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Decisive moments, it may be objected, do not occur (except for
epicures) at polite dinner parties, or during the 'mauvais quart
d'heure,' which might very well be the subject of our first picture.
But it seems to me that modern illustrators often deliberately shun
decisive moments, preferring to illustrate their characters in more
ordinary moods, and perhaps the Florentines did this also. Where
the illustrator is not a great artist the discretion is no doubt a wise
one. What for instance could be more charming, more completely
successful than this little picture of a messenger bringing a lady a
flower, no doubt with a pleasing message with it? In our next cut the
artist has been much more ambitious. Preceded by soldiers with
their long spears, followed by the hideously masked 'Battuti' who
ministered to the condemned, Ippolito is being led to execution. As
he passes her door, Dianora flings herself on him in a last embrace.
The lady's attitude is good, but the woodcutter, alas, has made the
lover look merely bored. In book-illustration, as in life, who would
avoid failure must know his limitations.
 FROM THE STORIA DI IPPOLITO
BUONDELMONTI E DIANORA BARDI,
S.A.
Whatever shortcomings these Florentine pictures may have in
themselves, or whatever they may lose when examined by eyes only
accustomed to modern work, I hope that it will be conceded that as
character-illustrations they are far from being despicable.
Nevertheless the true home of character-illustration in the fifteenth
century was rather in Germany than in Italy. Inferior to the Italian
craftsmen in delicacy and in producing a general impression of grace
(partly, perhaps, because their work was intended to be printed in
conjunction with far heavier type) the German artists and
woodcutters often showed extraordinary power in rendering facial
expression. My favourite example of this is a little picture from the
'De Claris Mulieribus' of Boccaccio printed at Ulm in 1473, on one
side of which the Roman general Scipio is shown with uplifted finger
bidding the craven Massinissa put away his Carthaginian wife, while
on the other Sophonisba is watched by a horror-stricken messenger
as she drains the poison her husband sends her. But there is a
naïveté about the figure of Scipio which has frequently provoked
laughter from audiences at lantern-lectures, so my readers must
look up this illustration for themselves at the British Museum, or
elsewhere. I fall back on a picture of a card-party from a 'Guldin
Spiel' printed at Augsburg in 1472, in which the hesitation of the
woman whose turn it is to play, the rather supercilious interest of her
vis-à-vis, and the calm confidence of the third hand, not only ready
to play his best, but sure that his best will be good enough, are all
shown with absolute simplicity, but in a really masterly manner.
Facial expression such as this in modern work seems entirely
confined to children's books and caricature, but one would sacrifice a
good deal of our modern prettiness for a few more touches of it.
 FROM INGOLD'S 'GULDIN SPIEL.' AUGSBURG, 1472.
The last point to which I would draw attention is that a good deal
more use might be made of quite small illustrations. The full-pagers
are, no doubt, impressive and dignified, but I always seem to see
written on the back of them the artist's contract to supply so many
drawings of such and such size at so many guineas apiece, and to
hear him groaning as he runs through his text trying to pick out the
full complement of subjects. The little sketch is more popular in
France than in England, and there is a suggestion of joyous freedom
about it which is very captivating. Such small pictures did not suit
the rather heavy touch of the German woodcutters; in Italy they
were much more popular. At Venice a whole series of large folio
books were illustrated in this way in the last decade of the fifteenth
century, two editions of Malermi's translation of the Bible, Lives of
the Saints, an Italian Livy, the Decamerone of Boccaccio, the Novels
of Masuccio, and other works, all in the vernacular. At Ferrara, under
Venetian influence, an edition of the Epistles of S. Jerome was
printed in 1497, with upwards of one hundred and eighty such little
cuts, many of them illustrating incidents of monastic life. Both at
Venice and Ferrara the cuts are mainly in outline, and when they are
well cut and two or three come together on a page the effect is
delightful. In France the vogue of the small cut took a very special
form. By far the most famous series of early French illustrated books
is that of the Hours of the Blessed Virgin (with which went other
devotions, making fairly complete prayer-books for lay use), which
were at their best for some fifteen years reckoning from 1488. These
Hour-Books usually contained some fifteen large illustrations, but
their most notable features are to be found in the borders which
surround every page. On the outer and lower margins these borders
are as a rule about an inch broad, sometimes more, so that they can
hold four or five little pictures of about an inch by an inch and a half
on the outer margin, and one rather larger one at the foot of the
page. The variety of the pictures designed to fill these spaces is
almost endless. Figures of the Saints and their emblems and
illustrations of the games or occupations suited to each month fill
the margins of the Calendar. To surround the text of the book there
is a long series of pictures of incidents in the life of Christ, with
parallel scenes from the Old Testament, scenes from the lives of
Joseph and Job, representations of the Virtues, the Deadly Sins
being overcome by the contrary graces, the Dance of Death, and for
pleasant relief woodland and pastoral scenes and even grotesques.
The popularity of these prayer-books was enormous, new editions
being printed almost every month, with the result that the
illustrations were soon worn out and had frequently to be replaced. I
have often wished, if only for the sake of small children in sermon
time, that our English prayer-books could be similarly illustrated. An
attempt to do this was made in the middle of the last century, but it
was pretentious and unsuccessful. The great difficulty in the way of
a new essay lies in the popularity of very small prayer-books, with so
little margin and printed on such thin paper as hardly to admit of
border cuts. The difficulty is real, but should not be insuperable, and
I hope that some bold illustrator may soon try his hand afresh.
FROM THE MALERMI BIBLE. VENICE, GIUNTA, 1490.
 FROM A FRENCH BOOK OF HOURS.
PARIS, KERVER, 1498.
I should not be candid if I closed this paper without admitting that
my fifteenth-century friends anticipated modern publishers in one of
their worst faults, the dragging in illustrations where they are not
wanted. In the fifteenth century the same cuts were repeated over
and over again in the same book to serve for different subjects.
Modern publishers are not so simple-hearted as this, but they add to
the cost of their books by unpleasant half-tone reproductions of
unnecessary portraits and views, and I do not think that book-buyers
are in the least grateful to them. Miss Sketchley, I am glad to see,
has not concerned herself with illustrators whose designs require to
be produced by the half-tone process. To condemn this process
unreservedly would be absurd. It gives us illustrations which are
really needed for the understanding of the text when they could
hardly be produced in any other way, and while it does this it must
be tolerated. But by necessitating the use of heavily-loaded paper—
unpleasant to the touch, heavy in the hand, doomed, unless all the
chemists are wrong, speedily to rot—it is the greatest danger to the
excellence of our English book-work which has at present to be
faced, while by wearying readers with endless mechanically
produced pictures it is injurious also to the best interests of artistic
illustration.
FROM MR. HOUSMAN'S "A FARM IN
FAIRYLAND."

BY LEAVE OF MESSRS. KEGAN PAUL.

ENGLISH BOOK-ILLUSTRATION OF
TO-DAY.
 I. SOME DECORATIVE ILLUSTRATORS.
F the famous 'Poems by Alfred Tennyson,' published
in 1857 by Edward Moxon, Mr. Gleeson White wrote
in 1897: 'The whole modern school of decorative
illustrators regard it, rightly enough, as the genesis of
the modern movement.' The statement may need
some modification to touch exact truth, for the
'modern movement' is no single-file, straightforward movement.
'Kelmscott,' 'Japan,' the 'Yellow Book,' black-and-white art in
Germany, in France, in Spain, in America, the influence of Blake, the
style of artists such as Walter Crane, have affected the present form
of decorative book-illustration. Such perfect unanimity of opinion as
is here ascribed to a large and rather indefinitely related body of
men hardly exists among even the smallest and most derided body
of artists. Still, allowing for the impossibility of telling the whole truth
about any modern and eclectic form of art in one sentence, there is
here a statement of fact. What Rossetti and Millais and Holman Hunt
achieved in the drawings to the 'Tennyson' of 1857, was a vital
change in the intention of English illustrative art, and whatever form
decorative illustration may assume, their ideal is effective while a
personal interpretation of the spirit of the text is the creative
impulse. The influence of technical mastery is strong and enduring
enough. It is constantly in sight and constantly in mind. But it is in
discovering and making evident a principle in art that the influence
of spirit on spirit becomes one of the illimitable powers.
To Rossetti the illustration of literature meant giving beautiful form
to the expression of delight, of penetration, that had kindled his
imagination as he read. He illustrated the 'Palace of Art' in the spirit
that stirred him to rhythmic translation into words of the still music
in Giorgione's 'Pastoral,' or of the unpassing movement of
Mantegna's 'Parnassus.' Not the words of the text, nor those things
precisely affirmed by the writer, but the spell of significance and of
beauty that held his mind to the exclusion of other images, gave him
inspiration for his drawings. As Mr. William Michael Rossetti says: 'He
drew just what he chose, taking from his author's text nothing more
than a hint and an opportunity.' It is said, indeed, that Tennyson
could never see what the St. Cecily drawing had to do with his
poem. And that is strange enough to be true.
It is clear that such an ideal of illustration is for the attainment of a
few only. The ordinary illustrator, making drawings for cheap
reproduction in the ordinary book, can no more work in this mood
than the journalist can model his style on the prose of Milton. But
journalism is not literature, and pictured matter-of-fact is not
illustration, though it is convenient and customary to call it so.
However, here one need not consider this, for the decorative
illustrator has usually literature to illustrate, and a commission to be
beautiful and imaginative in his work. He has the opportunity of
Rossetti, the opportunity for significant art.
The 'Classics' and children's books give greatest opportunity to
decorative illustrators. Those who have illustrated children's books
chiefly, or whose best work has been for the playful classics of
literature, it is convenient to consider in a separate chapter, though
there are instances where the division is not maintainable: Walter
Crane, for example, whose influence on a school of decorative
design makes his position at the head of his following imperative.
Representing the 'architectural' sense in the decoration of books,
many years before the supreme achievements of William Morris
added that ideal to generally recognized motives of book-decoration,
Walter Crane is the precursor of a large and prolific school of
decorative illustrators. Many factors, as he himself tells, have gone
to the shaping of his art. Born in 1846 at Liverpool, he came to
London in 1857, and there after two years was 'apprenticed' to Mr.
W. J. Linton, the well-known wood-engraver. His work began with
'the sixties,' in contact with the enthusiasm and inspiration those
years brought into English art. The illustrated 'Tennyson,' and
Ruskin's 'Elements of Drawing,' were in his thoughts before he
entered Mr. Linton's workshop, and the 'Once a Week' school had a
strong influence on his early contributions to 'Good Words,' 'Once a
Week,' and other famous magazines. In 1865 Messrs. Warne
published the first toy-book, and by 1869-70 the 'Walter Crane Toy-
book' was a fact in art. The sight of some Japanese colour-prints
during these years suggested a finer decorative quality to be
obtained with tint and outline, and in the use of black, as well as in a
more delicate simplicity of colour, the later toy-books show the first
effect of Japanese art on the decorative art of England. Italian art in
England and Italy, the prints of Dürer, the Parthenon sculptures,
these were influences that affected him strongly. 'The Baby's Opera'
(1877) and 'The Baby's Bouquet' (1879) are classics almost
impossible to criticise, classics familiar from cover to cover before
one was aware of any art but the art on their pages. So that if these
delightful designs seem less expressive of the Greece, Germany, and
Italy of the supreme artists than of the 'Crane' countries by whose
coasts ships 'from over the sea' go sailing by with strange cargoes
and strange crews, it is not in their dispraise. As a decorative
draughtsman Mr. Crane is at his best when the use of colour gives
clearness to the composition, but some of his most 'serious' work is
in the black-and-white pages of 'The Sirens Three,' of 'The
Shepheardes Calendar,' and especially of 'The Faerie Queene.' The
number of books he has illustrated—upwards of seventy—makes a
detailed account impossible. Nursery rhyme and fairy books,
children's stories, Spenser, Shakespeare, the myths of Greece,
'pageant books' such as 'Flora's Feast' or 'Queen Summer,' or the
just published 'Masque of Days,' his own writings, serious or gay,
have given him subjects, as the great art of all times has touched
the ideals of his art.
 FROM MR. WALTER CRANE'S
'GRIMM'S HOUSEHOLD STORIES.'

BY LEAVE OF MESSRS. MACMILLAN.

But whatever the subject, how strong soever his artistic admirations,
he is always Walter Crane, unmistakable at a glance. Knights and
ladies, fairies and fairy people, allegorical figures, nursery and
school-room children, fulfil his decorative purpose without swerving,
though not always without injury to their comfort and freedom and
the life in their limbs. An individual apprehension that sees every
situation as a conventional 'arrangement' is occasionally beside the
mark in rendering real life. But when his theme touches imagination,
and is not a supreme expression of it—for then, as in the illustrations
to 'The Faerie Queene,' an unusual sense of subservience appears to
dull his spirit—his humorous fancy knows no weariness nor
sameness of device.
The work of most of Mr. Crane's followers belongs to 'the nineties,'
when the 'Arts and Crafts' movement, the 'Century Guild,' the
Birmingham and other schools had attracted or produced artists
working according to the canons of Kelmscott. Mr. Heywood Sumner
was earlier in the field. The drawings to 'Sintram' (1883) and to
'Undine' (1888) show his art as an illustrator. Undine—spirit of wind
and water, flower-like in gladness—seeking to win an immortal soul
by submission to the forms of life, is realized in the gracefully
designed figures of frontispiece and title-page. Where Mr. Sumner
illustrates incident he is 'factual' without being matter-of-fact. The
small drawing reproduced is hardly representative of his art, but
most of his work is adapted to a squarer page than this, and has
had to be rejected on that account. Some of the most apt
decorations in 'The English Illustrated' were by Mr. Sumner, and
during the time when art was represented in the magazine Mr.
Ryland and Mr. Louis Davis were also frequent contributors. The
graceful figures of Mr. Ryland, uninterested in activity, a garden-
world set with statues around them, and the carol-like grace of Mr.
Davis's designs in that magazine, represent them better than the
one or two books they have illustrated.
 FROM MR. HEYWOOD
SUMNER'S 'UNDINE. BY LEAVE
OF MESSRS. CHAPMAN AND HALL.

Among those associated with the 'Arts and Crafts' who have given
more of their art to book-decoration, Mr. Anning Bell is first. He has
gained the approval even of the most exigent of critics as an artist
who understands drawing for process. Since 1895, when the
'Midsummer Night's Dream' appeared, his winning art has been
praised with discrimination and without discrimination, but always
praised. Trained in an architect's office, widely known as the
recreator of coloured relief for architectural decoration, Mr. Anning
Bell's illustrations show constructive power no less than that fairy gift
of seeming to improvise without labour and without hesitancy, which
is one of its especial charms. In feeling, and in many of his
decorative forms, his drawings recall the art of Florentine bas-relief,
when Agostino di Duccio, or Rossellino or Mino da Fiesole, created
shapes of delicate sweetness, pure, graceful—so graceful that their
power is hardly realized. The fairy by-play of the 'Midsummer Night's
Dream' is exactly to Mr. Anning Bell's fancy. He knows better than to
go about to expound this dream, and it is not likely that a more
delightful edition will ever be put into the hands of children, or of
anyone, than this in the white and gold cover devised by the artist.
Of his illustrations to the 'Poems by John Keats' (1897), and to the
'English Lyrics from Spenser to Milton' of the following year—as
illustrations—not quite so much can be said, distinguished and
felicitous as many of them are. The simple profile, the demure type
of beauty that he affects, hardly suit with Isabella when she hears
that Lorenzo has gone from her, with Lamia by the clear pool

"Wherein she passionëd

To see herself escaped from so sore ills,"

or with Madeline, 'St. Agnes' charmëd maid.' Mr. Anning Bell's

drawings to 'The Pilgrim's Progress' (1898) reveal him in a different
mood, as do those in 'The Christian Year' of three years earlier. His
vision is hardly energetic enough, his energy of belief sufficient, to
make him a strong illustrator of Bunyan, with his many moods, his
great mood. A little these designs suggest Howard Pyle, and Anning
Bell is better in a way of beauty not Gothic.
 FROM MR. ANNING BELL'S 'KEATS.'

BY LEAVE OF MESSRS. GEORGE BELL.

So if Mr. Anning Bell represents the 'Arts and Crafts' movement in

the variety of decorative arts he has practised, and in the
architectural sense underlying all his art, his work does not agree
with the form in which the influence of William Morris on decorative
illustration has chiefly shown itself. That form, of course, is Gothic,
as the ideal of Kelmscott was Gothic. The work of the 'Century Guild'
artists as decorative illustrators is chiefly in the pages of 'The Hobby
Horse.' Mr. Selwyn Image and Mr. Herbert Horne can hardly be
included among book illustrators, so in this connection one may not
stop to consider the decorative strength of their ideal in art. The
Birmingham school represents Gothic ideals with determination and
rigidity. Morris addressed the students of the school and prefaced
the edition of 'Good King Wenceslas,' decorated and engraved and
printed by Mr. A. J. Gaskin 'at the press of the Guild of Handicraft in
the City of Birmingham,' with cordial words of appreciation for the
pictures. These illustrations are among the best Mr. Gaskin has done.
The commission for twelve full-page drawings to 'The Shepheardes
Calendar' (Kelmscott Press, 1896) marks Morris's pleasure in Mr.
Gaskin's work—especially in the illustrations to Andersen's 'Stories
and Fairy Tales.' If not quite in tune with Spenser's Elizabethan
idyllism, these drawings are distinctive of the definite convictions of
the artist.

FROM MR. GASKIN'S 'HANS

ANDERSEN.'

BY LEAVE OF MR. GEORGE ALLEN.

These convictions represent a splendid tradition. They are

expressive, in their regard for the unity of the page, for harmony
between type and decoration, of the universal truth in all fine
bookmaking. Only at times, Birmingham work seems rather heavy in
spirit, rather too rigid for development. Still, judging by results, a
code that would appear to be against individual expression is
inspiring individual artists. Some of these—as Mr. E. H. New—have
turned their attention to architectural and 'open-air' illustration, in
which connection their work will be considered, and many have
illustrated children's books. Their quaint and naïve fancy has there,
at times, produced a portentous embodiment of the 'old-fashioned'
child of fiction. Mr. Gere, though he has done little book-illustration,
is one of the strongest artists of the school. His original wood
engravings show unmistakably his decorative power and his
craftsmanship. With Mr. K. Fairfax Muckley he was responsible for
'The Quest' (1894-96). Mr. Fairfax Muckley has illustrated and
decorated a three-volume edition of 'The Faerie Queene' (1897),
wherein the forest branches and winding ways of woodland and of
plain are more happily conventionalized than are Spenser's figures.
Some of the headpieces are especially successful. The artist uses the
'mixed convention' of solid black and line with less confusion than
many modern draughtsmen. Once its dangers must have been
evident, but now the puzzle pattern, with solid blacks in the
foreground, background, and mid-distance—only there is no distance
in these drawings—is a common form of black and white.
Miss Celia Levetus, Mr. Henry Payne, Mr. F. Mason, and Mr. Bernard
Sleigh, are also to the credit of the school. Miss Levetus, in her later
work, shows that an inclination towards a more flexible style is not
incompatible with the training in Gothic convention. Mr. Mason's
illustrations to ancient romances of chivalry give evidence of
conscientious craftsmanship, and of a spirit sympathetic to themes
such as 'Renaud of Montauban.' Mr. Bernard Sleigh's original wood-
engravings are well known and justly appreciated. Strong in tradition
and logic as is the work of these designers, it is, for many, too
consistent with convention to be delightful. Perhaps the best result
of the Birmingham school will hardly be achieved until the formal
effect of its training is less patent.