'SUNDAY MAGAZINE'
1868, p. 704

MADAME DE
KRUDENER

In 1867 A. Boyd Houghton is well to the fore with twelve illustrations to the serial story by Sarah Tytler, The Huguenot Family in the English Village, besides full-page drawings, some in his best manner, to A Proverb Illustrated (p. 33), Heroes (p. 129), Luther the Singer (p. 256), The Martyr (p. 348), The Last of the Family (p. 393), and A Lesson to a King (p. 817). W. Small is only represented twice, with Wind me a Summer Crown (p. 65) and Philip's Mission (p. 752). J. W. North has three admirable drawings, Foundered at Sea (p. 280), Peace (p. 560), Anita's Prayer (p. 609), the first and last of these, both studies of shipwrecks, deserve to be remembered for the truth of movement of the drawing of the waves, and one doubts if any sea-pieces up to the date of their appearance had approached them for fact and beauty combined. Both are engraved by Dalziels in an admirably intelligent fashion. F. W. Lawson's The Chained Book (p. 104) and The Revocation of the Edict of Nantes (p. 496), and In the Times of the Lollards (p. 529), all deal with acrimonious memories of the past. After the scenes of cruelty, persecution, and martyrdom which unfortunately are too often the chief dishes in the menu of a religious periodical, it is a relief to turn to the Cottar's Farewell (p. 417), by J. D. Watson, or to the 'Norths' before quoted. This most straightforward and accomplished study of a dying peasant and his family shows the dignified and simple treatment which the artist at his happiest moments employed with complete mastery.

In 1868 A. Boyd Houghton is again the most frequent contributor of full-page designs; a bare list must suffice. Sunday at Hippo (p. 57), Three Feasts of Israel (p. 67), Paul's Judge (p. 88), Sunday Songs, Sweden (p. 112), The Charcoal Burners (p. 118), a drawing which looks like an intentional 'exercise in the manner of Gustave Doré,' who, despite his enormous popularity in England, seems to have had singularly little influence on English artists, so that this stands out as a unique exception. Houghton has also The Feast of the Passover (p. 185), The Poor Man's Shuttle (p. 273), Feast of Pentecost (p. 296), Samuel the Ruler (p. 357), George Herbert's Last Sunday (p. 424), Baden-Baden (p. 520), The Good Samaritan (p. 552), Church of the Basilicas (p. 561), Joseph's Coat (p. 616), St. Paul Preaching (p. 681), and The Parable of the Sower (p. 777). G. J. Pinwell is seen in three examples, A Westphalian Parsonage (p. 192), Madame de Krudener (pp. 704, 785); S. L. Fildes is here for the first time with The Farmer's Daughter (p. 656); J. Pettie has a small drawing, My Sister (p. 176); J. Wolf, a clever 'lamb' study (p. 529); and W. Small a most typical, almost mannered, Sunday Morning (p. 182). J. Mahoney supplies twenty-eight illustrations to The Occupations of a Retired Life, by Edward Garrett, besides separate plates, Sunday Songs from Denmark (p. 16), Love Days (p. 137), and Just Suppose (p. 649). J. Gordon Thomson contributes eighteen drawings for Dr. George Macdonald's The Seaboard Parish, and others of no particular interest are attributed to Shield, F. A. Fraser, C. Morgan, Miles, Lamont, and Pasquier. Here, as in many other volumes, are vignettes and tail-pieces by T. Dalziel, some of them most admirably drawn and all charmingly expressed in the engraving.

In 1869 A. Boyd Houghton still maintains his position. This year his drawings are Wisdom of Solomon (p. 16), The Jews in the Ghetto (p. 44), Martha and Mary (p. 65), Rehoboam (p. 85), Jewish Patriotism (p. 125), Sunday in the Bush (p. 161), Miss Bertha (pp. 384, 513), Babylonian Captivity (p. 633), John Baptist (p. 641), and Samson (p. 760). G. J. Pinwell illustrates Edward Garrett's The Crust and the Cake with thirty-four cuts. In one of these (p. 529), as in two other designs by the same artist, you find that in drawing the lines of a harpsichord, or grand piano, he has forgotten that the reversal required by engraving would represent the instrument with its curve on the bass, instead of the treble side—a sheer impossibility, which any pianist cannot help noticing at a glance. His one other contribution this year is The Gang Children (p. 25). Represented by a solitary example in each case are J. M'Whirter, Sunday Songs (p. 12); J. Pettie, Philip Clayton's First-born (p. 69); Edward Hughes, Mother Mahoney (p. 196); Towneley Green, Village Doctor's Wife (p. 505); Robert Barnes, A Missionary in the East (p. 57); and Arthur Hughes, Blessings in Disguise (p. 156). J. Mahoney has The Centurion's Faith (p. 60), Building of the Minster (p. 352), Hoppety Bob (p. 417), Roger Rolf (p. 608), and Christmas Eighteenth Century (p. 252). Francis Walker, with his Sunday Songs (p. 93), Bird Fair, Shoreditch (p. 409), Feast of Tabernacles (p. 600), Widow Mullins (p. 673), and A Little Heroine (p. 736); H. French, with 'It is more blessed' (p. 229), and A Narrative Sermon (p. 632); and F. A. Fraser with Jesuit Missions (p. 101), Wesley (p. 152), The Year (p. 217), A Queer Charity (p. 576), and A Schwingfest (p. 665); the three latter belong by rights to the men of the seventies rather than to the group with which this volume is concerned.

A. BOYD HOUGHTON

'SUNDAY MAGAZINE'
1868, p. 777

THE PARABLE
OF THE SOWER

ARTHUR HUGHES