Chapter V: Other Illustrated Periodicals of the Sixties. 'churchman's

FAMILY MAGAZINE,' 'SUNDAY MAGAZINE,' ETC.

In devoting another chapter to periodicals one must insist upon their relative importance; for the time and money expended on them in a single year would balance possibly the cost of all the books mentioned in this volume. In a naïve yet admirable article in the Christmas _Bookseller_, 1862, written from a commercial standpoint, the author says, speaking of some pictures in _Good Words_: 'Some of these, we are informed, cost as much as £50 a block, a sum which appears marvellous when we look at the low price of the magazine'; he instances also the celebrated 'J. B.'[3], 'whose delineations of animals are equal to Landseer. The magazines to be noticed are those only which contain original designs; others, _The National Magazine_, the _Fine Arts Quarterly_, and the like, which relied upon the reproductions of paintings, are not even mentioned.

THE CHURCHMAN'S FAMILY MAGAZINE

Any periodical containing the work of Millais and Sandys is, obviously, in the front rank, but _The Churchman's Family Magazine_, which started in January 1863, did not long maintain its high level; yet the first half a dozen volumes have enough good work to entitle them to more than passing mention. This, like _London Society_, was published by Mr. James Hogg, and must not be confounded with another of the same price, with similar title, _The Churchman's Shilling Magazine_, to which reference is made elsewhere. In the familiar octavo of its class, it is well printed and well illustrated. The first volume contains two full pages by Millais, _Let that be please_ (p. 15) and _You will forgive me_ (p. 221); three illustrations by E. J. Poynter to _The Painter's Glory_ (pp. 124, 131, 136); three by T. Morten (pp. 137, 432, and 531); five by J. D. Watson, _Only Grandmamma_ (p. 89), _Christian Martyr_ (p. 104), _Sunday Evening_ (p. 191), _The Hermit_ (p. 260), and _Mary Magdalene_ (p. 346); three by Charles Green to _How Susy Tried_ (pp. 57, 64, 71), and one each to _Henry II._ (p. 385), and _An Incident in Canterbury Cathedral_ (p. 482), a drawing strangely resembling a 'John Gilbert.' H. S. Marks is represented by _Home Longing_ (p. 113) and _Age and Youth_ (p. 337); H. H. Armstead by _Fourth Sunday in Lent_ (p. 245) and _Angel Teachers_ (p. 539); J. C. Horsley by _Anne Boleyn_ (p. 136); F. R. Pickersgill by _The Still Small Voice_ (p. 586); G. H. Thomas by _Catechising in Church_ (p. 225), and R. Barnes by _Music for the Cottage_ (p. 289) and _The Strange Gentleman_ (p. 293). Besides these the volume contains others by Rebecca (sister to Simeon) Solomon (p. 571), L. Huard, D. H. Friston, H. C. Selous, T. Macquoid, W. M'Connell, T. Sulman, E. K. Johnson (_Spenser_, p. 576), and J. B. Zwecker--a very fairly representative group of the average illustrator of the period. The second half of 1863 (vol. ii.) enshrines the fine Frederick Sandys, _The Waiting Time_, an incident of the Lancashire cotton famine (p. 91). Another of M. J. Lawless's most charming designs, _One Dead_ (p. 275), (reprinted under the title of _The Silent Chamber_), will be found here. M. E. Edwards contributes two, _Ianthe's Grave_ (p. 128) and _Child, I said_ (p. 405); G. J. Pinwell is represented once with _By the Sea_ (p. 257); and T. Morten with _The Bell-ringers' Christmas Story_ (p. 513). The other artists include H. C. Selous, C. W. Cope, F. R. Pickersgill, E. Armitage, A. W. Cooper, E. H. Wehnert, E. H. Corbould, Marshall Claxton, P. W. Justyne, P. Skelton, Paulo Priolo, D. H. Friston, H. Sanderson, Creswick, and T. B. Dalziel. In vol. iii. (1864) M. J. Lawless has _Harold Massey's Confession_ (p. 65); C. Green, _Thinking and Wishing_ (p. 223); G. J. Pinwell, _March Winds_ (p. 232); M. E. Edwards, _At the Casement_ (p. 354); and T. Morten, _The Twilight Hour_ (p. 553). Among other contributors are Florence Caxton, L. Huard, H. M. Vining, W. M'Connell, Rebecca Solomon, H. Fitzcook, John Absolon, Percy Justyne, F. W. Keyl, W. J. Allen.

'CHURCHMAN'S FAMILY MAGAZINE'
VOL. II. p. 275

'ONE DEAD']

'CHURCHMAN'S FAMILY MAGAZINE'
VOL. II. p. 91

THE WAITING TIME]

In vol. iv. are J. D. Watson's _Crusaders in Sight of Jerusalem_ (p. 557), T. B. Dalziel's _In the Autumn Twilight_ (p. 441), and A. W. Cooper's _Lesson of the Watermill_ (p. 339); Florence Caxton illustrates the serial. And in vol. v. M. E. Edwards's _Deare Childe_ (p. 114), and _The Emblem of Life_ (p. 64), and A. Boyd Houghton's _A Word in Season_ (p. 409), are best worth noting. Vol. vi. has a good study of a monk, _Desert Meditations_ (p. 493), and a _Gretchen's Lament_ (p. 82), by M. E. Edwards. From vol. vii. onwards portraits, chiefly of ecclesiastical dignitaries, take the place of pictures.

THE SHILLING MAGAZINE

This somewhat scarce publication is often referred to as one of the important periodicals of the sixties, but on looking through it, it seems to have established its claim on somewhat slender foundation. True, it contains one of Sandys' most memorable designs--here reproduced in photogravure from an early impression of the block, a peculiarly fine drawing--to Christina Rossetti's poem, _Amor Mundi_. It was reproduced from a photograph of the drawing on wood in the first edition of Mr. Pennell's admirable _Pen Drawing and Pen Draughtsmen_, and in the second edition are reproductions by process, not only of Mr. Sandys' original drawing as preserved in a Hollyer photograph, but of preliminary studies for the figures.

The rest of the illustrations of the magazine, which only lived for a few months, are comparatively few and not above the average in merit. The numbers, May 1865 to May 1866, contain eight drawings by J. D. Watson, illustrating Mrs. Riddell's _Phemie Keller_. Thirteen by Paul Gray illustrate _The White Flower of Ravensworth_, by Miss M. Betham-Edwards. Others noteworthy are: _Gythia_, by T. R. Lamont; _Dahut_, and _An Incident_ of 1809, by J. Lawson; _Mistrust_ and _Love's Pilgrimage_, by Edward Hughes; a fine composition, _Lost on the Fells_, by W. Small, and a few minor drawings mostly in the text. It was published by T. Bosworth, 215 Regent Street. This is a brief record of a fairly praiseworthy venture, but there is really no more to be said about it.

THE SUNDAY MAGAZINE,

Another sixpenny illustrated monthly more definitely religious in its aim than _Good Words_, of which it was an offspring, was started in 1865. The illustrations from the first were hardly less interesting than those in the other publications under the direction of Mr. Alexander Strahan. Indeed, it would be unjust not to express very clearly and unmistakably the debt which all lovers of black-and-white art owe to the publisher of these magazines. The conditions of oil-painting demand merely a public ready to buy: whether the artist negotiates directly with the purchaser, or employs an agent, is a matter of convenience. But black-and-white illustration requires a well-circulated, well-printed, well-conducted periodical: not as a middleman whose services can be dispensed with, but as a vital factor in the enterprise. Therefore drawings intended for publication imply a publisher, and one who is not merely a man with pronounced artistic taste, but also a good administrator and a capable man of business. These triple qualifications are found but rarely together, and when they do unite, the influence of such a personality is of the utmost importance. Mr. Strahan, who appears to have combined in no small degree the qualities which go to make a successful publisher, set on foot two popular magazines, which, in spite of their having long passed their first quarter of a century, are still holding their own. A third, full of promise, _Good Words for the Young_, was cut off in its prime, or rather died of a lingering disease, caused by that terrible microbe _the foreign cliché_. Others, _The Day of Rest_ and _Saturday Journal_, also affected by the same ailment, succumbed after more or less effort; but the magazines that relied on the best contemporary illustrators still flourish. The moral, obvious as it is, deserves to be insisted upon. To-day the photograph from life is as popular with many editors as the _cliché_ from German and French originals was in the seventies; but a public which tired of foreign electros may soon grow weary of the inevitable photograph, and so the warning is worth setting down.

'SUNDAY MAGAZINE'
1866, p. 825

SUMMER]

'SUNDAY MAGAZINE'
1865, p. 328

WINTER]

Like its companion, _Good Words_, it has known fat years and lean years; volumes that were full of admirable drawings, and volumes that barely maintained a respectable average. From the very first volume of the _Sunday Magazine_ we find among others R. Barnes, A. Boyd Houghton, M. E. Edwards, Paul Gray, J. Lawson, F. W. Lawson, J. W. North, G. J. Pinwell, and Marcus Stone well represented. The standard of excellence implied by these names was preserved for a considerable time. To this Pinwell contributes two drawings, _The House of God_ (p. 144) and _Only a Lost Child_ (p. 592), a typical character-study of town life. Paul Gray has a full page, _The Maiden Martyr_ (p. 272), engraved by Swain; either the drawing is below his level, or it has suffered badly at the hands of the engraver. _The Orphan Girl_ (p. 296), _Clara Linzell's Commentary_ (p. 401), and _Dorcas_ (p. 617), by the same artist, are all interesting, but do not represent him at his best. The single contribution by A. Boyd Houghton, _Friar Ives_ (p. 384), is not particularly good. In _Winter_, by J. W. North (p. 328), we have a most excellent drawing of a snow-clad farm with a thrashing machine at work in the distance, and two children in the foreground. The delicacy and breadth of the work, and its true tonality deserve appreciation; it was engraved by Swain. _Drowned_ (p. 585), by Marcus Stone, is not very typical. _The Watch at the Sepulchre_ (p. 940), by J. Lawson, is a spirited group of Roman soldiers. _Caught in a Thunderstorm_, by R. P. Leitch, engraved by W. J. Linton, is interesting to disciples of 'the white line.' Edward Whymper supplies the frontispiece, _The Righi_. M. E. Edwards, in the drawings to _Grandfather's Sunday_ (pp. 481, 489), appears to be under the influence of G. H. Thomas. Robert Barnes has twenty illustrations to _Kate the Grandmother_, and one each to _Light in Darkness_ (p. 25) and _Our Children_. A series of fourteen to _Joshua Taylor's Passion_, engraved by Dalziel, are unsigned; the style leads one to credit them to F. A. Fraser, who in later volumes occupied a prominent position. F. W. Lawson, in _A Romance of Truth_ (pp. 641, 649) and _The Vine and its Branches_ (p. 904), has not yet found his individual manner. The rest of the pictures by T. Dalziel, F. J. Slinger, R. T. Pritchett, F. Eltze, W. M'Connell, etc., call for no special comment.

In 1866 J. Mahoney's _Summer_, the frontispiece to the volume, is a notable example of a clever artist, whose work has hardly yet attracted the attention it deserves; _Marie_ (p. 753), a study of an old woman knitting, is no less good. Birket Foster's _Autumn_ (p. 1) is also a very typical example. Paul Gray's _Among the Flowers_ (p. 624), a group of children from the slums in a country lane, is fairly good. W. Small, in _Hebe Dunbar_ 'from a photograph' (p. 441), supplies an object-lesson of translation rather than imitation, which deserves to be studied to-day. In it, a really great draughtsman has given you a personal rendering of facts, like those he would have set down had he worked from life, and thereby imparted individual interest to a copy of a photograph. This one block, if photographers would but study it, should convince them that a good drawing is in every way preferable to a 'half-tone' block from a photograph of the subject; it might also teach a useful lesson to certain draughtsmen, who employ photographs so clumsily that the result is good neither as photography nor as drawing, but partakes of the faults of both. Three designs to the _Annals of a Quiet Neighbourhood_, by Dr. George Mac Donald, (pp. 641, 713, 785), the first quite in the mood of the hour, a capital piece of work, and _A Sunday Afternoon in a London Court_, complete Mr. Small's share in this volume. Robert Barnes supplies the other eight drawings to Dr. Mac Donald's story, and another, _The Pitman and his Wife_ (p. 17), an excellent specimen of his 'British Workman' manner. F. J. Shields, a very infrequent contributor to these magazines, has a biblical group, '_Even as thou wilt_' (p. 33). Edward Hughes (who must not be confounded with Arthur Hughes, nor with the present member of the Old Water-Colour Society, E. R. Hughes) is responsible for _Under a Cottage Roof_ (p. 192), _The Bitter and Sweet_ (p. 249), _The First Tooth_ (p. 337), and _The Poor Seamstress_ (p. 409); although a somewhat fecund illustrator not devoid of style and invention, his work fails to interest one much to-day. J. Gordon Thomson, so many years the cartoonist of _Fun_, is represented by _On the Rock_ (p. 544). F. W. Lawson's _Hope_ (p. 120) and A. W. Bayes's _Saul and David_ (p. 703), with a drawing of wild animals drinking, by Wolf, complete the list of original work, the rest being engraved from photographs.

'SUNDAY MAGAZINE,' 1868, p. 656

THE FARMER'S DAUGHTER]

'SUNDAY MAGAZINE'

1867, p. 817

A LESSON
TO A KING]

'SUNDAY MAGAZINE'
1867, p. 258

LUTHER THE
SINGER]

'SUNDAY MAGAZINE'

JOHN BAPTIST]

'GOOD WORDS' 1868, p. 672

YESTERDAY
AND TO-DAY]

'SUNDAY MAGAZINE'
1867, p. 609

ANITA'S PRAYER]

'SUNDAY MAGAZINE'
1868, p. 704

MADAME DE
KRUDENER]

In 1867 A. Boyd Houghton is well to the fore with twelve illustrations to the serial story by Sarah Tytler, _The Huguenot Family in the English Village_, besides full-page drawings, some in his best manner, to _A Proverb Illustrated_ (p. 33), _Heroes_ (p. 129), _Luther the Singer_ (p. 256), _The Martyr_ (p. 348), _The Last of the Family_ (p. 393), and _A Lesson to a King_ (p. 817). W. Small is only represented twice, with _Wind me a Summer Crown_ (p. 65) and _Philip's Mission_ (p. 752). J. W. North has three admirable drawings, _Foundered at Sea_ (p. 280), _Peace_ (p. 560), _Anita's Prayer_ (p. 609), the first and last of these, both studies of shipwrecks, deserve to be remembered for the truth of movement of the drawing of the waves, and one doubts if any sea-pieces up to the date of their appearance had approached them for fact and beauty combined. Both are engraved by Dalziels in an admirably intelligent fashion. F. W. Lawson's _The Chained Book_ (p. 104) and _The Revocation of the Edict of Nantes_ (p. 496), and _In the Times of the Lollards_ (p. 529), all deal with acrimonious memories of the past. After the scenes of cruelty, persecution, and martyrdom which unfortunately are too often the chief dishes in the _menu_ of a religious periodical, it is a relief to turn to the _Cottar's Farewell_ (p. 417), by J. D. Watson, or to the 'Norths' before quoted. This most straightforward and accomplished study of a dying peasant and his family shows the dignified and simple treatment which the artist at his happiest moments employed with complete mastery.

In 1868 A. Boyd Houghton is again the most frequent contributor of full-page designs; a bare list must suffice. _Sunday at Hippo_ (p. 57), _Three Feasts of Israel_ (p. 67), _Paul's Judge_ (p. 88), _Sunday Songs, Sweden_ (p. 112), _The Charcoal Burners_ (p. 118), a drawing which looks like an intentional 'exercise in the manner of Gustave Doré,' who, despite his enormous popularity in England, seems to have had singularly little influence on English artists, so that this stands out as a unique exception. Houghton has also _The Feast of the Passover_ (p. 185), _The Poor Man's Shuttle_ (p. 273), _Feast of Pentecost_ (p. 296), _Samuel the Ruler_ (p. 357), _George Herbert's Last Sunday_ (p. 424), _Baden-Baden_ (p. 520), _The Good Samaritan_ (p. 552), _Church of the Basilicas_ (p. 561), _Joseph's Coat_ (p. 616), _St. Paul Preaching_ (p. 681), and _The Parable of the Sower_ (p. 777). G. J. Pinwell is seen in three examples, _A Westphalian Parsonage_ (p. 192), _Madame de Krudener_ (pp. 704, 785); S. L. Fildes is here for the first time with _The Farmer's Daughter_ (p. 656); J. Pettie has a small drawing, _My Sister_ (p. 176); J. Wolf, a clever 'lamb' study (p. 529); and W. Small a most typical, almost mannered, _Sunday Morning_ (p. 182). J. Mahoney supplies twenty-eight illustrations to _The Occupations of a Retired Life_, by Edward Garrett, besides separate plates, _Sunday Songs from Denmark_ (p. 16), _Love Days_ (p. 137), and _Just Suppose_ (p. 649). J. Gordon Thomson contributes eighteen drawings for Dr. George Macdonald's _The Seaboard Parish_, and others of no particular interest are attributed to Shield, F. A. Fraser, C. Morgan, Miles, Lamont, and Pasquier. Here, as in many other volumes, are vignettes and tail-pieces by T. Dalziel, some of them most admirably drawn and all charmingly expressed in the engraving.

In 1869 A. Boyd Houghton still maintains his position. This year his drawings are _Wisdom of Solomon_ (p. 16), _The Jews in the Ghetto_ (p. 44), _Martha and Mary_ (p. 65), _Rehoboam_ (p. 85), _Jewish Patriotism_ (p. 125), _Sunday in the Bush_ (p. 161), _Miss Bertha_ (pp. 384, 513), _Babylonian Captivity_ (p. 633), _John Baptist_ (p. 641), and _Samson_ (p. 760). G. J. Pinwell illustrates Edward Garrett's _The Crust and the Cake_ with thirty-four cuts. In one of these (p. 529), as in two other designs by the same artist, you find that in drawing the lines of a harpsichord, or grand piano, he has forgotten that the reversal required by engraving would represent the instrument with its curve on the bass, instead of the treble side--a sheer impossibility, which any pianist cannot help noticing at a glance. His one other contribution this year is _The Gang Children_ (p. 25). Represented by a solitary example in each case are J. M'Whirter, _Sunday Songs_ (p. 12); J. Pettie, _Philip Clayton's First-born_ (p. 69); Edward Hughes, _Mother Mahoney_ (p. 196); Towneley Green, _Village Doctor's Wife_ (p. 505); Robert Barnes, _A Missionary in the East_ (p. 57); and Arthur Hughes, _Blessings in Disguise_ (p. 156). J. Mahoney has _The Centurion's Faith_ (p. 60), _Building of the Minster_ (p. 352), _Hoppety Bob_ (p. 417), _Roger Rolf_ (p. 608), and _Christmas Eighteenth Century_ (p. 252). Francis Walker, with his _Sunday Songs_ (p. 93), _Bird Fair, Shoreditch_ (p. 409), _Feast of Tabernacles_ (p. 600), _Widow Mullins_ (p. 673), and _A Little Heroine_ (p. 736); H. French, with '_It is more blessed_' (p. 229), and _A Narrative Sermon_ (p. 632); and F. A. Fraser with _Jesuit Missions_ (p. 101), _Wesley_ (p. 152), _The Year_ (p. 217), _A Queer Charity_ (p. 576), and _A Schwingfest_ (p. 665); the three latter belong by rights to the men of the seventies rather than to the group with which this volume is concerned.

'SUNDAY MAGAZINE'
1868, p. 777

THE PARABLE
OF THE SOWER]

'SUNDAY MAGAZINE'
1871 p. 10

MY HEART]

'SUNDAY MAGAZINE'
1869, p. 156

BLESSINGS IN
DISGUISE]

'SUNDAY MAGAZINE'
1871, p. 408

A PARABLE]

In 1870 A. Boyd Houghton, one of the heroes of the sixties, reappears with five contributions, one, quite out of his ordinary manner, being a design for a group of statues, _St. Paul's Companions_ (p. 33); the others are _My Mother's Knee_ (p. 16), _Sunday at Aix-les-bains_ (p. 88), Achsah's _Wedding Gifts_ (p. 104), and _Sister Edith's Probation_ (p. 600). J. Mahoney signs but two: _A Sun-dial in a Churchyard_ (p. 704) and _Passover Observances_ (p. 736). F. A. Fraser and Towneley Green supply the illustrations to the serials. W. J. Wiegand contributes decorative head-pieces, and Hubert Herkomer has two drawings, _Diana's Portrait_ and _Diana Coverdale's Diary_.

In 1871 Houghton has but two: _A Woman that was a Sinner_ (p. 104) and _The Withered Flower_ (p. 512). Arthur Hughes, in three delightful designs, _My Heart_ (p. 10), _The First Sunrise_ (p. 302), and _Tares and Wheat_ (p. 353); J. Mahoney with _Diet of Augsburg_ (p. 417) and _Our Milkmen_ (p. 217); and W. Small with _The Sea-Side Well_ (p. 249), _One of Many_ (p. 446), and fourteen illustrations to _The Story of the Mine_, are about the only remnants of the old army. John Leighton, a frequent contributor of decorative borders and head-pieces, has a typical full-page, _A Parable_ (p. 408). The 'seventies' are represented by R. Macbeth's _Tom Joiner's Good Angel_ (p. 313); and C. Green (who, like Small, belongs to both periods) with his designs to _The Great Journey_ (p. 119) and _Mills of Clough_ (pp. 560, 728).

CASSELL'S MAGAZINE,

A popular monthly periodical that is still in full vigour under a slightly altered title, started in the decade immediately before the date that this book attempts to cover. As _Cassell's Family Paper_, a large folio weekly, beyond the fact that the ubiquitous Sir John Gilbert did innumerable good things for its pages, one is not greatly interested in it. But in 1865 it was changed to a quarto shape, and although L. Huard supplied the front page pictures to vol. i., and so the artistic position of the paper was not improved, yet soon after the change we find a great illustrator contributing the weekly drawing for its chief serial. For despite the indifferent engraving accorded to many of the blocks and the absence of any signature, the autograph of William Small is legible in every line of the illustrations to _Bound to the Wheel_ which started with vol. ii. in August 26, 1866, and has sixteen half-page illustrations. This was followed by _The Secret Sign_, with the same artist for a few chapters. Then another hand appears, and soon after the monogram F. G. shows that the second Gilbert (a brother, I believe, of the more famous artist) has replaced W. Small. To one drawing of another serial, _The Lion in the Path_, the signature of T. Morten is appended.

In April 1867 its title is changed to _Cassell's Family Magazine_, and it is printed on toned paper. The serial, _Anne Judge, Spinster_, by F. W. Robinson, has thirty illustrations by Charles Green. No doubt the originals were worthy of that admirable draughtsman; indeed, despite their very ordinary engraving, enough remains to show the handling of a most capable artist. The succeeding serial, _Poor Humanity_, is illustrated by B. Bradley. J. D. Watson contributes occasional drawings--_Ethel_, on p. 22, being the first. M. Ellen Edwards also appears, with F. W. Lawson, F. A. Fraser, Henley, C. J. Staniland, R. T. Pritchett, M. W. Ridley, J. Mahoney, and G. H. Thomas. It is noteworthy of the importance attached to the illustrator at this date, that the names of those artists who have contributed to the magazine are printed in bold type upon the title-page to each volume. These, as later, bear no date, so that only in volumes bound with the wrappers in British Museum fashion can you ascertain the year of their publication. In vol. iii. (May 1868 onwards) you discover on p. 9 a drawing, _Cleve Cliff_, by G. J. Pinwell. Its serial, _A Fight for Life_, is illustrated by G. H. Thomas, whose pictures are not signed, nor have I found that the authorship is attributed to the artists within the magazine itself. But in the 'In Memoriam' volume, published soon after his death, several are reprinted and duly credited to him. They were all engraved by W. Thomas. The first appearance of S. L. Fildes, _Woodland Voices_, is on p. 137 of this volume. T. Blake Wirgman has also a notable composition, _A Sculptor's Love_, and in this and in volume iv. there are other drawings by Fildes, Pinwell, and many by F. Barnard, F. S. Walker, and other popular draughtsmen of the period.

'THE ARGOSY'
1866, VOL. I. p. 336

'IF']

In 1870 we find another change, this time to a page that may be a quarto technically, but instead of the square proportions we usually connect with that shape, it seems more akin to an octavo. The illustrations are smaller, but far better engraved and better printed. W. Small illustrates Wilkie Collins's cleverly-constructed story, _Man and Wife_, with thirty-seven pictures. His character-drawing appears at its best in 'Bishopriggs,' the old Scotch waiter, his love of beauty of line in two or three sketches of the athlete, 'Geoffrey Delamayne,' the working villain of the story. The dramatic force of the group on p. 305, the mystery of the scene on p. 529, or the finely-contrasted emotions of Anne Silvester and Sir Patrick on p. 481, could hardly be beaten. The other contributors to this vol. i. of the new series, include R. Barnes, Basil Bradley, H. K. Browne, W. R. Duckman, E. H. Corbould, M. E. Edwards, E. Ellis, S. L. Fildes, F. A. Fraser, E. Hughes, F. W. Lawson, H. Paterson, and others, most of whom it were kindness to ignore. For side by side with Mr. Small's masterly designs appear the weakest and most commonplace full pages. Hardly one, except S. L. Fildes's _A Sonnet_ (p. 9), tempts you to linger a moment. In vol. ii. the serial story, _Checkmate_, is illustrated by Towneley Green. The drawings throughout are mainly by those who contributed to the first volume. In the third volume, Charles Reade's _A Terrible Temptation_ is illustrated by Edward Hughes; a somewhat powerful composition by J. D. L[inton], p. 377; one by W. Small (p. 9), and others by J. Lawson, F. W. Lawson, M. E. Edwards, are all that can claim to be noted.

BELGRAVIA

This illustrated shilling monthly, the same size and shape as most of its predecessors, was not started until 1866, and its earlier volumes have nothing in them sufficiently important to be noticed. In the seventies better things are to be found.

THE ARGOSY

This monthly periodical, as we know it of late years, suggests a magazine devoted to fiction and light literature, with a frontispiece by some well-known artist, and small engravings in the text mostly from photographs, or belonging to the diagram and the record rather than to fine art. I am not speaking of the present shilling series, but of the long array of volumes from 1868 until a few years ago. Nor does this opinion belittle the admirable illustrations by Walter Crane, M. Ellen Edwards, and other artists who supplied its monthly frontispiece. But the first four half-yearly volumes were planned on quite different lines, and these deserve the attention of all interested in the subject of this book, to a degree hardly below that of the better-known magazines; better known, that is to say, as storehouses of fine illustrations. As these volumes seem to be somewhat scarce, a brief _résumé_ of their contents will not be out of place. In the year 1866 we have William Small at his best in twelve illustrations to Charles Reade's dramatic novel, _Griffith Gaunt_. Whether because the ink has sunk into the paper and given a rich tone to the prints, or because of their intrinsic merit, it is not quite easy to say, but the fact remains that these drawings have peculiar richness, and deserve to be placed among the best works of a great artist not yet fully recognised. One design by F. Sandys to Christina Rossetti's poem, _If_, is especially noticeable, the model biting a strand of hair embodies the same idea as that of _Proud Maisie_, one of the best-known works of this master. A. Boyd Houghton has a typical Eastern figure-subject, _The Vision of Sheik Hamil_; Edward Hughes one, _Hermione_; Paul Gray, a singularly good drawing to a poem _The Lead-Melting_, by Robert Buchanan. Another to a poem by George Macdonald, _The Sighing of the Shell_, is unsigned, whether by Morten or Paul Gray I cannot say, but it is worthy of either artist; J. Lawson has one to _The Earl of Quarterdeck_, M. Ellen Edwards one to _Cuckoo_ and one to _Cape Ushant_, a ballad by William Allingham; a group, with Napoleon as the central figure, is by G. J. Pinwell, and J. Mahoney contributes three: _Autumn Tourists, Bell from the North_, a girl singing by a Trafalgar Square fountain, and _The Love of Years_. The next year, 1867, is illustrated more sparsely. _Robert Falconer_, by George Macdonald, has one unsigned drawing, and nine by William Small; these, with _A Knight-Errant_ by Boyd Houghton, make up the eleven it contains. In the next year Walter Crane illustrates the serial, _Anne Hereford_, by Mrs. Henry Wood, and also a poem, _Margaret_, by his sister.

'THE ARGOSY'
1866, VOL. I. p. 500

THE VISION OF
SHEIK HAMIL]

'THE QUIVER'
1867

THE SAILOR'S VALENTINE]

THE QUIVER

This semi-religious monthly magazine, published by Messrs. Cassell and Co., was not illustrated at first. It is almost unnecessary to describe it volume by volume, as a reprint of its principal illustrations was made in 1867, when fifty-two pictures were sandwiched between poems, and published in a small quarto volume entitled '_Idyllic Pictures_, drawn by Barnes, Miss Ellen Edwards, Paul Gray, Houghton, R. P. Leitch, Pinwell, Sandys, Small, G. Thomas, etc' The curiously colloquial nomenclature of the artists on the title-page is the only direct reference to their share in the book, which is well printed, and includes some admirable illustrations. The book is now exceptionally scarce, and like its companion, _Pictures of Society_, selected from _London Society_, must be searched for long and patiently. Personal inquiries at all the accessible shops in London, Bath, and Edinburgh failed to find one bookseller who had ever heard of either book. Yet, in spite of it, single copies of both turned up alternately on the shelves of men who were at the moment of its discovery glibly doubting its existence. The ignorance of booksellers concerning this period is at once the terror and the joy of the collector. For when they do know, he will have to pay for their knowledge.

Yet it would be unfair to the reputation of a periodical which issued so many designs by representative artists of the sixties to dismiss it without a little more detail. Started as a non-illustrated paper on October 6, 1864, it entered the ranks with a very capable staff. In 1866 a third series on toned paper still further established its claim to be considered seriously, and the fact that these few years supplied the matter for the volume just mentioned shows that it fulfilled its purpose well. In volume i. third series (1866), pictures by A. Boyd Houghton will be found on pages 532, 585, 664, 728, 737, 776, and 868; and in vol. ii. 1867, he appears upon pages 88 and 456. Those by William Small (pp. 90, 232), G. J. Pinwell (pp. 60, 641), and J. D. Watson (p. 596) also deserve looking up. M. W. Ridley, an illustrator of promise, is also represented. In vol. iii. 1868, J. D. Watson's designs on pages 25, 57, 497, 680, 713, and 745 are perhaps his best. Drawings by John Lawson (p. 108), Hubert Herkomer (p. 73), A. Boyd Houghton (pp. 97, 705, 721, 737), S. L. Fildes (pp. 327, 417, 433), G. J. Pinwell (pp. 121, 193, 449, 481, 585 and 753), C. Green (p. 241), J. Mahoney (p. 328), and T. B. Wirgman (p. 649) all merit notice. In vol. iv. many of the above artists are represented--S. L. Fildes (p. 396), J. D. Watson (p. 407), W. Small (p. 696), and the designs by S. L. Fildes and J. D. Watson in the Christmas number being perhaps the most noticeable. Other frequent contributors include R. Barnes, C J. Staniland, M. E. Edwards, J. A. Pasquier, G. H. Thomas, F. W. Lawson, and Edith Dunn. Although not to be compared artistically with its rivals, _Good Words_ and the _Sunday Magazine_, it is nevertheless a storehouse of good, if not of exceptionally fine, work.

THE CHURCHMAN'S SHILLING MAGAZINE,

A periodical of the conventional octavo size, affected by the illustrated shilling periodicals of the sixties, was commenced in 1867. The first two volumes contain little of note, and are illustrated by R. Huttula, John Leigh, E. F. C. Clarke; the third volume has M. E. Edwards, and in the fifth volume Walter Crane supplies two full pages (pp. 267, 339). Despite the fact that it credited its artists duly in the index, and seemed to have been most favourably noticed at the time, it may be dismissed here without further notice.

TINSLEY'S MAGAZINE

This shilling monthly was started in August 1867 with illustrations by 'Phiz,' W. Brunton, D. H. Friston, and A. W. Cooper. A. Boyd Houghton's contributions include _The Story of a Chignon_ (i. p. 544), _For the King_ (ii. p. 149), and _The Return from Court_ (ii. p. 377). J. D. Watson appears in vol. iii. pp. 87, 399, 665, and a drawing, signed A. T. (possibly Alfred Thompson), is on p. 207. But the magazine, although published at a shilling, and therefore apparently intended as a rival to the _Cornhill_ and the rest, is not important so far as its illustrations are concerned.

THE BROADWAY

This international magazine, heralded with much flourish in 1867 by Messrs. Routledge, is of no great importance, yet as it was illustrated from its first number in September 1867 to July 1874, it must needs be mentioned. Examples of the following artists will be found therein:--F. Barnard, G. A. Barnes, W. Brunton, M. E. Edwards, Paul Gray, E. Griset, A. B. Houghton, R. C. Huttula, F. W. Lawson, Matt Morgan, Thomas Nash, J. A. Pasquier, Alfred Thompson, and J. Gordon Thomson.

SAINT PAUL'S,

Yet another shilling magazine which was started in October 1867, and published by Messrs. Virtue and Co., is memorable for its twenty-two drawings by Millais. These appeared regularly to illustrate Trollope's _Phineas Finn the Irish Member_. A few illustrations by F. A. Fraser were issued to _Ralph the Heir_, the next story, and to _The Three Brothers_, but from 1871 it appears without pictures. By way of working off the long serial by Trollope, _Ralph the Heir_, independent supplements as thick as an ordinary number, but entirely filled with chapters of the story in question, were issued in April and October 1870. So curious a departure from ordinary routine is worth noting.

GOOD WORDS FOR THE YOUNG,

A most delightful children's magazine, which began as a sixpenny monthly under the editorship of Dr. Norman Macleod in 1869, bids fair to become one of those books peculiarly dear (in all senses) to collectors. There are many reasons why it deserves to be treasured. Its literature includes several books for children that in volume-form afterwards became classics; its illustrations, especially those by Arthur Hughes, appeal forcibly to the student of that art, which is called pre-Raphaelite, Æsthetic, or Decorative, according to the mood of the hour. Like all books intended for children, a large proportion of its edition found speedy oblivion in the nursery; and those that survive are apt to show examples of the amateur artist in his most infantile experiments with a penny paint-box. From the very first it surrounded itself with that atmosphere of distinction, which is well-nigh as fatal to a magazine's longevity as saintliness of disposition to a Sunday-school hero. After a career that may be called truthfully--brilliant, it suddenly changed to a periodical of no importance, illustrated chiefly by foreign _clichés_. How long it lingered in this state does not concern us. Indeed, it is only by a liberal interpretation of the title of this book that a magazine which was not started until 1869 can be included in _the sixties_ at all; but it seems to have continued the tradition of the sixties, and until the first half of 1874, although it changed its editor and its title (to _Good Things_), it kept the spirit of the first volume unimpaired; but after that date it joined the majority of uninteresting periodicals for children, and did not survive its recantation for many years.

In 1869 Arthur Hughes has twenty-four drawings to George Macdonald's _At the Back of the North Wind_, and ten to the earlier chapters of Henry Kingsley's _Boy in Grey_. The art of A. Boyd Houghton is seen in three instances: _Cocky Locky's Journey_ (p. 49), _Lessons from Russia_ (p. 101), and _The Boys of Axleford_ (p. 145). J. Mahoney has about a dozen; H. Herkomer one to _Lonely Jane_ (p. 28); and G. J. Pinwell one to _Black Rock_ (p. 255). Although, following the example set by its parent _Good Words_, it credits the illustrations most faithfully to their artists in a separate index, yet it developed a curious habit of illustrating its serials with a fresh artist for each instalment; and, as their names are bracketed, it is not an easy task to attribute each block to its rightful author. The list which I have made is by my side, but it is hardly of sufficient general interest to print here; as many of the sketches, despite the notable signatures upon them, are trivial and non-representative. Other illustrations in the first volume include one hundred and fifty-five grotesque thumb-nail sketches by W. S. Gilbert to his _King George's Middy_, and many by F. Barnard, B. Rivière, E. F. Brewtnall, E. Dalziel, F. A. Fraser, H. French, S. P. Hall, J. Mahoney, J. Pettie, T. Sulman, F. S. Walker, W. J. Wiegand, J. B. Zwecker, etc.

In 1870 Arthur Hughes contributes thirty-six illustrations to _Ranald Bannerman's Boyhood_, by George Mac Donald (who succeeded Dr. Macleod as editor), forty-eight to the continuation of the other serial by the same author, _At the Back of the North Wind_, four to the concluding chapters of Henry Kingsley's _Boy in Grey_, and one to _The White Princess_. A. Boyd Houghton has but two: _Two Nests_ (p. 13), _Keeping the Cornucopia_ (p. 33); _Miss Jane_ 'wandering in the wood' (p. 44) is by H. Herkomer, while most of the artists who contributed to the first volume reappear; we find also E. G. and T. Dalziel, Charles Green, Towneley Green, and Ernest Griset.

'THE QUIVER'

COUSIN LUCY]

'GOOD WORDS FOR THE YOUNG'
1870, p. 44

WANDERING IN
THE WOOD]

'GOOD WORDS FOR THE YOUNG'
1870, p. 28

DON JOSE'S
MULE]

'GOOD WORDS FOR THE YOUNG'
1871, p. 100

BARBARA'S
PET LAMB]

'GOOD WORDS FOR THE YOUNG'
1871, p. 145

MERCY]

'THE QUIVER'

BETWEEN THE
CLIFFS]

In 1871, Arthur Hughes, the chief illustrator of this magazine, to whose presence it owes most of its interest (since other artists are well represented elsewhere, but he is rarely met with outside its pages), contributes thirty pictures to Dr. George Mac Donald's _Princess and the Goblin_, and fourteen others, some of which have been republished in _Lilliput Lectures_ and elsewhere,--one, _Mercy_ (p. 195), reappearing in that work, and again as the theme of a large painting in oils, which was exhibited at the Royal Academy 1893, and reproduced in _The Illustrated London News_, May 3rd of that year. A. Boyd Houghton, in _Don José's Mule_ (p. 28), has a most delightfully grotesque illustration, and in two drawings for _The Merry Little Cobbler of Bagdad_ (pp. 337-338), both in his 'Arabian Nights' vein, is typically representative. For the rest, W. Small in _My Little Gypsy Cousin_ (p. 95), a good full page, and Ernest Griset with ten of his humorous animal pictures, combine with most of the artists already named to maintain the well-deserved reputation of the magazine. In 1872 Arthur Hughes supplies nine delightful designs for _Gutta-Percha Willie_, by the Editor; twenty-four to _Innocent's Island_, a long-rhymed chronicle by the author of _Lilliput Levée_, and a curiously fantastic drawing to George Mac Donald's well-known poem, _The Wind and the Moon_. Some one, with the initials F. E. F. (not F. A. F.), illustrates _On the High Meadows_ in nineteen sketches; with the exception of two by J. Mahoney, the rest of the pictures are chiefly by F. A. Fraser, T. Green, F. S. Walker, W. J. Wiegand, and J. B. Zwecker.

In 1873 the magazine changed its name to _Good Things_. The most attractive illustrations are by Arthur Hughes: ten to _Sindbad in England_ (pp. 25, 89, 129, 193, 236, 432, 481, 594, 641), two to _Henry and Amy_ (pp. 72, 73), and one each to _A Poor Hunchback_ (p. 17), _The Wonderful Organ_ (p. 24), and _My Daughter_ (p. 136). J. Mahoney has a small design, _The Old Mill_ (p. 600). The rest are by Ernest Griset, W. J. Wiegand, and Francis Walker. On and after 1874 the _cliché_ enters, and all interest ceases. At this time the business of trading in _clichés_ had begun to assume large proportions. You find sometimes, in the course of a single month, that an English periodical hitherto exclusively British becomes merely a vehicle for foreign _clichés_. In this instance the change is so sudden that, excepting a few English blocks which we may presume had been prepared before, the foreigner is supreme. That, in at least three cases, the demise of the publication was merely a question of months is a sequel not to be regretted. But we need not assume too hastily that the _cliché_ killed it--possibly it had ceased to be profitable before, and the false economy of spending less has tempted the proprietor to employ foreign illustrations.

BRITANNIA,

Another shilling illustrated magazine, was started in 1869. The British Museum, it seems, possesses no set, and my own copy has disappeared, excepting the first volume, but so far as that proves, and my memory can be trusted, it was illustrated solely by Matt Morgan, a brilliant but ephemeral genius who shortly after migrated to New York. The peculiarity of this magazine is that, like _The Tomahawk_, a satirical journal illustrated by the same artist, its pictures were all printed in two colours, after the fashion of the old Venetian wood-blocks. The one colour was used as a ground with the high lights cut away; the other block, for the ordinary convention of line-drawing. Some of the pictures are effective, but none are worthy of very serious consideration.

DARK BLUE

Although _Dark Blue_, a shilling monthly magazine, did not begin until March 1871, and ran its brief career until March 1873 only, it deserves mention here, because quite apart from its literary contributions which were notable, including as they did Swinburne's _End of a Month_, Rossetti's _Down Stream_, its earlier volumes contain at least two drawings that will be prized when these things are collected seriously. Besides, it has a certain _cachet_ of its own that will always entitle it to a place. Its wrapper in colours, with three classically-attired maidens by a doorway, is singularly unlike that of any other publication; possibly F. W. L. would not be anxious to claim the responsibility of its design, yet it was new in its day, and not a bad specimen of the good effect of three simple colours on a white ground. Its serial, _Lost_, a Romance by J. C. Freund, was illustrated by F. W. Lawson, T. W. Perry, T. Robinson, and D. T. White; and its second serial, _Take care whom you trust_, by M. E. Freere and T. W. Ridley. A full-page drawing (they are all separately printed plates in this magazine), by Cecil Lawson, _Spring_, is far more interesting. _Musaeus_, by A. W. Cooper, a somewhat jejune representation of the Hero and Leander motive, and other illustrations by E. F. Clarke, W. J. Hennessey, M. Fitzgerald, D. H. Friston, S. P. Hall, J. A. H. Bird, are commonplace designs engraved by C. M. Jenkin; but _The End of a Month_, a study of two heads, by Simeon Solomon, and _Down Stream_, by Ford Madox Brown, (here reproduced from the original drawing on wood by kind permission of Mr. Frederick Hollyer), represent the work of two artists who very rarely appeared as magazine illustrators. The literature includes many names that have since become widely known, but the project failed, one imagines, to secure popular support, and so it must be numbered with the long list of similar good intentions.

THE BRITISH WORKMAN

It would be unjust to ignore a very popular penny magazine because of its purely philanthropic purpose. For from the first it recognised the importance of good illustrations as its great attraction, and enlisted some of the best draughtsmen to fulfil its didactic aim. We cannot help admiring its pluck, and congratulating the cause it championed (and still supports), and its fortune in securing coadjutors. The first number, issued in February 1855, has a design, the _Loaf Lecture_, by George Cruikshank on its first page; for some time H. Anelay and L. Huard were the most frequent contributors; then came John Gilbert and Harrison Weir, the earliest important Gilbert being _The Last Moments of Thomas Paine_ (January 1862). As a sample of white-line engraving, a block after a medallion of the _Prince Consort_, by L. C. Wyon, and another of _H.M. The Queen_, would be hard to beat. Among these more frequent contributors, we find drawings by J. D. Watson, _My account with Her Majesty_ (August 1864) and _Parley and Flatterwell_ (December 1865) being the most notable; and others by A. W. Cooper, and lastly many by R. Barnes, whose studies of humble life yet await the full appreciation they deserve. These large and vigorous engravings maintain a singularly high level of excellence, and, if not impeccable, are yet distinctly of art, and far above the ephemeral padding of more pretentious magazines.

THE BAND OF HOPE REVIEW

Of all unlikely publications to interest artist or collector a halfpenny monthly devoted to teetotalism might take first place. Not because of its price, nor because it was a monthly with a mission, for many cheap serials have attracted the support of artists who gave liberally of their best for the sake of the cause the publications championed. _The Band of Hope Review_ is no esoteric pamphlet, but a perfect instance of a popular venture unconcerned, one would think, with art. It would be easy to claim too much for it; still the good work in its pages merits attention. It was started in 1861 as a folio sheet about the size of _The Sketch_, its front page being always filled by a large wood-engraving. The first full page, by H. Anelay, a draughtsman whose speciality was the good little boy and girl of the most commonplace religious periodicals, promises little enough. A series of really fine drawings of animals and birds by Harrison Weir commenced in No. 2. The third issue included a page by L. Huard, whose work occasionally found its way to the shilling magazines, although the bulk of it appeared in the mass of journals of the type of the _London Journal_, _Bow Bells_, etc. In the fifth number John Gilbert (not then knighted) appears with a fine drawing, _The Golden Star_; J. Wolf, honourably distinguished as an illustrator of animals, is also represented. For December 1862 John Gilbert provided a decorative composition of _The Ten Virgins_, that is somewhat unlike his usual type. In August 1865 Robert Barnes appears for the first time with admirably drawn boys and girls full of health and characteristically British. Afterwards one finds many of his full pages all vigorous and delightfully true to the type he represents. In August 1866 a group, _Young Cadets_, may be selected as a typical example of his strength and perhaps also of his limitations. In 1870 the falling off apparent everywhere is as noticeable in this unimportant publication as in those of far higher pretensions. Here, as elsewhere, the foreign _cliché_ appears, or possibly the subjects were engraved specially, and were not, as was so often the case, merely replicas of German and French engravings. But all the same they are from oil-paintings, not from drawings made for illustration.

'LEISURE HOUR'
1864

ENOCH ARDEN]

'LEISURE HOUR'
1866, p. 604

THE FEAST OF
TABERNACLES]

'LEISURE HOUR'
1866, p. 540

THE DAY OF
ATONEMENT]

THE LEISURE HOUR

The publications of the Religious Tract Society have employed an enormous mass of illustrations, but as the artist's name rarely appears at the period with which we are concerned, either in the index of illustrations or below the engravings, the task of tracing each to its source would be onerous and the result probably not worth the labour.

Yet, in the volumes of the _Leisure Hour_ for the sixties, there are a few noteworthy pictures which may later on attract collectors to a periodical which so far appealed more, one had thought, to parish workers than to art students.

The 1861 volume starts with the 471st number of the magazine, illustrated by 'Gilbert' (probably Sir John). In 1863 coloured plates are given monthly, three being after originals by the same artist, but, although attributed duly in the advertising pages of its wrapper, the name of the design does not appear in the index. With 1864 a surprise faces you in the illustrations to _Hurlock Chase_, which are vigorous, dramatic, and excellently composed, full of colour and breadth. That they are by G. Du Maurier internal evidence proves clearly, but there is no formal recognition of the fact. Robert Barnes has a full page, _Granny's Portrait_ (p. 825). _Enoch Arden_ is by 'an amateur whose name the publishers are not able to trace.'[4] In 1865 the illustrations to _The Awdries_, also unsigned, are distinctly interesting; later the well-known monogram of J. Mahoney is met with frequently. In 1866 a series of ten illustrations of the ceremonies of modern Jewish ritual, domestic and ecclesiastical (pp. 72, 167, 216, 328, 376-475, 540, 603, 653, 823) appear. Contrary to the rule usually observed here, they are entitled, 'by S. Solomon.' These are, so far as I know (with four exceptions), the only contributions to periodical literature by Simeon Solomon, an artist who at this date bade fair to be one of the greatest pre-Raphaelite painters. They are distinctly original both in their technical handling and composition, and excellently engraved by Butterworth and Heath. For their sake no collector of the sixties should overlook a book which is to be picked up anywhere at present. The illustrations to _The Great Van Bruch property_, unsigned, are most probably by J. Mahoney. Others include _George III. and Mr. Adams_, a full page by C. J. Staniland (p. 494); a series of _Pen and Pencil Sketches among the Outer Hebrides_, R. T. Pritchett; _Finding the body of William Rufus_, J. M. In 1867 J. Mahoney illustrates the serial, _The Heiress of Cheevely Dale_, and contributes a full page, _The Blue-Coat Boy's Mother_ (p. 812); Whymper has two series, _On the Nile_ and _A trip through the Tyrol_, both oddly enough attributed to him in the index. Silent, with scarce an exception, as regards other artists, the sentence, 'engraved by Whymper,' finds a place each time. In 1868 are more Mahoneys; in 1869 Charles Green illustrates the serial.

THE SUNDAY AT HOME

This magazine, uniform with the _Leisure Hour_ in style and general arrangement, is hardly of sufficient artistic interest to need detailed comment here. Started in 1852 it relied, like its companion, on Gilbert and other less important draughtsmen. In the sixties it was affected a little by the movement. In 1863 there is one design by G. J. Pinwell, _The German Band_ (p. 753), several by C. Green, and one probably by Du Maurier (p. 513), who has also six most excellent drawings to _The Artist's Son_ in the number for January, and one each to short stories, _John Henderson_ and _Siller and Gowd_, later in the year. A serial in 1865 and one in 1866 are both illustrated by J. Mahoney; and, in the latter year, W. Small supplies drawings to another story. Beyond a full page, obviously by R. Barnes, there is nothing else peculiarly interesting in 1866; in the 1867 volume F. W. Lawson and Charles Green contribute a good many designs. In 1868 S. L. Fildes has one full page, _St. Bartholomew_ (p. 329), and F. A. F. appears; in 1869 Charles Green is frequently encountered, but the magazine is not a very happy hunting-ground for our purpose.

OTHER SERIAL PUBLICATIONS

Serial issues of Cassell's _History of England_, the _Family Bible_, and other profusely illustrated works might also repay a close search, but, as a rule, the standard is too ordinary to attract any but an omnivorous collector. Still, men of considerable talent are among the contributors, (Sir) John Gilbert for instance, and others like H. C. Selous, Paolo Priolo, who never fell below a certain level of respectability.

_Golden Hours_, a semi-religious monthly, started in 1864 as a penny magazine. In 1868 its price was raised to sixpence, and among its artist-contributors we find M. E. Edwards, R. Barnes, and A. Boyd Houghton (represented once only) with _An Eastern Wedding_ (p. 849). In 1869 Towneley Green, C. O. Murray, and others appear, but the magazine can hardly be ranked as one representative of the period. Nor is it essential to record in detail the mass of illustrations in the penny weeklies and monthlies--to do so were at once impossible and unnecessary; nor the mass of semi-religious periodicals such as _Our Own Fireside_ and _The Parish Magazine_, which rarely contain work that rises above the dull average.

THE BOYS' OWN MAGAZINE

The art of this once popular magazine may be dismissed very briefly. J. G. Thomson made a lot of designs to _Silas the Conjuror_ and other serials. R. Dudley, a conscientious draughtsman whose speciality was mediæval subjects, illustrated its historical romances with spirit and no little knowledge of archæological details. A. W. Bayes, J. A. Pasquier, and others adorned its pages; but from 1863 to its death it contains nothing interesting except to a very rabid collector.

EVERY BOY'S MAGAZINE

This well-intentioned periodical (Routledge, 1863, etc.), except for certain early works by Walter Crane, would scarce need mention here. Its wrapper for 1865 onwards was from a capital design by Walter Crane, who contributed coloured frontispieces and titles to the 1864 and 1865 volumes. C. H. Bennett illustrated his own romance of _The Young Munchausen_. In 1867 it called itself _The Young Gentleman's Magazine_; an heraldic design by J. Forbes Nixon, with the shields of the four great public schools, replaced the Crane cover. T. Morten, M. W. Ridley, and others contributed. A. Boyd Houghton illustrated _Barford Bridge_, its serial for 1866, and Walter Crane performed the same offices to Mrs. Henry Wood's _Orville College_ in 1867. These few facts seem to comprise all of any interest.

AUNT JUDY'S MAGAZINE

The sixpenny magazine for children, edited by Mrs. Alfred Gatty, issued its first number, May 1866. The artists who contributed include F. Gilbert, J. A. Pasquier, T. Morten, M. E. Edwards, E. Griset, F. W. Lawson, E. H. Wehnert, A. W. Bayes, A. W. Cooper, and others. There are two drawings by George Cruikshank, and later on Randolph Caldecott will be found. In both cases the illustrations were for Mrs. Ewing's popular stories, which had so large a sale, reprinted in volume-form. Neither in the drawings nor in their engraving do you find anything else which is above the average of its class.

Two other magazines remain to be noticed out of their chronological order, both of little intrinsic importance, but of peculiar value to collectors.

EVERYBODY'S JOURNAL,

A weekly periodical the size of the _London Journal_, and not more attractive in its appearance, nor better printed, began with No. 1, October 1, 1859, and ceased to exist early in the following year; probably before the end of January, since the British Museum copy in monthly parts is inscribed 'discontinued' on the part containing the December issues. That a complete set is not in our great reference library is a matter for regret; for the first published illustration by Fred Walker, which was issued in _Everybody's Journal_, January 14, must needs have been in the missing numbers. Those which are accessible include drawings by (Sir) John Gilbert, T. Morten, and Harrison Weir, none of peculiar interest. Among the names of the contributors will be found several that have since become widely known.

ENTERTAINING THINGS

This twopenny monthly magazine, which is probably as unfamiliar to those who read this notice as it was to me until a short time since, was published by Virtue and Co., the first number appearing in January 1861. It contains many designs by J. Portch, F. J. Skill, M. S. Morgan, E. Weedar, W. M'Connell, P. Justyne, and W. J. Linton, none being particularly well engraved. But it contains also Walter Crane's first published drawing--a man in the coils of a serpent (p. 327), illustrating one of a series of articles, _Among the Mahogany Cutters_, which is not very important; another a few pages further on in the volume is even less so. Collectors will also prize _A Nocturne_ by G. Du Maurier, and some designs by T. Morton (_sic_). The Christmas number contains a delightful design by A. Boyd Houghton, _The Maid of the Wool-pack_, and another drawing by Du Maurier. The publication ceased, according to a note in the British Museum copy, in May 1862. Among rarities of the sixties this magazine may easily take a high place, for one doubts if there are many copies in existence. Should the mania for collecting grow, it is quite possible this volume, of such slight intrinsic value, will command record prices.

BEETON'S ANNUALS

These were of two sorts, a badly printed shilling annual, which appealed to children of all ages, and a six-shilling variety, which appealed to those of a smaller growth. In the higher-priced volumes for 1866 T. Morten, J. G. Thomson, and J. A. Pasquier appear. In the shilling issue, an independent publication, are more or less execrably engraved blocks, after C. H. Bennett, G. Cruikshank, Jun., and others who would probably dislike to have their misdeeds chronicled. These publications added to the gaiety of nations, but when they ceased no eclipse was reported. Yet a patient collation of their pages renewed a certain boyish, if faded, memory of their pristine charm, which the most cautious prophet may assert can never be imparted anew to any reader. _Kingston's Annuals_ and _Peter Parley's Annuals_, also revisited, left impressions too sad to be expressed here. Nor need _Routledge's Christmas Annuals_ be noticed in detail. _Tom Hood's Comic Annuals_, which contained much work typical of the seventies, although it began its long career in 1869, includes so little work by heroes of the 'sixties' that it need not be mentioned.

The mass of penny magazines for children do not repay a close search. Here and there you will find a design by a notable hand, but it is almost invariably ruined by poor engraving; so that it were kinder not to attempt to dispel the obscurity which envelops the juvenile 'goody-goody' literature of thirty years ago.

'PUNCH.' MARCH 3, 1866

A LEGEND OF CAMELOT, PART I]

'PUNCH.' MARCH 10, 1866

A LEGEND OF CAMELOT, PART II]

'PUNCH.' MARCH 17, 1866.

A LEGEND OF CAMELOT, PART III]

'PUNCH.' MARCH 24, 1866

A LEGEND OF CAMELOT, PART IV]

'PUNCH.' MARCH 31, 1866

A LEGEND OF CAMELOT, PART V]