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J. E. MILLAIS

'ONCE A WEEK'

VOL. I. p. 241

GRANDMOTHER'S

APOLOGY

J. E. MILLAIS

'ONCE A WEEK'

VOL. I. p. 316

THE PLAGUE OF

ELLIANT

It is difficult to record Sir John Everett Millais' contributions to this magazine with level unbiassed comments. Notwithstanding the palpable loss they suffered by translation under the hands of even the most skilful of his engravers, the impressions belong to a higher plane than is reached by their neighbours save in a very few instances. The Millais wood-engravings deserve a deliberately ordered monograph as fully as do the etchings by Rembrandt and Whistler, or Hokousaï's prints. It is true that not quite all his many illustrations to contemporary literature are as good as the best works of the great artist just named; but if you search through the portfolios of the past for that purpose, you will find that even the old masters were not always adding to a cycle of masterpieces. The astounding fact remains that Sir John Millais, dealing with the hair-net and the Dundreary whiskers, the crinoline and peg-top trousers, imparted such dignity to his men and women that even now they carry their grotesque costumes with distinction, and fail to appear old-fashioned, but at most as masqueraders in fancy dress. For in Millais' work you are face to face with actual human beings, superbly drawn and fulfilling all artistic requirements. They possess the immense individuality of a Velasquez portrait, which, as a human being, appeals to you no less surely, than its handling arouses your æsthetic appreciation. At this period it seems as if the artist was overflowing with power and mastery—everything he touched sprang into life. Whether he owed much or little to his predecessors is unimportant—take away all, and still a giant remains. It is so easy to accept the early drawings of Millais as perfect of their kind, beyond praise or blame, and yet to fail to realise that they possess the true vitality of those few classics which are for all time. The term monumental must not be applied to them, for it suggests something dead in fact, although living in sentiment and admired by reason of conventional precedent. The Millais drawings have still the power to excite an artist as keenly as a great Rembrandt etching that he sees for the first time, or an early Whistler that turns up unexpectedly in a loan collection, or an unknown Utamaro colour print. The mood they provoke is almost deprived of critical analysis by the overwhelming sense of fulfillment which is forced on your notice. In place of gratified appreciation you feel appalled that one man should have done over and over again, so easily and with such certainty, what dozens of his fellows, accomplished and masterly in their way, tried with by no means uniform success. If every canvas by the artist were lost, he might still be proved to belong to the great masters from his illustrations alone; even if these were available only through the medium of wood-engraving.

The first volume of Once a Week contains, as Millais' first contribution, Magenta (p. 10), a study of a girl who has just read a paper with news of the great battle that gave its name to the terrible colour which typifies the period. It is badly printed in the copy at my side, and, although engraved by Dalziels, is not an instance of their best work. In Grandmother's Apology (p. 41) we have a most delightful illustration to Tennyson, reproduced in his collected volume, but not elsewhere. On the Water (p. 70) and La Fille bien gardée (p. 306) may be passed without comment. But The Plague of Elliant (p. 316), a powerful drawing of a woman dragging a cart wherein are the bodies of her nine dead children, has been selected, more than once, as a typical example of the illustrator at his best. Maude Clare (p. 382), A Lost Love (p. 482), and St. Bartholomew (p. 514), complete the Millais' in vol. i.

In the second volume we find The Crown of Love (p. 10), a poem by George Meredith. This was afterwards painted and exhibited under the same title in the Royal Academy of 1875. A Wife (p. 32), The Head of Bran (p. 132), Practising (p. 242), (a girl at a piano), and Musa (p. 598), complete the list of the five in this volume. In vol. iii. there are seven: Master Olaf (p. 63), Violet (p. 140), Dark Gordon's Bride (p. 238), The Meeting (p. 276), The Iceberg (pp. 407, 435), and A Head of Hair for Sale (p. 519). In vol. iv. but two appear, Iphis and Anaxarete (p. 98) and Thorr's Hunt for the Hammer (p. 126), both slighter in execution than most of the Once a Week Millais'.

Volume v. also contains but two, Tannhäuser (p. 211) and Swing Song (p. 434), a small boy in a Spanish turban swinging. Volume vi. houses a dozen: Schwerting of Saxony (p. 43), The Battle of the Thirty (p. 155), The Child of Care (pp. 2, 39), five designs for Miss Martineau's Sister Anne's Probation (pp. 309, 337, 365, 393, 421), Sir Tristem (p. 350), The Crusader's Wife (p. 546), The Chase of the Siren (p. 630), and The Drowning of Kaer-is (p. 687). The seventh volume contains eleven examples by this artist: Margaret Wilson (p. 42), five to Miss Martineau's Anglers of the Don (pp. 85, 113, 141, 169, 197), Maid Avoraine (p. 98), The Mite of Dorcas (p. 224), (which is the subject of the Academy picture, The Widow's Mite of 1876; although in the painting the widow turns her back on the spectator), The Parting of Ulysses (p. 658), The Spirit of the Vanished Island (p. 546), and Limerick Bells (p. 710), a design of which a eulogist of the artist says: 'the old monk might be expanded as he stands into a full-sized picture.'

In the eighth volume Endymion on Latmos (p. 42), a charming study of the sleeping shepherd, is the only independent picture; the other nine are by way of illustration to Miss Martineau's The Hampdens (pp. 211, 239, 267, 281, 309, 337, 365, 393, 421, 449). These are delightful examples of the use of costume by a great master. Neither pedantically correct, nor too lax, they revivify the period so that the actors are more important than the accessories.

J. E. MILLAIS

'ONCE A WEEK'

VOL. V. p. 211

TANNHÄUSER

J. E. MILLAIS

'ONCE A WEEK'

VOL. VI. p. 42

SISTER ANNE'S

PROBATION

J. E. MILLAIS

'ONCE A WEEK'

VOL. VIII. p. 365

THE HAMPDENS

J. E. MILLAIS

'ONCE A WEEK'

1868, Vol. I. p. 79

DEATH DEALING

ARROWS

The ninth volume, like the eighth, has only one picture by Millais not illustrating its serial. This is Hacco the Dwarf (p. 504). The others represent scenes in Miss Martineau's Sir Christopher (pp. 491, 519, 547, 575, 603, 631, 659, 687), a seventeenth-century story. The illustrators of to-day should study these and other pictures where the artist was hampered by the story, and imitate his loyal purpose to expound and amplify the text, accomplishing it the while with most admirably dramatic composition and strong character-drawing. In the remaining volume of the first series there are no other examples by Millais; nor, with the exceptions Death Dealing Arrows (Jan. 25, 1868, p. 79), one in the Christmas Number for 1860, and Taking his Ease, 1868 (p. 65), does he appear as a contributor to the magazine. It must not be forgotten that high prices are often responsible for the desire, or rather the necessity, of using second-rate work. When an artist attains a position that monopolises all his working hours, it is obvious that he cannot afford to accept even the highest current rate of payment for magazine illustration; nor, on the other hand, can an editor, who conducts what is after all a commercial enterprise, afford to pay enormous sums for its illustrations. For later drawings this artist was paid at least five times as much as for his earlier efforts, and possibly in some cases ten or twelve times as much.

Charles Keene, the great illustrator so little appreciated by his contemporaries, whose fame is still growing daily, was a frequent contributor to Once a Week for many years. Starting with volume i. he depicted, in quasi-mediæval fashion, Charles Reade's famous Cloister and the Hearth, then called, in its first and shorter form, A Good Fight (pp. 11, 31, 51, 71, 91, 111, 131, 151, 171, 191, 211, 231, 251, 254, 273). Coincidently he illustrated also Guests at the Red Lion (pp. 61, 65), A Fatal Gift (p. 141), Uncle Simkinson (pp. 201, 203), Gentleman in the Plum-coloured Coat (p. 270), Benjamin Harris (pp. 427, 449, 471), My Picture Gallery (p. 483), and A Merry Christmas (p. 544). In volume ii. there are only five illustrations by him (pp. 1, 5, 54, 111, and 451) to shorter tales; but to George Meredith's Evan Harrington, running through this volume and the next, he contributes thirty-nine drawings, some of them in his happiest vein, all showing strongly and firmly marked types of character-drawing, in which he excelled. Volume iii. contains also, on pages 20, 426, 608, 687, and 712, less important works: The Emigrant Artist on p. 608 is a return to the German manner which distinguished the Good Fight. The drawings for Sam Bentley's Christmas commence here in (pp. 687, 712), and are continued (pp. 19, 45, 155, 158) in vol. iv., where we also find In re Mr. Brown (pp. 330, 332), The Beggar's Soliloquy (p. 378), A Model Strike (p. 466), The Two Norse Kings (pp. 519, 547), and The Revenue Officer's Story (p. 713). In volume v. are: The Painter Alchemist (p. 43), Business with Bokes (p. 251), William's Perplexities (pp. 281, 309, 337, 365, 393), also a romantic subject, Adalieta (p. 266): a poem by Edwin Arnold, and The Patriot Engineer (p. 686). To the sixth volume, the illustrations for The Woman I Loved and The Woman who loved me (pp. 85, 113, 141, 169, 197, 225, 253, 281) are by Keene, as are also those to My Schoolfellow Friend (p. 334), A Legend of Carlisle (p. 407), a curiously Germanic Page from the History of Kleinundengreich (p. 531), Nip's Daimon (p. 603), and A Mysterious Supper-Party (659). In vol. vii. and vol. viii. Verner's Pride, by Mrs. Henry Wood, supplies motives for seventeen pictures. In vol. viii. The March of Arthur (p. 434), The Bay of the Dead (p. 546), and My Brother's Story (p. 617). In vol. ix. The Viking's Serf (p. 42), The Station-master (pp. 1, 69), and The Heirloom (pp. 435, 463) complete Charles Keene's share in the illustration of the thirteen volumes of the first series.

Fred Walker is often supposed to have made his first appearance as an illustrator in Once a Week, vol. ii. with Peasant Proprietorship (p. 165); and, although an exception of earlier date may be discovered, it is only in an obscure paper (of which the British Museum apparently has no copy) barely a month before. For practical purposes, therefore, Once a Week may be credited with being the first-established periodical to commission a young artist whose influence upon the art of the sixties was great. This drawing was quickly followed by God help our Men at Sea (p. 198), An honest Arab (p. 262), Après (p. 330), Lost in the Fog (p. 370), Spirit Painting (p. 424), and Tenants at No. 27 (p. 481), and The Lake at Yssbrooke (p. 538). Looking closely at these, in two or three only can you discover indications of the future creator of Philip. Those on pages 424 and 481 are obviously the work of the Fred Walker as we know him now. But those on pp. 165, 198, 330, and 538 would pass unnoticed in any magazine of the period, except that the full signature 'F. Walker' arouses one's curiosity, and almost suggests, like Lewis Carroll's re-attribution of the Iliad, 'another man of the same name.'

CHARLES KEENE

'ONCE A WEEK'

VOL. I. p. 91

'A GOOD FIGHT'

In vol. iii. a poem, Once upon a Time, by Eliza Cook, has two illustrations (pp. 24, 25), which, tentative as they are, and not faultless in drawing, foreshadow the grace of his later work. In Markham's Revenge (pp. 182–184) the artist is himself, as also in Wanted a Diamond Ring (p. 210). A Noctuary of Terror (pp. 294, 295), First Love (p. 322), The Unconscious Bodyguard (p. 359), are unimportant. The Herberts of Elfdale (pp. 449, 454, 477, 505, 508), possibly the first serial Walker illustrated, is infinitely better. Black Venn (p. 583), A Young Wife's Song (p. 668), and Putting up the Christmas, a drawing group, complete the examples by this artist in vol. iii. Volume iv. contains: Under the Fir-trees (p. 43), Voltaire at Ferney (p. 66), a very poor thing, The Fan (p. 75), Bring me a light (pp. 102–105), The Parish Clerk's Story (p. 248), The Magnolia (pp. 263, 267), Dangerous (p. 416), An Old Boy's Tale (p. 499), Romance of the Cab-rank (p. 585), and The Jewel Case (p. 631). In vol. v. we find Jessie Cameron's Bairn (p. 15), The Deserted Diggings (p. 83), Pray, sir, are you a Gentleman? (pp. 127, 133), A Run for Life (p. 306), Cader Idris (p. 323), and a series of illustrations to The Settlers of Long Arrow: a Canadian Story (pp. 421, 449, 477, 505, 533, 561, 589, 617, 645, 673, and 701). To volume vi. Walker contributes Patty (pp. 126, 127), A Dreadful Ghost (p. 211), and nine to Dutton Cook's The Prodigal Son (pp. 449, 477, 505, 533, 561, 589, 617, 673, 701), which story, running into volume vii., has further illustrations on pp. 1, 29, and 57. The Deadly Affinity (pp. 421, 449, 477), and Spirit-rapping Extraordinary (p. 614) are the only others by the artist in this volume. The eighth volume has but one, After Ten Years (p. 378), and The Ghost in the Green Park (p. 309) is the only one in volume ix., and his last in the first series. Vol. i. of the New Series has the famous Vagrants (p. 112) for one of its special art supplements.

Amid contemporary notices you often find the work of M. J. Lawless placed on the same level as that of Millais or Sandys; but, while few of the men of the period have less deservedly dropped out of notice, one feels that to repeat such an estimate were to do an injustice to a very charming draughtsman. For the sake of his future reputation it is wiser not to attempt to rank him with the greatest; but in the second order he may be fitly placed. For fancy and feeling, no less than for his loyal adherence to the Dürer line, at a time it found little favour, Lawless deserves to be more studied by the younger artists of to-day. A great number of decorative designers are too fond of repeating certain mannerisms, and among others, Lawless in England and Howard Pyle in America, two men inspired by similar purpose, should receive more attention than they have done. Once a Week contains the largest number of his drawings. In vol. i., to Sentiment from the Shambles, there are three illustrations attributed to him. Those on pp. 505 and 509 are undoubtedly by Lawless, but that on p. 507 is so unlike his method, and indeed so unimportant, that it matters not whether the index be true or in error.

M. J. LAWLESS

'ONCE A WEEK'

VOL. IV. p. 407

EFFIE GORDON

M. J. LAWLESS

'ONCE A WEEK'

VOL. VI. p. 14

DR. JOHNSON'S PENANCE

M. J. LAWLESS

'ONCE A WEEK'

VOL. X. p. 71

JOHN OF PADUA

In vol. ii. are ten examples, two on the same page to The Bridal of Galtrim (p. 88), The Lay of the Lady and the Hound (p. 164), a very pre-Raphaelite composition, Florinda (p. 220), (more influenced by the later Millais), Only for something to say (p. 352), a study of fashionable society, which (as Mr. Walter Crane's attempts show) does not lend itself to the convention of the thick line, The Head Master's Sister (pp. 386, 389, 393), The Secret (p. 430), and A Legend of Swaffham (p. 549). In vol. iii. Oysters and Pearls (p. 79) is attributed to Lawless, but one hopes wrongly; The Betrayed (p. 155), Elfie Meadows (p. 304), The Minstrel's Curse (p. 351), The Two Beauties (unsigned and not quite obviously a Lawless) (p. 462), and My Angel's Visit (p. 658) are the titles of the rest. In the fourth volume there are: The Death of Œnone (pp. 14, 15), Valentine's Day (p. 208), Effie Gordon (pp. 406, 407), and The Cavalier's Escape (687), all much more typical. In vol. v. we find High Elms (p. 420), Twilight (p. 532), King Dyring (p. 575), and Fleurette (p. 700). In the sixth volume there are only three: Dr. Johnson's Penance (one of the best drawings of the author), (p. 14), What befel me at the Assizes (p. 194), and The Dead Bride (p. 462). In the seventh volume there is one only to a story by A. C. Swinburne, Dead Love (p. 434). Despite the name of Jacques d'Aspremont on the coffin, the picture is used to a poem with quite a different theme, The White Witch, in Thornbury's Legendary Ballads, which contains no less than twenty of Lawless's Once a Week designs. In vol. viii. are two, The Linden Trees (p. 644) and Gifts (p. 712). In vol. ix. three only: Faint heart never won fair lady (p. 98), Heinrich Frauenlob (p. 393), and Broken Toys (p. 672). In vol. x. appears the last of Lawless's contributions, and, as some think, his finest, John of Padua (p. 71).

The first work by Frederick Sandys in Once a Week will be found in vol. iv.: it is not, as the index tells you, The Dying Hero, on page 71, which is wrongly attributed to him; Yet once more on the Organ play (p. 350) is by Sandys, as is also The Sailor's Bride (p. 434) in the same volume. In vol. v. are three, From my Window (p. 238), The three Statues of Ægina (p. 491), and Rosamund, Queen of the Lombards (p. 631). In vol. vi. we find The Old Chartist (p. 183), The King at the Gate (p. 322), and Jacques de Caumont (p. 614). In vol. vii. Harold Harfagr (p. 154), The Death of King Warwolf (p. 266), and The Boy Martyr (p. 602). Thence, with the exception of Helen and Cassandra, published as a separate plate with the issue of April 28, 1866 (p. 454), no more Sandys are to be found.

To Once a Week Holman Hunt contributed but three illustrations: Witches and Witchcraft (ii. p. 438), At Night (iii. p. 102), and Temujin (iii. p. 630); yet this very scanty representation is not below the average proportion of the work of this artist in black and white compared with his more fecund contemporaries.

A still more infrequent illustrator, J. M'Neill Whistler, is met with four times in Once a Week, and, I believe, but twice elsewhere. Speaking of the glamour shed upon the magazine by its Sandys drawings, it is but just to own that to another school of artists these four 'Whistlers' were responsible for the peculiar veneration with which they regarded an old magazine. The illustrations to The Major's Daughter (vi. p. 712), The Relief Fund in Lancashire (vii. p. 140), The morning before the Massacre of St. Bartholomew (vii. p. 210), and Count Burckhardt (vii. p. 378), a nun by a window, are too well known to need comment. That they show the exquisite sense of the value of a line, and have much in common with the artist's etchings of the same period, is evident enough.

G. J. Pinwell first makes his appearance in Once a Week, in the eighth volume, with The Saturnalia (p. 154), a powerful but entirely untypical illustration of a classical subject by an artist who is best known for pastoral and bucolic scenes, The Old Man at D. 8 (p. 197), Seasonable Wooing (p. 322), A Bad Egg (p. 392), and A Foggy Story (p. 477); but only in the latter do you find the curiously personal manner which grew to a mannerism in much of his later work. These, with Blind (p. 645) and Tidings (p. 700), are all well-thought-out compositions. To volume ix. he contributes The Strong Heart (p. 29), Not a Ripple on the Sea (p. 57) (a drawing which belies its title), Laying a Ghost (p. 85), The Fisherman of Lake Sunapee (p. 225), Waiting for the Tide (p. 281), Nutting (p. 378), and The Sirens (p. 616). In volume x. he is represented by Bracken Hollow (pp. 57, 85), The Expiation of Charles V. (p. 99), The Blacksmith of Holsby (pp. 113, 154), Calypso (p. 183), Horace Winston (p. 211), Proserpine (p. 239), A Stormy Night (p. 253), Mistaken Identity (p. 281), Hero (p. 350), The Vizier's Parrot (406), A Pastoral (p. 490), A' Beckett's Troth (p. 574), and The Stonemason's Yard (p. 701). The eleventh volume contains only four: Hettie's Trouble (p. 26), Delsthorpe Sands (p. 586), The Legend of the Bleeding Cave (p. 699), and Rosette (p. 713); and volume xii. has three: Followers not allowed (p. 71), Homer (p. 127), and Dido (p. 527). The last volume of the first series (1866) has but one, Achilles (p. 239). Pinwell's work bulks so largely in the sixties that a bare list of these must suffice; but this period, before he developed the curiously immobile manner of his later years, is perhaps the most interesting.

FREDERICK SANDYS

'ONCE A WEEK'

VOL. V. p. 491

THE THREE STATUES

OF ÆGINA

FREDERICK SANDYS

'ONCE A WEEK'

VOL. VI. p. 183

THE OLD CHARTIST

FREDERICK SANDYS

'ONCE A WEEK'

VOL. VII. p. 154

HAROLD HARFAGR

FREDERICK SANDYS

'ONCE A WEEK'

VOL. V. p. 631

ROSAMUND, QUEEN

OF THE LOMBARDS

The index asserts that George Du Maurier is responsible for the pictures in Once a Week, vol. iii. pp. 378–379, signed M.B., and as you find others unmistakably Du Maurier's signed with various monograms, its evidence must not be gainsaid; but neither these nor others, to My Adventures ... in Russia (pp. 553, 557), The Two Hands (p. 640), and The Steady Students (pp. 691, 695), betray a hint of his well-known style. But Non Satis (p. 575) is signed in full, and obviously his, as a glance would reveal. In vol. iv., Indian Juggling (p. 41), The Black Spot (p. 134), A Life Story (p. 165), In search of Garibaldi (p. 210), and The Beggar's Soliloquy (p. 378, more like a Charles Keene) are from his hand. In the picture here reproduced, On her Deathbed (p. 603), the artist has found himself completely, yet A Portuguese Tragedy (p. 668) has no trace of his manner. In vol. v. Recollections of an English Gold Miner (p. 361), Monsieur the Governor (p. 445), A man who fell among thieves (p. 463), Sea-Bathing in France (p. 547), and The Poisoned Mind, are his only contributions. In vol. vi. are three illustrations to The Admiral's Daughters (pp. 1, 29, 57), The Hotel Garden (p. 24), The Change of Heads (p. 71), The latest thing in Ghosts (p. 99), Metempsychosis (p. 294), Per l'Amore d'una Donna (p. 390), A Parent by Proxy (p. 435), and Threescore and Ten (p. 644). Vol. vii. contains Miss Simons (p. 166), Santa (pp. 253, 281, 309, 337), Only (p. 490), and the Cannstatt Conspirators (p. 561). A Notting Hill Mystery is pictured on pages 617, 645, 673, and 701 of the seventh volume, and in vol. viii. is continued on pages 1, 5, 7, 85; Out of the Body (p. 701), is also here. Eleanor's Victory is illustrated on pages 295, 351, 407, 463, 519, 575, 631, and 687, and continued in vol. ix on pages 15, 71, 127, 183, 239, 295, 351, 407. Vol. x. contains The Veiled Portrait (p. 225), The Uninvited (p. 309), My Aunt Tricksy (p. 393), The Old Corporal (p. 462), and Detur Digniori (pp. 505 and 533). In vol. xi. we find two illustrations only by this artist, Philip Fraser's Fate, and vols. xii. and xiii. contain no single example.

A few illustrations by T. Morten appear, and these are scattered over a wide space. The first, Swift and the Mohawks (iv. p. 323), is to a ballad by Walter Thornbury; The Father of the Regiment (v. p. 71), Wish Not (x. p. 421), The Coastguardsman's Tale (x. p. 561), Late is not Never (xi. p. 141), The Cumæan Sibyl (xi. p. 603), and Macdhonuil's Coronach (xii. p. 161), make one regret the infrequent appearance of one who could do so well.

Edward J. Poynter (the present director of the National Gallery) is also sparsely represented: The Castle by the Sea (vi. p. 84), a very pre-Raphaelite decoration to Uhland's ballad, Wife and I (vi. p. 724), The Broken Vow (vii. p. 322), A Dream of Love (vii. pp. 365, 393), A Fellow-Traveller's Story (vii. pp. 699, 722), My Friend's Wedding-day (viii. p. 113), A haunted house in Mexico (viii. p. 141), Ducie of the Dale (viii. p. 476), and A Ballad of the Page to the King's Daughter (viii. p. 658), are all the examples by this artist in Once a Week.

Charles Green, of late known almost entirely as a painter, was a fecund illustrator in the sixties. Beginning with vol. iii., in which seven of his works appear (pp. 246, 327, 330, 375, 472, 612, 633), he contributed freely for several years; in vol. iv. there are examples on pp. 41, 52, 53, 357, 359, 361, and 529, and on pp. 518, 519 of the fifth volume, and 206 and 255 of the sixth, on pp. 306, 505, 589, and 670 of the seventh. But not until the eighth volume, with The Wrath of Mistress Elizabeth Gwynne (p. 169), do we find one that is of any importance. Whether spoilt by the engraver, or immature work, it is impossible to say; but the earlier designs could scarcely be identified except for the index. In the same volume The Death of Winkelried (p. 224), Milly Leslie's Story (p. 225), The Countess Gabrielle (p. 253), Corporal Pietro Micca (p. 364), Damsel John (p. 490), My Golden Hill (p. 505), Five Days in Prison (p. 533), The Queen's Messenger (p. 561), The Centurion's Escape (p. 589), and The Cry in the Dark (p. 673), are so curiously unlike the earlier, and so representative of the artist we all know, that if the 'C. Green' be the same the sudden leap to a matured style is quite remarkable. In volume ix. but three appear: Paul Garrett (p. 1), A Modern Idyll (p. 322), and My Affair with the Countess (p. 337); but in the tenth are nine: Norman's Visit (pp. 1, 43), Legend of the Castle (p. 14), A Long Agony (p. 127), The Lady of the Grange (p. 141), The Gentleman with the Lily (pp. 169, 197), The Mermaid (p. 295), and T' Runawaa Lass (p. 630). The Hunt at Portskewitt (p. 126) is in vol. xi., the last appearance of the artist I have met with in this magazine.

F. J. Shields, so far as I can trace his drawings, is represented but three times: An hour with the dead (iv. p. 491), The Risen Saint (v. p. 378), and Turberville (x. p. 378). As reference to this comparatively infrequent illustrator appears in another place no more need be said of these, except that they do not show the artist in so fine a mood as when he illustrated Defoe's History of the Plague. Simeon Solomon contributes a couple only of drawings of Jewish ceremonies (vii. pp. 192, 193). J. Luard, an artist, whose work floods the cheaper publications of the time, shows, in an early drawing, Contrasts (iii. p. 84), a pre-Raphaelite manner, and a promise which later years did not fulfil, if indeed this be by the Luard of the penny dreadfuls.

J. M'NEILL WHISTLER

'ONCE A WEEK'

VOL. VI. p. 712

THE MAJOR'S DAUGHTER

J. M'NEILL WHISTLER

'ONCE A WEEK'

VOL. VII. p. 140

THE RELIEF FUND

IN LANCASHIRE

J. M'NEILL WHISTLER

'ONCE A WEEK'

VOL. VII. p. 210

THE MORNING BEFORE THE

MASSACRE OF ST. BARTHOLOMEW

J. M'NEILL WHISTLER

'ONCE A WEEK'

VOL. VII. p. 378

COUNT BURCKHARDT

M. E. Edwards, a most popular illustrator, appears in the last volume of the first series, with Found Drowned (xiii. pp. 14, 42, 70, 98, 253, 281, 309, 337, 365, 393, 442, 471), in which volume J. Lawson has three: Ondine (p. 351), Narcissus (p. 463), and Adonis (686). Of a number of more or less frequent contributors, including F. Eltze, R. T. Pritchett, P. Skelton, F. J. Slinger, J. Wolf (the admirable delineator of animals), space forbids even a complete list of their names.

Among other occasional contributors to the first thirteen volumes are: J. D. Watson with The Cornish Wrecker's Hut (viii. p. 602), No Change (ix. p. 210), and My Home (ix. 266); A. Boyd Houghton:—The Old King Dying (xii. p. 463), The Portrait (xiii. p. 209), King Solomon (xiii. p. 603), The Legend of the Lockharts (xiii. p. 715), and Leila and Hassan (xiii. p. 769); Walter Crane:—Castle of Mont Orgueil (ix. p. 713) and The Conservatory (xiii. p. 763); J. W. North:—Bosgrove Church (ix. p. 447), The River (xii. p. 15), and St. Martin's Church, Canterbury (xii. p. 713)—the two latter being worthy to rank among his best work; Paul Gray with Hans Euler (xii. p. 322), Moses (xiii. p. 55), The Twins (xiii. pp. 378–406), Two Chapters of Life (xiii. p. 519), and Quid Femina Possit (xii. pp. 491, 517, 547, 575); A. R. Fairfield (x. pp. 546, 589, 617, 686, 712); W. S. Burton, Romance of the Rose (x. p. 602), The Executioner (xi. p. 14), Dame Eleanor's Return (xi. p. 210), and The Whaler Fleet (xi. p. 638); T. White (viii. p. 98); F. W. Lawson, Dr. Campany's Courtship (xii. pp. 351, 390, 407, 446), and others on pp. 586, 631, 722; (xiii. pp. 127, 141, 169, Lucy's Garland, p. 516); C. Dobell (vi. p. 420); Our Secret Drawer, by Miss Wells (v. p. 98); and four by Miss L. Mearns, which are of genuine interest (xiii. pp. 85, 153, 657, 742).

The New Series of Once a Week, started on January 6, 1866, was preceded by a Christmas number, wherein one of the most graceful drawings by Paul Gray is to be found, The Chest with the Silver Mountings (p. 30). It contains also a full-page plate by G. B. Goddard, Up, up my hounds (p. 34), and designs by W. Small, A Golden Wedding (p. 37); G. Du Maurier, The Ace of Hearts (p. 56); J. Lawson, A Fairy Tale (p. 44), and others of little moment.

The New Series announced, as a special attraction, 'extra illustrations by eminent artists, printed separately on toned paper.' Those to the first volume include Little Bo Peep, a delightful and typical composition by G. Du Maurier (Frontispiece); The Vagrants (p. 112), by Fred Walker; Helen and Cassandra (p. 454), by F. Sandys; The Servants' Hall (p. 560), by H. S. Marks; Alonzo the Brave (p. 359), by Sir John Gilbert, and Caught by the tide, by E. Duncan (p. 280).

G. DU MAURIER

'ONCE A WEEK'

VOL. IV. p. 603

ON HER

DEATHBED

G. DU MAURIER

'ONCE A WEEK'

VOL. VI. p. 390

PER L'AMORE

D'UNA DONNA

T. MORTEN

'ONCE A WEEK'

VOL. XI. p. 603

THE CUMÆAN SIBYL

'A specimen of the most recent application of the versatile art of lithography' which is also given, dates the popular introduction of the coloured plate by which several magazines, Nature and Art, The Chromo-lithograph, etc., were illustrated entirely; others, especially The Sunday at Home, Leisure Hour, People's Magazine, etc., from 1864 onwards issued monthly frontispieces in colours and gold—a practice now confined almost wholly to boys' magazines. The pictures by artists already associated with Once a Week include (in vol. i. p. 8) two by A. Boyd Houghton, The Queen of the Rubies (p. 177) and A Turkish Tragedy (p. 448); four by Paul Gray, The Phantom Ship (p. 43), Blanche (pp. 291, 317), and The Fight on Rhu Carn (p. 713); two by T. Morten, The Dying Viking (p. 239), a drawing curiously like Sandys's Rosamunda, and King Eric (p. 435); six by W. Small, Billy Blake's Best Coffin (p. 15), Kattie and the Deil (p. 99), The King and the Bishop (p. 183), The Staghound (p. 295), Thunnors Slip (p. 351), and Larthon of Inis-Huna (p. 575); five by J. Lawson: The Watch-tower (p. 121), Theocritus (p. 211), In statu quo (p. 463), Ancient Clan Dirge (p. 491), and Wait On (p. 631); one by F. W. Lawson, A Sunday a Century ago (p. 671), and others. Among recruits we find R. Barnes with Lost for Gold (p. 407), B. Bradley with A Raid (p. 659), eleven by Edward Hughes, and many by G. Bowers, R. T. Pritchett, F. J. Slinger, and others. Altogether the New Series started bravely. In vol. ii. New Series, the so-called 'extra illustrations' include The Suit of Armour (Frontispiece), by Sir John Gilbert; Evening (p. 97), by Basil Bradley; Poor Christine (p. 245), by Edward Hughes; Among the Breakers (p. 344), by E. Duncan; The Nymph's Lament (p. 476), by G. Du Maurier; and The Huntress of Armorica (p. 706), by Paul Gray. Of 'old hands' Du Maurier has another of his graceful drawings, Lady Julia (p. 239), and Paul Gray has, besides the special plate, eleven to Hobson's Choice (pp. 169, 197, 225, 253, 281, 309, 337, 365, 393, 421, and 449); three by A. Boyd Houghton are A Dead Man's Message (p. 211); and The Mistaken Ghost (pp. 687, 723); T. Morten has only a couple, The Curse of the Gudmunds (p. 155) and On the Cliffs (p. 308); and G. J. Pinwell one, The Pastor and the Landgrave (p. 631); J. W North's Luther's Gardener (p. 99) is a curious drawing to a curious poem; W. Small, with Eldorado (p. 15), Dorette (p. 379), The Gift of Clunnog Vawr (p. 463), The Prize Maiden (pp. 491, 519, 560), and Tranquillity (p. 575), shows more and more that strong personality which by and by influenced black and white art, so that men of the seventies are far more disciples of Small than even were the men of the sixties of Millais. M. E. Edwards's Avice and her Lover (p. 141); six by Basil Bradley (pp. 140, 252, 279, 532, 603, and 659), Charles Green's Kunegunda (p. 71), Hazeley Mill (p. 85), and Michael Considine's Daughter (p. 351); five by Edward Hughes (pp. 183, 407, 547, 585, and 599); three by J. Lawson: Ariadne (p. 127), The Mulberry-tree (p. 323), and Gabrielle's Cross (p. 699). F. W. Lawson's A Midshipman's Yarn (p. 113) and Grandmother's Story (p. 223) deserve to be noted. Others by G. Bowers, F. Eltze, R. T. Pritchett, P. J. Skelton, E. Wimpress (sic), and J. Wolf among the rest, call for no comment. For the Christmas number for this year 1866, W. Small has The Brown Imp (p. 12); J. Lawson, The Birth of the Rose (p. 20); E. Hughes, The Pension Latoque (p. 25); Ernest Griset, Boar Hunting (p. 57); G. B. Goddard, Christmas Eve in the Country (p. 58); and Basil Bradley, A Winter Piece (p. 62); John Leighton contributes a frontispiece and illustrations to St. George and the Dragon, a poem by the author of John Halifax.

In volume iii. 1867 the extra illustrations are still distinguished by a special subject index; they include Lord Aythan (Frontispiece), by J. Tenniel; Coming through the Fence (p. 112), by R. Ansdell, A.R.A.; Feeding the Sacred Ibis (p. 238), by E. J. Poynter; Come, buy my pretty windmills (p. 360), by G. J. Pinwell; Hide a Stick (p. 569), by F. J. Shields; and Highland Sheep (p. 692), by Basil Bradley. Another extra plate, a drawing by Helen J. Miles, 'given as an example of graphotype,' is not without technical interest. In the accompanying article we find that the possibilities of mechanical reproduction are discussed, and the writer adds, as his highest flight of fancy, 'who shall say that graphotype may not be the origin of a daily illustrated paper?' It would be out of place to pursue this tempting theme, and to discuss the Daily Graphic of New York and succeeding illustrated dailies, for all these things were but dreams in the sixties. Yet, undoubtedly, graphotype set people on the track of process-work. By and by the photographer came in as the welcome ally, who left the draughtsman free to work upon familiar materials, instead of the block itself, and presently supplanted the engraver also, and the great rival of wood-cutting and wood-engraving sprang into life. Among the ordinary illustrations A. Boyd Houghton is represented by The Mistaken Ghost (p. 15), A Hindoo Legend (p. 273), and The Bride of Rozelle (p. 663); G. J. Pinwell by Joe Robertson's Folly (p. 225) and The Old Keeper's Story (p. 483); J. W. North by The Lake (p. 303); W. Small by A Queer Story about Banditti (pp. 55, 83); S. L. Fildes by a strongly-drawn design, The Goldsmith's Apprentice (p. 723); Ernest Griset by a slight yet distinctly grotesque Tale of a Tiger (p. 7); M. Ellen Edwards by Wishes (p. 633) and Kate Edwards by Cherry Blossom (p. 543); J. Lawson by The Legend of St. Katherine (p. 127), Sir Ralph de Blanc-Minster (p. 168), and Hymn to Apollo (p. 406); F. W. Lawson by The Singer of the Sea (p. 603). The various examples by F. A. Fraser, T. Green, T. Scott (a well-known portrait engraver), E. M. Wimpress, and the rest may be dismissed with bare mention. In vol. iv., New Series, we find Charles Keene with a frontispiece, The Old Shepherd; The Haymakers (p. 105), E. M. Wimpress; Cassandra (p. 345), S. L. Fildes; Fetching the Doctor (p. 494), H. S. Marks; Imma and Eginhart (p. 644), W. Small; and The Christmas Choir (p. 762), F. A. Fraser, are the other separate plates. Those printed with the text include The Child Queen (p. 135) and Feuilles d'Automne (p. 285), by S. L. Fildes; Evening Tide (p. 255), a typical pastoral, by G. J. Pinwell; Zoë Fane (p. 705), by J. Mahoney; and others by B. Bradley, E. F. Brewtnall, F. Eltze, T. Green, E. Hughes, F. W. Lawson, E. Sheil, L. Straszinski, T. Sulman, E. M. Wimpress, etc. Despite the presence of many of the old staff, the list of names shows that the palmy days of the magazine are over. The Christmas number contains, inter alia, a frontispiece by John Gilbert; My Cousin Renie (p. 13), by J. Mahoney; Scotch Cattle, by Basil Bradley; and The Maiden's Test, by M. E. Edwards (p. 49).

In 1868 another new series starts. A notable feature has disappeared: the illustrations no longer figure in a separate list, but their artists' names are tacked on to the few articles and stories which are illustrated in the ordinary index. Yet the drawings by Du Maurier to Charles Reade's Foul Play (pp. 12, 57, 140, 247, 269, 312, 421, 464, 530) would alone make the year interesting. People, who regard Du Maurier as a society draughtsman only, must be astonished at the grim melodramatic force displayed in these. 'John Millais, R.A.,' also appears as a contributor with Death Dealing Arrows (p. 79); S. L. Fildes has The Orchard (p. 396); F. W. Lawson, The Castaway (p. 242); Basil Bradley is well represented by The Chillingham Cattle (p. 100), and Another day's work done (p. 346); F. S. Walker appears with A Lazy Fellow (p. 211), John Gilbert with The Armourer (p. 364), and M. E. Edwards with the society pictures, The Royal Academy (p. 409) and A Flower Show (p. 516). In the second volume for 1868 we find Salmon Fishing (p. 292) and Daphne (p. 397), both by S. L. Fildes; Found Out (p. 31), A Town Cousin (p. 150), Left in the Lurch (p. 230), and Blackberry Gatherers (p. 213), by H. Paterson; Sussex Oxen (p. 110) and The Foxhound (p. 355), by Basil Bradley; The Picnic (p. 270), by F. W. Lawson, who has also The Waits, the frontispiece of the Christmas number, which contains Taking his ease (p. 264), the last Millais in the magazine; a clever gallery study; Boxing Night, by S. L. Fildes, and a capital domestic group, The Old Dream (p. 48), by M. E. Edwards.

In 1869, vol. iii., New Series, contains a single example by G. J. Pinwell, A seat in the park (p. 518); five by S. L. Fildes; The Duet (p. 56), The Juggler (p. 188), Hours of Idleness, the subject of a later Academy picture (p. 475), Led to Execution (p. 540), and Basking (p. 562); and others by Fred Barnard (pp. 166, 254, 346, 450), B. Bradley (pp. 78, 210, 496), Val Prinsep (p. 298), F. W. Lawson (p. 34), and Ford Madox Brown, The Traveller (p. 144). To state that vol. iv., New Series, is absolutely without interest is to let it off cheaply.

In the volume for 1870 the names of artists are omitted, and if we follow the editor's example no injustice will be done, despite a few clever drawings by R. M[acbeth]; the work, not merely in date but in spirit, is of the new decade, and as it is exceptionally poor at that for the most part, it no longer belongs to the subject with which this volume is concerned.