ated
also "Deborah Dent and her Donkey" and "Madame Figs' Gala." Newman
issued many of these books, in conjunction with Messrs. Dean and Mundy,
the direct ancestors of the firm of Dean and Son, still flourishing, and
still engaged in providing cheap and attractive books for children. "The
Gaping Wide-mouthed Waddling Frog" is another book of about this period,
which Mr. Tuer included in his reprints. Among the many illustrated
volumes which bear the imprint of A. K. Newman, and Dean and Mundy, are
"A, Apple Pie," "Aldiborontiphoskyphorniostikos," "The House that Jack
Built," "The Parent's Offering for a Good Child" (a very pompous and
irritating series of dialogues), and others that are even more directly
educational. In all these the engravings are in fairly correct outline,
coloured with four to six washes of showy crimson lake, ultramarine,
pale green, pale sepia, and gamboge.

[Illustration: ILLUSTRATION FROM "GUTTA PERCHA WILLIE." BY ARTHUR HUGHES
(STRAHAN. 1870. NOW PUBLISHED BY BLACKIE AND SON)]

[Illustration: ILLUSTRATION FROM "AT THE BACK OF THE NORTH WIND." BY
ARTHUR HUGHES (STRAHAN. 1869. NOW PUBLISHED BY BLACKIE AND SON)]

Even the dreary text need not have made the illustrators quite so dull,
as we know that Randolph Caldecott would have made an illustrated
"Bradshaw" amusing; but most of his earlier predecessors show no less
power in making anything they touched "un-funny." Nor as art do their
pictures interest you any more than as anecdotes.

Of course the cost of coloured engravings prohibited their lavish use.
All were tinted by hand, sometimes with the help of stencil plates, but
more often by brush. The print colourers, we are told, lived chiefly in
the Pentonville district, or in some of the poorer streets near
Leicester Square. A few survivors are still to be found; but the
introduction first of lithography, and later of photographic processes,
has killed the industry, and even the most fanatical apostle of the old
crafts cannot wish the "hand-painter" back again. The outlines were
either cut on wood, as in the early days of printing until the present,
or else engraved on metal. In each case all colour was painted
afterwards, and in scarce a single instance (not even in the Rowlandson
caricatures or patriotic pieces) is there any attempt to obtain an
harmonious scheme such as is often found in the tinted mezzo-tints of
the same period.

[Illustration: ILLUSTRATION FROM "AT THE BACK OF THE NORT