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Updated: June 14, 2025
The ancient name of Launceston was Dunheved, or the Swelling Hill; its present appellation, according to Borlase, the antiquarian illustrator of Cornwall, signifies, in mixed British, the Church of the Castle. The latter structure is the most important object in the town, to which, in all probability, it gave origin.
And an even more striking illustration of the evolution of realistic thought and feeling, as well as of rendering, is furnished by the succession of Forain to Grévin, as an illustrator of the follies of the day, the characteristic traits of the Parisian seamy side, morally speaking. Grévin is as conventional as Murger, in philosophy, and though infinitely cleverer as "Mars" in drawing.
It is evident from the lecture that du Maurier was an illustrator by instinct as well as training.
Allied with Millet in taste and viewpoint, and with a much wider popularity, is Edwin A. Abbey. Beginning his career as an illustrator, he soon reached the front rank in that profession, especially with his illustrations of classic English poems, into whose spirit he has entered so completely that he might better be called their interpreter than their illustrator.
The arrested gesture, the expression of face, the character and costume, may be as true to nature and life as the best actor can make them. His test of a good illustrator is that the illustrations continue to haunt the memory when the letterpress is forgotten. He cites Menzel as the highest example of such performance.
The city-dwelling author, or illustrator, who has not lived in the wilderness, would never think of depicting an Indian trapper with a big hand-auger hanging from his belt, perhaps no more than he would depict a pirate armed with a big Bible; yet, nevertheless, it is a fact that the Indian trapper nowadays carries an auger much as the old buccaneer carried his cutlass thrust through his belt.
His illustration of "Precedence at Battersea," in which one small gutter-snipe struggles with another for a cricket bat, indignantly declaring that "The Treasurer goes in before the bloomin' Seketery," is by way of becoming a classic. As an illustrator of stories of a certain type, Frank Reynolds is without an equal.
He took a bus for the long ride to Hampstead Heath, where the illustrator lived, and finally stood before a picturesque Queen Anne house that one would have recognized at once, with its lower story of red brick, its upper part covered with red tiles, its windows of every size and shape, as the inspiration of Kate Greenaway's pictures.
The "Sketches" had been illustrated by Cruikshank, who was the great popular illustrator of the time, and it is amusing to read, in the preface to the first edition of the first series, published in 1836, how the trembling young author placed himself, as it were, under the protection of the "well-known individual who had frequently contributed to the success of similar undertakings."
Nimrod as he is, and the happiest illustrator of the hunting-field that ever was, he seems for ever haunted by a terror of the heels of that noble animal he drew so well and I thoroughly sympathise with him! In all the series the chief note is joyousness, high spirits, the pleasure of being alive.
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