One may group the names of Charles Ricketts, C. H. Shannon, T. Sturge Moore, Lucien Pissarro, and Reginald Savage together in memory of 'The Dial,' where the activity of five original artists first became evident, though, save in the case of Mr. Ricketts and Mr. Shannon, no continuance of the classification is possible. The first number of 'The Dial' (1889) had a cover design cut on wood by Mr. C. H. Shannon—afterwards replaced by the design of Mr. Ricketts. Twelve designs by Mr. Ricketts may be said to represent the transitional—or a transitional—phase of his art, from the earlier work in magazines, which he disregards, to the reticent expression of 'Vale Press' illustrations. In 1891 the first book decorated by these artists appeared, 'The House of Pomegranates,' by Oscar Wilde. There was, however, nothing in this book to suggest the form their joint talent was to take. Many delightful designs by Mr. Ricketts, somewhat marred by heaviness of line, and full-page illustrations by Mr. Shannon, printed in an almost invisible, nondescript colour, contained no suggestion of 'Daphnis and Chloe.'
The second 'Dial'(1892) contained Mr. Ricketts' first work as his own wood-engraver, and in the following year the result of eleven months' joint work by Mr. Ricketts and Mr. Shannon was shown in the publication of 'Daphnis and Chloe,' with thirty-seven woodcuts by the artists. Fifteen of the pictures were sketched by Mr. Shannon and revised and drawn on the wood by Mr. Ricketts, who also engraved the initials. It is a complete achievement of individuality subordinated to an ideal. Here and there one can affirm that Mr. Shannon drew this figure, composed this scene, Mr. Ricketts that; but generally the hand is not to be known. The ideal of their inspiration—the immortal 'Hypnerotomachia'—seems equally theirs, equally potent over their individuality. Speaking with diffidence, it would seem as though Mr. Shannon's idea of the idyll were more naïve and humorous. Incidents beside the main theme of the pastoral loves of young Daphnis and Chloe—the household animals, other shepherds—are touched with humorous intent. Mr. Ricketts shows more suavity, and, as in the charming double-page design of the marriage feast, a more lyrical realization of delight and shepherd joys.
The 'Hero and Leander' of 1894 is a less elaborate, and, on the whole, a finer production. I must speak of the illustrations only, lest consideration of Vale Press publications should fill the remaining space at my disposal. Obviously the attenuated type of these figures shows Mr. Ricketts' ideal of the human form as a decoration for a page of type. The severe reticence he imposes on himself is in order to maintain the balance between illustrations and text. One has only to turn to illustrations to Lord de Tabley's 'Poems,' published in 1893, to see with what eager imagination he realizes a subject, how strong a gift he has for dramatic expression. That a more persuasive beauty of form was once his wont, much of his early and transitional work attests. But I do not think his power to achieve beauty need be defended. After the publication of 'Hero and Leander,' Mr. Shannon practically ceased wood-engraving for the illustration of books, though, as the series of roundel designs in the recent exhibition of his work proved, he has not abandoned nor ceased to go forward in the art.
FROM MR. RICKETTS' 'CUPIDE AND PSYCHES.'
REPRODUCED BY HIS PERMISSION.
