CHAPTER XVI

Chapter 3115,614 wordsPublic domain

THE ARTIST: A REVIEW AND AN ESTIMATE

In order to judge of Kate Greenaway as an artist, and appraise her true place and position in British art, we must bear in mind not only what she did, but what she was. It must be remembered that she was a pioneer, an inventor, an innovator; and that, although she painted no great pictures and challenged no comparison with those who labour in the more elevated planes of artistry, is sufficient to place her high upon the roll. Just as Blake is most highly valued for his illustration and Cruikshank and Goya for their etched plates, rather than for their pictures, so Kate Greenaway must be judged, not by the dignity of her materials, or by the area of her canvas, but by the originality of her genius, and by the strength and depth of the impression she has stamped on the mind and sentiment of the world. As Mr. Holman Hunt, Millais, and their associates invigorated the art of England by their foundation of the Pre-Raphaelite Brotherhood, so Kate Greenaway introduced a Pre-Raphaelite spirit into the art of the nursery. That is what Dr. Max Nordau, with curious perversion of judgment and lack of appreciation, denounced as ‘degeneracy’!—accusing her of creating ‘a false and degenerate race of children in art,’ while at the worst she was but giving us a Midsummer Day’s Dream in Modern England. For him Kate Greenaway, the healthy, sincere, laughter-loving artist, is a ‘decadent’ such as vexes the soul of a Tolstoi. It is the result, of course, of misapprehension—of a misunderstanding which has revolted few besides him.

The outstanding merit of Kate Greenaway’s work is its obvious freedom from affectation, its true and unadulterated English character. What Dr. Nordau mistook for affectation is simply humour—a quaintness which is not less sincere and honest for being sometimes sufficiently self-conscious to make and enjoy and sustain the fun. Such grace of action, such invariable delicacy and perfect taste of her little pictures, belong only to a mind of the sweetest order—the spontaneity and style, only to an artist of the rarest instinct. Animated by a love of the world’s beauty that was almost painful in its intensity, she was not satisfied to render merely what she saw; she was compelled to colour it with fancy and imagination. She reveals this passion in a letter to Mr. Locker-Lampson:—

KATE GREENAWAY TO F. LOCKER-LAMPSON

22 WELLINGTON ESPLANADE, LOWESTOFT, _Thursday_.

Dear Mr. Locker—We are back again in clouds of mist—no more lovely sailing boats. Yesterday afternoon was as fine as we could wish it to be. We went all through the fishing village, and then there comes a common by the sea, covered with gorse. The little fishing houses are so quaint. I was savage, for I had not got my book in my pocket, so shall have to trust to memory to reproduce some of it.

I never saw such children—picturesque in the extreme; such funny little figures in big hats, the very children I dream of existing here in the flesh; and lots of clothes hanging out to dry flapped about in the sun and made such backgrounds! People laugh at me, I am so delighted and pleased with things, and say I see with rose-coloured spectacles. What do you think—is it not a beautiful world? Sometimes have I got a defective art faculty that few things are ugly to me? Good-bye,

K. GREENAWAY.

The truth is, her poetic emotion and the imagination which so stirred the admiration of Ruskin and the rest, inspired her to express a somewhat fanciful vision of the flowers, and children, and life which she saw around her. She gave us not what she saw, but what she felt, even as she looked. Her subtle and tender observation, one writer has declared, was corrected and modified by her own sense of love and beauty. Her instinctive feeling is, therefore, nobler than her sense of record; it is big in ‘conception’ and style, and is immeasurably more delightful than bare appreciation of fact.

It is a touch of tragedy in Kate Greenaway’s life, that she to whom the love of children was as the very breath of her life was never herself to be thrilled by that maternal love for the little ones she adored. Still ‘her spirit was bright and pure, vivacious and alert,’ so that she drew children with the grace of Stothard and the naturalness of Reynolds, investing them with all the purity and brightness that we find in her drawing and her colour. Although her cantata was simple, it was ever notable for its exquisite harmony and perfect instrumentation.

Faults, no doubt, of a technical sort Kate Greenaway shows in many of her drawings, and, as we have seen, mannerisms at times betrayed her. She would exaggerate in her faces the pointed chin that was a charm of her model Gertie’s face. She would draw eyes too far apart, as Ford Madox Brown came to do; yet how exquisitely those eyes were drawn, and how admirably placed within their sockets! perfect in accuracy of touch, and delightful in their beauty. The knees of her girls are sometimes too low down; the draperies are often too little studied and lack grace of line; her babies’ feet are at times too large, and are carelessly drawn, or at least are rendered without sufficient appreciation of their form. A score of drawings substantiate every one of these charges—but what of that? The greatest artists have had their failings, cardinal in academic eyes, for the faults are all of technique. As Boughton exclaimed of his friend George du Maurier—‘I respect him for his merits, but I love him for his faults.’ In Kate Greenaway’s case her faults are forgotten, or at least forgiven, in presence of her refined line and fairy tinting, her profiles and full faces of tender loveliness, and her figures of daintiest grace.

‘English picture-books for children,’ exclaims Dr. Muther,[79] ‘are in these days the most beautiful in the world, and the marvellous fairy-tales and fireside stories of Randolph Caldecott and Kate Greenaway have made their way throughout the whole Continent. How well these English draughtsmen know the secret of combining truths with the most exquisite grace! How touching are these pretty babies, how angelically innocent these little maidens—frank eyes, blue as the flowers of the periwinkle, gaze at you with no thought of being looked at in return. The naïve astonishment of the little ones, their frightened mien, their earnest look absently fixed on the sky, the first tottering steps of a tiny child and the mobile grace of a school-girl, all are rendered in these prints with the most tender intimacy of feeling. And united with this there is a delicate and entirely modern sentiment for scenery, for the fascination of bare autumn landscapes robbed of their foliage, for sunbeams and the budding fragrance of spring. Everything is idyllic, poetic, and touched by a congenial breath of tender melancholy.’

The appreciation of Kate Greenaway’s work was universal. In France its reception was always enthusiastic, and the critics expressed their delight with characteristic felicity. They recognised, said one,[80] that until Kate Greenaway there had been no author and artist for the boy citizens whose trousers are always too short, and for the girl citizens whose hands are always too red. They knew nothing about her personality, and even doubted whether her name was not a pseudonym; but they welcomed in her the children’s artist _par excellence_, who knew that the spirit, the intelligence, the soul of little ones are unlike those of adults, and who knew, too, by just how much they differed. At the end of a glowing tribute M. Arsène Alexandre spoke of her as having been _naturalisée de Paris_—alluding, of course, not to herself but to her work,—whereupon an important English newspaper mistranslated the expression; and so arose the absurd report circulated after her death, that Kate Greenaway, who had never quitted the shores of England, had passed the later years of her life in Paris.

From Paris, declared _La Vie de Paris_, ‘the graceful mode of Greenawisme has gained the provinces, and from wealthy quarters has penetrated into the suburbs’;[81] and the Vienna _Neue Freie Presse_ maintained that ‘Kate Greenaway has raised a lasting monument to herself in the reform of children’s dress, for which we have to thank her.’ But the _Figaro_ and the _Temps_ recognised her higher achievement. ‘Kate Greenaway,’ said the former, ‘had _une âme exquise_. She translated childhood into a divine language—or perhaps, if you prefer it, she translated the divine mystery of childhood into a purely and exquisitely child-like tongue.’ ‘Never,’ said the latter, ‘has a sweeter soul interpreted infancy and childhood with more felicity, and I know nothing so touching in their naïveté as the child-scenes that illustrate so many of the artist’s books, the very first of which made her celebrated.’ These are but specimens of the scores of tributes that filled the press of Europe and America at the time of Kate Greenaway’s death, and are sufficient to prove the international appeal she made, triumphing over the differences of race, fashion, and custom which usually are an insuperable bar to universal appreciation.

Original as she was in her view of art and in the execution of her ideas, Kate Greenaway was very impressionable and frequently suffered herself to be influenced by other artists. But that she was unconscious of the fact seems unquestionable, and that her own strong individuality saved her from anything that could be called imitation must be admitted. The nearest semblance to that plagiarism which she so heartily abhorred is to be found in the likeness borne by some of her landscapes to those of Mrs. Allingham. The circumstance, as already recounted, that the two ladies were cordial friends and went out sketching together, the younger student in landscape-drawing watching her companion’s methods, is sufficient explanation of the likeness. Miss Greenaway quickly recognised the peril; and she must have realised that her drawings, so produced, lacked much of the spontaneity, the sparkle, and the mellowness of the work of Mrs. Allingham. Take, for example, the charming plate called ‘A Surrey Cottage.’[82] The landscape is as thoroughly understood as the picturesque element of the design, with its well-drawn trees and deftly-rendered grass. The children form a pretty group; but they are not a portion of the picture; they are dropped into the design and clearly do not fit the setting into which they are so obviously placed. The artist herself has clearly felt the defect, and obviated it on other occasions. The love of red Surrey cottages, green fields, and groups of little children was common to both artists, and Kate’s imitation is more apparent than real; her renderings of them are honest and tender, full of sentiment, and of accurate, vigorous observation. She does not seem to have studied landscape for its breadth, or sought to read and transcribe the mighty message of poetry it holds for every whole-hearted worshipper. Rather did she seek for the passages of beauty and the pretty scenes which appealed to her, delighting in the sonnet, as it were, rather than in the epic.

Her shortness of sight handicapped her sadly in this branch of art, and prevented her from seeing many facts of nature in a broad way; for example, while ‘The Old Farm House’ has great merits of breeziness, truth, and transparency of colour, with a sense of ‘out-of-doorness’ not often so freshly and easily obtained, the great tree at the back lacks substance, as well as shadow and mystery, for its branches are spread out like a fan, and do not seem, any of them, to grow towards the spectator. There is no such fault in ‘The Stick Fire’—a subject curiously recalling Fred Walker; for here the landscape, although a little empty, is clearly studied from nature and set down with great reticence and intelligence. And what could be prettier than the pose of the two girls, big and little, on the left? When she leaves realism and touches the landscapes and groups with her own inimitable convention, Miss Greenaway becomes truly herself and can be compared with none other. Glance, for instance, at ‘The Bracken Gatherers.’ It has the sense of style and ‘bigness’ which triumphs over any mannerism; and the heads, especially that of the girl set so well upon her neck, are so full of dignity that they may be considered a serious effort in art.

She was undoubtedly influenced at times by Mrs. Allingham and Fred Walker, as well as by Ford Madox Brown (see ‘Brother and Sister,’ in which the little girl might almost have come from his pencil). We find traces, too, of Mr. G. D. Leslie, R.A. (in ‘Strawberries’—a drawing not here reproduced), of Stothard (as in the masterly sketch for ‘The May Dance’ with its fine sense of grace and movement, and its excellent spacing), of Downman (as in the portraits belonging to the Hon. Gerald Ponsonby), of Richard Doyle (as in the large drawing of ‘The Elf Ring’), and sometimes we recognise echoes of Stacy Marks, of Mason, and of Calvert. But what does it all amount to? Merely this, that when she wandered beyond the garden of that Greenawayland which she had called into being, the artist was sometimes moved by the emotions with which she had been thrilled when in past years she gazed with enthusiasm at these men’s work. The resemblance was in the main accidental; for every one of these painters, like herself, is characteristically and peculiarly English in his view of art as in his methods of execution.

There are those who sneer at nationality in art. You can no more speak of English art, laughed Whistler, than you can speak of English mathematics. The analogy is entirely a false one. You can say with truth ‘English art’ as you can say ‘German music’; for although art in its language is universal, in its expression it is national, or at least racial; and it is the merit of a nation to express itself frankly in its art in its own natural way, and to despise the affectation of self-presentation in the terms and in the guise of foreign practice not native to itself. It is a matter of sincerity and, moreover, of good sense; for little respect is deserved or received by a man who affects to speak his language with a foreign accent. Kate Greenaway was intensely and unfeignedly English: for that she is beloved in her own country, and for that she is appreciated and respected abroad. Like Hogarth, Reynolds, and Millais, she was the unadulterated product of England, and like them she gave us of her ‘English art.’

In the latter part of her career Kate Greenaway modified her manner of water-colour painting, mainly with the view to obtaining novelty of effect and conquering public approval. At the beginning she had tried to make finished pictures, as we see in the moonlight scene of ‘The Elf Ring.’ Then when she discovered her true _métier_, influenced by the requirements of Mr. Edmund Evans’s wood-block printing, to which she adapted herself with consummate ease, she used outline in pen or pencil, with delicate washes in colour: these drawings were made in every case, of course, for publication in books. Their ready independent sale encouraged her to elaborate her little pictures, and her election as Member of the Royal Institute of Painters in Water-Colours confirmed her in the decision to turn her attention to pure water-colour painting. The decreasing demand for book-illustration influenced her somewhat in taking the new work very seriously, encouraged thereto by Ruskin, who, as we have seen, was forever crying out for ‘a bit of Nature.’ So she painted landscapes which, in point of technique, lacked some of the accidental grace and freshness and serious depth which should be essential to such work, although they were rich in her own sentimental and tender way of seeing things. Then in figure painting she abandoned her outlines and indulged in the full strong colour which Ruskin always begged from her. That she should have fused this vigour of coloration with her own native faculty for daintiness—as for example in ‘Lucy Locket’—must be accounted to her credit.

Later on her colour became more subdued and even silvery. We see it in the little idyll, so pure in drawing and feeling, ‘Two at a Stile’ (with its curious contrast of exact full face in the girl and exact profile in her swain), and still more in the tender and prettily imagined ‘Sisters,’ wherein even the red flowers, although they lend warmth to the almost colourless composition, do not tell as a spot, so knowingly is the strength restrained. Indeed, charm and delicacy rather than strength are characteristic of Kate Greenaway’s genius. We see them, for example, in the little ‘Swansdown’ and companion drawings here reproduced full size, and we see them also in the playful ‘Calm in a Teacup,’ and in ‘Mary had a Little Lamb,’ which the artist drew as a Christmas card for Professor Ruskin, with their delicate touches of colour and the exquisite pencil outline—so unhesitating and firm nevertheless, that, despite their simplicity, they rarely fail to realise the exact degree of beauty or of character intended.

Her colour indeed was almost invariably happy, exactly suited to the matter in hand. In the early days of her first valentines it was crude enough, and chrome yellow, rose madder, cobalt blue, and raw umber seemed to satisfy her. But soon her eye became extraordinarily sensitive, and whether strong or delicate the scheme of colour was always harmonious. A test drawing is to be found in ‘A Baby in White,’ wherein the little personage so well fills the page. This is in fact a study in whites—in the dress, the daisies, and the blossoms—of such variety that the artist’s judgment and ability are absolutely vindicated. Not that Kate Greenaway always painted her white blossoms, or, for the matter of that, left the white paper to represent them. She became skilled in the use of the knife, and used the artifice consecrated and made legitimate by such masters as Turner and William Hunt, with great dexterity. In ‘The Girl and her Milk Pail’—which breathes so pleasantly the memory of Pinwell, and which, well composed and drawn, shows greater regard than usual for the virtue of atmosphere—the blossoms on the branch above the wall are all produced by ‘knifing’: that is to say, by means of a sharp knife a bit of the paper’s surface of the exact shape required is sliced into and turned over when not cut off; and the effect is more vivid and true than any amount of care or paint could otherwise secure.

Except for this, Miss Greenaway used no tricks: she neither ‘rubbed,’ nor ‘scratched,’ nor ‘washed.’ It is perhaps fairer to say that she was too honest than that she lacked resource. She always maintained the legitimacy of the use of body-colour, which some purists profess to abhor; beyond that her work is quite simple and direct, while her technical skill is amply efficacious for all she had to do.

In the matter of models, whether for illustrations or exhibition drawings, she was particular and fastidious. At all times she preferred to draw from the life. Her studies from the nude—made in her youth, with such conscientious accuracy that every form, every fold in the skin, and every undulation of high light and shadow, were rendered with the firmness and with ease that come of practice, knowledge, and skill—had carried her far enough for the model to be reckoned a servant, and not a master. But a realistic drawing is one thing, and a simplified archaistic rendering of a living figure quite another; and we may take it, broadly, that difficulty in figure draughtsmanship increases in direct ratio to the degree of its simplification. With anatomy, we imagine, she was less familiar.

Miss Greenaway selected her models with much care. For her men, as has already been said, her father and brother usually would good-naturedly sit, and the type of old lady she often adopted was based upon Mrs. Greenaway. As for her children, the list of those who were pressed into the service is tolerably long. Some of her models she would secure by visiting schools and selecting likely children, and these again would recommend others. Some were already professional models themselves, or were children brought to her by such. The first of all was the ‘water-cress girl’ who was employed for her earliest work for the publishers. ‘Mary,’ who was secured after the publication of _Under the Window_, appears in all the books up to the _Pied Piper_. She belonged to a family of models, and coming to Miss Greenaway when a little girl, remained in her service until she was grown up. And years later another ‘Mary’ succeeded her. ‘Adela’ and her sister were the earliest models of whom any record exists, and they were employed for _Under the Window_, for which Miss Greenaway’s nephew Eddie also sat. He, indeed, is to be found in the whole series up to and including the _Pied Piper_, that is to say in the _Birthday Book_, _Mother Goose_, _A Day in a Child’s Life_, _Little Ann_, _Language of Flowers_, _Marigold Garden_, and _A Apple Pie_. Mary’s brother ‘Alfred’ sat, along with his sister, for the same books as she did; and ‘Gertie’ is to be recognised mainly in _Little Ann_ and the _Language of Flowers_. Gertie became a figure in the Greenaway household; as, from the position of a model merely, she afterwards graduated to the rank of housemaid at Frognal, where, when she opened the street door, visitors were surprised and edified to recognise in her a typical ‘Kate Greenaway girl,’ with reddish hair and pointed chin, as pretty and artless a creature as if she had walked straight out of a Greenaway toy-book. If the reader would see a characteristic portrait of her, he will find one on p. 24 of the _Language of Flowers_, and better still, perhaps, in ‘Willy and his Sister’ on p. 30 of _Marigold Garden_. Then there were ‘Freddie’ and his sisters, and Mrs. Webb’s children, and ‘Isa,’ ‘Ruby,’ the Gilchrists, two sisters, and a little red-haired girl (name forgotten): nearly all of whom were known only by their Christian names, so that their identity must remain unknown to fame. These were the most constant models—these, and the ‘little Mary’ to whom she frequently alludes in her letters to Ruskin.

That the little ones were a constant tribulation to the artist, whose patience was often put to the severest test, her letters to friends bear frequent witness. For example, to Mr. Locker-Lampson she writes from Pemberton Gardens:—

KATE GREENAWAY TO FREDERICK LOCKER-LAMPSON

You ought to enjoy the beautiful sea and this lovely weather. Do you see those wonderful boats we used to see at Lowestoft? I never saw such magnificent crimson and orange sails, and such splendid curves as they made.

How nice of you having Mr. Caldecott; you will enjoy his society so much....

I have got a little girl five years old coming to sit this morning—which means a fearfully fidgety morning’s work. However, it is the last of the models for my book; then I can go straight away with the illustrations, which will be a great gain.

And in a lively letter to Mrs. Severn she sends a verbatim report of the bright but discursive dialogue between the ‘Chatter-box Mary’ and ‘Victim’ (herself), illustrated with fifteen sketches of Mary’s feet in constantly changing postures, driving the artist to distraction and culminating in ‘VICTIM—limp—worn—exhausted.’

In the class of drawings which she called ‘Processions’ Miss Greenaway is entirely original. She could arrange a dozen, or if need be twenty, figures—usually of graceful girls and pretty babes—full of movement and action, in which there is cheerfully worked-out a decorative _motif_, with a rhythmic line running through the composition. In some the work is so delicate as practically to defy satisfactory reproduction; but sufficient justice can be done to suggest their charm of sentiment and the balance of design. Now and again we have in miniature a reminder of the languorous dignity of Leighton’s ‘Daphnephoria.’ Sometimes the movement is more lively, and we have ‘Dances’ of all kinds, now quaint and strangely demure, now full of the joy of life. ‘The May Dance’ is as sober as if it were designed for a panel in a public building; but in ‘The Dancing of the Felspar Fairies’ we have a vigorous _abandon_ mingled with the conventionality of graceful poses. In most of them, no doubt, the draperies are seldom studied accurately from life; but it is doubtful whether, if they were more correct in their flow of fold, they would harmonise so well with the character of the figures and general treatment. For throughout, it must be observed, she is a decorative artist. Even in the delightful realism of her flowers, which have rarely been surpassed either in sympathy of understanding or in delicacy and refinement of realisation, she never forgets their decorative value: they are presented to us not for their inherent beauty alone, but for their value upon the paper or upon the decorated page.

For that reason, perhaps, Kate Greenaway was never quite at home as a portraitist: she resented being tied down to a face or figure. No doubt, such drawings as ‘The Red Boy’ and ‘The Little Model’ were portraits, but she was free to depart from the truth as much as she chose. The children in the unfinished oil-paintings of ‘The Muff’ and ‘Alfy’ were not less portraits, but the motive of these oil pictures (of the size of life) was not likeness merely but practice in what Ruskin called ‘the sticky art.’ In ‘Vera Samuel’ an unaccountable width has been given to the head, but without loss of character. There appears more truth in the portrait of ‘Frederick Locker-Lampson’ with eyelids drooping, an interesting likeness of an interesting man of letters; the woolliness of effect being mainly due to the translation of stippled water-colour into black-and-white. The head of old ‘Thomas Chappell’ is one of the artist’s masterpieces in portraiture—full of character and insight, and a really brilliant rendering of old age, firmly drawn and elaborately modelled. With the pencil Kate Greenaway was more at home. The rapid unfinished sketch of her brother, ‘John Greenaway, Jr.,’ is still a likeness although more than thirty years have passed since it was made; and the two delightfully executed heads of ‘Miss Mabel Ponsonby’ and ‘Miss Eileen Ponsonby,’ reinforced with faint colour in the manner of Downman, and with not a little of his delicacy, imply a measure of accomplishment attained by constant practice—the result, perhaps, of South Kensington training. The ‘Portrait of a Lady,’ in a method somewhat similar, is not entirely successful as a portrait; but it is included here as an example of the new style of work which Miss Greenaway adopted towards the end of her career. Perhaps the most engaging of all is the miniature of ‘Joan Ponsonby,’ in which we find an artless simplicity, a candour and refreshing naturalness, wholly apart and distinct from the photographically inspired miniature of to-day. The colours are simple and the handling broad for all its precision of drawing, for the artist has resisted the temptation to finish her flowers and other details with the microscopical minuteness which she employed with so much effect on more suitable occasions.

When all Miss Greenaway’s work is carefully judged, it will, we think, be seen that it is with the point rather than with the brush that she touches her highest level, whether her manner be precise as in her book-plates, or free as in her sketches. Of her book-plates, the best are unquestionably those of Mr. Locker-Lampson and Lady Victoria Herbert. The latter is formal in treatment and beautifully grouped, yet drawn with a certain hardness typical of what is called the Birmingham School; the former infinitely more sympathetic in touch, the children delightful in pose, the apple-tree drawn with unusual perfection, and the distant city touched in with extraordinary skill. With these, compare the masterly pencil study of a baby toddling forwards—swiftly drawn, loosely handled, instinct with life and character, one of the best things, artistically considered, the artist ever did. Hardly less remarkable is the tiny sketch in a letter to Ruskin of a little bonneted girl holding up her skirt as she walks—a drawing not unworthy of Charles Keene in its vigorous light and shade, and suggestion of the body beneath the clothes (see p. 283). And yet in the text Miss Greenaway laments the badness of the pen! A better pen would have produced a worse sketch. It was a quill that she habitually used, and, in spite of the broad line it compelled, she made good use of it. In the heading to her letter to Miss Dickinson, dated October 19, 1897, we can positively feel the wind that is scattering the leaves around the old oak. The girl with the candle, in her letter to Mrs. Locker-Lampson, which reminds us of Caldecott; the little ‘Violets, Sir?’ which reminds us of Leech; the dancing children, one with a tambourine, the other with hand on hip, who remind us of Stothard; the group of three dancing children, which has been compared with the work of Lady Waterford; and the letter to John Ruskin showing the sketch of reaper and sheaf-binder—are all drawn with the broad-nibbed quill, with consummate ease and masterly effect, and they give even more pleasure to the educated eye than the charming little pencil sketches such as those in the possession of Lady Pontifex.

The early sketch-books of Kate Greenaway reveal some rather unexpected phases of her development before she had produced any work characteristic enough to be recognised as hers by the public. It is with surprise that we see how well she drew in the very first stage of her career. As the reader will remember, her first leanings were towards the comic—as in the humorous sketch of the lovelorn swain piping to his ridiculous love (p. 279): a drawing which Phiz might have been willing to acknowledge; or, again, the little girl and sprite walking arm-in-arm (see p. 75). Then the romantic moved her, and in the spirit of the great illustrators of the ‘sixties she made the rapid pencil sketch (for composition) of a princess in a castle kissing a farewell to some sailor-boy whose ship scuds one way while the sails belly the other; and, again, a long-hosed gallant gracefully doffing his cap to a ‘faire ladye’ at a window (see p. 45). Rough as they are, both are well drawn, especially the latter, but they give no hint whatever of the art which was to spring from them.

Similarly with her pen-sketches. The design, dashed off at lightning speed, of an eighteenth-century scene at Christmas eve might almost be the work of Phiz or Cruikshank; and the power of managing many figures on a small sheet of paper is already fully developed. So, too, in a drawing of a totally different class—‘The Picnic.’ Miss Greenaway had been much impressed, in common with the rest of the fraternity of London artists, by the work of the Scottish artist Mr. William Small, and had attempted to probe into his method of handling, particularly in the technical treatment of form and texture in the coat worn by the central figure. It need hardly be said that these sketches, and others in the manner of Leighton, Mr. Holman Hunt, and so on, were in no sense copies, or even imitations. They were intended only as studies with a view to analysing each man’s style, for the purpose of self-education. That mastered, or at least understood, she turned to her own work, and began to feel her way towards the light.

Once she departed from the heroic and romantic manner of her coloured fairy toy-books and valentines and began the simple sketches from everyday life for ‘Poor Nelly’—a serial in _Little Folks_ under the anonymous authorship of Mrs. Bonavia Hunt, afterwards republished in volume form—she betrayed a certain weakness in her drawing; while for a time the garishness of tint which had been demanded of her did not immediately disappear. But by the time _Under the Window_ was reached, five years later (1878), her difficulty of colour was conquered, and she stood alone, with Mr. Walter Crane, in the intelligent combination of healthy children’s art and the chastened colour which was being insisted on by William Morris and the so-called Æsthetic Movement. The reversion in the following year to modern illustration, in the drawings made for Charlotte Yonge’s novels, proved once more that the decorative treatment of subjects was her natural rôle. When she returned to the true Kate Greenaway manner, the change was welcomed by every competent critic. A German writer expressed himself in terms not less appreciative than those which later came from France and Belgium. ‘It is impossible,’ he said, ‘to describe in words the wealth of artistic invention, the dignity and loveliness, which characterise this performance. What a gulf between these delightful works of art of imperishable value, and the trashy caricatures of such stuff as our _Struwelpeter_! God-speed to Kate Greenaway!’

_Mother Goose_ was, indeed, an advance on _Under the Window_—which, under the title of _La Lanterne Magique_,[83] the _Revue de Belgique_, in an enthusiastic article, curiously attributed to a male artist, and which the _National Zeitung_ extolled as much for its verse as for its bewitching art. The drawing here is better, and the effect not very seriously injured by the faulty register of many of the copies. An American journal—the _Literary World_, of Boston—declared that the delicacy and beauty of her faces in outline were as good as Flaxman; and the curious quality of ‘affectionateness’ in the drawings, their ingenuousness and prettiness that would have moved the heart of Stothard and touched the soul of Blake, firmly established the young artist in the position to which her former book had raised her. But not until _A Day in a Child’s Life_ did Kate Greenaway show her full power as a painter of flowers—by the side of which even her pictures of boys and girls seem to many to yield in interest. The difficulty, or rather the irksomeness, which she habitually experienced in pure illustration of other people’s ideas, in no wise affected her in _Little Ann_, which contains some of the most delightful and spring-like drawings she ever did, usually so excellent in composition and fascinating in single figures and in detail that we overlook, if we do not entirely miss, certain little faults of perspective—faults, indeed, which, if noticed at all, only add to the quaintness of the design.

In the _Language of Flowers_ and _Marigold Garden_ Kate Greenaway rose to her highest point in decision and firmness allied to the perfect drawing of flowers and fruit, although it must be allowed that those who have not seen the original designs can form no accurate judgment from the printed work. The annual _Almanacks_, too, which had been begun in 1883, showed her endless resource and inexhaustible faculty of design; yet it is perhaps to be regretted that so much conscientious effort and executive ability should have been wasted in the almost microscopic rendering of the innumerable illustrations which embellish these tiny books. In The _English Spelling-Book_ another change is seen. In several of these beautiful line illustrations there is a freedom in the use of the pencil not hitherto shown, and the drawings of ‘Miss Rose and her Aunt,’ ‘Our Dog Tray,’ ‘Jane,’ and a few others, modest as they are, mark a definite advance in Miss Greenaway’s artistic development. She returned to her more formal manner in _A Apple Pie_ (1886), as it was more suitable to the large page she had to decorate; and she gives us a greater measure of combined humour and invention than had previously been shown, for the subject fitted her mood of fun and fancy exactly—far better than the same year’s _Queen of the Pirate Isle_. On the title-page of the last-mentioned book, however, appears one of the prettiest vignettes she ever drew. Unsuspected power was revealed in _The Pied Piper of Hamelin_. Miss Greenaway was hampered, no doubt, in her attempt to render the pseudo-German medievalism on a large scale: nevertheless, she succeeded in grasping the full significance of the poem, and the spirit maintained throughout and the capacity for dealing with ease with crowds of figures, combine in this volume to constitute a very considerable performance.

A strange contrast with the _Pied Piper_ is _Dame Wiggins of Lee_. It is scarcely likely, we think, that readers will endorse with much cordiality the unbounded admiration expressed by John Ruskin for these designs. It must be borne in mind, however, that they are merely rough trial sketches for approval of drawings which were to be made, but that Ruskin, charmed with their spontaneity, declared that they would fit the poem better in their scribbled state than any illustrations more complete.

Miss Greenaway’s last book was that admirable volume for children, _The April Baby’s Book of Tunes_, by the author of _Elizabeth and her German Garden_, whose humour and love of children were like to Kate Greenaway’s own, with an added wit of the most innocent and refreshing kind. The ‘babies,’ whom the artist had never seen, were sympathetically pictured, and their favourite nursery rhymes were illustrated once more as freshly as if she had dealt with them for the first time.

The survey of her work in the aggregate shows convincingly that even had her technique been on a lower level Kate Greenaway would still have succeeded as the interpreter-in-chief of childhood. Follower though she was in point of time of Mr. Walter Crane and Randolph Caldecott, inspired in some respects no doubt by their example, she nevertheless stands alone in her own sphere. From Lucca della Robbia to Ludwig Richter and Schwind, to Bewick and Thackeray, Cruikshank and Boutet de Monvel, no one has demonstrated more completely the artist’s knowledge of and sympathy with infant life, or communicated that knowledge and that sympathy to us. Her pictures delight the little ones for their own sake, and delight us for the sake of the little ones; and it may be taken as certain that Kate Greenaway’s position in the Art of England is assured, so long as her drawings speak to us out of their broad and tender humanity, and carry their message to every little heart.

LIST OF BOOKS, ETC.,

ILLUSTRATED WHOLLY OR IN PART BY KATE GREENAWAY

MADAME D’AULNOY’S FAIRY TALES:

c. 1871. (1) THE FAIR ONE | WITH | GOLDEN LOCKS (2) THE BABES IN THE WOOD (3) TOM THUMB (4) BLUE BEARD (5) PUSS IN BOOTS (6) THE BLUE BIRD (7) THE WHITE CAT (8) HOP O’ MY THUMB (9) RED RIDING HOOD All published by Gall & Inglis, 6, George Street, Edinburgh. (6-11/16 × 7¼ and 9¾ × 7¼)

1876. THE QUIVER OF LOVE: A Collection of Valentines. [By Walter Crane and Kate Greenaway] Marcus Ward & Co.

1878. TOPO: A Tale about English Children in Italy. By G. E. Brunefille. With 44 Pen-and-ink Illustrations by Kate Greenaway. Marcus Ward & Co. (_Written by Lady Colin Campbell_)

? 1885. KATE GREENAWAY’S ALBUM. With 192 Illustrations within gold borders. Printed in Colours by Edmund Evans. George Routledge & Sons, Broadway, Ludgate Hill. [_Printed but not published._]

1887. QUEEN VICTORIA’S JUBILEE GARLAND. (A booklet made up of illustrations already published.)

1888. KATE GREENAWAY’S | ALMANACK | for | 1888 | George Routledge & Sons (3⅝ × 2⅝)

1890. ALMANACK | FOR | 1890 | By | Kate Greenaway | Engraved and Printed by E. Evans | George Routledge & Sons (3⅝ × 3)

1892. KATE GREENAWAY’S | ALMANACK | FOR | 1892 | George Routledge & Sons, Limited (3-5/8 × 2-5/8)

1893. KATE GREENAWAY’S | ALMANACK | FOR 1893 | George Routledge & Sons, Limited (3-5/8 × 2⅝)

1894. KATE GREENAWAY’S | ALMANACK | FOR 1894 | George Routledge & Sons, Limited (3-5/8 × 2⅝)

1895. KATE GREENAWAY’S | ALMANACK | FOR | 1895 | George Routledge & Sons, Limited (3-5/8 × 2⅝)

* * * * *

MISCELLANEA:

1868. _The People’s Magazine._

1873-80. _Little Folks._ Serial Story of ‘Poor Nelly,’ etc. etc. (9½ × 7¼)

1874. _Cassell’s Magazine._ (10½ × 7)

1881-2. _Little Wide-Awake_ (G. Routledge & Sons). Edited by Mrs. Sale Barker.

1882, etc. _Routledge’s Christmas Number._ (10¾ × 8) _St. Nicholas._ _The Graphic._ _Illustrated London News._

1882, etc. _Routledge’s Every Girl’s Annual._ (10 × 6¾)

v.y. _The Girls’ Own Paper._ Etc. etc.

Index

_A Apple Pie_, 58; success of, 155; Ruskin on, 156, 160; drawing in Victoria and Albert Museum, 256; models for, 273; style of, 282

Abbot John of Berkhampstead, copy of illumination of, 47

À Beckett, Mr. Arthur, member of Memorial Committee, 256

Agnew, Sir William, member of Memorial Committee, 256

Aldridge, Aunt, visit to, 10

Aldridge, Uncle, visit to, 28

Alexander, Miss Francesca, 115; Kate Greenaway’s pretended jealousy of, 132; Ruskin’s reference to, 133, 138; and Ruskin, 146, 156; _The Peace of Polissena_, Kate Greenaway’s design for cover of, 170

Alexandre, Arsène, on Kate Greenaway, 3, 268

‘Alfy,’ 275

Allaman, Mrs., Kate Greenaway’s first schoolmistress, 14

Allen, Mr. George, 112

Allhusen, Mrs., references to, in Kate Greenaway’s letters, 164, 167

Allingham, Mrs. W., fellow-student with Kate Greenaway at Heatherley’s, 43; on Kate Greenaway’s work, 100; Ruskin’s Lecture on, 114; Kate Greenaway’s visit to, 160; Ruskin on, 161; as friend of Kate Greenaway, 167, 172; influence of, on Kate Greenaway’s landscape work, 269, 270

_Almanack_, first (1883), 122; 1883-1897, 58; 1884 and 1885, 127; 1884, drawings for, exhibited at Paris, 174; 1886, success of, 155; 1887, 163; 1888, 172; 1889, 174; 1889 and 1895, drawings for Mavor’s Spelling Book, used in, 129; 1890, 177; 1891, 179; 1892-1900, 181; 1893, drawings for, sold by Messrs. Palmer, Howe & Co., 182; 1897, 210

_Alphabet, Kate Greenaway’s_, success of, 129

_Amateur Theatricals_, designs for, 48, 78

_American Queen, The_, contribution to, 172

‘An Angel Visited the Green Earth,’ at Royal Institute (1890), 178

‘An Old Farm House,’ at Royal Institute (1891), 179

Anderson, Miss, letter from, on Punch portrait of Kate Greenaway, 87; reference to, by Ruskin, 155

Anderson, Miss Mary, 167

Anderson, Mr. J. G. S., chairman of Orient Line, 49, 179

Anderson, Mrs. Garrett, M.D., 49; asmedical adviser and friend of Kate Greenaway, 167

‘Apple-Blossom—A Spring Idyll,’ at Dudley Gallery (1890), 50

‘Apple Trees,’ sold, 183

_April Baby’s Book of Tunes, The_, 51; illustrations to, 249; letter from author of, 249; style of, 283

Art education at William Street, 41; at Canonbury House, 42; at South Kensington, 42; at Heatherley’s, 43; at the Slade School, 43

‘Art of England,’ Ruskin’s Lecture on the, 114

Ashburton, Lady, 167

Ashburton, Dowager Lady, commission from, 181

‘At a Garden Door,’ sold, 183

_Aunt Louisa’s London Toy Books Series_, designs for, 49

Autobiography of childhood, 9, 16, 28

_Babies and Blossoms_, 96

‘Baby Boy,’ at R.A., 192

‘Baby Boy in Blue Coat and Tippet,’ sold, 224

‘Baby in White, A,’ 272

_Baby’s Début_, designs for, 251

Backgrounds, difficulty with, 238

_Ballad of a Nun_ (Davidson), Kate Greenaway on, 196

Bancroft, Sir Squire, reading of _The Christmas Carol_ for Memorial Fund, 256

Bashkirtseff, Marie, Kate Greenaway on, 187, 188

Beardsley, Aubrey, Kate Greenaway on, 187, 205

Belgium, vogue and imitators in, 106

‘Belinda,’ sold, 183

Bell, R. Anning, Kate Greenaway on illustrations to _Midsummer Night’s Dream_ by, 204

Bellini’s, G., ‘Venus, Mistress of the World,’ Ruskin on, 168

‘Betty,’ sold, 224

Birdwood, Sir George, member of Memorial Committee, 256

Birth, place and date, 8

_Birthday Book_, 58; publication and success of, 77; as inspirer of R. L. Stevenson, 77; _Punch_ on, 87; Kate Greenaway on success of, 91; designs from, used for _Painting Book_, 128; models for, 273

Black, Mrs. J., book-plate for, 182

Blake’s _Songs of Innocence_, designs for, 251

Body-colour, use of, by Kate Greenaway, 272

_Book of Games_, 58; publication of, 174

_Book of Girls, A_, designs for, 251

Book-plates for Mr. Locker-Lampson, etc., 88, 89, 182, 276

Books illustrated by Kate Greenaway, list of, 285

‘Boy with Basket of Apples,’ at Royal Institute (‘Off to the Village’), 178

‘Boyhood of Sir Walter Raleigh’ (Millais), Kate Greenaway on, 228

‘Bracken Gatherers, The,’ style of, 270

Brantwood, first visit to, 112

British Museum, work at, 47

‘Brother and Sister,’ 270

Brown, Ford Madox, influence of, on Kate Greenaway’s work, 270

Browning, R., acquaintance with, 88

Burne-Jones, Sir Edward, Kate Greenaway on ‘The Briar Rose,’ 209, 231; on May-tree in ‘Merlin and Vivien,’ 230; on drawings of, 238, 239

Burne-Jones, Miss, reference to, by Ruskin, 155

Butler, Lady, on student days with Kate Greenaway, 43

‘Buttercup Field, A,’ sold, 183

Caldecott, Randolph, as rival and friend, 69; letters from, to Kate Greenaway, 70; Kate Greenaway on death of, 70; story of Kate Greenaway’s marriage to, 70; Kate Greenaway on work of, 89; contributions to _Routledge’s Christmas Number_, 101; and _Mavor_, 129

Calendars for 1884, 127

‘Calm in a Teacup,’ 272

Calvert, influence of, on Kate Greenaway’s work, 270

Campbell, Lady Colin, on Topo, 68

Canonbury House, Art classes at, 42

Carlyle, Thomas, Kate Greenaway on, 92

Cassell & Company, Kate Greenaway’s first work for, 51

Castle, Egerton, on Kate Greenaway’s book-plates, 182

Chappell, Mary, visit to, 29

Chappell, Thomas, portrait of, 275

Character of Kate Greenaway, 2

‘Cherry Woman, The,’ sold, 183

Chesneau, Ernest, on Kate Greenaway’s work, 5; asks Ruskin for portrait of Kate Greenaway, 117

Chicago Exhibition (1893), sale of Kate Greenaway’s drawings at, 181

Childhood, autobiography of, 9, 16, 28

Children’s dress, Kate Greenaway as a reformer of, 48, 268

Children’s Hospital, Great Ormond Street, ‘Kate Greenaway’ Cot in, 256

Christmas Cards, first designs for, 44, 46, 74; designs for Marcus Ward, 50; development of, 73; published by Goodall & Sons (1884), 127; forProf. Ruskin, 272

_Christ’s Folk in the Apennine_, edited by Ruskin, 170

Cinderella, drawing of, 165

Clarke, Sir C. Purdon, member of Memorial Committee, 256

Cleveland, Duchess of, meeting of Kate Greenaway with, at British Museum, 47

‘Coiffure Greeneway,’ 268

College Place, studio in, 55

Colour, work in, 270, 272, 281

_Continent, The_, interview in, with Kate Greenaway, 130

Corbet, Mrs. Ridley, fellow-student and friend of Kate Greenaway, 167

Costume of eighteenth century, chosen by Kate Greenaway, 44

Costumes, ‘Kate Greenaway,’ 4, 44, 48, 268

‘Cottage in Surrey, A,’ at Royal Institute (1891), 179

‘Cottages,’ sold, 183

Crane, Walter, drawings by, in _Quiver of Love_, 47, 53; recollections of Kate Greenaway, 71; Kate Greenaway on work of, 90; contributions to _Routledge’s Christmas Number_, 101; member of Memorial Committee, 256

Cremation, 252

Cresswell, Beatrice F., author of _The Royal Progress of King Pepito_, 174

_Cyrano de Bergerac_, Kate Greenaway on, 235

_Dame Wiggins of Lee_, drawings for, 120; publication of, 130; Ruskin on, 130; style of, 282

‘Dancing of the Felspar Fairies,’ 275

_Day in a Child’s Life, A_, 58; origin of, 101; success of, 101; designs from, in _Painting Book_, 128; drawing in Victoria and Albert Museum, 256; models for, 273; excellence of flower-painting in, 281

‘Dead,’ water-colour sketch, 251, 264

Death, Kate Greenaway on, 189, 190, 263

Death of Kate Greenaway, 252

_Débats, Journal des_, on Kate Greenaway’s work, 268

De Monvel, Boutet, inspired by Kate Greenaway, 2

Dent, J. M., & Co., _Almanack_ for 1897, 181

_Diamonds and Toads_, drawings for, 49

Dickinson, Miss Violet, 167; beginning of friendship with, 188; letters from Kate Greenaway to, 9, 16, 189, 190, 191, 192, 193, 205, 206, 208, 214, 215, 218, 221, 222, 224, 225, 233, 237, 241, 253

Dobson, Austin, Mr., on verses of Kate Greenaway, 62; on _Under the Window_ drawings, 63; on drawings for _The Library_, 85; poem by, in _Magazine of Art_, with Kate Greenaway illustration, 124; friend of Kate Greenaway, 167; verse on death of Kate Greenaway, 253

Dolls, Kate Greenaway’s, 26

Dove Cottage (Wordsworth’s), Kate Greenaway’s visit to, 187

‘Down the Steps,’ sold, 183

Downman, J., A.R.A., influence of, on Kate Greenaway, 270

Doyle, Richard, influence of, on Kate Greenaway, 270

Dreams of childhood, 16

Dudley Gallery, early exhibits at, 44, 45; ‘Apple-Blossom,’ 50; sale of drawings at, in 1872, 51; sale of water-colours at, in 1876, 55; sale of pictures at, 1878, 69; exhibits at, in 1880, 85

Dumas, Alexandre, _fils_, as admirer of Art of Kate Greenaway, 117

Du Maurier, George, Kate Greenaway on work of, 204; references to, in Kate Greenaway’s letters, 164, 167

Düsseldorf, street in which Kate Greenaway is falsely said to have lived, 89

Early life of Kate Greenaway, 8

‘Elf Ring, The,’ 270, 271

Eliot, George, and _Under the Window_ drawings, 57; letter from, to Mr. Evans, 58

_Elizabeth and her German Garden_, Kate Greenaway on, 243; letter from the author of, 250

Empress Frederick, visit to H.I.H. the, 98; correspondence with, 100

_English Book-plates_, Kate Greenaway’s work in, 182

_English Illustrated Magazine_, work for, 184

Evans, Edmund, first association with Kate Greenaway, 48; yellow-back covers for, 51; _Under the Window_ and story of its production, 57; other works produced during partnership with, 58; methods of printing, 64; reference to, by Mrs. Allingham, 172; extent of partnership with, 211; death of, _see_ Preface

Evans, Mrs. Edmund, account of Kate Greenaway by, in _Girl’s Own Paper_, 59; letters from Kate Greenaway to, 60, 113, 244, 248

Evans, Miss Lily, letters from Kate Greenaway to, 78, 107, 113, 145

_Every Girl’s Annual_, designs for, 85

‘Fable of the Girl and her Milk Pail, The,’ sold, 183

_Fairy Gifts; or, A Wallet of Wonders_, 53

Fairy Tales, Kate Greenaway’s preferences in, 247

‘Fancy Dress Ball, The,’ sold, 76

‘Fern Gatherer, A,’ sold, 51

_Figaro, Le_, on Kate Greenaway’s work, 268

Fine Art Society, exhibition of _Under the Window_ drawings at (1880), 63; Kate Greenaway exhibition at (1891), 179, 182; third exhibition at (1898), 224, 226; fourth exhibition at, 254

FitzClarence, Lady Dorothy, Kate Greenaway on, 231

Fiveash, the Misses, school of, 38

Flower painting in _A Day in a Child’s Life_, etc., 281

_Fors Clavigera_, drawings by Kate Greenaway in, 120, 122; reference to Kate Greenaway in, 120; Kate Greenaway on, 223

Foster, Mr., on _A Day in a Child’s Life_, 101

Fremantle, Lady, member of Memorial Committee, 256

French art, Kate Greenaway on, 233

Fripps, Miss, 167

Frognal, house at, designed by Mr. Norman Shaw, R.A., 142; F. Locker-Lampson on, 91, 144; Ruskin on, 143

Fryers’ farm, visit to the, 31

Furniss, Harry, ‘Grinaway Christmas cards’ in _Punch_, 102

_Gazette des Beaux-Arts, La_, article in, on Kate Greenaway, 106

German, Kate Greenaway falsely claimed as a, 89

Gertie, the model, 273

Giorgione, Kate Greenaway on work of, 195

Girardin, Jules, admirer of Kate Greenaway’s art, 117

‘Girl and her Milk Pail, The,’ 272

‘Girl and Two Children,’ at Royal Institute (1895), 192, 197

‘Girl drawing a Chaise,’ sold at Chicago, 182

‘Girl in Hat and Feathers,’ at Royal Institute (1897), 211; sold, 224

‘Girl in Pink and Black,’ sold, 224

‘Girl nursing a Baby,’ at Royal Institute (1895), 197

‘Girl’s Head, A,’ at Royal Academy (1891), 179

_Girl’s Own Paper_, account of Kate Greenaway by Mrs. Evans in, 59; work for, 85

‘Gleaners going Home,’ at Royal Institute (1895), 192, 197

‘Going to School,’ sold, 224

Goodall & Sons, and Kate Greenaway Christmas cards, 127

_Graphic, The_, first work for, 55

Greenaway, John, father of the artist, 8; work for _Illustrated London News_, 39; love for Kate Greenaway, 39; as engraver, 39; death of, 177; as model to Kate Greenaway, 273

Greenaway, John, brother to Kate Greenaway, sub-editor of _The Journal of the Chemical Society_; letter from, on life of Kate Greenaway, 144; _instructs Kate Greenaway in perspective_, 168; as model to Kate Greenaway, 273; portrait of, 275

Greenaway, Mrs., opens a shop in Upper Street, Islington, 13; death of, 184; as model to Kate Greenaway, 273

‘Greenawisme,’ 268

‘Green Seat, The,’ sold, 183

Greet Close, the, at Rolleston, 10

Griffith & Farran, designs for _Fairy Gifts_ for, 52

‘Grinaway Christmas cards’ in _Punch_, 102

Grosvenor Gallery, invitation to contribute to, 85; Exhibition of 1884, Ruskin on, 137

Grüne Weg, Düsseldorf, where Kate Greenaway is falsely alleged to have lived, 89

Hampstead, house at, F. Locker-Lampson’s suggestions for names for, 91

‘Happy Wretched Family,’ payment for, 50

Hare, Augustus, Kate Greenaway on Life of, 16

Harte, Bret, _The Queen of the Pirate Isle_, 156, 163

Hartley, Mr. Harold, member of Memorial Committee, 256

_Heartsease_, illustrations to, 77

Heatherley’s, Kate Greenaway attends Life Classes at, 43

_Heir of Redclyffe_, illustrations to, 77

Herbert, Lady Victoria, 167; book-plate for, 182, 276; member of Memorial Committee, 256

Highbury, Kate Greenaway’s home at, 21

Hospital for Women, New, design for Bazaar album for, 178

Hoxton, home at, 13

‘Huguenots, The’ (Sir J. Millais, R.A.), Kate Greenaway on, 219

Hullah, John, acquaintance with, and designs for _Time and Tune_, 85

‘Hylas and the Water-Nymphs’ (J. W. Waterhouse, R.A.), Kate Greenaway on, 216

_Ibbetson, Peter_, Kate Greenaway on, 204

_Illuminated Magazine_, 23, 246

_Illustrated Family Journal, The_, 23

_Illustrated London News_, Mr. Greenaway’s work for, 8, 39; Kate Greenaway’s first work for, 51; recognised contributor to, 55, 85

Illustration work, Kate Greenaway’s objection to, 51

Imitators of Kate Greenaway, 105, 106, 117

Indian Mutiny, Kate Greenaway’s recollection of, 41

International Art Society, the, Kate Greenaway on, 231

Interview, fictitious, with Kate Greenaway, 131

Interviewers, Kate Greenaway’s objections to, 78

Islington, home at, 13

‘Jack and Jill,’ sold, 183

Jackson, Mason, tribute to Mr. John Greenaway, Sr., by, 178

Jackson, Miss, school of, 38

Jeune, Lady, reference to, in Kate Greenaway’s letters, 164, 167; visit of Kate Greenaway to, 224, 230; member of Memorial Committee, 257

Jones, ‘Grandma,’ and her husband, 14

_Journal des Débats_, on Kate Greenaway’s work, 268

_Kate Greenaway’s Painting Book_, 58, 128

_King Pepito_, 58

Kitchener, Lord, Kate Greenaway on, 237

‘Knocker,’ Kate Greenaway’s pet name, 39

Kröker, Frau Käthe Freiligrath-, German translator of _Under the Window_, 85

Kronheim, Messrs., early work for, 46; _Diamonds and Toads_, designs for, 49; ‘Nursery Toy Books,’ 49

Labouchere, Miss Norna, on Kate Greenaway’s book-plates, 182

_Ladies’ Book-plates_, Kate Greenaway’s work in, 182

_Ladies’ Home Journal, The_, work for, 183

Lang, Andrew, Mr., and _The Library_, 85

_Language of Flowers_, 58, 127; Ruskin on, 149; drawings for, exhibited at Paris (1889), 174; drawings of, in Victoria and Albert Museum, 256; models for, 273; excellence of drawings in, 282

_Lanterne Magique_, La, French and Belgian edition of Under the Window, 281

Leighton, Lord, purchaser of Kate Greenaway drawings, 180; funeral of, 201; Kate Greenaway on death of, 203

Leiningen-Westerburg, Count of, on Kate Greenaway’s art, 117

Leslie, G. D., R.A., influence of, in Kate Greenaway’s work, 270

Liberty, Mr. Arthur Lasenby, Treasurer of Memorial Committee, 256

_Library, The_, drawing for, 85

‘Lilies,’ sold, 224

_Literary World, The_, on _Under the Window_, 281

_Little Ann and other Poems_, 22, 58; dedicated to Mrs. Locker-Lampson, 96; drawings for new edition of, 105; Stacy Marks, R.A., on, 121; drawings for, exhibited at Paris (1889), 174; drawings of, in Victoria and Albert Museum, 256; models for 273; excellence of drawings in, 281

‘Little Dinky,’ tail-piece for _London Lyrics_, 101

‘Little Fanny,’ frontispiece to _Routledge’s Christmas Number_, 101

_Little Folks_, first appearance in, 51; ‘PoorNelly’ in, 280

‘Little Girl and Green Cradle,’ at Royal Institute (1895), 197

‘Little Girl in Red,’ at Royal Institute (1895), 192, 197

‘Little Girl in Scarlet Coat,’ sold, 224

‘Little Girl with Doll,’ at Royal Academy (1878), 69

‘Little Girl with Fan,’ at Royal Academy (1880), 85

‘Little Girl with Tea Rose,’ sold, 224

‘Little Girlie,’ drawing sold at Chicago, 182

‘Little Go-Cart, The,’ sold, 183

‘Little Model, The,’ 275

‘Little Phyllis,’ drawing sold at Chicago, 182

_Little Wide-Awake_, frontispiece to, 85

Liverpool Exhibition (1895), Kate Greenaway’s work at, 192

Locker-Lampson, Frederick, _Under the Window_, 57; beginning of friendship with, 86; association with, 87; portraits of, 89, 275; _London Lyrics_, frontispiece to, 88; tail-piece to, 101; suggestions for names for Kate Greenaway’s house at Hampstead, 91; verses for Christmas cards by, 92; criticisms of Kate Greenaway’s drawings and verses, 93, 95; on Ruskin, 93; on Burne-Jones, 94; Poems on his children, with illustrations by Kate Greenaway, 96; death of, 96; on Kate Greenaway’s imitators, 106; on new studio at Frognal, 144; references to, in Kate Greenaway’s letters, 164, 167; introduces Kate Greenaway to Mrs. Allingham, 172; book-plate, 182, 276; visit to, 185 letters to Kate Greenaway, from, 88, 90, 91, 92, 95; letters from Kate Greenaway, to, 86, 89, 91, 92, 94, 96, 266, 274

Locker-Lampson, Mrs., friendship with, 96; letters to Kate Greenaway, 96, 97; member of Memorial Committee, 256

Locker-Lampson, Godfrey, Esq., Kate Greenaway sends drawings to, at Eton, 96; book-plate for, 182

Locker-Lampson, Miss Dorothy, Kate Greenaway corrects drawings by, 96; book-plate for, 182

Locker-Lampson, Miss Maud, 234

Loffelt, M. A. C., on Kate Greenaway’s art, 117

Loftie, Rev. W. J., early recollections of Kate Greenaway, 45; on Kate Greenaway’s designs for valentine, 48; ‘Art at Home’ Series, 48; as friend of Kate Greenaway, 167

_London Lyrics_, frontispiece to, 88; tail-piece to, 101

_Lord Ormont and His Aminta_, Kate Greenaway on, 196

Lostalot, M. Alfred de, on Kate Greenaway’s work, 106

‘Love’s Baubles’ (Byam Shaw), Kate Greenaway on, 218

‘Lucy Locket,’ sold, 183; daintiness of, 271

Macmillan & Co., illustrations to Miss Yonge’s novels for, 77; frontispiece to _Amateur Theatricals_, 78; _St. Nicholas_, 78; _The Library_, 85

_Magazine of Art_, poem by Mr. Austin Dobson, illustrated by Kate Greenaway, 124; proposed article on ‘Later Work of Kate Greenaway,’ for, 252

Mallock, Mr., and _The New Republic_, Kate Greenaway on, 214, 215

Mannerisms of Kate Greenaway, 267

_Marigold Garden_, 58; designs from, in _Painting Book_, 128; publication of, 129; Ruskin on, 133, 151; drawings for, exhibited at Paris (1889), 174; drawing of title-page sold at Chicago, 182; models for, 273; excellence of drawings in, 282

Marks, H. Stacy, R.A., encouragement from, 51; letters to Kate Greenaway from, 80, 81, 84, 104, 121; as friend of Kate Greenaway, 167; on _Pied Piper of Hamelin_, 172; influence of, on Kate Greenaway’s work, 270

Martineau, Mrs. Basil, 167

‘Mary had a Little Lamb,’ 272

Mary, the model, 164, 273

Mason, George, A.R.A., influence of, on Kate Greenaway’s work, 270

_Mavor’s English Spelling Book_, 58; Ruskin on, 128; success of, 129; _Athenæum_ on, 129; drawings for, used in _Almanacks_, 129; development of style in, 282

‘May-Dance, The,’ 270, 275

‘May Morning on Magdalen Tower’ (Mr. Holman Hunt, O.M.), Kate Greenaway on, 219

Mayo, Lady, 167, 180; letters from Kate Greenaway to, 180, 186

Meadows, Kenny, Kate Greenaway on illustrations to _Midsummer Night’s Dream_ by, 204

Memorial to Kate Greenaway, 256; Committee, 256

Meredith, George, O.M., Kate Greenaway on work of, 196

Millais, Sir J. E., _P._R.A., portraits of Duke of Argyll and Miss Nina Campbell, Ruskin on, 137; Kate Greenaway on work of, 219, 228

Millard, Miss, Kate Greenaway on, 231

Miller, Mrs., recollections of Kate Greenaway by, 52, 167

‘Misses,’ at Royal Academy, 78

Models, child, Kate Greenaway’s tact with, 52, 273, 274

Modern Art, Kate Greenaway on, 185, 228, 229

_Modern Painting_ (Mr. George Moore), Kate Greenaway on, 218

_Mother Goose_, 58; publication and success of, 100; H. Stacy Marks, R.A., on, 104; Ruskin on, 116; designs from, in _Painting Book_, 128; models for, 273

‘Muff, The,’ 275

‘Mulberry Bush, The,’ drawing sold at Chicago, 182

‘Musing,’ sold, in 1877, 55

Muther, Dr., on Kate Greenaway’s work, 5, 267

‘My Lady and Her Pages,’ sold, 76

‘My Lord’s Page and my Lady’s Maid,’ sold, 76

_National Zeitung on Under the Window_, 85, 281

Nelthorpe, Mrs. Sutton, letters from Kate Greenaway to, 166, 167, 208

_Neue Freie Presse_, on Kate Greenaway’s work, 268

Nevill, Lady Dorothy, 167; commission from, 172; member of Memorial Committee, 256

Nevill, Miss Meresia, member of Memorial Committee, 256

New English Art Club, Kate Greenaway on, 221

Newhaven Court, Kate Greenaway’s visits to, 86

_New Republic, The_, Kate Greenaway on, 214, 215

_Nicholas Nickleby_, Kate Greenaway on, 216

Nickson, Miss Sarah, book-plate for, 182

Nordau, Dr. Max, on Kate Greenaway’s work, 265

Northcote, Lady, commission from, 172

Nude, studies from the, 43; Ruskin’s advice on, 117, 133, 147

_Nursery Rhymes_, sketches for, 251

‘Nursery Toy Books,’ designs for, 49

‘Odd House,’ visit to the, 10

‘Off to the Village’ (‘Boy with Basket of Apples’), 178

Oil-painting, 237; difficulties with, 241, 242, 244

‘Old Farm House, The,’ 270

‘Old Steps, The,’ sold, 183

‘On the Road to the Ball,’ sold, 76

‘Ophelia’ (Sir J. E. Millais, _P._R.A.), Kate Greenaway on, 228, 229, 242

_Orient Line Guide_, title-page for, 49, 179

‘Over the Tea,’ sold, 183

_Painting Book, Kate Greenaway’s_, 58, 128

Paris Exhibition, 1889, contributions to, 5, 174

Paris Exhibition, 1900, invitation to contributeto, 248; invitation declined, 249

_Passage from Some Memoirs_ (by Mrs. Richmond Ritchie), Kate Greenaway on, 196

_Peace of Polissena, The_, by Miss Francesca Alexander, design for cover of, 170

‘Peeper, A,’ 50

Pemberton Gardens, Greenaways’ house in, 52

Pen and pencil sketches, 279

_People’s Magazine_, early work for, 45, 46, 75

Perspective, instruction in, from Ruskin, 167; from John Greenaway, 168; lack of knowledge of, 167

‘Picnic, The,’ 279

_Pied Piper of Hamelin, The_, 58; Ruskin on, 168, 171, 175; models for, 273

Pinwell, George, influence of, in Kate Greenaway’s work, 272; style of, 282

Ponsonby, Hon. Gerald, 167; portraits belonging to, 270; commission from, 172; portraits of children of, 180; letters from Kate Greenaway to, 181, 182, 184, 186

Ponsonby, Lady Maria, 167; letters from Kate Greenaway to, 185, 187, 209, 212, 220, 231; member of Memorial Committee, 256

Ponsonby, Miss Eileen, portrait of, 276

Ponsonby, Miss Joan, portrait of, 276

Ponsonby, Miss Mabel, portrait of, 276

‘Poor Nelly,’ 280

Portraitist, Kate Greenaway as a, 275

‘Portrait of a Lady,’ 276

‘Portrait of a Little Boy, A,’ at Royal Institute (1880), 178

‘Portrait of a Little Lad,’ at Royal Academy (1890), 178

Portraits in oils, 237

_Præterita_ (by John Ruskin), reference in, to _Mavor_, 129; to _Dame Wiggins_, 130, 145, 151; Kate Greenaway on, 161; last chapter of, 175

Princess Christian, Kate Greenaway’s meeting with, 27, 224; introduction to, 100; correspondence with, 100

Princess Louise, meeting with, 241

Princess Maud of Wales, wedding present for, 201

Princess Royal, meeting with, 27

‘Processions,’ drawings of, 211, 216, 274

_Punch_, first appearance in, 86; references to Kate Greenaway in 1881, 102; ‘Grinaway Christmas Cards,’ 102, 103

_Queen of the Pirate Isle, The_, 58; Ruskin on, 156; publication of, 163; vignette on title-page of, 282

_Queen Victoria’s Jubilee Garland_, publication of, 163

_Quiver of Love_, illustrations in, 47; publication of, 53

Reading Books (Longman’s), Kate Greenaway’s refusal to illustrate, 184

Religion, Kate Greenaway’s views of, 189, 190, 234, 235

‘Rescue, The’ (Sir J. E. Millais, _P._R.A.), Kate Greenaway on, 229

Richards, Miss Laura E., verses by, 183

Richmond Ritchie, Mrs., letters to and from, 98; friendship with, 100, 167; proposed collaboration with, 100

Roberts, Lord, meeting with, 237

Robinson, Mr. Lionel, on Kate Greenaway as children’s artist, 62, 180

‘Rock, Moss, and Ivy,’ drawing by Kate Greenaway in Sheffield Museum, 134

Rolleston, the Chappells’ house at, 10; visits to, 28, 33; fire at, 35

Rossetti, D. G., Kate Greenaway on work of, 229, 231

Routledge, Messrs., work for, 100; _Little Wide-Awake_, frontispiece to, 85; _Every Girl’s Annual_, 85; _Mother Goose_, 100; _Christmas Number_, frontispiece (‘Little Fanny’), 101; _A Day in a Child’s Life_, 101; _Almanack_, first (1883), 122; _A Apple Pie_, 155, 156, 160; _Pied Piper of Hamelin_, success of, 171; _Book of Games_, 174; _Almanacks_ for, 1892-95, 181

Rover, biography of, 164, 195, 198, 207, 236, 237, 244

Rowfant, Kate Greenaway’s visits to, 86, 185

Royal Academy, first exhibit at, 55; ‘Little Girl with Doll’ (1878), 69; ‘Misses’ (1879), 78; ‘Little Girl with Fan’ (1880), 85; ‘Portrait of a Little Lad’ (1890), 178; ‘A Girl’s Head’ (1891), 179; ‘Baby Boy’ at (1895), 192

Royal Institute of Painters in Water-Colours, Kate Greenaway elected a Member of, 174, 178, 271; exhibits at (1890), 178; (1891) ‘An Old Farm House,’ ‘A Cottage in Surrey,’ 179; (1894) ‘A Girl’ at, 184; (1895) exhibits at, 192, 197; (1896) ‘Little Bo-Peep’ at, 201; last exhibits at, in 1897: ‘Girl in Hat and Feathers,’ ‘Two Little Girls in a Garden,’ 211

_Royal Progress of King Pepito, The_, 174

Royal Society of British Artists. _See_ Suffolk Street Gallery

Ruskin, John, on Kate Greenaway’s work, 5; on _Under the Window_, 63; Lecture on Mrs. Allingham and Kate Greenaway, 65, 114; first meeting with Kate Greenaway, 110; on _Mother Goose_ drawings, 105, 116; on Kate Greenaway design on glass, 106; on the 1884 _Almanack_, 127; on _Language of Flowers_, 128; on _Mavor’s English Spelling Book_, 128; on _Dame Wiggins of Lee_, 130; portrait of, by Kate Greenaway, 135; suggested collaboration with Kate Greenaway in a book on Botany, 136; on Millais’ portraits of ‘The Marquess of Lorne’ and ‘Miss Nina Lehmann’ (Lady Campbell), 137; references to Miss Francesca Alexander, 133, 138; on house at Frognal, 142; illness of, 145, 151, 154, 170; _Præterita_, autobiography of, 145, 151, 175; Kate Greenaway on, 161; ‘Natural History of a dull Beach,’ 146, 154; on drawings from the Nude, 147; on _Language of Flowers_, 149; on _Correspondence of Sir Philip Sidney and Hubert Languet_, 154; on _A Apple Pie_, 156; on Mrs. Allingham, 161; practice of destroying letters, etc., 163; instructs Kate Greenaway in perspective, 167; on John Greenaway as his rival therein, 168; on _Pied Piper_ drawings, 168, 172, 175; on Bellini’s ‘Venus, Mistress of the World,’ 168; _Christ’s Folk in the Apennine_, 170; last foreign tour, 175; visit of Kate Greenaway to, 186; as ‘Mr. Herbert’ in _The New Republic_, 215; death of, 248 letters to Kate Greenaway from, 82, 83, 84, 99, 105, 109, 110, 114, 115, 117, 118, 119, 120, 121, 122, 127, 128, 132, 133, 134, 135, 136, 137, 138, 139, 140, 142, 143, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 160, 161, 166, 168, 169, 170, 171, 172, 175, 176, 177 letters from Kate Greenaway to, 160, 164, 165, 166, 187, 188, 195, 196, 197, 198, 199, 200, 202, 203, 205, 206, 207, 208, 209, 211, 212, 214, 215, 216, 217, 218, 219, 220, 221, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247

Rydal Mount, Kate Greenaway’s visit to, 187

‘Sailor’s Wife, A,’ in _English Illustrated Magazine_, 184

St. Albans, Duchess of, 167

St. Helier, Lady. _See_ Jeune, Lady

_St. Ives_ (R. L. Stevenson), Kate Greenaway on, 221

_St. Nicholas_, drawings for, 78

Sambourne, Mr. E. Linley, drawing Kate Greenaway in _Punch_ by, 86; ‘Royal Birthday Book’ by, 102

Samuel, Mr. Stuart M., M.P., book-plate for, 182; commissions from: portrait of daughter, decoration of nurseries for, 211, 216; letters from Kate Greenaway to, 106, 211

Samuel, Mrs. Stuart M., references to, in Kate Greenaway’s letters, 164, 167; letter from Kate Greenaway to, 252

Samuel, Miss Vera, book-plate for, 182, 226; portrait of, 211, 275

_Saturday Review on Under the Window_, 61

Scribner, first work for Messrs., 69; frontispiece to _London Lyrics_ for, 88

Seckendorff, Count, 99

Severn, Mrs. Arthur, on Ruskin and Kate Greenaway, 110; friendship with, 141; letter to Kate Greenaway from, 166; letters from Kate Greenaway to, Preface, 70, 201, 251, 274

Severn, Miss Lily, 167

Severn, Miss Violet, Kate Greenaway writes and illustrates ‘A very Naughty Girl’ for, 141, 167

Shaw, Mr. Norman, R.A., architect of Kate Greenaway’s house, 142; friend of Kate Greenaway, 167

Sheffield Museum, drawing, ‘Rock, Moss, and Ivy,’ by Kate Greenaway in, 134

‘Shoe, The Kate Greenaway,’ 123

Shortness of sight, cause of Kate Greenaway’s faults of perspective, 168, 270

_Sidney, Sir Philip, and Hubert Languet, Correspondence of_, 154

Silver medal gained at South Kensington in 1864, 42

‘Sisters,’ colour of, 272

Sketch-book, early, 277

Small, Mr. William, influence of work of, on Kate Greenaway, 279

_Snow Queen_, designs for, 251

Spielmann, Mr. M. H., letters from Kate Greenaway to, 248, 249; member of Memorial Committee, 256

Spielmann, Mrs. M. H., proposed illustrations to story by, 51; stories by, with illustrations by Kate Greenaway, 250; letters from Kate Greenaway to, 250, 251

‘Spring Copse, A,’ sold, 183

Spring flowers, Kate Greenaway’s love for, 180

‘Standing for her Picture,’ sale of, 183

Stanley, Hon. Mrs., 100

Stanley, Miss Dorothy, visit to Southwold with, 201

Stanley, Miss Madeline, 230, 231

Stevenson, Robert Louis, inspired by _Birthday Book_, 77

‘Stick Fire, The,’ sold, 183; beauty of, 270

Stothard, influence of, on Kate Greenaway, 270

‘Stowaway, The’ (Sir J. E. Millais, _P._R.A.), Kate Greenaway on, 228

‘Strawberries,’ influence of G. D. Leslie, R.A., in, 270

Suffolk Street Gallery, ‘A Peeper,’ 50

‘Surrey Cottage, A,’ influence of Mrs. Allingham in, 269

‘Swansdown,’ 272

‘Taking a Nosegay,’ at Royal Institute (1895), 195

Tate Gallery, the, Kate Greenaway on, 242

_Temps, Le_, on Kate Greenaway’s work, 268

Tennyson, family, friendship with, 88; references to, in Kate Greenaway’s letters, 164, 167

Tennyson, Lord, last meeting with, 237

‘The Seasons,’ sold, 76

Theatre, early visits to the, 19

Thomas, William L., on Kate Greenaway’s early work for _The Graphic_, 56

Thompson, Miss Elizabeth (Lady Butler), on student days with Kate Greenaway, 43

Thorne, Aunt, and her garden, 15

‘Thoughts of the Sea,’ sold, 224

‘Three Girls in White,’ in Victoria and Albert Museum, 256

‘Three Innocents,’ sold, 76

_Time and Tune_, designs for, 85

‘Time of Roses, The,’ sold, 76

_Times, The_, on _A Day in a Child’s Life_, 101

_Topo: A Tale about English Children in Italy_, illustrations for, 47; publication of, in 1878, 67; sale of drawings for, 76

‘Toy Horse, The,’ sold, 183

‘Tracts,’ payment for, 50

Trendell, Sir Arthur, Hon. Sec. of Memorial Committee, 256

Trojan, Herr, on _Under the Window_, 85

Trotter, Miss Lilias, reference to, by Ruskin, 155, 156

Turner, J. M. W., R.A., Ruskin on, 134

‘Two at a Stile,’ 271

‘Two Girls in a Garden,’ sold, 224

‘Two Little Girls in a Garden,’ at Royal Institute (1897), 211

‘Two Little Sisters,’ sold, 183

‘Under the Rose Tree,’ sold, 183

_Under the Window_, story of its production, 57; popularity of, 60; _Saturday Review_ on, 61; verses in, 62; exhibition of drawings for, at Fine Art Society, 63; designs copied on majolica ware at Buda Pesth, 79; translation into German, 85; reception of, in Germany, 85, 281; drawings for, criticised for lack of perspective, 167; models for, 273; French and Belgian edition of, 281

Valentines, first designs for, 44; designed for Marcus Ward & Co., 47

Van Baerle’s Gallery, Glasgow, exhibition of Kate Greenaway’s drawings at, 181

Varley, Miss, school of, 38

Velasquez, Kate Greenaway on, 218

Venetian Exhibition, Kate Greenaway on, 195

Verses by Kate Greenaway, 38, 62, 254, 257, _et seq._

Victoria and Albert Museum, Kate Greenaway’s work in, 256

Victorian Exhibition, Kate Greenaway on, 214

_Vie de Paris, La_, on Kate Greenaway’s work, 268

‘Violets, Sir?’ 277

Vyvyan, Miss, fellow-student and friend of Kate Greenaway, 167

Walker, Mr. David, purchaser of _Almanack_ (1893) drawings, 182

Walker, Fred, A.R.A., influence of, on Kate Greenaway’s work, 270

Wall-papers, _Almanack_ (1893) designs sold for, 182

Ward, Marcus, & Co., Christmas cards designed for, 46; valentines designed for, 48; cessation of connection with, 48; Christmas cards for, 50; _The Quiver of Love_, 53; _Topo_, 68

Ward, Mr. William Marcus, as adviser, 49; on illustrations to _Topo_, 68

Wardle, Sir Thomas, Chairman of Memorial Committee, 256

Warne, Frederick, & Co. _See_ Preface and List of Works

Webb, Sir Aston, R.A., on Memorial Committee, 256

Wedderburn, Mr. A., K.C., 112

_What the Moon Saw_, designs for, 251

_Wheels of Chance, The_, Kate Greenaway on, 215

Whistler, J. M’N., Kate Greenaway on, 218

White, Gleeson, on Kate Greenaway’s designs for Christmas cards, 76

Whitelands College, Kate Greenaway at May-day celebration at, 201

Wise, Aunt, visit to, 10

Women and Woman’s Suffrage, Kate Greenaway on, 212

‘Women of Amphissa, The’ (Sir L. Alma-Tadema, O.M., R.A.), Kate Greenaway on, 219

_Wonderful Visit, The_, Kate Greenaway on, 203

_Woodlanders, The_ (Mr. Thomas Hardy), Kate Greenaway on, 238

Wordsworth, visit of Kate Greenaway to country of, 187; Kate Greenaway on ‘Intimations of Immortality’ of, 189

‘Yes’ (Sir J. E. Millais, _P._R.A.), Kate Greenaway on, 228

Yonge, Charlotte, Kate Greenaway’s illustrations to novels of, 77, 281

THE END

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FOOTNOTES:

[1] The drawings of the cheese-press, the pump, and the fireplace in the kitchen of the cottage, as well as of the croft at Rolleston, here reproduced, were executed by Kate Greenaway while she was still a girl.

[2] _Little Ann and other Poems_, by Jane and Ann Taylor, illustrated by Kate Greenaway, printed in colours by Edmund Evans. London: George Routledge & Sons, etc. (n.d.)

[3] The head in water-colours, which won her the silver medal, was bought by the late Sir Julian Goldsmid.

[4] Official inscription on the drawing: ‘National Medallion Award. Finsbury, 1864. Stage 22. Aged 17 years. Time in School, 9 sessions, 4 hours a week. Medals already obtained in Stages 4^b, 10^a, 10^b, 22^c. Teachers: S. A. Doidge, S. Hipwood.’

[5] The following is a complete list of her exhibits at the Dudley Gallery:—

1868—Kilmeny. 1869—The Fairies of the ‘Caldon Low.’ 1870—Apple Blossom—A Spring Idyll. 1872—(1) A Study. (2) A Reverie. 1875—Little Miss Prim. 1876—Little Girls at Play. 1877—(1) In Spring Time. (2) Dorothy. (3) Birthday Tea. (4) A Procession of Children with Flowers. 1878—(1) A Procession of Children. (2) Darby and Joan. (3) Miss Patty. 1879—(1) Prissy. (2) A Morning Call.

[6] See Mr. Lionel Robinson’s introduction to the Exhibition of Kate Greenaway’s Works in 1891.

[7] These were the first things she ever sold publicly. Mr. Loftie forgets the apparent fact that the two remaining designs were also published, though at a later date, for on looking through the volume of the _People’s Magazine_ for 1873 we find on pp. 24 and 97 two of her drawings (unsigned) written up to respectively by ‘M, E.’ and ‘E. J. Ellis.’ The first illustrates a set of verses entitled ‘Nonsense about Cat’s Cradle’; the second a sort of Alice-in-Wonderland story entitled ‘Bebel,’ an ingenious rendering of a somewhat cryptic design.

[8] This was also published by Messrs. Marcus Ward & Co.

[9] Of Messrs. Griffith, Farran, & Co., for whom she worked later.

[10] An excellent account of Mr. Evans’s work is to be found in _The British and Colonial Printer and Stationer_ for March 31, 1904.

[11] _The April Baby’s Book of Tunes_, by the author of _Elizabeth and her German Garden_.

[12] As ‘K. G.,’ the reader should be reminded, Miss Greenaway was known to most of her friends, and even to many of her relations as well.

[13] The originator of _Punch_.

[14] In addition there were French and German editions, which probably brought up the number to 100,000 copies.

[15] It should be understood, however—lest the strict facts of the arrangement mislead the reader—that the half-share royalty only became payable after the expenses of publication had been cleared off—that is to say, after the sale had passed a given number of copies. Consequently, as certain of the books never reached the limit, K. G. only received payment for the use of the drawings, which were returned to her. Such failures, commercially speaking, were _A Day in a Child’s Life_, the Calendars, and one or two more. It was found in practice that, except in rare cases, books with music were not successful.

[16] These words have been added in MS. by Mr. Evans.

[17] From a letter written in 1879 it will be seen that the heaviness of her line had before been a matter of complaint with him.

[18] The reader will see that this is a misconception, as _Fairy Gifts_ preceded it by four years.

[19] See ‘Christmas Cards and their Designers, by Gleeson White.’ Extra number of the _Studio_, 1894, which is full of interesting information on the subject.

[20] At this sale Kate Greenaway’s illustrations to _Topo_ fetched—after the copyright had been used—35 guineas; whilst others of her pictures sold were ‘Three Innocents,’ 12 guineas; ‘My Lady and her Pages,’ 23 guineas; ‘The Seasons,’ 17 guineas; ‘The Time of Roses,’ 18 guineas; ‘On the Road to the Ball,’ and ‘The Fancy Dress Ball,’ £28; and ‘My Lord’s Page and my Lady’s Maid,’ 13 guineas.

[21] ‘Those indisputably by Miss Greenaway,’ he proceeds, ‘include: a set of children, 1878; another set, a Page in Red, with a cup, etc.; children by ponds; a set of little people in initial letters; a set of damsels with muffs, and lads in ulsters; another set of four initials; a Red Riding Hood set; an oblong set, with processions of little people; a tiny set of three; an upright set of three single figures; a set of heads; and a set of “Coachmen.” To these may be added the Calendars published by Marcus Ward, as well as the annual “Kate Greenaway’s Almanack,” published by Geo. Routledge & Sons; a set in circular panels on small cards, published by Goodall; a set, “The Four Seasons”; also a calendar with four designs issued separately as cards, and a few early cards published by Marcus Ward.

‘Without very minute and tedious detail, it is not possible to identify even these in written descriptions; but, unless collectors have at least as many sets (usually four in as I have noted), they may still be certain that the most prized section of their collection is incomplete. How many more can be traced it would be pleasant to discover.’

[22] Of these little drawings in pen-and-ink, many of them scarcely more than an inch high, 292 have lately been offered for sale by a London west-end bookseller, prettily mounted on pages, in an elaborately-bound morocco-covered box, for the sum of £300.

[23] _Under the Window._

[24] By Miss Laffan, author of _Baubie Clarke_ (Blackwood, 1880).

[25] See _Under the Windows_, p. 35.

[26] Now Lady St. Helier.

[27] For authorisation to reproduce these letters we are indebted to the German Ambassador.

[28] This word is illegible.

[29] The lurid and dramatic witch in _Under the Window_.

[30] The Greenaways were contemplating moving from Holloway to Hampstead.

[31] Birket Fosters.

[32] William Black’s novel, published in 1871.

[33] By his American friend, Miss Francesca Alexander, the exquisite artist of _The Roadside Songs of Tuscany_ and the charming writer and poet who to this day with her mother are residents of Florence, famous for their charity, kindliness, and hospitality.

[34] Ruskin’s body-servant.

[35] This includes an edition of 2,000, published by Hachette & Cie., of Paris.

[36] Miss Francesca Alexander.

[37] Page 22 of _Marigold Garden_.

[38] A water-colour drawing of ‘Rock, Moss, and Ivy’ by K. G. is now in the Sheffield Museum. Of its origin the catalogue says ‘The sketch was made by Miss Greenaway in consequence of Mr. Ruskin having told her one day at Brantwood, that she could draw pretty children daintily enough but she couldn’t make a drawing of that rock. Miss Greenaway hastily produced this study of it, and presented it to Mr. Ruskin.’

[39] Portrait of the present Duke of Argyll.

[40] Portrait of Lady Campbell when a little girl—Miss Nina Lehmann. Painted in 1865.

[41] Lady Campbell (Miss Nina Lehmann) on her marriage.

[42] ‘Aphrodite’ by Philip Calderon, R.A.

[43] The Society of British Artists.

[44] For _Claudian_—the play produced by Wilson Barrett, who acted the title-rôle—Ruskin had a prodigious and rather unaccountable admiration. To one of the present writers, he said during the run of the piece: ‘I admired it so much that I went to see it three times out of pure enjoyment of it, although as a rule I cannot sit out a tragic play. It is not only that it is the most beautifully mounted piece I ever saw, but it is that every feeling that is expressed in the play, and every law of morality that is taught in it, is entirely right.’

[45] A young lady who died young. Her fine character and sweet disposition Ruskin greatly admired.

[46] Miss Francesca Alexander.

[47] _The Correspondence of Sir Philip Sidney and Hubert Languet. Now first collected and translated from the Latin with Notes and Memoir of Sidney._ By Stewart A. Pears (London, William Pickering, 1845).

[48] Miss Trotter.

[49] Miss Burne-Jones.

[50] Miss Anderson, his secretary, of whom on rare occasions Ruskin spoke thus.

[51] Ruskin had much faith in the educational value of drawings from Greek coins of the finest period.

[52] It was Mr. Ruskin’s practice to destroy everything not of special interest to him or what was unlikely to be of use. On one occasion the present writer sent him by request certain early proofs of etched plates, the coppers of which were in the Professor’s possession. After a time, on being requested to return them, he replied that he had destroyed them—‘How else do you think I could do my work if I litter my house with such?’—and offered by way of compensation to have as many proofs pulled as his disconsolate correspondent might desire.

[53] Di Pa was the pet name Ruskin bore at that time in his immediate family circle.

[54] ‘Venus, Mistress of the World’—one of the series of allegorical subjects by Giovanni Bellini in the Academy of Fine Arts in Venice.

[55] These comprised designs from the _Almanack_ for 1884, and drawings from _Marigold Garden_, the _Language of Flowers_, and _Little Ann_.

[56] Reproduced as end-papers of this volume.

[57] It will be remembered that although Marie Bashkirtseff was given out to be thirteen the facts in the book prove that she was four years older.

[58] Held at the New Gallery, London.

[59] From the Hampton Court Collection.

[60] Lent by Louisa Lady Ashburton. The ‘beautiful lady’s name’ is unknown.

[61] _The Wonderful Visit_, by H. G. Wells (1895).

[62] Robert Anning Bell, R.W.S.

[63] Miss Greenaway raised the point again later on with one of the present writers, and was vastly interested to learn that Ruskin, as she suspected, is presented as ‘Mr. Herbert,’ Huxley as ‘Storks,’ Tyndall as ‘Stockton,’ Jowett as ‘Jenkinson,’ Kingdon Clifford as ‘Saunders,’ Carlyle as ‘Donald Gordon,’ Matthew Arnold as ‘Luke,’ Pater as ‘Rose,’ and Hardinge as ‘Leslie,’ while Lady Dilke is ‘Lady Grace’ and Mrs. Singleton ‘Mrs. Sinclair.’ ‘Then who is Lawrence?’ asked Miss Greenaway. ‘Mallock himself.’ ‘Ah!’ she replied,’ that settles it; I don’t like him.’

[64] By H. G. Wells.

[65] Mr. Stuart M. Samuel, M.P.

[66] By J. W. Waterhouse, R.A.

[67] Byam Shaw.

[68] An exhibition of the works of painters who had flourished during Queen Victoria’s reign, held at the Guildhall Art Gallery.

[69] ‘An Idyll, 1745.’

[70] ‘The Proscribed Royalist.’

[71] ‘May Morning on Magdalen Tower,’ Oxford.

[72] The net profit to Miss Greenaway was £645. The most important pictures sold were ‘Little Girl with Tea Rose’ (35 guineas), ‘Going to School’ (35 guineas), ‘Betty’ (35 guineas),’Girl in Pink and Black—Grey Muff’ (60 guineas), ‘Little Girl in Scarlet Coat and Tippet’ (35 guineas), ‘A Girl in Hat and Feathers’ (45 guineas), ‘Thoughts of the Sea’ (35 guineas), ‘Two Girls in a Garden’ (35 guineas), ‘Lilies’ (35 guineas), and ‘Baby Boy in Blue Coat and Tippet’ (35 guineas).

[73] By George du Maurier.

[74] She here refers to Millais’ ‘Rescue,’ of which Ruskin had written in 1855: ‘The only _great_ picture exhibited this year; but this is _very_ great. The immortal element is in it to the full.’

[75] Apparently, Luini’s ‘St. Catherine.’

[76] First volume published in 1843, edited by Douglas Jerrold, and written and illustrated by some of the most brilliant authors and artists of the day.

[77] Published by Mr. Austin Dobson in his delightful article on Kate Greenaway in the _Art Journal_, and written by him, on the 29th January 1902, in the Album of Mr. Ernest G. Brown, and here printed by consent of both gentlemen.

[78] See p. 254.

[79] _The History of Modern Painting_, vol. iii. p. 137.

[80] The _Journal des Débats_.

[81] So true is it that ‘Greenawisme’ stands for a phase of art and dress, that in that entertaining publication, the _Almanac Hachette_ for 1904 (p. 329), under the heading ‘L’Histoire du Costume des Enfants,’ the ‘Coiffure Greeneway’ (_sic_) takes its place in the series of woodcuts immediately preceding ‘la jupe cloche fin du xix^e siècle’; and many more examples might be adduced.

[82] To consult the drawings mentioned see the Index of Illustrations.

[83] Translated by J. Levoison. The German version, _Am Fester_, was translated by Frau Käthe Freiligrath-Kröker.