'CORNHILL MAGAZINE'
VOL. VI. p. 346
MANOLI
In 1862 Walker concludes his Philip series with eight full-page drawings, including the superb Philip in Church, of which he made a version in water-colours that still ranks among his most notable work. The first two illustrations to Miss Thackeray's Story of Elizabeth are also from his hand. Millais is represented by Irené, a kneeling figure (v. p. 478), and by the powerfully conceived Bishop and the Knight (vi. p. 100), and the first four illustrations to Trollope's Small House at Allington. Richard Doyle continues the series of Pictures of English Society; but now that their actuality no longer impresses, we fail to discover the special charm which endeared them to contemporaries. F. Sandys is represented by Manoli (vi. p. 346), the second of his three contributions, which deepens the regret that work by this fine artist appeared so seldom in this magazine. But the most notable feature this year is found in the drawings contributed by Frederick Leighton, then not even an Associate of the Royal Academy, which illustrate George Eliot's Romola. With these the Cornhill departed from its ordinary custom, and gave two full-page illustrations to each section of the serial month by month. Consequently in the volumes in 1862 and 1863 the usual two-dozen plates are considerably augmented.
In 1863 twelve more of the Romola series complete Leighton's contributions to the magazine. Millais has twelve more to The Small House at Allington, Walker is represented by one drawing, Maladetta, another to Mrs. Archie, two to Out of the World, and one more to The Story of Elizabeth. Du Maurier, destined to occupy the most prominent position in later volumes, appears for the first time with The Cilician Pirates, Sibyl's Disappointment, The Night before the Morrow, and Cousin Phillis. Possibly a drawing entitled 'The First Meeting' to a story, The ... in her Closet, is from his hand; but the style is not clearly evident, nor is it included in the Cornhill Gallery which, published in the next year, drew its illustrations from the few volumes already noticed, with the addition of five others from the early numbers of 1864. Another drawing, signed A. H., to Margaret Denzil, is by Arthur Hughes.
In 1864 two other illustrations complete The Small House at Allington, and Millais has also two others for Madame de Monferrat. Sir Noel Paton appears for the only time with a fine composition, Ulysses (IX. p. 66). Margaret Denzil has its three illustrations signed R. B., probably the initials of Robert Barnes, who did much work in later volumes. Charles Keene, a very infrequent contributor, illustrated Brother Jacob, a little-known story by George Eliot. Du Maurier supplies the first four illustrations to Mrs. Gaskell's unfinished Wives and Daughters, and Fred Walker contributes five to the other serial, also interrupted by its author's death, the delightful Denis Duval. Here we see the artist employed on costume-work, and hampered somewhat by historical details, yet infusing into his designs the charm which characterises his idyllic work. G. J. Pinwell is represented by The Lovers of Ballyvookan. G. H. Thomas starts Wilkie Collins's Armadale with two pictures that do not accord with the rest of the Cornhill work, but belong to a differently considered method, popular enough elsewhere, but rarely employed in this magazine. The volume contains also a portrait of Thackeray engraved on steel, by J. C. Armytage, after Laurence.
In 1865 the Armadale illustrations take up twelve full pages, and Du Maurier supplies the remaining twelve stories to Wives and Daughters.
In 1866 six Armadale and one Wives and Daughters are reinforced by eleven illustrations to The Claverings by M. Ellen Edwards. Fred Walker is again a contributor with five drawings for Miss Thackeray's Village on the Cliff, and Frederick Sandys, with a fine composition illustrating Swinburne's Cleopatra (xiv. p. 331), makes his last appearance in the magazine.
In 1867 M. E. Edwards signs five of The Claverings and seven to The Bramleighs of Bishop's Folly. The Satrap, an admirable composition, is signed F. W. B., but for whom these initials stand is not clear. Fred Walker completes his illustrations to the Village on the Cliff, and adds one other to Beauty and the Beast, and two to A Week in a French Country House and one to Red Riding Hood. F. W. Lawson makes his entrée with the four drawings to Stone Edge, and Du Maurier has a curiously massive Joan of Arc.
In 1868 Walker has three illustrations to Jack the Giant Killer, 'I do not love you,' and From an Island respectively. M. Ellen Edwards is responsible for ten to The Bramleighs, one to a story, The Stockbroker, and the first two to That Boy of Norcott's. F. W. Lawson has four to Avonhoe, and two to Lettice Lisle, and Du Maurier two to My Neighbour Nelly, and one to Lady Denzil.