Part I

. it is announced that the work would be completed in eight parts, and that four engravings would be issued monthly; but it is believed that the fourth part was the final one.

In 1838, a number of woodcut portraits of Dickens Characters were published in _The Penny Satirist_ and in _Cleave's Penny Gazette of Variety_ (_Late the London Satirist_), afterwards called _Cleave's Gazette of Varieties_. These woodcuts consist of a series of twelve "Portraits of Oliver Twist" and twelve "Characters from 'Nicholas Nickleby,'" with descriptive quotations, &c., and were enlarged copies of the figures in the original etchings by Cruikshank and "Phiz." They were afterwards re-issued on a broad sheet, with the title, "Cleave's Twelfth-Night Characters," and sold by J. Cleave, 1 Shoe Lane, Fleet Street.

In 1841, Cleave issued a work called "Parley's Penny Library," in which were introduced selections (in the form of dialogues) from "The Old Curiosity Shop" and "Barnaby Rudge," then in course of publication. They were illustrated by means of wood-engravings, the majority of those in "Barnaby Rudge" being enlarged copies from "Phiz's" original designs. These woodcuts (twelve in number) were also reprinted, with the title, "Cleave's Gallery of Comicalities--Recollections of Barnaby Rudge."

On the wrapper of the fourth weekly number of "Master Humphrey's Clock" (April 25, 1840) appears the following announcement: "Cheap illustrations of Boz. Now publishing, on a broad-sheet, nearly as large as _The Times_, price 2d. 'The Twist and Nickleby Scrap Sheet,' with twenty-four engraved portraits. Also, price 2d., 'Sam Weller's Scrap Sheet,' containing forty portraits of all the Pickwick characters. The above sheets are enriched with poetic effusions by A. Snodgrass, Esq., M.P.C., and will be found worthy the attention of all who desire 'to laugh and grow fat;' they are alike fit for the scrap-book of the mansion or the walls of the cottage." These scarce sheets were issued by Cleave, having doubtless first been published in his _Gazette_.

Certain dramatised versions of Dickens's stories, by E. Stirling and others (published by John Duncombe & Co., 10 Middle Row, Holborn), contain frontispieces etched by Findlay, which are worthy of the Collector's attention. Besides these, innumerable Dickens illustrations have appeared from time to time, embracing every form of reproductive art. Calendars, relief scraps, booklets, &c, &c, both in colour and in black-and-white, are brought out by enterprising firms year by year, and merely to catalogue them would now be practically impossible.

NOTES ON SOME OF THE ARTISTS.

"ALFRED CROWQUILL."--The actual name of the artist who favoured this pseudonym was Alfred Henry Forrester. Born in 1804, he began his career as a draughtsman when eighteen years of age, distinguishing himself rather by his correctness than by serious forms of illustration. At the death of Seymour in 1836, he competed with "Phiz," Thackeray, Leech, and others for the vacant post as illustrator of "Pickwick," but without success. For a time he belonged to the staff of _Bentley's Miscellany_, and many of his etchings appeared in that journal during 1840-43. He was able to use his pen and pencil with equal facility and ability; in addition to this he was an admirable vocalist, and we are told that most of the Christmas pantomimes of his day were indebted to him for clever designs, devices, and effects. Forrester was also a member of the _Punch_ staff, where, owing to his happy and genial disposition, he was highly popular. Besides his "Pickwick Pictures," there are other designs by him possessing a Dickensian interest, viz., the illustrations which he supplied to a curious production entitled "Pickwick Abroad; or, The Tour in France," which was launched by G. W. M. Reynolds in 1839. "Alfred Crowquill" died in 1872, aged sixty-eight.

KENNY MEADOWS.--This clever draughtsman (who abandoned the use of his first Christian name, Joseph), was the son of a retired naval officer, and was born at Cardigan in 1790. He has been described as "the Nestor of _Punch's_ staff," and not only did he contribute many humorous designs to the pages of the Fleet Street journal during the 'forties, but he frequently prepared elaborate drawings for the _Illustrated London News_, in the early volumes of which may be found his most successful delineations. His representations of fairy subjects, although marked by mannerisms, were in great request. His work is hardly remembered in this generation, but to speak of Kenny Meadows "is to recall the typical art of the illustrator and (such as it was) of the comic draughtsman of the first half of the century."

During his last years Kenny Meadows's services as an illustrator of books were rewarded by a pension from the Civil List of £80 per annum. He was a boon companion, a delightful _raconteur_ when at the club, and a jovial, roystering Bohemian when he left it. This generous and kind-hearted man died in 1874, when he had almost completed his eighty-fifth year.

It is worth recording that a highly-finished drawing, in pen and ink and sepia, of Ralph Nickleby, designed by Kenny Meadows as an illustration for his series of "Heads from 'Nicholas Nickleby,'" realised £7, 10s. at Sotheby's in 1893, the drawing being about twice the size of the engraving.

T. ONWHYN.--This artist, best known perhaps by his Extra Illustrations to "Pickwick" and "Nicholas Nickleby," was the son of a bookseller in Catherine Street, Strand. He signed his Dickens etchings with a pseudonym, adopting in the one instance that of "Sam Weller, Junr.," and in the other that of "Peter Palette." Onwhyn also prepared several plates for "Valentine Vox" and other novels by Cockton. He occasionally contributed to _Punch_, but was more accustomed to the etching-needle than the pencil, his drawing on wood being hard and unsympathetic. This popular book-illustrator died in 1886, having then relinquished drawing for a period of sixteen years.

The twelve plates etched by Onwhyn in 1847 to illustrate the first Cheap Edition of "Pickwick" were intended for independent publication, to compete with the series of extra engravings by Gilbert; but before there was time to complete the necessary arrangements the set of etchings produced by him in 1837 were re-issued. This took the artist by surprise, and he therefore abandoned the idea of circulating the new designs. The plates were put aside, and their existence forgotten until 1893, when they were unearthed by the Onwhyn family, and subsequently purchased by Mr. Albert Jackson, of Great Portland Street, who published them in 1894.

"JACOB PARALLEL."--The etched illustrations by this artist for "Master Humphrey's Clock" are decidedly crude, contemporary criticisms notwithstanding. Their publication was announced in a somewhat original manner on the wrappers of Dickens's work, when the latter was launched in weekly numbers. One of these advertisements begins thus: "A clock is of no use without hands! Then, buy 'Hands to Master Humphrey's Clock.'" Concerning these curious illustrations a contemporary critic punningly observed: "These 'Hands' are, upon the _face_ of them, a very _striking_ matter, and no clock ought to be _wound up_ without them.... They give the finish that was wanted to the 'Clock,' and the public will, we have no doubt, keep them going."

In 1840, a book was published in parts (by G. Berger, Holywell Street), entitled "Charley Chalk; or, The Career of an Artist," with illustrations by "Parallel." These designs were declared to be "superior to many in 'Nickleby,'" while the volume itself was described by reviewers as "another 'Pickwick,'" and as "the only work fit to stand by the side of 'Boz.'"

F. W. PAILTHORPE.--This essentially humorous artist and etcher, who is still living, may be correctly designated the only survivor of the "old school" of book-illustrators, as represented by Cruikshank and "Phiz." Mr. Pailthorpe was a personal friend of the former, to whom he sometimes alludes as "dear old George Cruikshank," and doubtless this association with the famous designer considerably influenced the style and manner of Mr. Pailthorpe's work. Indeed, this seems obvious to any one who compares the many Dickens plates drawn and etched by him with similar designs by the illustrator of "Sketches by Boz" and "Oliver Twist." A noteworthy feature of Mr. Pailthorpe's illustrations for Dickens's works is that a limited number of impressions have been coloured by his own hand, and the designs so treated are, in that respect, reminiscent of John Leech's plates for "A Christmas Carol."

Mr. Pailthorpe, by reason of his unique position as the sole representative of the "old school" of book-illustrators, has received commissions from publishers to copy the etched designs by other artists, in cases where the original plates have been lost or are otherwise inaccessible. He has thus reproduced "Crowquill's" "Pickwick" illustrations, the two cancelled designs by Buss for the same work, two of Onwhyn's illustrations for "Nickleby," and, quite recently, the two etchings by Cruikshank for the Mudfog Papers; these _replicas_ have just appeared in the Gadshill Edition now being issued by Chapman & Hall.

CHARLES DANA GIBSON.--This young American artist, who has frequently contributed to a New York journal called _Life_, recently essayed to illustrate Dickens by means of a series of cleverly-executed drawings representing some of the principal characters and incidents. The most satisfactory is his picture of the Pickwick Club, the portrait of Mr. Pickwick himself being capitally depicted. There is a distinct individuality of style in Mr. Gibson's work, rendered for the most part in pen-and-ink, and marked by a simplicity of treatment which is eminently attractive and effective. Although great ability in draughtsmanship distinguishes all his drawings, it may be contended that he is not invariably fortunate in realising the novelist's conceptions. Mr. Gibson's drawings of Dickens subjects have been excellently reproduced on both sides of the Atlantic.

APPENDIX

III

DICKENS IN ART

Paintings of Scenes and Characters in Dickens's Novels--Portraits of Dolly Varden and Kate Nickleby Painted for the Novelist by Mr. W. P. Frith, R.A.--A Humorous Advertisement--Sale of the Two Pictures--Mr. Frith's Recollections--Mr. James Hamilton Presents to Dickens his Sketch of "What are the Wild Waves Saying?"--The Artist Rewarded for his Generosity--Water-Colour Drawings by Charles Green--How they Originated--An Interesting Series.

The novels of Charles Dickens are an interminable storehouse of subjects for pictures, so it is not surprising that they have always exercised a fascination over painters. The following is a list merely of those pictures that have come under my notice,--a collection which, doubtless, could be much amplified by reference to the catalogues of the Royal Academy and other important Art galleries.

W. A. ATKINSON.--"Little Nell and the two Gravediggers" ("The Old Curiosity Shop"). Royal Academy, 1856.

FRED. BARNARD.--"Sidney Carton" ("A Tale of Two Cities"). Exhibited at the Royal Academy, 1882.

"Horatio Sparkins" ("Sketches by Boz"). Institute of Painters in Water-Colours, 1885.

W. H. BARTLETT.--"'The sea, Floy, what is it always Saying?'" ("Dombey and Son").

EDGAR BUNDY, R.I.--"Barnaby Rudge at the Country Justice's." Institute of Painters in Oil-Colours, 1896.

R. W. BUSS.--"Peerybingle, Dot, and Tilly Slowboy" ("The Cricket on the Hearth").

"Joe Willet taking leave of Dolly Varden" ("Barnaby Rudge").

"Trotty Veck and his Dinner" ("The Chimes"). (_See p. 55._)

G. CATTERMOLE.--"Little Nell's Home" ("The Old Curiosity Shop"), 1842.

"Little Nell's Grave" (companion picture), 1842. (_See p. 134._)

HORACE H. CAUTY.--"Bebelle looking out for the Corporal" ("Somebody's Luggage"). Society of British Artists, 1880.

HERBERT DICKSEE. "The Grandfather at the Grave of Little Nell." Royal Academy, 1887.

W. MAW EGLEY.--"The Marchioness Playing Cribbage in Dick Swiveller's Sick-Room" ("The Old Curiosity Shop"). Royal Academy, 1898.

F. EDWIN ELWELL.--"Charles Dickens and Little Nell." A bronze group, purchased by the Fairmount Park Art Association for the Fairmount Park, Philadelphia, U.S.A. The figure of Little Nell was exhibited at the Art Club, Philadelphia, and awarded the Gold Medal, while the entire group obtained a prize at the Columbian Exhibition. When exhibited in England, this work of Art met with warm approval, and the sculptor offered it to the London County Council, but the emphatic wish of Dickens (as expressed in his Will) prohibited their acceptance of this interesting memorial.

W. P. FRITH, R.A.--"Dolly Varden," 1843. Also _replicas_ and other portraits, including one representing her with Emma Haredale. (_See pp. 246-7._)

"Kate Nickleby at Madame Mantalini's." Royal Academy, 1843.

"The Jailer's Little Daughter Feeding 'the Birds in the Cage.'" ("Little Dorrit").

"Little Dorrit Visits Arthur Clennam at the Marshalsea."

The first portrait of Dolly Varden was engraved by C. E. Wagstaffe in 1843; the third (now in South Kensington Museum) was reproduced in mezzotint by S. W. Reynolds; the fourth, "Dolly Varden and Emma Haredale," was engraved by S. W. Reynolds and G. S. Shury in 1845. The second portrait of Dolly, which was painted for Dickens, has never been engraved; there are in existence, however, a few impressions of a chromo-lithographic reproduction (now very scarce) of Mr. Frith's original sketch for the picture, the publication of which was unauthorised. The portrait of Kate Nickleby was engraved by W. Holl, A.R.A., and published in 1848 exclusively for the members of the National Art Union for Ireland.

The "Dorrit" pictures were painted in 1859, and engraved on steel by Lumb Stocks, R.A., as vignettes for the Library Edition, then in course of publication.

W. GALE.--"Mr. F.'s Aunt" ("Little Dorrit"). Royal Academy, 1857.

When Wilkie Collins saw this clever picture at the Academy, he was so much impressed that he wrote at once concerning it to Dickens, who replied (May 22, 1857): "I am very much excited by what you tell me of Mr. F.'s Aunt. I already look upon her as mine. Will you bring her with you?" The painting was purchased by Dickens through Collins, and realised at the sale of the novelist's effects the sum of sixty guineas.

FLORENCE GRAHAM.--"Little Nell seated in the Old Curiosity Shop." Engraved in mezzotint by Edward Slocombe, and published by Buck & Reid, 179 New Bond Street, 1888.

_Large Drawings in Water-Colours._

CHARLES GREEN, R.I.--"Gabriel Varden Preparing to go on Parade" ("Barnaby Rudge").

"Tom Pinch and Ruth" ("Martin Chuzzlewit").

"Nell and her Grandfather at the Races" ("The Old Curiosity Shop").

"Captain Cuttle and Florence Dombey."

"Little Dorrit's Visit to her Sister at the Theatre."

"Mr. Turveydrop's Dancing Academy" ("Bleak House").

"Mr. Mantalini and the Brokers" ("Nicholas Nickleby").

"The Pickwick Club."

_Small Drawings in Water-Colours._

"Barnaby Rudge with the Rioters."

"Simon Tappertit addressing the Rioters at the 'Boot' Tavern" ("Barnaby Rudge").

"Dolly Varden's Visit to Miss Haredale" ("Barnaby Rudge").

"Dick Swiveller and the Marchioness" ("The Old Curiosity Shop").

"Dick Swiveller and Fred. Trent in the Old Curiosity Shop."

"Sam Weller's Valentine."

JAMES HAMILTON.--"What are the Wild Waves Saying?" ("Dombey and Son").

EDGAR HANLEY.--"Dolly Varden." Royal Academy, 1883.

E. HUNTER.--"Little Charlotte's Writing-Lesson" ("Bleak House"). Royal Academy, 1858.

C. R. LESLIE, R.A.--"Mr. Pickwick and Mrs. Bardell." Painted for Dickens and engraved for the first Cheap Edition of the "Pickwick Papers." (_See p. 220._)

ELEANOR E. MANLY.--"'It's Cobbs! It's Cobbs!' cries Master Harry. 'We are going to be married, Cobbs, at Gretna Green. We have run away on purpose'" ("Boots at the Holly Tree Inn"). Royal Institute of Painters in Water-Colours, 1893.

MRS. M^CIAN.--"Little Nell Reading Inscription on the Tombstone." Presented to Dickens by the artist.

FRED. MORGAN.--"Little Nell and her Grandfather." Royal Academy, 1883.

R. H. NIBBS.--"Peggotty's Hut" ("David Copperfield"). Royal Academy, 1852.

CHARLES W. NICHOLLS.--"What are the Wild Waves Saying?" ("Dombey and Son"). Engraved by G. H. Every, and published by A. Lucas, 37 Duke Street, Piccadilly, 1881.

KATE PERUGINI.--"Brother and Sister.--'Oh, Floy!' cried her brother, 'how I love you! how I love you, Floy!' 'And I you, dear.' 'Oh, I am sure of that, Floy'" ("Dombey and Son"). Royal Academy, 1893.

"Little Nell." Institute of Painters in Water-Colours, 1885.

MARY S. PICKETT.--"Little Nell in the Old Church." Royal Academy, 1898.

A. J. RAEMAKER.--"What are the Wild Waves Saying?" Sculpture.

J. HALFORD ROSS.--"Our Mutual Friend." Eight Original Drawings in Water-Colour, illustrating incidents in the story.

H. R. STEER, R.I.--"The Ball at Dr. Blimber's Establishment" ("Dombey and Son").

"Little Nell and her Pet Bird." Royal Institute of Painters in Water-Colours, 1888.

"Nicholas Nickleby Interposes on Smike's Behalf." Royal Institute of Painters in Water-Colours, 1897.

LAWSON STEWART.--"'A Quiet Happy Place--A Place to Live and Learn to Die In.'" The Graveyard in "The Old Curiosity Shop." Institute of Painters in Water-Colours, 1885.

FRANK STONE, A.R.A.--"'Tilda Price," "Madeline Bray," and "Kate Nickleby." These three pictures were painted for Dickens. (_See pp. 178-9._)

F. W. TOPHAM.--"Barnaby Rudge and his Mother." Presented to Dickens by the artist. (_See p. 190._)

"Little Nell and her Grandfather in the Tent, making Bouquets for the Racecourse." Presented to Dickens by the artist. (_See p. 190._)

H. WALLIS.--"The Devotion of Sydney Carton" ("A Tale of Two Cities").

T. WEBSTER, R.A.--"Dotheboy's Hall: The Brimstone and Treacle Scene." Painted for Dickens, and engraved for the first Cheap Edition of "Nicholas Nickleby." (_See p. 220._)

In the above list the most interesting picture, in many respects, is Mr. Frith's "Dolly Varden." The artist was quite a young man, just rising into fame, when (in 1843) he made great success with several charming presentments of the locksmith's bewitching daughter, and on seeing one of these (described by Dickens as "Dolly with the bracelet"), the novelist so much admired it that he commissioned Mr. Frith to paint another portrait of her, together with a companion picture of Kate Nickleby. Writing shortly afterwards to the artist, whose acquaintance Dickens then made, he said, in reference to an engraving of the subject by C. E. Wagstaffe: "I saw an unfinished proof of Dolly at Mitchell's some two or three months ago: I thought it was proceeding excellently well then. It will give me great pleasure to see her when completed." The two pictures, when finished, were hung in the dining-room of the novelist's house. At the expiration of a few years, the portrait of Kate Nickleby was sent to Ireland (by Mr. Frith's desire) for the purpose of being engraved, and was delayed there so long that Dickens began to feel impatient. Accordingly, one morning he forwarded to the artist the following document, indited by himself:--

"ADVERTISEMENT.--To K--e N--y.--The Young Lady in Black, K.N.--If you will return to your disconsolate friends in Devonshire Terrace your absence in Ireland will be forgotten and forgiven, and you will be received with open arms. Think of your dear sister Dolly, and how altered her appearance and character are without you. She is not the same girl. Think, too, of the author of your being, and what he must feel, when he sees your place empty every day!

"_October Tenth, 1848._"

For each of these remarkable canvases Mr. Frith received the by no means extravagant sum of twenty pounds, that being the price demanded by him. At the sale of Dickens's effects, however, the portrait of Dolly Varden realised a thousand guineas, while that of Kate Nickleby found a purchaser, on the same eventful occasion, for two hundred guineas--a tribute alike to author and artist. Mr. Frith has favoured me with some interesting information respecting his presentments of Dolly Varden:--

"The picture of 'Dolly Varden' which I painted for Dickens was never engraved. Before I began it I made a study of the figure, but only the half-length, down to below the waist. This study was bought by Sir R. Rawlinson, who allowed (without asking my permission) a most villainous chromo-lithograph to be made from it, and one day to my horror I saw it in a shop-window. For anything I know to the contrary, many of these things may have been sold.[55] The original completed picture never left Dickens's possession from the time it was finished till he died, nor was it ever exhibited. The portrait of Dolly (the 'laughing' Dolly) now in the South Kensington Museum, was bequeathed by Forster, who had it from Frank Stone, for whom I painted it. I painted two copies of the 'laughing' Dolly, but I don't know what became of them. I also painted two pictures in which Dolly figures in company with Emma Haredale--in one she is feeling in her pocket for a letter addressed to Miss Haredale, and in the other she is disdainfully treating Miss Haredale's hints about Joe Willet--she throws up her head and 'hopes she can do better than that, indeed!' I have just remembered another--a small half-length--in which she is looking at herself in a mirror and giving her curls a 'killing twist.' I have no idea where these pictures are. I may add that when Dickens came to see (on completion) my portraits of Dolly Varden and Kate Nickleby, which I painted expressly for him, he told me they were 'exactly what he meant.' This, of course, delighted me. They led to a friendship which lasted till his death." It will be remembered that in 1859 the novelist gave sittings for his portrait by Mr. Frith, which was painted as a commission from Forster, by whom it was bequeathed to the Nation. This portrait, now at South Kensington, occupies the most important place between the earlier portraits of Dickens by Samuel Laurence, Maclise, and R. J. Lane, and the later presentments of him by photography.

Footnote 55: That Mr. Frith did not always entertain such an absolute objection to this reproduction is testified by the following memorandum written by him on a copy of the print now in the collection of Mr. W. R. Hughes:--"This is a very good chromo-lithograph from the first study for the picture painted by me for the late Charles Dickens. (Signed) W. P. FRITH, December 23, 1884."

It is not generally known that Mr. Frith once had the privilege of illustrating a Dickens novel, _àpropos_ of which the artist writes: "I told Dickens one day when he was sitting for his likeness that I should like to be allowed to illustrate one of his books. He seemed pleased, and proposed 'Little Dorrit.' I forget to whom I sold the pictures, and where they are now I know not." The two paintings were beautifully engraved on steel by Lumb Stocks, R.A., as vignettes for the Library Edition, 1858-59.

The sketch by an American artist, Mr. James Hamilton, of "What are the Wild Waves Saying?" has a little history attached to it. While Dickens was in Philadelphia, during his last visit to America, he expressed a wish to purchase a painting of this subject,--one of the artist's most successful productions,--but, much to the novelist's regret, it had already been sold. The original sketch was still available, however, and with this Dickens was so greatly pleased that he immediately offered to buy it; whereupon the artist insisted on presenting it to the famous author of "Dombey and Son." Soon afterwards, Mr. Hamilton was agreeably surprised to receive a set of Dickens's novels, containing a pleasant inscription in the novelist's autograph.

The titles of Mr. Charles Green's admirable series of Dickens pictures were supplied to me by the artist himself, who favoured me with a complete list shortly before his death. In reference to these remarkable drawings I have received the following communication from Mr. William Lockwood, of Apsley Hall, Nottingham, for whom they were painted on commission: "The first work of Mr. Green's that really attracted my attention was his famous water-colour Race drawing, entitled, I believe, 'Here they come!' I saw that at a friend's house, and was so struck with admiration of Mr. Green's delicate sense of humour, subtle rendering of character, and fine drawing, that I at once told my friend of my great appreciation of Charles Dickens, and saw that, in my opinion, Mr. Charles Green would make the very best illustrator of his day of that great man's work. I then sought an introduction to Mr. Green, which resulted not only in my beautiful series of drawings, but in a warm friendship with the artist. In the execution of these pictures Mr. Green found most congenial work, and I think fully justified my judgment of his special power. When the series was exhibited at our local museum, it attracted universal admiration and the delighted appreciation of all classes." Mr. Lockwood has generously lent these pictures to many London galleries, including the English Humorists' Exhibition, held at the Royal Institute of Painters in Water-Colours in 1889.

INDEX

Abbey, E. A., R.A., 222. Absolon, J., 228. Ainsworth, H., 21, 23, 24, 54, 65, 113. _All the Year Round_, 111, 160, 215. "American Notes," designs for, 157-158, 202, 219, 221, 222, 226. "Artist and the Author, The," 22. _Athenæum, The_, 33, 43, 44, 60, 76. Atkinson, W. A., 243.

Barnard, Fred, 221, =222=, 226, 227; character sketches, 228-229; pictures, 243. Bartlett, W. H., 243. "Battle of Life, The," designs for, 142-145, 151, 156-157, 164-168, 221. Baxter, W. G., 229. Becker, F. P., 137, 163. Bell, Mackenzie, 33. _Bell's Life in London_, 3, 30, 139, 233. Benjamin, W. E., 225. Bentley, Richard, 9, 61. _Bentley's Miscellany_, 9-10, 11, 17, 19, 21, 25-26, 61, 240; designs by G. Cruikshank, 25, 242. Bicknell, E., 114. Billings, H., 225. Bolton, T., 158. Bonchurch, 118, 147. Bracewell, C. H., 229. Browne, Dr. E. A., 99, 101. Browne, Gordon, 226. Browne, Hablôt K. ("Phiz"), 25, 52, 54, =59-120=, 122, 123, 124, 132, 146, 147, 192, 193, 195, 197, 204, 209, 217, 221, 226, 227, =229-230=, 239, 240, 242; biographical sketch, 113-118; remuneration, 116; illness, 116; applies for pension, 117; death, 117; personal characteristics, 117-118; water-colour _replicas_ of Dickens illustrations, 118; "extra illustrations," 229-230. Browne, Hablôt K.," Life and Labours of," 96, 111, 119-120. Browne, W. G. R., 111. Brune, Morton, 61. "Brush," 230-231. Bryan, Alfred, 231. Bull and Mouth Street, St. Martin's le Grand, 48. Bundy, E., 243. Burnett, H., 47. Buss, Frances Mary, 49, 57. Buss, Rev. A. J., 51, 56, 57. Buss, Robert W., =47-57=, 58, 60, 62, 63, 64; remuneration for the "Pickwick" designs, 51; his pictures, 55-56, 243; his illustrations, 56; death, 57.

Calvert, E., 183. Cambridge, 59. Camden Street, Camden Town, 57. Cancelled designs--by G. Cruikshank, 16-17, 22; by R. W. Buss, 50-51, 242; by J. Leech, 141. Canonbury Tower, 30. Canterbury Cathedral, 105. _Casket, The_, 239. Caswell, E., 74. Cattermole, G., 80, 82, 83, =121-135=, 162; pictures, 134, 243; illness and death, 134. Cauty, H. H., 243. _Century, The_, 210. Chapman, E., 32, 37, 38, 42, 44, 45, 47, 61, 83, 128, 139, 158. Chapman, F., 139, 212. Character Studies--by F. Barnard, 228-229; by W. G. Baxter, 229; by A. Bryan, 231; by J. W. Ehninger, 232; by C. D. Gibson, 232, 239, 242; by "Kyd," 233; by "Stylus," 238 (and _see_ 243-248.) "Charles Dickens by Pen and Pencil," 208. "Charles Dickens: Gossip about his Life, Works, and Characters," 228. "Charley Chalk: or the Career of an Artist," 242. Charterhouse, The, 138. Cheap editions, illustrators of, 219-226. Cheltnam (engraver), 137. "Children from Dickens's Novels," designs by F. O. C. Darley, 223. "Child's Dream of a Star, A," designs by H. Billings, 225. "Child's History of England, A," designs for, 189, 193, 202, 221. Chominski, T. V., 225. "Chimes, The," designs for, 141, 144, 150-151, 155-156, 162-163, 221; picture by Buss, 55, 243. Christie, J. E., 226. Christmas Books, designs for, 119, 222. "Christmas Carol, A," designs for, 140, 144, 146, 221, 225, 242. Christmas Stories, designs for, 221, 222. Clarke, J. Clayton. _See_ "Kyd." Clint, G., A.R.A., 48. Colborn, Henry, 25. Collins, C. Alston, 204, 205, 209. Collins, Wilkie, 159, 203, 204, 244. Cooke, W. C., 226. Corbeaux, F., 228. Corbould (engraver), 137, 173. Cornwall, Logan Stone in, 154; St. Nighton's Keive in, 168. Cosens, F. W., 13, 77, 86, 118, 201, 233. Coveny, C, 231. "Cricket on the Hearth, The," designs for, 141-142, 151, 156, 163-164, 180, 225, 233; picture by R. W. Buss, 55, 243. "Crowquill, Alfred," _see_ "A. H. Forrester." Cruikshank, George, =1-28=, 33, 47, 54, 55, 60, 68, 91, 114, 133, 146, 214, 217, 239, 242; portraits of, 5-6; Fairy Tales, 26-27; described by Mrs. Gamp, 27-28; as an actor, 28; remuneration, 28; death, 28; bust by Adams, 28.

_Daily News_, 99, 182. Daly, Augustin, 37, 38. Dalziel Brothers, 137, 167, 198, 201, 212. Dalziel, E. G., 221. Darley, F. O. C, =223-224=, 231; pictures by, 223. Devonshire Terrace, Regent's Park, 246. Dexter, J. F., 85, 86, 89, 93, 98, 100, 108, 111, 112, 141, 229. "Dickens and _Punch_," 174. Dickens, Charles, portraits of, 5-6, 56, 74, 168, 220, 221, 225, 236, 237, 238, 247. Dickens, Frederick, 44, 45. Dickens, Kate, 205 (and _see_ "Kate Perugini"). Dickens, Lieut. Sydney, 178. Dickens, Mrs. Charles, 44, 45, 191. Dickleburgh, 121. Dicksee, H., 244. Dobson, Austin, 15. Dolly Varden, notes on portraits by W. P. Frith, R.A., 246-247. Doyle, J. ("H. B."), 149. Doyle, R., 137, 141, 142, =149-152=, 165, 172. Drury Lane, Theatre Royal, 154. Duchess of St. Albans, The, 85, 98, 104, 107. Duke Street, Grosvenor Square, 56. Dulcken, A., 231-232. Du Maurier, G., 146.

Eastlake, Sir C., 181. East London Theatre, 153. Eddystone Lighthouse, C. Stanfield's act-drop, 159. Edinburgh, 153; theatre, 154. Edwards (engraver), 85, 100. Egley, W. M., 244. Ehninger, J. W., 232. Elderton, Miss, 121. Elwell, F. E., 244. "Empty Chair, The" 215. "English Graphic Satire," 57. "Etchings and Sketchings," by John Leech, 39. Etty, William, R.A., 63. Everitt, Graham, 26. Eytinge, Sol., =224-225=.

"Fagin in the Condemned Cell," 15-16, 21-22, 23, 214. "Fairy Library, The," 27. Fennell, J. G., 62, 117. Field Lane, 21. Fields, J. T., 209, 225. Fildes, Luke, R.A., 117, =204-217=; recollections of Dickens, 208, 216; his drawing of "The Empty Chair," 215. Finden, E. & W., 60, 62, 63, 64, 74, 114, 119, 120, 179, 228, 233. Findlay (engraver), 10, 240. Fisher, Miss L. M., 226. Flaxman, 138. Fleet Market, 132. Forrester, A. H. ("Alfred Crowquill"), 59, 227, =231=, =240=. Forster, John, 18, 19, 22, 24, 51, 92, 93, 94, 107, 118, 127, 134, 143, 144, 145, 147, 150, 154, 156, 157, 162, 163, 164, 165, 168, 169, 170, 200, 215, 247. "Fortunio," 203. Fraser, F. A., 221. "Frauds on the Fairies," 26. French, 222. French, H., 221. Frith, W. P., R.A., 148, 205, 213; pictures, 244. Frost, A. B., 221, 222, 223. "Frozen Deep, The," 203. Furniss, H., 226. Furnival's Inn, 36, 39, 45, 59, 91, 119.

"Gabriel Grub," ("Pickwick"), designs by T. Nast, 223. Gad's Hill, 205, 214, 225. Gale, W., 244. Gaugengigl, J. M., 225. "George Silverman's Explanation," designs by F. Barnard, 222; by M. Greiffenhagen, 226. Gibson, C. D., =232=, =242=. Gilbert, Sir John., R.A., 223, =224=, 227, 232-233, 241. "Gleanings from Popular Authors," Dickens illustrations by J. Nash, F. Barnard, T. W. Wilson, J. E. Christie, and G. Browne, 226. Gorway, C. M., 233. Graham, Florence, 244. _Graphic, The_, 206, 207, 215. Gray, C., 61, 80, 137. "Great Expectations," designs for, 201, 221, 222, 223, 236. Greenaway (engraver), 232. Green, Charles, =221-222=, 225; pictures, 245, 248. Green, Townley, 221. Green, W. T., 85, 137, 198. Greiffenhagen, M., 226. Groves (engraver), 137.

Hablôt, Colonel, 114. Hall, Mr. (Chapman & Hall), 44, 49, 116. Hamerton, P. G., 2, 183. Hamilton, Colonel, 6. Hamilton, J., 245, 248. Hampstead Road, 199. Hanley, E., 245. "Hard Times," designs for, 220, 221, 222. Harley, J. P., 73. Harrison, F., 80, 82. "Haunted Man, The," designs for, 146, 157, 173, 175-178, 221. Haweis, Rev. H. R., 151. Heath, W., 233. "Heiress, The," 32, 38. Highgate Cemetery, 116, 179. "History of _Punch_," 149. Hodder, G., 15. Hogarth, Miss G., 100, 168, 216. "Holiday Romance," designs by F. Barnard, 222; by Sir J. Gilbert and G. G. White, 224. "Holly Tree Inn, The," picture by Eleanor E. Manly, 245. Hood, Tom, 113, 140. "Hook and Eye" Club, The, 6. Hook, Theodore, 32. Houghton, A. Boyd, =220=. _Household Words_, 23, 26, 189. Hove, 117. Hughes, W. R., 247. "Hunted Down," designs by F. Barnard, 222; by M. Greiffenhagen, 226. Hunter, E., 245. Hunt, Holman, 148. Hunt, Leigh, 32, 107, 150. Hyde Park Place, 206, 208, 211, 216.

_Illustrated London News_, 224, 240. Irving, Washington, 220. Islington, 31, 35, 38. "Is She His Wife?" design by F. W. Pailthorpe, 236. Italy, 162, 182.

"Jack Ketch," 33. Jackson, John, 4, 36, 41, 48, 54, 56. Jackson, Mason, 60. "Jacob Parallel," =236=, =241-242=. "Jack Straw's Castle," Hampstead, 162. Jerrold, Blanchard, 24. Jerrold, Douglas, 140, 153. Jodrell, Rev. Sir E. R., 168.

Kate Nickleby, notes on the portraits by W. P. Frith, R.A., 246-247. Keeley, Robert, 142. Kennington, 113. Kensal Green, 28. "Ketch Papers, The," 33. Knight (engraver), 85, 100. Knight, Admiral Sir John, 114. Knight, Charles, 56. "Kyd" (pseudonym of J. Clayton Clarke), 233.

"Lamplighter, The," 25; design by F. W. Pailthorpe, 236. "Lamplighter's Story, The," 25-26. Landells, E., 46, 80. Landseer, Sir E., R.A., 135, 137, 162, =180-181=. Lane, R. J., A.R.A., 247. Lang, A., 92. Laurence, S., 238, 247. Leamington, 96. Lee, 59. Leech, John, 59, 60, 114, =138-148=, 161, 173, 176, 240; extraordinary blunder in "The Battle of Life" by, 145; "The Rising Generation," 147; as an actor, 147; accident to, 147; death, 148; portrait by Sir J. E. Millais, P.R.A., 148. Leighton, Lord, P.R.A., 195, 206. Leslie, C. R., R.A., =219-220=, 245. Letters:-- Browne (H. K.) to W. G. R. Browne, 111-112; to Morton Brune, 61; to Dickens, 83, 84, 115; to R. Young, 113, 120. Cattermole (G.) to Dickens, 130. Chapman (E.) to Dickens, 43. Chapman (F.) to _Anon._, 139. Cosens (F. W.) to author, 118. Cruikshank (G.) to Dickens, 14; to _The Times_, 19-22. Dickens (C.) to _Anon._, _re_ "Pickwick," 36-37; to _The Athenæum_, 43-44; to H. K. Browne, 88-89, 93, 94, 96-97, 99, 100, 111, 115-116; to G. Cattermole, 122-134; to Chapman & Hall, 205; to E. Chapman, 83-84, 158; to F. Chapman, 212; to G. Cruikshank, 16-17; to C. Dickens the younger, 44-45; to Mrs. C. Dickens, 191; to J. T. Fields, 209; to L. Fildes, R.A., 207; to J. Forster, 24, 92, 94, 103, 145, 147, 157, 179, 200; to T. Longman, 194; to S. Palmer, 184; to R. Seymour, 39-40; to C. Stanfield, R.A., 154, 155-156, 159; to F. Stone, A.R.A., 158-159, 176-178; to M. Stone, R.A., 193, 196, 197-198; to Wilkie Collins, 244. Fennell (J. G.) to author, 62. Leech (J.) to J. Forster, 143-144. Lockwood (W.) to author, 248. Maclise (D., R.A.) to C. Dickens, 169-170; to J. Forster, 163, 164, 165, 166, 167, 170. Young (R.) to author, 64. "Letters of Charles Dickens, The," 159. Lever, Charles, 65, 113. "Library of Fiction, The," 3, 33, 45-46, 54-55, 61-62. "Lighthouse, The," 159. Lincoln's Inn Fields, 163. Linnell, J., 182. Linton, W. J., 137, 140, 144 (and see note 144), 225. "Little Talk about Spring and the Sweeps, A," designs by Buss and Cruikshank, 54-55. Liverpool Road, Islington, 35. Lockwood, W., 248.

Mackenzie, Dr. S., 17-18, 19. Maclise, D., R.A., 74, 122, 134, 137, 143, 144, 154, =161-171=, 247; amusing sketch by, 163; portrait of Dickens by, 168; letter _re_ "Grip," 169-170; death, 170; Dickens's tribute, 170-171. Macready, W., 127. Macrone, J., 3, 4, 25, 115. Maddox, W., 233. Maguire, T. H., 220. Mahoney, J., 221. Manly, Eleanor E., 245. Marold, 225. Marshalsea, The, 111. Martin (engraver), 137, 173. "Maxims and Hints for an Angler," 31, 38. Mayhew, Horace, 15, 32. M^cIan, Mrs., 245. M^cLean, 32. M^cLenan, J., 223. Meadows, Kenny, 227, =233-234=, =240-241=. "Memoirs of Grimaldi," designs by G. Cruikshank, 24; by F. W. Pailthorpe, 236. Meynell, Mrs., 210. Millais, Sir J. E., P.R.A., 148, 195, 205, 206. Minories, The, 97. Mittis, 225. _Monthly Magazine, The,_ 3, 116. Morgan, F., 245. _Morning Chronicle, The_, 3, 4, 33. "Mr. Nightingale's Diary," design by F. W. Pailthorpe, 236. Mudfog Papers, The, designs by G. Cruikshank, 25, 242.

Nash, J., 226. Nasmyth, 154. Nast, T., 222, 223. "Nemo" (pseudonym of H. K. Browne), 65. Newman Street, 62. "New Piljian's Projiss, A," 27; designs by F. W. Pailthorpe, 236. Nibbs, R. H., 245. Nicholls, C. W., 245. Nickleby, Kate, Notes on the Portraits by W. P. Frith, R.A., 246-247.

Onwhyn, T., 227, =234-235=, =241=. "Origin of Sam Weller, The," design by F. W. Pailthorpe, 236. _Our Young Folks_, 224.

Paget, H. M., 235. Pailthorpe, F. W., 6, 73, 227, 231, =235-236=, =242=. Palmer, A. H., 184, 185, 188. Palmer, Samuel, =182-188=; his water-colour drawings, 183, 184; etchings, 183. "Parallel, Jacob," =236=, =241-242=. Payn, James, 108. Peggotty's Boat, 103. Perugini, Kate, 245 (and _see_ "Kate Dickens"). "Peter Palette" (pseudonym of Thomas Onwhyn), 227, =234-235=. Phillips, Watts, 111. "Phiz," 65 (and _see_ "Hablôt K. Browne"). Pickett, Mary S., 245. Pickwick, Mr., prototype of, 38-39; Sketches by H. K. Browne, 72; by C. D. Gibson, 242. "Pickwick Papers, The, An Account of the Origin of," 42. "Pickwick, Tales from," designs by E. J. Wheeler, 226. "Pic Nic Papers, The," 25, 115. Pictures of Dickens subjects, 243-248. "Pictures from Italy," 182; designs by H. K. Browne, 119; by S. Palmer, =183-187=; by M. Stone, R.A., 202; by G. Thomson (Household Edition), 221; by M. Greiffenhagen, 226. Pinwell, G. J., =220=. Planché, 150, 203. Portraits:-- Cruikshank (G.) 5-6, 28; Dickens (C.), 5-6, 56, 74, 168, 220, 221, 225, 236, 237, 238, 247; Dickens (Lieut. Sydney), 178; Leech (J.), 148; Seymour (R.) 37. _Punch_, 75, 136, 138, 139, 140, 147, 150, 172, 173, 174, 240, 241. "_Punch's_ Valentines," 75. Putney Bridge, 211; church, 42, 211.

"Quiz" (pseudonym of Dickens), 74.

Raemaker, A. J., 246. Ralston, J. M^cL., 221. "Readings of Mr. Charles Dickens, The," designs by S. Eytinge, 224. Regent's Canal, 199. Reinhart, C. S., 222. "Reprinted Pieces," designs by F. Walker, A.R.A., 221; by E. G. Dalziel (Household Edition), 221. Richardson, E., 236. "Rising Generation, The," by John Leech, 147. Roberts, C., 212. Roberts, D., R.A., 154. Rochester, 214; Castle, 216; Cathedral, 211, 216; Eastgate House, 211, 216; High Street, 211. Roe (engraver), 59. Roffe, E., 230. Ross, J. Halford, 246. Rotherhithe, 198. Ruskin, Prof. John, 1, 16, 82, 121, 146, 150.

Sala, G. A., 4, 28, 67, 142. "Sam Weller" (pseudonym of Thomas Onwhyn), 227, =234-235=; "The origin of," 236. "Sam Weller's Jest Book," 239. Sands (engraver), 63. Sandys, F., 195. Scenes (various) from Dickens, depicted by C. Coveny, 231; by F. O. C. Darley, 231; by N. P. Whitlock, 238; by C. D. Gibson, 232, 242; miscellaneous, 240; pictures, 243-248. "Scrap Book of Literary Varieties, The," 234. Seymour, Mrs., 42, 44; her "Pickwick" pamphlet, 42-45. Seymour, R., =29-46=, 47, 51, 54, 60, 64, 66, 211, 240; death of, 35, 36-37, 139; tribute to, 35; final drawing, 36; remuneration, 40; portrait of, 46. Seymour, R., jun., 43. Shaw, William, prototype of Squeers, 75-76. Sheppard, W. L., 222. Shury, G. S., 244. Sibson, T., =237=. "Sketches of Young Couples," designs by H. K. Browne, 74. "Sketches of Young Gentlemen," designs by H. K. Browne, 74. "Sketches of Young Ladies," designs by H. K. Browne, 74. Smith (engraver), 137. Smith, Orrin, 61. "Somebody's Luggage," picture by H. H. Cauty, 243. Spielmann, M. H., 60, 77, 149, 210, 222. "Squib Annual, The," 43. St. Andrew's Street, Seven Dials, 199. St. Bartholomew's Hospital, 138. St. Dunstan's Church, Fleet Street, 150, 155. St. James's Theatre, 73, 191. St. James's, Westminster, 20, 21. St. Martin's Lane, 63. St. Nighton's Keive, near Tintagel, 168. St. Paul's Cathedral, 28, 181. Stanfield, C., R.A., 137, 150, =153-160=, 168, 173, 219; presents from Dickens, 155, 157, 159; drawing of S.S. _Britannia_, 158; Eddystone Lighthouse, act drop, 159; nicknames, 159; death, 160; Dickens's tribute, 160. Stanfield, F., 156, 159. Stanfield, G., 160. Staple Inn, 212. Steer, H. R., 246. Stewart, Lawson, 246. Stone, F., A.R.A., 137, 158, 173, =175-179=, 192, 194, 195, 203, =237-238=, 247; as an actor, 178; Mrs. Gamp's description of, 178; nicknames, 178; his portrait of Lieut. Sydney Dickens, 178; death, 179; pictures, 246. Stone, Marcus, R.A., 113, 175, 177, =192-203=, 204, 215; his first design for Dickens, 195; his drawings for "Our Mutual Friend," =195-201=; the prototype of Mr. Venus, 199-200; private theatricals, 203. "Strange Gentleman, The," =73=; designs by H. K. Browne, 73; by F. W. Pailthorpe, 236. "Stroller's Tale, The" ("Pickwick"), 36, 39-40. "Stylus," 238. "Sunday Under Three Heads," =61-62=. Swain, Joseph, 106, 137, 150.

Talfourd, Sergeant, 84. Tavistock House, 158, 159, 175, 203; Square, 179. Taylor, Weld, 238. Tenniel, Sir John, 136, 137, 147, =172-174=, 176, 191. Thackeray, W. M., 12-13, 15, 28, 59, 62, 135, 138, 139, 166, 175, 180, 195, 219, 240. Theatrical entertainments, 27, 158-159, 178, 190, 191, 203. Thomas, W. L., 206. Thomson, D. C, 96, 111, 119. Thomson, Gordon, 221. Thompson, J., 137, 166. Tilney, F. C., 226. "Timothy Sparks" (Dickens's pseudonym), 61. Topham, F. W., =189-191=; pictures of scenes in "Master Humphrey's Clock," 190, 246; love of acting, 190-191; ability as a juggler, 191. Topham, F. W. W., 190. "Travelling Sketches" ("Pictures from Italy"), 182. Trollope, Anthony, 113, 201. "Tuggses at Ramsgate, The," 33, 54; designs by Seymour and Cruikshank, 46.

"Uncommercial Traveller, The," designs for, 220, 221, 222, 226.

Varden, Dolly, notes on portraits by W. P. Frith, R.A., 246-247. Vasey (engraver), 80. "Village Coquettes, The," design by F. W. Pailthorpe, 236.

Walker, C. W., 228. Walker, F., A.R.A., 195, =221=; pictures by, 221. Wall, C. H., 238. Wallis, H., 246. Warren, H., 233. Weatherhead (engraver), 64. Webster, T., R.A., 219, =220=, 246. Wedmore, F., 6, 7. "Weller, Sam" (pseudonym of Thomas Onwhyn), 227, =234-235=; "The Origin of," 236. Wheeler, E. J., 226. White, G. G., 224. Whitehead, C., 33, 45. "Whole Hogs," 23. Williams, S., 80, 123. Williams, T., 133, 137, 167, 220. Willis (prototype of Mr. Venus), 199-200. Wilson, Thomas, 233, 236. Wilson, T. Walter, 226. Worth, T., 222. Wright (engraver), 232. Wright, W., 4, 105, 220, 236. W., T. C., 238. W., W. C., 239.

Yarmouth Denes, 103, 106. Yates, Edmund, 60. Yeager, J., 235, 237. Young, Robert, 63, 64, 85, 87, 100, 113, 117, =119-120=, 229.

REFERENCES TO THE PRINCIPAL WORKS

"Barnaby Rudge," =81-86=, =127-133=, 169, 202. Designs by Hablôt K. Browne, 85-86, 230; by George Cattermole, 127-133; by Frederick Barnard, 222; by Absolon and Corbeaux, 228; by C. B. Bracewell, 229; by E. Richardson, 236; by T. Sibson, 237; Anon., 239. Pictures by E. Bundy, 243; by R. W. Buss, 55, 243; by W. F. Frith, R.A. 244, 246-247; by C. Green, 245; by E. Hanley, 245; by F. W. Topham, 190, 246 (and _see_ "Master Humphrey's Clock").

"Bleak House," =106-109=, 193. Designs by H. K. Browne, 106-109; by F. Barnard, 222. Pictures by C. Green, 245; by E. Hunter, 245.

"David Copperfield," =102-106=, 207, 208. Designs by H. K. Browne, 102-106; by F. Barnard, 222; by Phil May, 226. Picture by R. H. Nibbs, 245.

"Dombey and Son," =90-101=, 170. Unpublished designs by R. W. Buss, 55; designs by H. K. Browne, 90-101, 230; by F. Barnard, 222; by W. L. Sheppard, 222. Pictures by H. K. Browne, 99; by W. H. Bartlett, 243; by C. Green, 245; by J. Hamilton, 245, 248; by C. W. Nicholls, 245; by K. Perugini, 245; by A. J. Raemaker (sculpture), 246; by H. R. Steer, 246.

"Little Dorrit," =109-111=, 160. Designs by H. K. Browne, 109-111; by M. Stone, R.A. 195, 201; by J. Mahoney (Household edition), 221; by W. P. Frith, R.A., 244, 247. Pictures by W. P. Frith, R.A., 244; by W. Gale, 244; by C. Green, 245.

"Martin Chuzzlewit," =86-90=. Designs by H. K. Browne, 86-90; by F. Stone, A.R.A., 179; by F. Barnard, 222; by C. H. Wall, 238. Picture by C. Green, 245.

"Master Humphrey's Clock," =79-86=, 239-240. Designs by H. K. Browne, 79-86; by G. Cattermole, 122-134, 162; by D. Maclise, R.A., 162; by F. Barnard, 222; by "Brush," 230-231; by "Jacob Parallel," 236, 241-242; by T. Sibson, 237; by T. C. W., 238 (and _see_ "The Old Curiosity Shop" and "Barnaby Rudge").

"Mystery of Edwin Drood, The," 202, 204, 205, 206, 207, 208, =209-216=, 225. C. A. Collins's design for wrapper, 205; designs by L. Fildes, R.A., 208-217.

"Nicholas Nickleby," =74-78=, 168, 180. Designs by H. K. Browne, 76-78; by F. Stone, A.R.A., 178-179, 237-238; by T. Webster, R.A., 220; by F. Barnard, 222; by C. S. Reinhart, 222; by Sir John Gilbert, R.A., 232; by K. Meadows, 233-234, 241; by T. Onwhyn, 235, 242; by W. Taylor, 238; Anon., 239. Pictures by W. P. Frith, R.A., 244, 246-247; by C. Green, 245; by H. R. Steer, 246; by F. Stone, A.R.A., 178-179, 246; by T. Webster, R.A., 220, 246.

"Old Curiosity Shop, The," =80-81=, =123-127=; Designs by H. K. Browne, 80-81, 85, 221, 229-230; by G. Cattermole, 123-127, 133; by D. Maclise, R.A., 162; by C. Green, 221; by T. Worth, 222; by W. Maddox and H. Warren, 233; by K. Meadows, 234; by "Stylus," 238; Anon., 239; Water-colour drawings by H. K. Browne, 86. Pictures by G. Cattermole, 134, 243; by W. A. Atkinson, 243; by H. Dicksee, 244; by W. M. Egley, 244; by F. E. Elwell (sculpture), 244; by F. Graham, 244; by C. Green, 245; by Mrs. M^cIan, 245; by F. Morgan, 245; by M. S. Pickett, 245; by K. Perugini, 245; by H. R. Steer, 246; by L. Stewart, 246; by F. W. Topham, 190, 246 (and _see_ "Master Humphrey's Clock").

"Oliver Twist," =9-24=, 60. Designs by G. Cruikshank, 9-24; sale of original drawings, 13; water-colour _replicas_, 13; _Edition de luxe_, 13; The Cancelled Plate, 16-17, 22; Cruikshank's Account of the Origin of the Story, 17-24. Designs by H. K. Browne, 119; by J. Mahoney (Household edition), 221; by F. W. Pailthorpe, 236; Anon., 239.

"Our Mutual Friend," 148, 192, =195-201=, 204. Designs by A. B. Houghton, 220; by J. Mahoney (Household edition), 221. Pictures by J. H. Ross, 246.

"Pickwick Papers, The," 29, =32-45=, 47, 48, =49-54=, =58-61=, 139, 182, 211, 213, 240. Designs by R. Seymour, 36-37, 41, 50, 64; by R. W. Buss, 50-54, 62, 64, 242; by J. Leech, 60, 139; by H. K. Browne, 62-73, 229; by C. R. Leslie, R.A., 219, 220; by T. Nast, 222; by A. B. Frost, 223; by E. J. Wheeler, 226; by C. Coveny, 231; by "Crowquill," 231, 242; by A. Dulcken, 231-232; by Sir John Gilbert, R.A., 232, 241; by W. Heath, 233; by T. Onwhyn, 234-235; by H. M. Paget, 235; by F. W. Pailthorpe, 235-236; by T. Sibson, 237; by "Stylus," 238; by W. C. W., 239; Anon., 239. Pictures by C. Green, 245; by C. R. Leslie, R.A., 200, 245.

"Sketches by Boz," =3-9=, 23, 24, 32, 46, 60, 73. Designs by G. Cruikshank, 3-9, 54; by H. K. Browne, 118-119; by F. Barnard, 222; by A. B. Frost, 222. Picture by F. Barnard, 243.

"Tale of Two Cities, A," =111-113=, 192. Designs by H. K. Browne, 112-113; by M. Stone, R.A., 202; by F. Barnard, 222; by J. M^cLenan, 223. Pictures by F. Barnard, 243; by H. Wallis, 246.

THE END

Printed by BALLANTYNE, HANSON & CO. Edinburgh & London

* * * * *

TRANSCRIBER NOTES:

Missing punctuation has been added and obvious punctuation errors have been corrected without note.

Archaic words and alternate spellings have been retained with the exception of those noted below.

Page 13: "Syke's" changed to "Sykes's" for spelling consistentcy (Sykes's[3] farewell to his dog;).

Page 67: "especally" changed to "especially" (the original designs, especially if he saw an opportunity for improving them.)

Page 73: "than" changed to "that" (It was under such distressing conditions that in 1873-74 he executed a commision).

Page 81 and 88: "apropos" changed to "àpropos" for consistentcy ("Phiz" was often àpropos) and (sly touches of humour peculiarly àpropos of the principal theme.)

Page 136: "encourged" changed to "encouraged" (Its extraordinary popularity encouraged him to prepare a similar story).

End of Project Gutenberg's Dickens and His Illustrators, by Frederic G. Kitton