A Handbook of Illustration. A. Horsley Hinton
are shut in by mountains,' he says, 'but the blue lake seems as wide as the sea. On a rocky promontory on the left hand the trees grow down to the water's edge and the banks are precipitous, indicating the great depth of this part of the lake. The water is as smooth as glass; on its surface is one vessel, a heavily laden market boat' (and so on). There is no need to repeat it all; but when half a column of word-painting had been written (and well written) the correspondent failed to present the picture clearly to the eye without these four explanatory lines (no more) which should of course have been sent with his letter."
In the same way small sketch plans (no matter how roughly made) are of great assistance in describing the position of a fire, a murder, or anything else of public importance; not to mention the value such descriptive lines often are in private letters.
Whilst, then, Art and Illustration are distinct, and much of the latter may be within the reach of many to whom the former is impossible, there is no reason why either should needlessly offend the canons of the other. Art—seeking, as it should, to awaken a sense of pleasure in the beautiful—adheres to truth, in idea if not in fact. Illustration, which portrays fact truthfully, may yet do so in such manner as shall not annoy the cultivated and artistic senses; and this is the art of illustration.
Here, as in other matters, much depends on a knowledge and exercise of the mere technique or craftsmanship: the means to be employed, and the manner of employing them.
With pen or pencil we might satisfactorily produce such a diagram or drawing as should illustrate our speech, but the exigencies of such gigantic institutions of civilisation as books, magazines, and newspapers, demand that the same illustration shall be presented to thousands of readers at the same time. In former times the original drawing was copied by craftsmen on to wood or metal, and then carved so that a "block," containing the design in relief, might be set up in the printing press and printed in conjunction with the letterpress type.
Wonderful skill did the wood-engraver acquire in reproducing the original and in interpreting the artist's idea; but his work took time, which had to be paid for, and sometimes the artist found that in passing through the intermediary wood-engraver, his intention had been wrongly construed, and even a departure made from the accuracy of his drawing. Then came Photography, and it was found possible to photograph the original on to the surface of the block instead of drawing it. It was next found possible, under given conditions, to substitute for the engraver a purely mechanical means, whereby the surface of the block was suitably carved to print with ink the requisite design.
Thus a photographic and chemical process supplants the hand-work of the engraver, and a perfect replica of the original, in no way dependent upon the personal ability of the engraver, is obtained. The same process, working blindly, produces a facsimile equivalent to the artist's own drawing; and does so with such speed, and at such small expense, that for one penny we may purchase to-day a newspaper filled with exact copies of drawings of events which happened only yesterday. Thousands of books and papers, the world over, are now replete with illustrations: the expense of producing which by the older methods would have made impossible such welcome additions to the printed page.
Nor does it appear that the gigantic dimensions, and high state of perfection, which Process illustration has reached, in any way represents the limit of its possibilities in either respect. It has been reasonably conjectured that in the near future every newspaper and periodical publication will be illustrated, and almost each day sees some advancement, some improvement, in the daily practice of the various processes of reproduction, so that in writing a book of the present kind it is difficult to keep the information therein contained fully abreast of the times. While it is in the hands of the printer some new thing may be found out, some new application of a method successfully attempted, which shall make the novelty of yesterday give place to the invention of to-day.
The pride of the littérateur may make him feel that the use of pictures, as an assistance to writing, indicates incapacity or feebleness on the part of the author. Yet, able as is the description of such familiar characters as Mr. Pecksniff, Pickwick, Jingle, and others, how various would have been the idea conjured up by different readers, were it not for the inimitable drawings of Cruickshank or "Phiz." Were not Shakespeare's characters intended to be illustrated—not by drawings perhaps, but by "living pictures"?
And, finally, out of the simple instruments for illustration there has been evolved a greater thing. The same means as are employed to reproduce the draughtsman's drawing, may also reproduce, and place in the hands of the multitude, reproductions of the works of great master artists; so that something of the treasures of the Pitti, and the Louvre, may be seen in English homes to-day. The same simple methods, used for mere illustration, have been wrestled with by those who possess art as a birthright from the gods, and through their efforts our books may now contain pictures (process reproductions) which are full of fine artistic feeling; not merely illustrating the text, but awakening a sense of pleasure and exaltation at the representation of nature's beauties. Decorative pages, ornate with noble designs, brighten a book like gleaming crystals in a rich but dark mine, and relieve the monotony of too perfect a symmetry. A chapter heading, a tail piece, a decorated initial, and here and there a picture page, exert an influence like sparkling spring and smiling flowers, for joy and sweet refreshment by the way.
CHAPTER II.
A NEGLECTED FIELD.
A form of book illustration too much neglected, and one possessing peculiar advantages, is Margina Illustration. Decorated or illustrated margins may be associated in idea with the early monastic work, when the solitude and gloom of the recluse's life was relieved by the little enjoyment which must have attended the illumination of holy books, but it is not quite the purely decorative to which I would refer.
In some modern editions, in which an old style is affected, a wide margin on the top, bottom, and outer edge of the letterpress is preserved so wide that ample space might be found to introduce such trifling illustrations as would be amply sufficient to fix an impression or suggest to the imagination of the reader ideas which the mere letterpress might fail to awaken.
LINE REPRODUCTION FROM PEN SKETCH.
(Original 13 x 9 inches.)
Too often our illustrations in books are separated from the text to such a degree that a continuity of idea is all but impossible. We read, perhaps—"Night wanes—the vapours round the mountains curl'd melt into morn, and Light awakes the world. Man has another day to swell the past," &c., &c., &c.; but long before we come to the page which illustrates this delightfully pictorial passage from one of Lord Byron's romantic works we read—"'Tis morn—'tis noon—assembled in the hall. The gathered chieftains come to Otho's call:" and not perhaps until we have passed the third or fourth stanza, and are trying to picture in our minds the brilliant assemblage of Spanish chieftains, and the fierce challenge of the accused Lara terminating with "Demand thy life!" do we turn over a page and confront a dainty illustration of the opening lines "Night wanes," &c.—an interruption as undesirable and distracting as when the lecturer, through some mistake in the arranging of his lantern slides, sees projected on the screen a photogram of the grim walls of Newgate Prison, when, with the words "I will now show you a picture of where some of England's heroes have found a resting-place," he expected his assistant to put up a slide of Westminster Abbey. It is not always possible even to get our book illustrations to face the matter which refers to it, and even if that can be arranged, or the illustration can actually come into the same page, the act of turning from text to picture means an interruption and severing the continuous thought. Could our illustrations appear in the margin, between