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diff --git a/41086-h/41086-h.htm b/41086-h/41086-h.htm index 8b38bfd..fe4af80 100644 --- a/41086-h/41086-h.htm +++ b/41086-h/41086-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Randolph Caldecott: A Personal Memoir of His Early Art Career, by Henry Blackburn. @@ -154,53 +154,7 @@ table { </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Randolph Caldecott, by Henry Blackburn - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Randolph Caldecott - A Personal Memoir of His Early Art Career - -Author: Henry Blackburn - -Illustrator: Randolph Caldecott - -Release Date: October 17, 2012 [EBook #41086] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK RANDOLPH CALDECOTT *** - - - - -Produced by Chris Curnow, Diane Monico, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - - - - - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41086 ***</div> <h1>RANDOLPH CALDECOTT.</h1> <hr class="chap" /> @@ -498,7 +452,7 @@ interesting.</p> <tr><td align="left">*<span class="smcap">A New Year's Greeting</span></td><td align="right"><a href="#newyear_greeting">203</a></td></tr> <tr><td align="center">APPENDIX.</td></tr> <tr><td align="left">*<span class="smcap">Headpiece. Caldecott's Picture Books</span></td><td align="right"><a href="#caldecotts_picture_books">212</a></td></tr> -<tr><td align="left"><span class="smcap">Æsop's Fables</span></td><td align="right"><a href="#aesops_fables">214</a></td></tr> +<tr><td align="left"><span class="smcap">Æsop's Fables</span></td><td align="right"><a href="#aesops_fables">214</a></td></tr> <tr><td align="left"><span class="smcap">A Sketch Book</span></td><td align="right"><a href="#sketch-book">215</a></td></tr> <tr><td align="left"><span class="smcap">Breton Folk</span></td><td align="right"><a href="#breton_folk">216</a></td></tr> </table></div> @@ -731,9 +685,9 @@ DRAWING FOR "LONDON SOCIETY."</h2> <p>It was in February 1871, in the pages of <i>London Society</i>—a magazine -which at that time included amongst its contributors J. R. Planché, +which at that time included amongst its contributors J. R. Planché, Shirley Brooks, Francis T. Palgrave, Frederick Locker, G. A. Sala, -Edmund Yates, Percy Fitzgerald, F. C. Burnand, Arthur à Beckett, Tom +Edmund Yates, Percy Fitzgerald, F. C. Burnand, Arthur à Beckett, Tom Hood, Mortimer<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> Collins, Joseph Hatton, &c.; and amongst its artists Sir John Gilbert, Charles Keene, Linley Sambourne, G. Bowers, Mrs. Allingham, W. Small, F. Barnard, F. W. Lawson, M.E.E., and many other @@ -826,7 +780,7 @@ Whiffles's instructions were<span class="pagenum"><a name="Page_20" id="Page_20" and imitate his movements exactly; but unfortunately <i>the other trombone was a substitute also</i>. The leader looks round, and seeing the two trombones apparently perfectly ready to begin, gives the signal, -and the curtain rises. The <i>dénoûment</i> may be imagined! Other stories +and the curtain rises. The <i>dénoûment</i> may be imagined! Other stories were illustrated by Caldecott, about this period, in <i>London Society</i>; one of Indian life, another called <i>Crossed in Love, &c.</i>, but the artist wished that some illustrations should not be reprinted. Several @@ -1222,7 +1176,7 @@ with trees, are going through the routine of getting up early, taking regular exercise and drinking daily several pints of a dark mixture having the appearance, taste, and effect of taraxacum or senna. The bottles are supplied at -the public gardens and cafés situated at convenient +the public gardens and cafés situated at convenient distances in the suburbs of Goslar."</p></div> <p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p> @@ -1261,7 +1215,7 @@ corner of a street.</p> <span class="caption"><span class="smcap">"A School on the March"—Harz Mountains, 1872.</span></span> </div> <p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p> -<p>Sketches at various <i>table d'hôtes</i> in hotels, public gardens and the +<p>Sketches at various <i>table d'hôtes</i> in hotels, public gardens and the like, were plentiful and perpetual. But the majority were destroyed or put away; out of fifty only one such as "A General in the Prussian Army" (see page <a href="#general_prussian">44</a>) being selected for reproduction.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p> @@ -1316,7 +1270,7 @@ tolerable inn. Women of burden and foresters are the only wayfarers met with.</p> <p>"The route hence south-west over high open<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> land with fine -views to the iron works of Rothehütte in an hour. Thence up +views to the iron works of Rothehütte in an hour. Thence up a hill for half an hour and through dense fir woods, then out on the high road again, resting at the 'Brauner Hirsch' at Braunlage. From thence over hills commanding a vast @@ -1652,7 +1606,7 @@ and yearning for Bowdon and Dunham, and the 'publics' which there adjacent lie, I think of you on these calm Sunday evenings about the hour when my errant legs used to repose beneath the deal of the sequestered inn at Bollington. How -are you? I was pleased to see that the <i>Athenæum</i> gave a +are you? I was pleased to see that the <i>Athenæum</i> gave a long space to your book, although I presume you did not care for the way they reviewed it. That is nothing. I have been very busy—not coining money, oh no!—but occupied, or I @@ -1931,9 +1885,9 @@ in after years would delight the world.</p> <p>But fortunately for his health and peace of mind, and also for his future career, the young artist, who two years before had given up a -clerkship in a Manchester bank (a "certainty" of more than £100 a +clerkship in a Manchester bank (a "certainty" of more than £100 a year), was advised to refuse an engagement on the <i>Pictorial World</i> of -£10 10<i>s.</i> a week, which, had it been carried out, would have done much +£10 10<i>s.</i> a week, which, had it been carried out, would have done much to raise the fortunes of that newspaper.</p> <p>But the rush and hurry of journalistic work was distasteful to him; he @@ -2065,7 +2019,7 @@ our heads will keep clear enough to guide the helms of our hearts."</p></div> <p>About this time it was suggested to Caldecott to make studies of -animals and birds, with a view to an illustrated edition of <i>Æsop's +animals and birds, with a view to an illustrated edition of <i>Æsop's Fables</i>, a work for which his talents seemed eminently fitted. The idea was put aside from press of work, and when finally brought out in 1883 was not the success that had been anticipated. This was principally @@ -2077,7 +2031,7 @@ owing to the plan of the book.</p><p><span class="pagenum"><a name="Page_95" id= <span class="caption">"<span class="smcap">Studying from Nature.</span>"</span> </div> -<p>As Caldecott's <i>Æsop</i> was often talked over with the writer in early +<p>As Caldecott's <i>Æsop</i> was often talked over with the writer in early days, a few words may be appropriate here. Caldecott yielded to a suggestion of Mr. J. D. Cooper, the engraver, to attach to each fable what were to be styled "Modern Instances," consisting of scenes, social @@ -2358,7 +2312,7 @@ Mountains. His feeling for the sentiment and beauty of landscape, especially the open land,—generally absent from the sketches in the Harz Mountains,—is noticeable here. The statuesque grace of the younger women, the picturesqueness of costume, operations of husbandry, -outdoor <i>fêtes</i> and the like, and the open air effect of nearly every +outdoor <i>fêtes</i> and the like, and the open air effect of nearly every group of figures seen in these summer<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span> journeys—all came as delightful material for his pencil.</p> @@ -2527,7 +2481,7 @@ permitted, the world might have seen more of.</p> <span class="caption"><span class="smcap">Study in Line.</span></span> </div> -<p>On the 25th of January he "made a dry point sketch of a Quimperlé +<p>On the 25th of January he "made a dry point sketch of a Quimperlé Brittany woman," and in February he was busy modelling as usual.</p> <p>On the 5th of February, "took to Lucchesi (moulder) wax bas-relief of @@ -2785,7 +2739,7 @@ then thirty years of age.</p> <small>(Oil Painting) Royal Academy, 1876.</small><br /> -<small>Cat. No. 415. 49 × 32.</small></span> +<small>Cat. No. 415. 49 × 32.</small></span> </div> <p>In the same room (Gallery V.) were collected that year, the works of @@ -2818,7 +2772,7 @@ within the laws and symmetry of art."</p></div><p><span class="pagenum"><a name= <small>Metal bas-relief exhibited in the Royal Academy, 1876.</small><br /> -<small>Cat. No. 1499. Size 14 × 5-1/2 in.</small></span> +<small>Cat. No. 1499. Size 14 × 5-1/2 in.</small></span> </div> <p><span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span></p> @@ -2923,7 +2877,7 @@ artistic qualities and fully sustaining the reputation of the artist.</p> <p>The originals were drawn about one third larger, in pen and ink, photographed on wood and engraved in facsimile. The effect of many of the drawings in the first editions was injured by the want of margin on -the printed page; but an <i>édition de luxe</i> is now printed with <i>Old +the printed page; but an <i>édition de luxe</i> is now printed with <i>Old Christmas</i> and <i>Bracebridge Hall</i> in one volume.</p> <div class="figcenter" style="width: 600px;"> @@ -3030,7 +2984,7 @@ all his own, these spontaneous and delightful letters form the best picture of Caldecott that can be given in 1877.</p><p><span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span></p> <p>"Round the tables," he writes, "from noon to nearly midnight—seven -days a week—the <i>monde élégant</i> congregates, from the Yorkshireman to +days a week—the <i>monde élégant</i> congregates, from the Yorkshireman to the Japanese." Then follow sketches of an Englishman in Scotch tweed, and a young man from Japan. Next is a general sketch of the crowd at the round table, the artist's own figure, admirably given, standing @@ -3329,7 +3283,7 @@ sketch in <i>Grosvenor Notes</i>.</p> <a id="boar_hunt"></a> <img src="images/i_187.jpg" width="600" height="253" alt=""A Boar Hunt" Bas-relief." /> <span class="caption">"<span class="smcap">A Boar Hunt" (Bas-relief).</span> Grosvenor Gallery, 1878.<br /> -No. 232. 8 in. × 18 in.</span> +No. 232. 8 in. × 18 in.</span> </div> <p>Special interest attaches to this design, also to "The Horse Fair in @@ -3386,7 +3340,7 @@ colours.</p> <span class="caption"><span class="smcap">Sketching under Difficulties.</span></span> </div> -<p>The summer fêtes and "pardons," all through the<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> country, furnished +<p>The summer fêtes and "pardons," all through the<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> country, furnished capital material for his pencil, the women's caps of different districts were each recorded, and here and there a solemn suggestive landscape noted for a picture which was never to be completed.</p> @@ -3497,7 +3451,7 @@ Caldecott with such material before him, and he was overworked.</p> sketches; a typical Breton (p. <a href="#typical_breton">177</a>), in ancient costume with long hair and<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span> knee breeches; a figure rarely met with in these days.</p> -<p>In the south-west corner of Brittany, a few miles south of Quimperlé, +<p>In the south-west corner of Brittany, a few miles south of Quimperlé, at a point where the river spreads out into a narrow estuary four miles from the sea, is the primitive little village called appropriately Pont Aven.</p> @@ -3516,7 +3470,7 @@ visited, done, sketched, interviewed and memorandumed"—he adds:<span class <div class="blockquot"> <p>"On this journey I have seen more pleasing types of Bretons (and -Bretonnes, especially) than in my former rambles in the Côtes du Nord; +Bretonnes, especially) than in my former rambles in the Côtes du Nord; but there is generally something wrong about each hotel. This particular inn is comfortable. Seven Americans, two or three of them ladies, and about four French people dined with us, mostly of the @@ -3558,7 +3512,7 @@ writes:—</p> <div class="blockquot"><p>"The Hotel du Midi where we put up is conducted in a simple manner; ladies would not like its arrangements. Several -inhabitants, and a visitor or two, dine at the table d'hôte, +inhabitants, and a visitor or two, dine at the table d'hôte, but all are unable to carve a duck excepting the English visitor, who is accordingly put down as a cook."</p></div> @@ -3690,8 +3644,8 @@ seated next to a young lady, "whose father is rather deaf."</p> <div class="figcenter" style="width: 600px;"> <a id="hotel_gray"></a> -<img src="images/i_208.jpg" width="600" height="185" alt="Hôtel Gray et d'Albion Cannes, 15 Nov. 1878." /> -<span class="caption">Hôtel Gray et d'Albion Cannes, 15 Nov. 1878.</span> +<img src="images/i_208.jpg" width="600" height="185" alt="Hôtel Gray et d'Albion Cannes, 15 Nov. 1878." /> +<span class="caption">Hôtel Gray et d'Albion Cannes, 15 Nov. 1878.</span> </div> <p>"I have come here," he says, "in order that rheumatism may forget me @@ -3730,7 +3684,7 @@ weather is rather cold, but the aspect of everything around (nearly) is very fine and worth coming to see."</p></div> <p>In another letter he sends the following sketch of himself at table in -the vast <i>salle à manger</i> of the hotel.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p> +the vast <i>salle à manger</i> of the hotel.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p> <div class="figcenter" style="width: 600px;"> <a id="sketch_table_hotel"></a> @@ -3746,7 +3700,7 @@ the vast <i>salle à manger</i> of the hotel.<a name="FNanchor_12_12" id="FNancho <div class="blockquot"><p>"<span class="smcap">Dear</span> ——,—The above view will give you a more correct idea of the <i>splendour</i> of this hotel than a page of writing, I think, could possibly do. It represents our -<i>table d'hôte</i> last night. I fled yesterday from Cannes, +<i>table d'hôte</i> last night. I fled yesterday from Cannes, which—although called a very<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span> quiet place by most visitors—I found to be too lively for one who has much work to do and a desire to do it."</p></div> @@ -3970,7 +3924,7 @@ known, but there are drawings in it of great personal interest, now that the artist's hand is still. The <a href="#sketch-book"><i>Sketch Book</i></a> suggests many thoughts and calls up many associations to those who knew him.</p> -<p>In 1883 he illustrated <a href="#aesops_fables"><i>Æsop's Fables</i></a> with "Modern Instances" +<p>In 1883 he illustrated <a href="#aesops_fables"><i>Æsop's Fables</i></a> with "Modern Instances" (referred to on page <a href="#Page_94">94</a>).</p> <p>The kind of work that Caldecott liked best, and of which he would have @@ -4167,7 +4121,7 @@ GEORGE ROUTLEDGE AND SONS,<br /> <hr class="tb" /><p><span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span></p> <p class="title"> Some of<br /> -<big>Æsop's Fables.</big><br /> +<big>Æsop's Fables.</big><br /> With "Modern Instances."<br /> Shown in designs by <span class="smcap">R. Caldecott</span>.<br /> <br /></p> @@ -4291,390 +4245,6 @@ Page <a href="#Page_156">156</a>: Deleted duplicate "in".<br /> <span style="margin-left: 1em;">(Orig: "'Poor old priest! What a shrew he has got in in his house,')</span><br /> </p> - - - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Randolph Caldecott, by Henry Blackburn - -*** END OF THIS PROJECT GUTENBERG EBOOK RANDOLPH CALDECOTT *** - -***** This file should be named 41086-h.htm or 41086-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/0/8/41086/ - -Produced by Chris Curnow, Diane Monico, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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