BY BIRKET FOSTER. FROM “LONGFELLOW’S POEMS” (BELL).
Engraved on wood by Vizetelly.
But in England it is just before the invention of photographing on wood that some of the most marvellous drawings were produced; really the most marvellous that have ever been done in the country. It is true that Sir John Gilbert had been making his striking and powerful designs, Mr. Birket Foster his exquisite drawings, while much good facsimile work was done after Mr. Harrison Weir; the Abbotsford edition of Scott was appearing, and the "Liber Studiorum;" true, also, that the "Illustrated London News," started in 1842, had done much to raise the general standard; "Punch," also, was commenced in 1842; much, too, had been accomplished in lithography. Still, it is with the appearance of Frederick Sandys, Rossetti, Walker, Pinwell, A. Boyd Houghton, Small, Du Maurier, Keene, Crane, Leighton, Millais, and Tenniel, with the publication of the "Cornhill," "Once a Week," "Good Words," the "Shilling Magazine," and such books as Moxon's "Tennyson," that the best period of English illustration begins. Mr. Ruskin's own drawings for his books must not be forgotten.
BY SIR JOHN GILBERT. FROM MARRYAT’S “MISSION” (BOHN).
Engraved on wood by Dalziel.
BY DANTE GABRIEL ROSSETTI. FROM “TENNYSON’S POEMS.”
Moxon, 1857. Engraved on wood by Dalziel.
BY DANTE GABRIEL ROSSETTI. PROCESS BLOCK FROM A DRAWING IN THE POSSESSION OF EDMUND GOSSE, ESQ.
