'ONCE A WEEK'
VOL. X. p. 71

JOHN OF PADUA

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

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

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

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

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

FREDERICK SANDYS

'ONCE A WEEK'
VOL. V. p. 491