tive of the first period when the facsimile engravers reproduced with exactitude the pencil or pen-and-ink drawing of the artist on the wood block, and of the later period when the translators converted with sure knowledge the wash-drawing of the artist on the wood block into black and white line:—
Frederick Sandys (1832-1904).
Rosamund, Queen of the Lombards. Once a Week, 1861.
The Old Chartist. Once a Week, 1862 (Swain, engraver).
Harold Harfagr. Once a Week, 1862 (Swain, engraver).
Manoli. Cornhill, 1862 (Dalziel, engraver).
Miranda. Cornhill, 1862 (Dalziel, engraver).
Until Her Death. Good Words, 1862 (Dalziel, engraver).
Amor Mundi. Shilling Magazine, 1865.
Cleopatra. Cornhill, 1866 (Dalziel, engraver).
Proud Maisie. Cassell's Family Magazine, 1881. English Illustrated, 1891.
Danæ in the Brazen Chamber. The Hobby Horse, 1888.
Sir John Gilbert
(1817-1897).
Falstaff and His Ragged Recruits. Shakespeare,
1858 (Routledge).
Many Illustrations. Illustrated London News (from 1842).
Burial of Knox. People's Magazine, 1867 (J. W. Whymper, engraver).
Night Flight of the White Witness. Punch, February 14, 1863 (Swain, engraver).
Alfred Rethel
(1816-1859).
Death the Friend. Sunday Magazine, 1871
(Dalziel, engraver).
Sir J. E. Millais
(1829-1896).
The Enemy Sowing Tares. Parables of Our Lord, 1864 (Dalziel, engraver).
The Sower. Parables of Our Lord, 1864 (Dalziel, engraver).
The Prodigal Son. Parables of Our Lord, 1864 (Dalziel, engraver).
The Pharisee and the Publican. Parables of Our Lord, 1864 (Dalziel, engraver).
