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Title: The Brothers Dalziel A Record of Fifty Years Work in Conjunction with many of the Most Distinguished Artists of the Period 1840-1890 Author: George Dalziel Edward Dalziel Release Date: April 17, 2015 [EBook #48721] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE BROTHERS DALZIEL *** Produced by Richard Tonsing, Chris Curnow and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) THE BROTHERS DALZIEL A RECORD OF FIFTY YEARS' WORK 1840-1890 THE BROTHERS DALZIEL A RECORD OF FIFTY YEARS' WORK IN CONJUNCTION WITH MANY OF THE MOST DISTINGUISHED ARTISTS OF THE PERIOD 1840-1890 WITH SELECTED PICTURES BY, AND AUTOGRAPH LETTERS FROM LORD LEIGHTON, P.R.A., SIR J. E. MILLAIS, Bart., P.R.A., SIR E. J. POYNTER, P.R.A., HOLMAN HUNT, DANTE G. ROSSETTI, SIR JOHN TENNIEL, SIR E. BURNE-JONES, Bart., JOHN RUSKIN, AND MANY OTHERS. LONDON METHUEN AND CO. 36 ESSEX STREET W.C. 1901 LONDON: PRINTED BY DALZIEL AND CO., LTD. CAMDEN PRESS, 110 HIGH STREET, CAMDEN TOWN. TABLE OF CONTENTS PREFACE. LIST OF ILLUSTRATIONS. CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. OUR PUPILS. THE PRINTING OFFICE. LIST OF FINE ART AND OTHER ILLUSTRATED BOOKS PRODUCED BY AND UNDER THE ENTIRE SUPERINTENDENCE OF THE BROTHERS DALZIEL. FINE ART BOOKS PARTLY THE WORK OF THE BROTHERS DALZIEL. INDEX. TRANSCRIBER'S NOTES. PREFACE. Thomas Bewick, who revived the art of wood engraving in England, was apprenticed to Ralph Beilby, as a copperplate engraver, in 1767. About 1770 he began to engrave on wood. The work at first was rough, and chiefly for newspaper advertisements; but he soon saw the capabilities of the material, and he rapidly developed into the great master of his art. The excellence of his wood engraving may be said to have culminated in his "Book of British Birds," the first volume of which was published in 1797. For a century from that date the art of wood engraving has been the most popular as well as the best method for the reproduction of all classes of drawings, and during that hundred years much beautiful work has been done. Bewick's pupils were all artists in the fullest meaning of the word—John Bewick (his brother), Robert Johnson, Luke Clenell, Charlton Nesbit, Isaac Nicholson, and William Harvey. What a grand start the first half of the century of wood engraving had with such great men! In the second half—in which we claim to have had our share—were such brilliant contemporaries as John Jackson, John Thomson, the Williams', J. W. Whymper, Orrin Smith, Mason Jackson, W. L. Thomas, W. J. Linton, J. D. Cooper, C. Roberts, Biscombe Gardner, Joseph Swain, and J. W. Palmer—all true artists, draughtsmen, and painters, as well as wood engravers. Touching the old cry of defective reproduction, we say that at times there could not fail to be some amount of depreciation, but never such as justified the senseless and vulgar remarks made by certain critics, which can only be passed over in consideration of their total want of technical knowledge of the art, and of the conditions under which much of the work was produced. Coarse epithets have been used towards men who were devoting, with all possible earnestness, their skill to an art for the reproduction of work for popular issues. Wood engraving, being no exception to other arts, demands conditions necessary for the production of perfect work. First, the man who makes the drawing ought to know the capabilities of the material and should work accordingly; second, the engraver should have all the true instincts of an artist; and, third, he must have the full interval of time to perform his work with proper care. A large amount of wood engraving being done on the rush, it was a common thing to "burn the midnight oil" and the engraver's eyes at the same time, and it is a marvel that so much beautiful artistic work was done under such conditions. We have printed in this book many letters from distinguished artists expressing their satisfaction with our rendering of their drawings, with one object—to place beyond all doubt that if wood engravings were produced under the conditions named, the results would always prove satisfactory. We have a letter before us from Sir Edward Burne-Jones, in which he says: "I was quite unprepared for such fidelity." By the introduction of the various "processes" by which artists' drawings are nowadays made applicable for reproduction, the days of wood engraving are practically over, and we have to bow to the new light which we had long felt would come; and we need hardly say that, for the reproduction of good pen work, with the new process by line etching, the results are perfect. Also, when we look at the reproductions of tint drawings by such men as William Small, De Haenen, the Pagets, Caton Woodville, W. L. and C. Wyllie, Edgar Bundy, Jacomb Hood, and many other artists of distinction, by the half-tone process, and when we think (beyond all this fine artistic work) of the vast mass of wonderful illustration given to the public, week by week, of every conceivable class of subject, direct from the camera, in which the draughtsman has no part at all, and this work is generally of singular beauty and truth—we feel that our occupation is gone. In saying this we wish to add that we hail with satisfaction the marvellous results from these many ingenious adaptations of photography, and the consequent wide spread of the art of illustration, which has ever been our greatest delight. In preparing the contents of this book it would have been impossible to give the many specimens of our work but for the kind and liberal spirit with which our requests were responded to by the various publishers who had entrusted us with their commissions from our very earliest days. Our best thanks are due, in the first instance, to Messrs. Adam & Charles Black, for the loan of two engravings for the "Abbotsford Edition of Scott's Novels," which were amongst our first important works; the Art Union of London, for a specimen of Kenny Meadows'; Messrs. Macmillan, for specimens from "The Ingoldsby Legends," "Tennyson's Poems," and "Alice in Wonderland"; Messrs. Bradbury & Agnew, for selections from Richard Doyle's work; Messrs. George Routledge & Sons, for specimens from "Gilbert's Shakespeare" and various "Fine Art Books"; Messrs. Herbert Virtue & Co., for several from Millais' "The Parables of Our Lord" and "Dalziel's Bible Gallery"; Messrs. Blackwood & Son, for "Lays of the Scottish Cavaliers," by Sir J. Noel Paton; Messrs. James Nisbet & Co., for "Lays of the Holy Land;" Messrs. Longman & Co., for Tenniel's "Lalla Rookh"; Messrs. Smith, Elder & Co., for "Framley Parsonage" and the Cornhill Magazine; Mr. James Hogg, for "London Society"; Messrs. D. Appleton & Co., for "Poems by W. Cullen Bryant"; Mr. John Hogg, for "Poems by Robert Buchanan"; Messrs. Chapman & Hall, for many illustrations to the works of Charles Dickens; the Proprietors of the Graphic, for "The Sisters," by G. J. Pinwell; and to Messrs. Ward and Lock, for "Dalziel's Arabian Nights" and "Dalziel's Goldsmith." Mr. Alexander Strahan has our warmest thanks for much help which he kindly gave us in procuring many valuable representative specimens of our work from his various publications. And yet other thanks are due. Before publishing the letters to be found in the following pages, it was necessary to seek the permission of the writer of each, or the executors of those no longer with us. In every case the response has been so kind and so reminiscent, that the interest and pleasure derived from their receipt will remain till the end with George and Edward Dalziel Hampstead 1901 LIST OF ILLUSTRATIONS. SUBJECT. PAGE Our Father. From a Bust by his Son, Robert Dalziel 3 Our Mother. From an Oil Painting by her Son, Robert Dalziel 5 Portrait of George Dalziel. From an Oil Painting by his Brother Robert 7 " Edward Dalziel. From an Oil Painting by his Brother Robert 9 " John Dalziel. From a Photograph 11 " Thomas Dalziel. From a Photograph 13 " William Harvey. From a Wood Engraving 15 " Margaret Dalziel. From a Photograph 20 ILLUSTRATED BY The Earl of Leicester's Levee. From the Abbotsford Edition of "Kenilworth" William Harvey 21 Mackay, as the Bailie Nicol Jarvie. From the Abbotsford Edition of "Rob Roy" Sir William Allan, R.A., P.R.S.A. 25 Children in the Wood. John Franklin 27 Sleeping Child and Lamb. William Mulready, R.A. 29 "Evangeline." From the Poetical Works of Longfellow Sir John Gilbert, R.A., P.R.W.S. 33 "L'Allegro." Kenny Meadows 39 A Ball-Room. Frederick Walker, A.R.A., R.W.S. 43 "A Lay of St. Dunstan." From the "Ingoldsby Legends" George Cruikshank 45 "The Lord of Toulouse." " Sir John Tenniel 47 "The Wedding Day." " George Cruikshank 49 The Adoration of the Maji. F. R. Pickersgill, R.A. 53 Fairy Dance. W. E. Frost, R.A. 55 "Oriana." Tennyson F. R. Pickersgill, R.A. 57 Scotland. From "An Overland Journey to the Great Exhibition of 1851" Richard Doyle 60 Jack and the Giants. " 63 The Giants. " 64 The Arrival at Cologne. " 65 Evening on the Lago-Maggiore. " 67 "The Salamandrine." Dr. Charles Mackay Sir John Gilbert, R.A., P.R.W.S. 69 Lucy Gray. W. Wordsworth " 71 King Lear. " 73 King Lear and Fool in a Storm. " 75 Lear Fantastically Dressed with Flowers. " 79 "The Lord of Burleigh." Tennyson Sir J. E. Millais, P.R.A. 83 "The Talking Oak." " " 87 "Oriana." " Holman Hunt 90 "St. Cecillia." " Dante G. Rossetti 91 Hallelujah. Arthur Hughes 93 The Pearl of Great Price. Sir J. E. Millais, P.R.A. 95 The Unjust Judge. " 99 The Leaven. Sir J. E. Millais, P.R.A. 103 "Edinburgh, after Flodden." Aytoun Sir J. Noel Paton, P.R.S.A. 107 "The Execution of Montrose." " " 109 "The Song of Bethlehem." Campbell J. R. Clayton 113 The Finding of Moses by Pharaoh's Daughter. Sir J. E. Millais, P.R.A. 115 "There's nae Luck about the House." " 117 "Threnody." Ralph Waldo Emerson Edward Dalziel 121 The Veiled Prophet of Khorassan. From "Lalla Rookh" Sir John Tenniel 123 Maiden Playing the Mandoline. From "Lalla Rookh" " 125 Alice in Wonderland. " 127 The Sleeping Genie and the Lady. From "Dalziel's Arabian Nights" " 129 The Crawley Family. Sir J. E. Millais, P.R.A. 131 Lady Lufton and the Duke of Omneum. " 133 Temptation. —Horace Saltoun " 135 Lady with Hounds. " 137 "Come Awa, Come Awa." Thomas Pringle Birket Foster, R.W.S. 141 "The Graves of the Household." Mrs. Hemans " 145 "Lines Written on Early Spring." Wordsworth " 147 Sweet May Morning. From "Intimations of Immortality"— Wordsworth " 151 Grandfather Nursing a Sick Boy. John Pettie, R.A. 155 Coach and Horses. A. Boyd Houghton, R.W.S. 157 Kiss Me. " 159 Sigurd. Sir E. Burne-Jones, Bart. 161 Summer Snow. " 163 Worldly Wiseman. J. D. Watson, R.W.S. 165 Crusoe Visits the old Captain. " 167 Abject Prayer. " 169 "Life's Journey." George Wither Frederick Sandys 171 "The Little Mourner." Dean Alford " 173 Cleopatra. " 175 "The Lent Jewels." Richard Chevening Trench Holman Hunt 177 "A Northern Legend." W. Cullen Bryant Edward Dalziel 179 "The Battle-Field." " " 181 "The Maiden's Sorrow." " Harrison Weir 183 "The Lady of Castle Windeck." " Edward Dalziel 185 "The Exiles of Oona." Robert Buchanan Thomas Dalziel 187 "The Deserted Cottage." Wordsworth Joseph Wolf 189 "An Evening Walk." " " 191 "The Long Voyage." Charles Dickens Frederick Walker, A.R.A., R.W.S. 195 "The Schoolboy's Story." " " 197 A Woman in the Snow. " 199 Two Fancy Sketches. " 200 "Tramps." Charles Dickens G. J. Pinwell, R.W.S 208 "City Churchyards." Charles Dickens " 209 The Sisters. " 211 "An English Eclogue." Robert Buchanan G. J. Pinwell, R.W.S. 213 "The Ballad Maker." " " 215 Thornhill Presenting Ladies of Great Distinction to the Vicar. From "The Vicar of Wakefield" " 217 George Playing the Flute to the Peasants. From "The Vicar of Wakefield" " 219 "Meg Blane." Robert Buchanan A. Boyd Houghton, R.W.S. 220 "The Saint's Story." " " 221 Three Blind Men. From "Dalziel's Arabian Nights" " 223 King Zeyn conducts the Queen-Mother to the Vaults. From "Dalziel's Arabian Nights" Edward Dalziel 225 The Genie brings the Hatchet and Cord. From "Dalziel's Arabian Nights" Thomas Dalziel 227 "Meg Blane." Robert Buchanan " 228 "Celtic Myths." " " 229 "The Exiles of Glen Oona." Robert Buchanan William Small 231 "Hahon." " Edward Dalziel 233 Music.—A Man at the Spinet. J. M. Lawless 235 Cain and Abel. From "Dalziel's Bible Gallery" Lord Leighton, P.R.A. 239 Moses Views the Promised Land. From "Dalziel's Bible Gallery" " 243 Esau Meeting Jacob. From "Dalziel's Bible Gallery" G. F. Watts, R.A. 245 Joseph Presents His Father to Pharaoh. From "Dalziel's Bible Gallery" Sir E. J. Poynter, P.R.A. 247 Miriam. From "Dalziel's Bible Gallery" " 249 Eliezer and Rebekah at the Well. From "Dalziel's Bible Gallery" Holman Hunt 251 Elijah and the Widow's Son. From "Dalziel's Bible Gallery" Ford Madox Brown 253 Abraham Parting with Lot. From "Dalziel's Bible Gallery" Thomas Dalziel 255 Jacob and the Flocks of Laban. From "Dalziel's Bible Gallery" " 257 Hosannah. From "Dalziel's Bible Gallery" Simeon Solomon 259 Daniel's Prayer. " Sir E. J. Poynter, P.R.A. 261 Christian Climbing the Hill of Difficulty. From "Bunyan's Pilgrim's Progress" E. G. Dalziel 263 Old Honest. From "Bunyan's Pilgrim's Progress" Sir James D. Linton, P.R.I. 265 The Atheist. " Frederick Barnard 267 Monkeys. From "Wood's Natural History" Joseph Wolf 269 The Old Year and the New. Cartoon from "Fun" Paul Gray 273 "Fun." J. F. Sullivan 274 The Chosen Champion. Cartoon from "Fun" Frederick Barnard 275 Old Father Time. " Gordon Thomson 279 An Urban Delusion. From "Fun" J. F. Sullivan 280, 281 That or Nothing. " G. J. Pinwell, R.W.S. 283 To Even Money! " E. G. Dalziel 285 Chelsea Hospitality, under a Cloud. From "Fun" " 287 Park Lane. " E. F. Brewtnall 289 A Drap o' the Best. From "Fun" William Small 291 Mistress and Maid. " A. Boyd Houghton, R.W.S. 295 The Theatre of Nature. " Ernest Griset 300, 301 An Illogical De-duck-tion. " E. G. Dalziel 305 Going Home to Love in a Cottage. " F. A. Fraser 309 Argumentum ad Hominem. " J. Mahoney 311 Oysters. " Ernest Griset 313 Àpropos to a Proposal. " Hal Ludlow 315 Madame. From "Behind a Brass Knocker" ("Judy") Frederick Barnard 319 Mister Mite. " " 321 On the Uselessness of Nursery Lore. From "Judy" E. G. Dalziel 323 On Love as a Passion. " " 325 Codlin and Short in the Churchyard. From "The Old Curiosity Shop"— Charles Dickens Charles Green, R.I. 327 Nell Stopping Miss Monflather. From "The Old Curiosity Shop"— Charles Dickens " 329 At the Dolphins Head. From "The Uncommercial Traveller"— Charles Dickens E. G. Dalziel 331 "Am I Red To-night?" From "The Uncommercial Traveller"— Charles Dickens " 333 The Marquis's Carriage Stopped by the Crowd. From "A Tale of Two Cities"—Charles Dickens Frederick Barnard 335 Nicholas Nickleby's Interview with Mr. Bray. From "Nicholas Nickleby"—Charles Dickens " 337 Portrait of George Dalziel. From a Photograph 340 " Edward Dalziel. From a Photograph 341 " Thomas Dalziel. From a Photograph 342 Dedicated IN KIND REMEMBRANCE OF THE MANY FRIENDS WHOSE WORKS ADORN THE PAGES OF THIS BOOK. THE BROTHERS DALZIEL. CHAPTER I. Parentage—Four Brothers and a Sister, Ebenezer Landells, Thomas Bewick, William Harvey, and Samuel Lover. We were members of a family of twelve children, and, with one exception, we were born at Wooler, Northumberland, the youngest having been born at Newcastle-on-Tyne. Our father spent a great part of his time in horticultural pursuits, and in middle life took up art as a profession. He also held a commission in the Northumberland Militia. His sons, eight in number, inherited strong artistic tastes, which they all carried out professionally, except the youngest, Davison, who applied himself very successfully to commerce. The eldest, William, whose art work was chiefly devoted to heraldic and occasional ornamental decoration for MSS. books, also painted a little in still-life subjects with remarkable fidelity; while the second son, Robert, devoted himself to art, and obtained a fair reputation as a portrait painter. He also studied landscape painting for some time under Thompson, of Duddingston, and having practiced his art successfully both in Glasgow and Edinburgh, he came ultimately to London, where he died, having attained only his thirty-second year. The next brother, Alexander, was a youth of rare artistic promise, and, had he lived, must of necessity have made a great name for himself as a designer and draughtsman in black and white; but early in life, while living in London, he caught a chill, which terminated in consumption. He, having returned to his mothers house in Newcastle-on-Tyne, died before completing his twenty-third year. The next brother, George, early in 1835,[1] being then nineteen, came to London as a pupil to the late Charles Gray, an engraver on wood, with whom he remained four years, and on the completion of his engagement, he commenced operations on his own account, though continuing on the most friendly terms with Gray. A few weeks later he was joined by his brother Edward, and from that day we two have, for a period of over fifty-five years, worked hand in hand together, as "The Brothers Dalziel." Alexander Dalziel, OUR FATHER. BORN, MAY 22, 1781; DIED, JUNE 30, 1832. From a Bust, Modelled by his Second Son, Robert Dalziel. "Alexander Dalziel, born at Wooler, in the County of Northumberland, on the 22nd May, 1781; married at Lamberton, North Britain, on the 4th day of January, 1805, to Elizabeth Hills, born at Mornington, North Britain, on the 11th May, 1783." —Extract from Family Bible. In 1852 our brother John became associated with us. He was a skilful and highly accomplished engraver; but his health, unfortunately, gave way, and early in 1868 he was compelled to give up all artistic work and went to reside at Drig, a delightfully picturesque locality, surrounded on the one side by the Cumberland Lakes and hills, and on the other by the broad sea, hoping that the fine bracing air of the North would restore him to health, but unhappily the change came too late, and he died in the summer of 1869. In 1860 our brother Thomas, who had been educated as a copperplate engraver, joined the "Brotherhood," and from that time devoted himself entirely to painting and drawing on wood, contributing much excellent work to the various books we produced. Among them may be mentioned "Dalziel's Arabian Nights," "Dalziel's Bible Gallery"—of which we will have much to say further on, and a beautiful edition of "The Pilgrim's Progress," as well as many very charming drawings for nearly all the Fine Art Books created by ourselves, or produced under our entire supervision. Elizabeth Dalziel, OUR MUCH-BELOVED MOTHER. BORN, MAY 11, 1783; DIED, FEBRUARY 4, 1853. From a Picture by her Second Son, Robert Dalziel. Painted about 1837. She was one of the brightest, the best, and kindest of women —a true embodiment of all that is good and just. In the early part of our career, that is to say during the Forties, we George and Edward, worked very much in association with Ebenezer Landells, one of the original projectors and proprietors of Punch, and from whom (the other original proprietors having resigned their shares in a then unprofitable speculation) Messrs. Bradbury and Evans, the printers, acquired a two-thirds share. Subsequently the entire property passed into their hands. We may here state that while in association with Landells, we engraved the picture, "Foreign Affairs," which was the first drawing contributed to Punch by John Leech. Landells was a man to whom illustrated literature, journalism in particular, owes much. It is an old story, well known at the time, how he parted with his interest in Punch, and how he lost the proceeds in the Illuminated Magazine, which was edited by Douglas Jerrold. Among his thousand and one journalistic ventures, he was the first to project and produce the Lady's Newspaper, but in this, as in other things, he was before his time and failed. He it was who suggested to Herbert Ingram that an artist should be sent to follow the progress of Queen Victoria on her first journey to Scotland; Landells undertook the commission, and it was the success of, and great interest taken in these pictures that had much to do with making the Illustrated London News. The Queen was so much pleased, that she bought all Landells' original drawings. He worked very much with Herbert Ingram, and it was through him that we were engaged upon the second number of the Illustrated London News. It was for him that we engraved the prospectus block for Punch, also the covers for that journal drawn by "Archie" Henning, William Harvey, and John Gilbert, as well as the "H. K. B." drawings every week for "Master Humphrey's Clock." In fact we were largely indebted to him for much sincere help at a time when such help was invaluable, and at his house we had the advantage of forming the friendship of Douglas Jerrold, the Brothers Mayhew, Mark Lemon, and others connected with the foundation of Punch. George Dalziel. BORN, DECEMBER 1, 1815. From a Picture Painted by his Brother Robert. Date about 1841 or '42. Landells was a man brimful of ideas and full of energy. One hardly ever met him but that he had some new project which was "certain to be a fortune"—a fortune that never came to him. His connection with the Illustrated London News continued until Herbert Ingram's departure for America, from which place he never returned, having been drowned on Lake Michigan. It is a curious fact that, when Ingram's body was brought home for interment, on the same day that his funeral took place at Boston the remains of Landells were interred at Highgate Cemetery. We were at the ceremonies. Edward attended the one, while George was present at the other. An interesting anecdote is told of Thomas Bewick in reference to Ebenezer Landells. When it was proposed to place him as a pupil with that eminent wood engraver, the father of the lad said, "Well, Mr. Bewick, I hope you will make my son a clever fellow." "Mr. Landells," replied the veteran, "I'll do my best to teach him what I know, but if God Almighty hasn't put brains into your son's head, it's impossible for me to put them there!" Edward Dalziel. BORN, DECEMBER 5, 1817. From a Picture Painted by his Brother Robert. Date about 1841 Or '42. This anecdote was told us by Landells himself, in illustration of a principle he was discussing, that unless a lad has a real, genuine love for the art he is studying, no teaching in the world will ever make him a skilful worker. His father not being able to arrange terms with Bewick, Landells did not remain long with him, but served his apprenticeship with Isaac Nicholson (an old pupil of Bewick's, who had opened an office on the opposite side of the way to his old master, in St. Nicholas' Churchyard, Newcastle-on-Tyne), with whom Charles Gray was also a pupil. And it was through those two young men coming to our Father to "learn to draw" that our brother Alexander became a pupil of Nicholson's, with whom he served a seven years' apprenticeship, and proved himself a very skilful draughtsman and engraver. Hence our somewhat close connection with the school of Thomas Bewick. Landells was a man of slightly excitable temperament, and, as a rule, very demonstrative. One morning he called upon his old pupil, Edmund Evans, who was then commencing colour printing works in Racquet Court, saying "he was off to the Derby, and, as the morning looked rather doubtful, would he lend him an umbrella?" This Evans most willingly did, giving the best he had, almost a new one. Landells faithfully returned it the next morning, but the ferrule had disappeared, and the stick was battered down close to the silk. Landells had evidently been through some exciting scenes, and in expressing his high appreciation of the events Evans' umbrella had come sadly to grief. When Landells got a little vexed or worried by anyone, which in his very much varied life he not unfrequently did, his invariable remark was, "Well, stop till I see him again and I'll give him a piece of my mind." John Dalziel. BORN, JANUARY 1, 1822; DIED, MAY 21, 1869. From a Photograph. During the time that "ructions" were on with his co-partners in Punch, he met Douglas Jerrold in Fleet Street and complained bitterly, winding up with, "There, I've just been to see them and have given them a bit of my mind," "Ah," said Jerrold, "I'm afraid they would not gain much by that, Landells." His eldest son, Robert Landells, also an artist of considerable ability in black and white work, acted for many years as Art War Correspondent to the Illustrated London News, and, in that capacity, went through a great part of the Franco-Prussian Campaign. The years of our boyhood having been spent in Newcastle-on-Tyne, we have constantly been identified as being natives of the Tyneside, and so became much associated with several artists of ability who hailed from that part of the kingdom. Among the foremost of those we would mention William Harvey, the justly celebrated artist and book illustrator, who was himself a favourite pupil of Thomas Bewick, and during his apprenticeship designed and engraved several of the smaller tailpieces to the "Fables," "Natural History," and other works published by his famous master. William Harvey was born at Newcastle-on-Tyne, July 13th, 1796, and died at Richmond, Surrey, January 18th, 1866. He was apprenticed to Thomas Bewick, 1810, and the high esteem in which he was held by his master is shown in the letter here quoted. "Gateshead, January 1st, 1815. "Dear William,—I sent you last night, 'The History of British Birds,' which I beg your acceptance of as a New Year's gift and also as a token of my respect. Don't trouble yourself about thanking me for them; but, instead of doing so, let those books put you in mind of the duties you have to perform through life. Look at them (as long as they last) on every New Year's day, and at the same time resolve, with the help of the All- wise but unknowable God, to conduct yourself on every occasion as becomes a good man. Be a good son, a good brother, and (when the time comes) a good husband, a good father, and a good member of Society. Peace of mind will then follow you like a shadow; and when your mind grows rich in integrity, you will fear the frowns of no man, and only smile at the plots and conspiracies which it is probable will be laid against you by envy, hatred, and malice. "Thomas Bewick. "To William Harvey, Junr., "Westgate."