J. Prior, the father of Melton Prior, assisted William Harvey very frequently; and after acquiring a fair style of imitation, did a good deal of work on his own account, which sometimes bore too strong a resemblance to the master. He would say to Harvey, "I know you don't mind." He was right; good-natured Harvey did not mind if Prior got any advantage by it. But, like other men, Prior ultimately acquired a style of his own, and did much good service in the early days of the Illustrated London News, to which journal his son Melton has long been a valuable power as War Correspondent.
The early drawings of that great art genius, Fred Walker, A.R.A., R.W.S., have a strong family resemblance to those of Sir John Gilbert. J.W. North's early drawings reminded one vividly of Birket Foster, while Birket Foster's style was undoubtedly built upon Thomas Creswick, R.A.—and so on, and so on.
Our connection with Harvey was so close, not only as regards work, but socially, that we can say he was in every sense one of "Nature's best"; lovable to a degree,—and would far more than stand the test of the guiding-lines laid down by his master in the letter printed on page [12].
Among William Harvey's chief works mention must be made of the charmingly fanciful designs for Lane's "Arabian Nights," "Northcoat's Fables," "The Tower Menagerie," several of the books in "The Abbotsford Edition" of Sir Walter Scott's novels, and many smaller books, notably "The Children in the Wood," and "The Blind Beggar's Daughter of Bethnal Green"; also an extremely beautiful frontispiece, as well as other illustrations, to each of the plays in Charles Knight's Edition of Shakespeare's Works. Subsequently he illustrated for us an edition of "The Pilgrim's Progress," in which he displayed all his tasteful fancy in decorating its pages. This book was published by David Bogue. From 1839 to the time of his death, William Harvey entrusted many of his drawings to our care, as well as in later years constantly working for the various books produced under our superintendence.
On the death of William Harvey, it was proposed that a monument should be erected over his grave in Richmond cemetery, and in seeking subscriptions for that purpose, among others, Samuel Lover, the famous Irish song-writer, composer and artist, was asked to assist and co-operate with a few friends in carrying out the object, when in reply he wrote:
"I wish instead of a few friends that many were engaged for what is proposed, for then this monument might be much more worthy the memory of so good an artist and so good a man. As to the extent, you may rely on me for help ... In sincere esteem for my much esteemed friend, I think few can exceed me, but my exchequer is rather limited. Could I convert my heart into a bank, and make its wishes into bank notes, I would build a monument out of my own purse to one so worthy of esteem and every kind remembrance.
"Truly,
"Samuel Lover."
Is not this just the letter we might expect from the warm-hearted Irishman and true poet who could write the following beautiful lines?
"I'll seek a four-leaved shamrock in all the fairy dells,
And if I find the charmed leaves, oh, how I'll weave my spells!
I would not waste my magic might on diamond, pearl or gold,
For treasure tires the weary sense—such triumph is but cold.
But I would play the enchanter's part in casting bliss around,
And not a tear or aching heart should in the world be found."
The monument was erected, as suggested, in the cemetery at Richmond, Surrey, as well as a brass tablet in St. Nicholas' Cathedral, Newcastle-on-Tyne, both from designs by John R. Clayton.