political cartoons seems so likely to live as these burlesques. A little known book, "The Royal Umbrella" (1888), which contains the delightful "Cat Gardeners" here reproduced, and the very well-known edition of Charles Kingsley's "Water Babies" (1886), are two other volumes which well display his moods of less unrestrained humour. "The Real Robinson Crusoe" (1893) and Lord Brabourne's (Knatchbull-Hugessen's) "Friends and Foes of Fairyland" (1886), well-nigh exhaust the list of his efforts in this direction.



Prince of all foreign illustrators for babyland is M. Boutet de Monvel, whose works deserve an exhaustive monograph. Although comparatively few of his books are really well known in England, "Little Folks" contains a goodly number of his designs. La Fontaine's "Fables" (an English edition of which is published by the Society for Promoting Christian Knowledge) is (so far as I have discovered) the only important volume reprinted with English text. Possibly his "Jeanne d'Arc" ought not to be named among children's books, yet the exquisite drawing of its children and the unique splendour the artist has imparted to simple colour-printing, endear it to little ones no less than adults. But it would be absurd to suppose that readers of THE STUDIO do not know this masterpiece of its class, a book no artistic household can possibly afford to be without. Earlier books by M. de Monvel, which show him in his most engaging mood (the mood in the illustration from "Little Folks" here reproduced), are "Vieilles Chansons et Rondes," by Ch. M. Widor, "La Civilite Puerile et Honnete," and "Chansons de France pour les Petits Francais." Despite their entirely different characterisation of the child, and a much stronger grasp of the principles of decorative composition, these delightful designs are more nearly akin to those of Miss Kate Greenaway than are any others published in Europe or America. Yet M. de Monvel is not only absolutely French in his types and costumes but in the movement and expression of his serious little people, who play with a certain demure gaiety that those who have watched French children in the Gardens of the Luxembourg or Tuileries, or a French seaside resort, know to be absolutely truthful. For the Gallic bebe certainly seems less "rampageous" than the English urchin. A certain daintiness of movement and timidity in the boys especially adds a grace of its own to the games of French children which is not without its peculiar charm. This is singularly well caught in M. de Monvel's delicious drawings, where naively symmetrical arrangement and a most admirable simplicity of colour are combined. Indeed, of all non-English artists who address the little people, he alone has the inmost secret of combining realistic drawing with sumptuous effects in conventional decoration.



The work of the Danish illustrator, Lorenz Froelich, is almost as familiar in English as in Continental nurseries, yet his name is often absent from the title-pages of books containing his drawings. Perhaps those attributed to him formally that are most likely to be known by British readers are in "When I was a Little Girl" and "Nine Years Old" (Macmillan), but, unless memory is treacherous, one remembers toy-books in colours (published by Messrs. Nelson and others), that were obviously from his designs. A little known French book, "Le Royaume des Gourmands," exhibits the artist in a more fanciful aspect, where he makes a far better show than in some of his ultra-pretty realistic studies. Other French volumes, "Histoire d'un Bouchee de Pain," "Lili a la Campagne," "La Journee de Mademoiselle Lili," and the "Alphabet de Mademoiselle Lili," may possibly be the original sources whence the blocks were borrowed and adapted to English text. But the veteran illustrator has done far too large a number of designs to be catalogued here. For grace and truth, and at times real mastery of his material, no notice of children's artists could abstain from placing him very high in their ranks.

Oscar Pletsch is another artist—presumably a German—whose work has been widely republished in England. In many respects it resembles that of Froelich, and is almost entirely devoted to the daily life of the inmates of the nursery, with their tiny festivals and brief tragedies. It would seem to appeal more to children than their elders, because the realistic transcript of their doings by his hand often lacks the touch of pathos, or of grown-up humour that finds favour with adults.

The mass of children's toy-books published by Messrs. Dean, Darton, Routledge, Warne, Marcus Ward, Isbister, Hildesheimer and many others cannot be considered exhaustively, if only from the fact that the names of the designers are frequently omitted. Probably Messrs. Kronheim & Co., and other colour-printers, often supplied pictures designed by their own staff. Mr. Edmund Evans, to whom is due a very large share of the success of the Crane, Caldecott, and Kate Greenaway (Routledge) books, more frequently reproduced the work of artists whose names were considered sufficiently important to be given upon the books themselves. A few others of Routledge's toy-books besides those mentioned are worth naming. Mr. H.S. Marks, R.A., designed two early numbers of their shilling series: "Nursery Rhymes" and "Nursery Songs;" and to J. D. Watson may be attributed the "Cinderella" in the same series. Other sixpenny and shilling illustrated books were by C. H. Bennett, C. W. Cope, A. W. Bayes, Julian Portch, Warwick Reynolds, F. Keyl, and Harrison Weir.



The "Greedy Jim," by Bennett, is only second to "Struwwlpeter" itself, in its lasting power to delight little ones. If out of print it deserves to be revived.



Although Mr. William de Morgan appears to have illustrated but a single volume, "On a Pincushion," by Mary de Morgan (Seeley, 1877), yet that is so interesting that it must be noticed. Its interest is double—first in the very "decorative" quality of its pictures, which are full of "colour" and look like woodcuts more than process blocks; and next in the process itself, which was the artist's own invention. So far as I gather from Mr. de Morgan's own explanation, the drawings were made on glass coated with some yielding substance, through which a knife or graver cut the "line." Then an electro was taken. This process, it is clear, is almost exactly parallel with that of wood-cutting—i.e., the "whites" are taken out, and the sweep of the tool can be guided by the worker in an absolutely untrammelled way. Those who love the qualities of a woodcut, and have not time to master the technique of wood-cutting or engraving, might do worse than experiment with Mr. de Morgan's process. A quantity of proofs of designs he executed—but never published—show that it has many possibilities worth developing.



The work of Reginald Hallward deserves to be discussed at greater length than is possible here. His most important book (printed finely in gold and colours by Edmund Evans), is "Flowers of Paradise," issued by Macmillan some years ago. The drawings for this beautiful quarto were shown at one of the early Arts and Crafts Exhibitions. Some designs, purely decorative, are interspersed among the figure subjects. "Quick March," a toy-book (Warne), is also full of the peculiar "quality" which distinguishes Mr. Hallward's work, and is less austere than certain later examples. The very notable magazine, The Child's Pictorial, illustrated almost entirely in colours, which the Society for Promoting Christian Knowledge published for ten years, contains work by this artist, and a great many illustrations by Mrs. Hallward, which alone would serve to impart value to a publication that has (as we have pointed out elsewhere) very many early examples by Charles Robinson, and capital work by W. J. Morgan. Mrs. Hallward's work is marked by strong Pre-Raphaelite feeling, although she does not, as a rule, select old-world themes, but depicts children of to-day. Both Mr. and Mrs. Hallward eschew the "pretty-pretty" type, and are bent on producing really "decorative" pages. So that to-day, when the ideal they so long championed has become popular, it is strange to find that their work is not better known.



The books illustrated by past or present students of the Birmingham School will be best noticed in a group, as, notwithstanding some distinct individuality shown by many of the artists, especially in their later works, the idea that links the group together is sufficiently similar to impart to all a certain resemblance. In other words, you can nearly always pick out a "Birmingham" illustration at a glance, even if it would be impossible to confuse the work of Mr. Gaskin with that of Miss Levetus.



Arthur Gaskin's illustrations to Andersen's "Stories and Fairy Tales" (George Allen) are beyond doubt the most important volumes in any way connected with the school. Mr. William Morris ranked them so highly that Mr. Gaskin was commissioned to design illustrations for some of the Kelmscott Press books, and Mr. Walter Crane has borne public witness to their excellence. This alone is sufficient to prove that they rise far above the average level. "Good King Wenceslas" (Cornish Bros.) is another of Mr. Gaskin's books—his best in many ways. He it is also who illustrated and decorated Mr. Baring-Gould's "A Book of Fairy Tales" (Methuen).

Mrs. Gaskin (Georgie Cave France) is also familiar to readers of THE STUDIO. Perhaps her "A, B, C." (published by Elkin Mathews), and "Horn Book Jingles" (The Leadenhall Press), a unique book in shape and style, contain the best of her work so far.

Miss Levetus has contributed many illustrations to books. Among the best are "Turkish Fairy Tales" (Lawrence and Bullen), and "Verse Fancies" (Chapman and Hall).

"Russian Fairy Tales" (Lawrence and Bullen) is distinguished by the designs of C. M. Gere, who has done comparatively little illustration; hence the book has more than usual interest, and takes a far higher artistic rank than its title might lead one to expect.

Miss Bradley has illustrated one of Messrs. Blackie's happiest volumes this year. "Just Forty Winks" (from which one picture is reproduced here), shows that the artist has steered clear of the "Alice in Wonderland" model, which the author can hardly be said to have avoided. Miss Bradley has also illustrated the prettily decorated book of poems, "Songs for Somebody," by Dollie Radford (Nutt). The two series of "Children's Singing Games" (Nutt) are among the most pleasant volumes the Birmingham school has produced. Both are decorated by Winifred Smith, who shows considerable humour as well as ingenuity.

Among volumes illustrated, each by the members of the Birmingham school, are "A Book of Pictured Carols" (George Allen), and Mr. Baring-Gould's "Nursery Rhymes" (Methuen). Both these volumes contain some of the most representative work of Birmingham, and the latter, with its rich borders and many pictures, is a book that consistently maintains a very fine ideal, rare at any time, and perhaps never before applied to a book for the nursery. Indeed were it needful to choose a single book to represent the school, this one would stand the test of selection.



In Messrs. Dent's "Banbury Cross" series, the Misses Violet and Evelyn Holden illustrated "The House that Jack Built"; Sidney Heath was responsible for "Aladdin," and Mrs. H. T. Adams decorated "Tom Thumb, &c."

Mr. Laurence Housman is more than an illustrator of fairy tales; he is himself a rare creator of such fancies, and has, moreover, an almost unique power of conveying his ideas in the medium. His "Farm in Fairyland" and "A House of Joy" (both published by Kegan Paul and Co.) have often been referred to in THE STUDIO. Yet, at the risk of reiterating what nobody of taste doubts, one must place his work in this direction head and shoulders above the crowd—even the crowd of excellent illustrators—because its amazing fantasy and caprice are supported by cunning technique that makes the whole work a "picture," not merely a decoration or an interpretation of the text. As a spinner of entirely bewitching stories, that hold a child spell-bound, and can be read and re-read by adults, he is a near rival of Andersen himself.

H. Granville Fell, better known perhaps from his decorations to "The Book of Job," and certain decorated pages in the English Illustrated Magazine, illustrated three of Messrs. Dent's "Banbury Cross" series—"Cinderella, &c.," "Ali Baba," and "Tom Hickathrift." His work in these is full of pleasant fancy and charming types.

A very sumptuous setting of the old fairy tale, "Beauty and the Beast," in this case entitled "Zelinda and the Monster" (Dent, 1895), with ten photogravures after paintings by the Countess of Lovelace, must not be forgotten, as its text may bring it into our present category.

Miss Rosie Pitman, in "Maurice and the Red Jar" (Macmillan), shows much elaborate effort and a distinct fantasy in design. "Undine" (Macmillan, 1897) is a still more successful achievement.

Richard Heighway is one of the "Banbury Cross" illustrators in "Blue Beard," &c. (Dent), and has also pictured AEsop's "Fables," with 300 designs (in Macmillan's Cranford series).

Mr. J. F. Sullivan—who must not be confused with his namesake—is one who has rarely illustrated works for little children, but in the famous "British Workman" series in Fun, in dozens of Tom Hood's "Comic Annuals," and elsewhere, has provoked as many hearty laughs from the nursery as from the drawing-room. In "The Flame Flower" (Dent) we find a side-splitting volume, illustrated with 100 drawings by the author. For this only Mr. J. F. Sullivan has plunged readers deep in debt, and when one recalls the amazing number of his delicious absurdities in the periodical literature of at least twenty years past, it seems astounding to find that the name of so entirely well-equipped a draughtsman is yet not the household word it should be.

E. J. Sullivan, with eighty illustrations to the Cranford edition of "Tom Brown's Schooldays," comes for once within our present limit.

J. D. Batten is responsible for the illustration of so many important collections of fairy tales that it is vexing not to be able to reproduce a selection of his drawings, to show the fertility of his invention and his consistent improvement in technique. The series, "Fairy Tales of the British Empire," collected and edited by Mr. Jacobs, already include five volumes—English, More English, Celtic, More Celtic, and Indian, all liberally illustrated by J. D. Batten, as are "The Book of Wonder Voyages," by J. Jacobs (Nutt), and "Fairy Tales from the Arabian Nights," edited by E. Dixon, and a second series, both published by Messrs. J. M. Dent and Co. "A Masque of Dead Florentines" (Dent) can hardly be brought into our subject.

Louis Davis has illustrated far too few children's books. His Fitzroy pictures show how delightfully he can appeal to little people, and in "Good Night Verses," by Dollie Radford (Nutt), we have forty pages of his designs that are peculiarly dainty in their quality, and tender in their poetic interpretation of child-life.

"Wymps" (Lane, 1896), with illustrations by Mrs. Percy Dearmer, has a quaint straightforwardness, of a sort that exactly wins a critic of the nursery.

J. C. Sowerby, a designer for stained glass, in "Afternoon Tea" (Warne, 1880), set a new fashion for "aesthetic" little quartos costing five or six shillings each. This was followed by "At Home" (1881), and "At Home Again" (1886, Marcus Ward), and later by "Young Maids and Old China." These, despite their popularity, display no particular invention. For the real fancy and "conceit" of the books you have to turn to their decorative borders by Thomas Crane. This artist, collaborating with Ellen Houghton, contributed two other volumes to the same series, "Abroad" (1882), and "London Town" (1883), both prime favourites of their day.

Lizzie Lawson, in many contributions for Little Folks and a volume in colours, "Old Proverbs" (Cassell), displayed much grace in depicting children's themes.

Nor among coloured books of the "eighties" must we overlook "Under the Mistletoe" (Griffith and Farran, 1886), and "When all is Young" (Christmas Roses, 1886); "Punch and Judy," by F. E. Weatherley, illustrated by Patty Townsend (1885); "The Parables of Our Lord," really dignified pictures compared with most of their class, by W. Morgan; "Puss in Boots," illustrated by S. Caldwell; "Pets and Playmates" (1888); "Three Fairy Princesses," illustrated by Paterson (1885); "Picture Books of the Fables of AEsop," another series of quaintly designed picture books, modelled on Struwwlpeter; "The Robbers' Cave," illustrated by A. M. Lockyer, and "Nursery Numbers" (1884), illustrated by an amateur named Bell, all these being published by Messrs. Marcus Ward and Co., who issued later, "Where Lilies Grow," a very popular volume, illustrated in the "over-pretty" style by Mrs. Stanley Berkeley. The attractive series of toy-books in colours, published in the form of a Japanese folding album, were probably designed by Percy Macquoid, and published by the same firm, who issued an oblong folio, "Herrick's Content," very pleasantly decorated by Mrs. Houghton. R. Andre was (and for all I know is still) a very prolific illustrator of children's coloured books. "The Cruise of the Walnut Shell" (Dean, 1881); "A Week Spent in a Glass Pond" (Gardner, Darton and Co.); "Grandmother's Thimble" (Warne, 1882); "Pictures and Stories" (Warne, 1882); "Up Stream" (Low, 1884); "A Lilliputian Opera" (Day, 1885); the Oakleaf Library (six shilling volumes, Warne); and Mrs. Ewing's Verse Books (six vols. S.P.C.K.) are some of the best known. T. Pym, far less well-equipped as a draughtsman, shows a certain childish naivete in his (or was it her?) "Pictures from the Poets" (Gardner, Darton and Co.); "A, B, C" (Gardner, Darton and Co.); "Land of Little People" (Hildesheimer, 1886); "We are Seven" (1880); "Children Busy" (1881); "Snow Queen" (Gardner, Darton and Co.); "Child's Own Story Book" (Gardner, Darton and Co.).

Ida Waugh in "Holly Berries" (Griffith and Farran, 1881); "Wee Babies" (Griffith and Farran, 1882); "Baby Blossoms," "Tangles and Curls," and many other volumes mainly devoted to pictures of babies and their doings, pleased a very large audience both here and in the United States. "Dreams, Dances and Disappointments," and "The Maypole," both by Konstan and Castella, are gracefully decorated books issued by Messrs. De La Rue in 1882, who also published "The Fairies," illustrated by H Allingham in 1881. Major Seccombe in "Comic Sketches from History" (Allen, 1884), and "Cinderella" (Warne, 1882), touched our theme; a large number of more or less comic books of military life and social satire hardly do so. Coloured books of which I have failed to discover copies for reference, are: A. Blanchard's "My Own Dolly" (Griffith and Farran, 1882); "Harlequin Eggs," by Civilly (Sonnenschein, 1884); "The Nodding Mandarin," by L. F. Day (Simpkin, 1883); "Cats-cradle," by C. Kendrick (Strahan, 1886); "The Kitten Pilgrims," by A. Ballantyne (Nisbet, 1887); "Ups and Downs" (1880), and "At his Mother's Knee" (1883), by M. J. Tilsey. "A Winter Nosegay" (Sonnenschein, 1881); "Pretty Peggy," by Emmet (Low, 1881); "Children's Kettledrum," by M. A. C. (Dean, 1881); "Three Wise Old Couples," by Hopkins (Cassell, 1881); "Puss in Boots," by E. K. Johnson (Warne); "Sugar and Spice and all that's Nice" (Strahan, 1881); "Fly away, Fairies," by Clarkson (Griffith and Farran, 1882); "The Tiny Lawn Tennis Club" (Dean, 1882); "Little Ben Bate," by M. Browne (Simpkin, 1882); "Nursery Night," by E. Dewane (Dean, 1882); "New Pinafore Pictures" (Dean, 1882); "Rumpelstiltskin" (De la Rue, 1882); "Baby's Debut," by J. Smith (De la Rue, 1883); "Buckets and Spades" (Dean, 1883); "Childhood" (Warne, 1883); "Dame Trot" (Chapman and Hall, 1883); "In and Out," by Ismay Thorne (Sonnenschein, 1884); "Under Mother's Wing," by Mrs. Clifford (Gardner, Darton, 1883); "Quacks" (Ward and Lock, 1883); "Little Chicks" (Griffith and Farran, 1883); "Talking Toys," "The Talking Clock," H. M. Bennett; "Four Feet by Two," by Helena Maguire; "Merry Hearts," "Cosy Corners," and "A Christmas Fairy," by Gordon Browne (all published by Nisbet).

Among many books elaborately printed by Messrs. Hildesheimer, are two illustrated by M. E. Edwards and J. C. Staples, "Told in the Twilight" (1883); and "Song of the Bells" (1884); and one by M. E. Edwards only, "Two Children"; others by Jane M. Dealy, "Sixes and Sevens" (1882), and "Little Miss Marigold" (1884); "Nursery Land," by H. J. Maguire (1888), and "Sunbeams," by E. K. Johnson and Ewart Wilson (1887).

F. D. Bedford, who illustrated and decorated "The Battle of the Frogs and Mice" (Methuen), has produced this year one of the most satisfactory books with coloured illustrations. In "Nursery Rhymes" (Methuen), the pictures, block-printed in colour by Edmund Evans, are worthy to be placed beside the best books he has produced.

Of all lady illustrators—the phrase is cumbrous, but we have no other—Miss A. B. Woodward stands apart, not only by the vigour of her work, but by its amazing humour, a quality which is certainly infrequent in the work of her sister-artists. The books she has illustrated are not very many, but all show this quality. "Banbury Cross," in Messrs. Dent's Series is among the first. In "To Tell the King the Sky is Falling" (Blackie, 1896) there is a store of delicious examples, and in "The Brownies" (Dent, 1896), the vigour of the handling is very noticeable. In "Eric, Prince of Lorlonia" (Macmillan, 1896), we have further proof that these characteristics are not mere accidents, but the result of carefully studied intention, which is also apparent in the clever designs for the covers of Messrs. Blackie's Catalogue, 1896-97. This year, in "Red Apple and Silver Bells," Miss Woodward shows marked advance. The book, with its delicious rhymes by Hamish Hendry, is one to treasure, as is also her "Adventures in Toy Land," designs marked by the diablerie of which she, alone of lady artists, seems to have the secret. In this the wooden, inane expression of the toys contrasts delightfully with the animate figures.

Mr. Charles Robinson is one of the youngest recruits to the army of illustrators, and yet his few years' record is both lengthy and kept at a singularly high level. In the first of his designs which attracted attention we find the half-grotesque, half-real child that he has made his own—fat, merry little people, that are bubbling over with the joy of mere existence. "Macmillan's Literary Primers" is the rather ponderous title of these booklets which cost but a few pence each, and are worth many a half-dozen high-priced nursery books. Stevenson's "Child's Garden of Verse," his first important book, won a new reputation by reason of its pictures. Then came "AEsop's Fables," in Dent's "Banbury Cross" Series. The next year saw Mr. Gabriel Setoun's book of poems, "Child World," Mrs. Meynell's "The Children," Mr. H. D. Lowry's "Make Believe," and two decorated pages in "The Parade" (Henry and Co.). The present Christmas will see several books from his hand.

"Old World Japan" (George Allen) has thirty-four, and "Legends from River and Mountain," forty-two, pictures by T. H. Robinson, which must not be forgotten. "The Giant Crab" (Nutt), and "Andersen" (Bliss, Sands), are among the best things W. Robinson has yet done.



"Nonsense," by A. Nobody, and "Some More Nonsense," by A. Nobody (Gardner, Darton & Co.), are unique instances of an unfettered humour. That their apparently naive grotesques are from the hand of a very practised draughtsman is evident at a first glance; but as their author prefers to remain anonymous his identity must not be revealed. Specimens from the published work (which is, however, mostly in colour), and facsimiles of hitherto unpublished drawings, entitled "The Singing Lesson," kindly lent by Messrs. Gardner, Darton & Co., are here to prove how merry our anonym can be. By the way, it may be well to add that the artist in question is not Sir Edward Burne-Jones, whose caricatures, that are the delight of children of all ages who know them, have been so far strictly kept to members of the family circle, for whom they were produced.



The editor of THE STUDIO, to whose selection of pictures for reproduction these pages owe their chief interest, has spared no effort to show a good working sample of the best of all classes, and in the space available has certainly omitted few of any consequence—except those so very well known, as, for instance, Tenniel's "Alice" series, and the Caldecott toy-books—which it would have been superfluous to illustrate again, especially in black and white after coloured originals.

In Mrs. Field's volume already mentioned, the author says: "It has been well observed that children do not desire, and ought not to be furnished with purely realistic portraits of themselves; the boy's heart craves a hero, and the Johnny or Frank of the realistic story-book, the little boy like himself, is not in this sense a hero." This passage, referring to the stories themselves, might be applied to their illustration with hardly less force. To idealise is the normal impulse of a child. True that it can "make believe" from the most rudimentary hints, but it is much easier to do so if something not too actual is the groundwork. Figures which delight children are never wholly symbolic, mere virtues and vices materialised as personages of the anecdote. Real nonsense such as Lear concocted, real wit such as that which sparkles from Lewis Carroll's pages, find their parallel in the pictures which accompany each text. It is the feeble effort to be funny, the mildly punning humour of the imitators, which makes the text tedious, and one fancies the artist is also infected, for in such books the drawings very rarely rise to a high level.

The "pretty-pretty" school, which has been too popular, especially in anthologies of mildly entertaining rhymes, is sickly at its best, and fails to retain the interest of a child. Possibly, in pleading for imaginative art, one has forgotten that everywhere is Wonderland to a child, who would be no more astonished to find a real elephant dropping in to tea, or a real miniature railway across the lawn, than in finding a toy elephant or a toy engine awaiting him. Children are so accustomed to novelty that they do not realise the abnormal; nor do they always crave for unreality. As coaches and horses were the delight of youngsters a century ago, so are trains and steamboats to-day. Given a pile of books and an empty floor space, their imagination needs no mechanical models of real locomotives; or, to be more correct, they enjoy the make-believe with quite as great a zest. Hence, perhaps, in praising conscious art for children's literature, one is unwittingly pleasing older tastes; indeed, it is not inconceivable that the "prig" which lurks in most of us may be nurtured by too refined diet. Whether a child brought up wholly on the aesthetic toy-book would realise the greatness of Rembrandt's etchings or other masterpieces of realistic art more easily than one who had only known the current pictures of cheap magazines, is not a question to be decided off-hand. To foster an artificial taste is not wholly unattended with danger; but if humour be present, as it is in the works of the best artists for the nursery, then all fear vanishes; good wholesome laughter is the deadliest bane to the prig-microbe, and will leave no infant lisping of the preciousness of Cimabue, or the wonder of Sandro Botticelli, as certain children were reported to do in the brief days when the aesthete walked his faded way among us. That modern children's books will—some of them at least—take an honourable place in an iconography of nineteenth-century art, many of the illustrations here reproduced are in themselves sufficient to prove.



After so many pages devoted to the subject, it might seem as if the mass of material should have revealed very clearly what is the ideal illustration for children. But "children" is a collective term, ranging from the tastes of the baby to the precocious youngsters who dip into Mudie books on the sly, and hold conversations thereon which astonish their elders when by chance they get wind of the fact. Perhaps the belief that children can be educated by the eye is more plausible than well supported. In any case, it is good that the illustration should be well drawn, well coloured; given that, whether it be realistically imitative or wholly fantastic is quite a secondary matter. As we have had pointed out to us, the child is not best pleased by mere portraits of himself; he prefers idealised children, whether naughtier and more adventurous, or absolute heroes of romance. And here a strange fact appears, that as a rule what pleases the boy pleases the girl also; but that boys look down with scorn on "girls' books." Any one who has had to do with children knows how eagerly little sisters pounce upon books owned by their brothers. Now, as a rule, books for girls are confined to stories of good girls, pictures of good girls, and mildly exciting domestic incidents, comic or tragic. The child may be half angel; he is undoubtedly half savage; a Pagan indifference to other people's pain, and grim joy in other people's accidents, bear witness to that fact. Tender-hearted parents fear lest some pictures should terrify the little ones; the few that do are those which the child himself discovers in some extraordinary way to be fetishes. He hates them, yet is fascinated by them. I remember myself being so appalled by a picture that is still keenly remembered. It fascinated me, and yet was a thing of which the mere memory made one shudder in the dark—the said picture representing a benevolent negro with Eva on his lap, from "Uncle Tom's Cabin," a blameless Sunday-school inspired story. The horrors of an early folio of Foxe's "Martyrs," of a grisly "Bunyan," with terrific pictures of Apollyon; even a still more grim series by H. C. Selous, issued by the Art Union, if memory may be trusted, were merely exciting; it was the mild and amiable representation of "Uncle Tom" that I felt to be the very incarnation of all things evil. This personal incident is quoted only to show how impossible it is for the average adult to foretell what will frighten or what will delight a child. For children are singularly reticent concerning the "bogeys" of their own creating, yet, like many fanatics, it is these which they really most fear.



Certainly it is possible that over-conscious art is too popular to-day. The illustrator when he is at work often thinks more of the art critic who may review his book than the readers who are to enjoy it. Purely conventional groups of figures, whether set in a landscape, or against a decorative background, as a rule fail to retain a child's interest. He wants invention and detail, plenty of incident, melodrama rather than suppressed emotion. Something moving, active, and suggestive pleases him most, something about which a story can be woven not so complex that his sense is puzzled to explain why things are as the artist drew them. It is good to educate children unconsciously, but if we are too careful that all pictures should be devoted to raising their standard of taste, it is possible that we may soon come back to the Miss Pinkerton ideal of amusement blended with instruction. Hence one doubts if the "ultra-precious" school really pleases the child; and if he refuse the jam the powder is obviously refused also. One who makes pictures for children, like one who writes them stories, should have the knack of entertaining them without any appearance of condescension in so doing. They will accept any detail that is related to the incident, but are keenly alive to discrepancies of detail or action that clash with the narrative. As they do not demand fine drawing, so the artist must be careful to offer them very much more than academic accomplishment. Indeed, he (or she) must be in sympathy with childhood, and able to project his vision back to its point of view. And this is just a mood in accord with the feeling of our own time, when men distrust each other and themselves, and keep few ideals free from doubt, except the reverence for the sanctity of childhood. Those who have forsaken beliefs hallowed by centuries, and are the most cynical and worldly-minded, yet often keep faith in one lost Atalantis—the domain of their own childhood and those who still dwell in the happy isle. To have given a happy hour to one of the least of these is peculiarly gratifying to many tired people to-day, those surfeited with success no less than those weary of failure. And such labour is of love all compact; for children are grudging in their praise, and seldom trouble to inquire who wrote their stories or painted their pictures. Consequently those who work for them win neither much gold nor great fame; but they have a most enthusiastic audience all the same. Yet when we remember that the veriest daubs and atrocious drawings are often welcomed as heartily, one is driven to believe that after all the bored people who turn to amuse the children, like others who turn to elevate the masses, are really, if unconsciously, amusing if not elevating themselves. If children's books please older people—and that they do so is unquestionable—it would be well to acknowledge it boldly, and to share the pleasure with the nursery; not to take it surreptitiously under the pretence of raising the taste of little people. Why should not grown-up people avow their pleasure in children's books if they feel it?



If a collector in search of a new hobby wishes to start on a quest full of disappointment, yet also full of lucky possibilities, illustrated books for children would give him an exciting theme. The rare volume he hunted for in vain at the British Museum and South Kensington, for which he scanned the shelves of every second-hand bookseller within reach, may meet his eye in a twopenny box, just as he has despaired of ever seeing, much less procuring, a copy. At least twice during the preparation of this number I have enjoyed that particular experience, and have no reason to suppose it was very abnormal. To make a fine library of these things may be difficult, but it is not a predestined failure. Caxtons and Wynkyn de Wordes seem less scarce than some of these early nursery books. Yet, as we know, the former have been the quest of collectors for years, and so are probably nearly all sifted out of the great rubbish-heaps of dealers; the latter have not been in great demand, and may be unearthed in odd corners of country shops and all sorts of likely and unlikely places. Therefore, as a hobby, it offers an exciting quest with almost certain success in the end; in short, it offers the ideal conditions for collecting as a pastime, provided you can muster sufficient interest in the subject to become absorbed in its pursuit. So large is it that, even to limit one's quest to books with coloured pictures would yet require a good many years' hunting to secure a decent "bag." Another tempting point is that prices at present are mostly nominal, not because the quarry is plentiful, but because the demand is not recognised by the general bookseller. Of course, books in good condition, with unannotated pages, are rare; and some series—Felix Summerley's, for example—which owe their chief interest to the "get-up" of the volume considered as a whole, would be scarce worth possessing if "rebound" or deprived of their covers. Still, always provided the game attracts him, the hobby-horseman has fair chances, and is inspired by motives hardly less noble than those which distinguish the pursuit of bookplates (ex libris), postage-stamps and other objects which have attracted men to devote not only their leisure and their spare cash, but often their whole energy and nearly all their resources. Societies, with all the pomp of officials, and members proudly arranging detached letters of the alphabet after their names, exist for discussing hobbies not more important. Speaking as an interested but not infatuated collector, it seems as if the mere gathering together of rarities of this sort would soon become as tedious as the amassing of dull armorial ex libris, or sorting infinitely subtle varieties of postage-stamps. But seeing the intense passion such things arouse in their devotees, the fact that among children's books there are not a few of real intrinsic interest, ought not to make the hobby less attractive; except that, speaking generally, your true collector seems to despise every quality except rarity (which implies market value ultimately, if for the moment there are not enough rival collectors to have started a "boom" in prices). Yet all these "snappers up of unconsidered trifles" help to gather together material which may prove in time to be not without value to the social historian or the student interested in the progress of printing and the art of illustration; but it would be a pity to confuse ephemeral "curios" with lasting works of fine art, and the ardour of collecting need not blind one to the fact that the former are greatly in excess of the latter.



The special full-page illustrations which appear in this number must not be left without a word of comment. In place of re-issuing facsimiles of actual illustrations from coloured books of the past which would probably have been familiar to many readers, drawings by artists who are mentioned elsewhere in this Christmas Number have been specially designed to carry out the spirit of the theme. For Christmas is pre-eminently the time for children's books. Mr. Robert Halls' painting of a baby, here called "The Heir to Fairyland"—the critic for whom all this vast amount of effort is annually expended—is seen still in the early or destructive stage, a curious foreshadowing of his attitude in a later development should he be led from the paths of Philistia to the bye-ways of art criticism. The portrait miniatures of child-life by Mr. Robert Halls, if not so well known as they deserve, cannot be unfamiliar to readers of THE STUDIO, since many of his best works have been exhibited at the Academy and elsewhere.

The lithograph by Mr. R. Anning Bell, "In Nooks with Books," represents a second stage of the juvenile critic when appreciation in a very acute form has set in, and picture-books are no longer regarded as toys to destroy, but treasures to be enjoyed snugly with a delight in their possession.



Mr. Granville Fell, with "King Love, a Christmas Greeting," turns back to the memory of the birthday whose celebration provokes the gifts which so often take the form of illustrated books, for Christmas is to Britons more and more the children's festival. The conviviality of the Dickens' period may linger here and there; but to adults generally Christmas is only a vicarious pleasure, for most households devote the day entirely to pleasing the little ones who have annexed it as their own special holiday.

The dainty water-colour by Mr. Charles Robinson, and the charming drawing in line by M. Boutet de Monvel, call for no comment. Collectors will be glad to possess such excellent facsimiles of work by two illustrators conspicuous for their work in this field. The figure by Mr. Robinson, "So Light of Foot, so Light of Spirit," is extremely typical of the personal style he has adopted from the first. Studies by M. de Monvel have appeared before in THE STUDIO, so that it would be merely reiterating the obvious to call attention to the exquisite truth of character which he obtains with rare artistry.

G. W.

* * * * *

The Editor's best thanks are due to all those publishers who have so kindly and readily come forward with their assistance in the compilation of "Children's Books and their Illustrators." Owing to exigences of space reference to several important new books has necessarily been postponed.

* * * * *



For Younger Readers

BY MARTHA FINLEY

ELSIE DINSMORE. With illustrations by H. C. Christy. Large 8vo, cloth. $1.50.

ELSIE AT HOME. Similar in general style to the previous "Elsie" books. 16mo, cloth. $1.25.

BY RAFFORD PYKE.

THE ADVENTURES OF MABEL. For children of five and six. With many illustrations by MELANIE ELIZABETH NORTON. Large 8vo. $1.75.

BY BARBARA YECHTON.

DERICK. Illustrated. Large 12mo, cloth. $1.50.

BY AMANDA M. DOUGLAS.

CHILDREN AT SHERBURNE HOUSE, 12mo, cloth. $1.50.

NAN. A Sequel to "A Little Girl in Old New York." Illustrated. 12mo, cloth. $1.50.

BY ELIZABETH STUART PHELPS.

GIPSY'S YEAR AT THE GOLDEN CRESCENT. Uniform with the previous volumes of the same series. Fully illustrated. Large 12mo, cloth. $1.50.

BY ELIZABETH W. CHAMPNEY.

WITCH WINNIE IN VENICE. With many illustrations. Large 12mo, cloth. $1.50.

PIERRE AND HIS POODLE. With numerous illustrations. 12mo, cloth. $1.00.

BY BEATRICE HARRADEN.

UNTOLD TALES OF THE PAST. By BEATRICE HARRADEN, author of "Ships that Pass in the Night," "Hilda Strafford," etc. Illustrated. Cloth. Probably $1.50.

The above are published by

Dodd, Mead & Company, FIFTH AVE. & 21ST STREET, NEW YORK

* * * * *

Four Capital Books

Aaron in the Wildwoods

A delightful new Thimblefinger story of Aaron while a "runaway," by JOEL CHANDLER HARRIS, author of "Little Mr. Thimblefinger and his Queer Country," "Mr. Rabbit at Home," "The Story of Aaron," etc. With 24 full-page illustrations by OLIVER HERFORD. Square 8vo. $2.00.

Little-Folk Lyrics

By FRANK DEMPSTER SHERMAN. HOLIDAY EDITION. A beautiful book of very charming poems for children, with 16 exquisite illustrations. 12mo. $1.50.

Being a Boy

By CHARLES DUDLEY WARNER. With an introduction and 32 capital full-page illustrations from photographs by CLIFTON JOHNSON. 12mo, gilt top. $2.00.

An Unwilling Maid

A capital story of the Revolution, for girls, by JEANIE GOULD LINCOLN, author of "Marjorie's Quest," "A Genuine Girl," etc. With illustrations. $1.25.

Few recent stories surpass it in the fortunate blending of vivacity and sweetness and stern loyalty to duty and tender and pathetic experiences. It is fascinatingly written and every chapter increases its delightfulness.—The Congregationalist, Boston.

Sold by Booksellers, Sent, postpaid, by

Houghton, Mifflin & Co., Boston

* * * * *

NEW BOOKS FOR BOYS AND GIRLS

Three New Historical Tales by E. Everett Green, Author of "The Young Pioneers," etc.

A CLERK AT OXFORD, AND HIS ADVENTURES IN THE BARON'S WAR.

With a plan of Oxford in the twelfth and thirteenth centuries, and a view of the city from an old print. 8vo, extra cloth. $1.50.

SISTER: A CHRONICLE OF FAIR HAVEN.

With eight illustrations by J. FINNEMORE. 8vo, extra cloth. $1.50.

TOM TUFTON'S TRAVELS.

With illustrations by W. S. STACEY. 8vo, extra cloth, $1.25.

Two New Books by Herbert Hayens, Author of "Clevely Sahib," "Under the Lone Star," etc.

AN EMPEROR'S DOOM; OR THE PATRIOTS OF MEXICO.

A tale of the downfall of Maximilian, with eight illustrations by A. J. B. SALMON. 8vo, extra cloth. $1.50.

SOLDIERS OF THE LEGION.

A tale of the Carlist War. 8vo, extra cloth, illustrated. $1.25.

THE ISLAND OF GOLD.

A Sailor's Yarn. By GORDON STABLES, M. D., R. N., author of "Every Inch a Sailor," "How Jack McKenzie Won His Epaulettes," etc. With six illustrations by ALLAN STUART. 8vo, extra cloth. $1.25.

POPPY.

A tale. By MRS. ISLA SITWELL, author of "In Far Japan," "The Golden Woof," etc. With illustrations. 8vo, cloth extra. $1.25.

VANDRAD THE VIKING; OR THE FEUD AND THE SPELL.

A tale of the Norsemen. By I. STORER CLOUSTON. With six illustrations by HERBERT PAYTON. 8vo, cloth. 80 cts.

THE VANISHED YACHT.

By E. HARCOURT BURRAGE. Cloth extra. $1.00.

LITTLE TORA, THE SWEDISH SCHOOLMISTRESS, AND OTHER STORIES.

By MRS. WOODS BAKER, author of "Fireside Sketches of Swedish Life," "The Swedish Twins," etc. Cloth. 60 cts.

A BOOK ABOUT SHAKESPEARE.

Written for Young People. By I. N. MCILWRAITH. With numerous illustrations. Cloth extra. 60 cts.

ACROSS GREENLAND'S ICEFIELDS.

An account of the discoveries by Nansen and Peary. With portraits of Nansen and other illustrations. 8vo, cloth. 80 cts.

BREAKING THE RECORD.

The story of North Polar Expeditions by the Nova Zembla and Spitzbergen Routes. By M. DOUGLASS, author of "Across Greenland's Icefields," etc. With numerous illustrations. Cloth extra. 80 cts.

For sale by all Booksellers, or sent prepaid on receipt of price, Send for complete catalogue,

THOMAS NELSON & SONS, Publishers, 33 E. 17th St. (Union Sq.), N. Y.



CHILDRENS' BOOKS

The Blackberries

Thirty-two humorous drawings in color, with descriptive verses, by E. W. Kemble the famous delineator of "Kemble's Coons." Large quarto, 9x12, on plate paper; cover in color. $1.50.

Kemble's Coons

Drawings by E. W. Kemble. A series of 30 beautiful half-tone reproductions, printed in Sepia, of drawings of colored children and southern scenes, by E. W. Kemble, the well-known character artist. Large quarto, 91/2x12 inches; handsomely bound in Brown Buckram and Japan Vellum printed in color. Price, $2.00.

The Delft Cat

By Robert Howard Russell. Three stories for children profusely illustrated by F. Berkeley Smith. Printed on hand-made, deckle-edge linen paper with attractive cover in Delft Colors. Price, 75 cents.



Chip's Dogs

A collection of humorous drawings by the late F. P. W. Bellew ("Chip"), whose amusing sketches of dogs were so well known. A new and improved edition now ready. Large Quarto, 91/2x12 inches, on plate paper, handsomely bound. Price, $1.00.

The Autobiography of a Monkey

A laughable conception in 30 full-page and 40 small drawings by Hy. Mayer, with verses by Albert Bigelow Paine. Large quarto, 7x9, with cover in color. Price, $1.25.

The Tiddledywink's Poetry Book

Illustrated by Charles Howard Johnson. A book of nonsense rhymes by Mr. Bangs, accompanied by most amusing pictures. Large quarto, with Illuminated covers, 30 full-page illustrations, colored borders to text. Boards. Price, $1.00.

The Mantel Piece Minstrels

By John Kendrick Bangs. A most attractive little volume containing four of Mr. Bangs' inimitably humorous stories, profusely illustrated with unique drawings by F. Berkeley Smith; printed on hand-made, deckle-edge linen paper, and tastefully bound in illuminated covers. 32mo. Price, 75 cents.

The Dumpies

Discovered and drawn by Frank Verbeck; Albert Bigelow Paine, historian. An entertaining tale in prose and verse, as fascinating as "The Brownies." Large quarto, 8x11, with 130 illustrations and cover in color. Price, $1.25.

Tiddledywink Tales

By John Kendrick Bangs. A charming book for children. The drawings by Charles Howard Johnson are quite in sympathy with the humor of the book. Full cloth, gilt, 236 pp. 12mo. Price, $1.25.

In Camp with a Tin Soldier

By John Kendrick Bangs. A Sequel to Tiddledywink Tales. Illustrated by T. M. Ashe, Jimmieboy's adventures in the Camp of the Tin Soldiers are most amusing. Full cloth, gilt, 236 pp. 12mo. Price, $1.25.

Half Hours with Jimmieboy

By John Kendrick Bangs. Illustrated by Frank Verbeck, Peter Newell and others. Sixteen short stories record the interesting adventures of the hero with all sorts of folks; dwarfs, dudes, giants, bicyclopaedia birds and snowmen. Full cloth, 112 pp. 12mo. Price, $1.25.

The Slambangaree

Ten stories for children by R. K. Munkittrick. On hand-made deckle-edge linen paper. Price, 75 cents.

In Savage Africa

By E. J. Glave, one of Stanley's pioneer officers. With an introduction by Henry M. Stanley. Beautifully illustrated with seventy-five wood cuts, half-tones and pen-and-ink sketches by the author, Bacher, Bridgman, Kemble and Taber. Large octavo, full cloth, gilt. Price, $1.50.

An Alphabet

By William Nicholson. Color plate for each letter in the alphabet. Popular Edition on stout cartridge paper, $1.50. Library Edition, made on Dutch hand-made paper; mounted and bound in cloth. Price, $3.75.

R. H. RUSSELL, New York

THE WAYSIDE PRESS, SPRINGFIELD, MASS.

* * * * *

Transcriber's Note:

Obvious punctuation errors repaired.

Advertising page, "Navel" changed to "Naval" (The Naval Cadet)

Advertising page, "facination" changed to "fascination" (his usual fascination)

Advertising page, "irresistable" changed to "irresistible" (that is irresistible)

Advertising page, under The Golden Galleon, "Rainy" changed to "Rainey" (by William Rainey, R. I.)

Page 18, "n" changed to "in" (in comparison with all)

Page 47, "Keat's" changed to "Keats's" (or "Keats's Poems")

Page 54, twice, "De" changed to "de" (gather from Mr. de) (Mr. de Morgan's process)

Page 70, "Tiddlewink" changed to "Tiddledywink" (Sequel to Tiddledywink Tales)

Varied hyphenation was retained: woodcuts, wood-cuts and today, to-day and folklore, folk-lore.

THE END