Chapter VI

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

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

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

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

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

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

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

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

Again:

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

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

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

BY LORD LEIGHTON, P.R.A.

FROM "DALZIEL'S BIBLE GALLERY."

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

Dear Sir

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

Dear sirs
Yours faithfully
Fred Leighton]

"_Monday._

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

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

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

BY LORD LEIGHTON, P.R.A.

FROM "DALZIEL'S BIBLE GALLERY."

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

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

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

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

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

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

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

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

BY G. F. WATTS, R.A.

FROM "DALZIEL'S BIBLE GALLERY."

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

"_December 16th, 1863._

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

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

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

* * * * *

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

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

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

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

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

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

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

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

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

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

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

"Very truly yours,
"EDWARD J. POYNTER.

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

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

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

FROM "DALZIEL'S BIBLE GALLERY."

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

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

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

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

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

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

BY HOLMAN HUNT.

FROM "DALZIEL'S BIBLE GALLERY."

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

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

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

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

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

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

BY FORD MADOX BROWN.

FROM "DALZIEL'S BIBLE GALLERY."

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

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

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

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

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

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

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

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

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

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

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

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

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

"Ever yours truly,
"FREDERICK SANDYS."

FROM "DALZIEL'S BIBLE GALLERY."

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

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

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

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

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

"Messrs. DALZIEL BROTHERS."

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

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

FROM "DALZIEL'S BIBLE GALLERY."

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

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

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

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

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

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

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

"With kindest regards to all of you.

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

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

FROM "BUNYAN'S PILGRIM'S PROGRESS."

_Published by Mr. Alexander Strahan._]

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

FROM "BUNYAN'S PILGRIM'S PROGRESS."

_Published by Mr. Alexander Strahan._]

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

* * * * *

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

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

FROM "BUNYAN'S PILGRIM'S PROGRESS."

_Published by Mr. Alexander Strahan._]

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

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

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

FROM "WOOD'S NATURAL HISTORY."

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

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

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

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

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

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

FOOTNOTES:

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

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