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THE UNIVERSITY 
 OF ILLINOIS 
 LIBRARY 
 
 > From the collection of 
 ^ James Collins, 
 
 ^ Drumcondra, Ireland. 
 t' Purchased, 1918, 
 
 4 759-2 
 
 rsth. 
 
 
BIRKET FOSTER 
 
 HIS LIFE AND WORK 
 
Digitized by the Internet Archive 
 in 2018 with funding from 
 
 University of Illinois Urbana-Champaign Alternates 
 
 https://archive.org/details/birketfosterhislOOhuis 
 

 THE ART JOURNAL 
 
 THP LITTI.E -SHEPIiERDS, 
 
ARTIST PROOFS 
 
 OF 
 
 THE LITTLE SHEPHERDS, 
 
 P7-mted on Japan Paper, afid 
 
 SIGNED BY BIRKET FOSTER, 
 
 ARE PUBLISHED BY 
 
 C. E. CLIFFORD & Co., 12, PICCADILLY, LONDON. 
 
 The Edition is strictly limited to loo Signed Artist’s Proofs. 
 Price £2 2s. each. 
 
 Early application should be made for these, as the Artist’s Proofs of “An Old 
 English Mill," by Birket Foster, were all sold very shortly after publication, 
 and are now only to be had at three or four times their original value. 
 
THE ART ANNUAL 
 
 BIRKET FOSTER 
 
 HIS LIFE AND WORK 
 
 BY 
 
 MARCUS HUISH, LL.B. 
 
 EDITOR OF “THE ART JOURNAL” 
 
 'gTxtntcx'OU;^ gUitstrations 
 
 LONDON: ART JOURNAL OFFICE, 26, IVY LANE, PATERNOSTER ROW 
 
BIRKET FOSTER, 
 
 PART I.—HIS BIRTH AND EDUCATION. 
 
 OR the first time since this 
 series of Christmas Num¬ 
 bers of the Art Jcurnal 
 commenced we have se¬ 
 lected for our subject an 
 English artist from outside 
 the ranks of the members 
 of the Royal Academy. 
 The choice during the ear¬ 
 lier issues naturally ad¬ 
 mitted of no doubt; certain 
 names presented themselves 
 as claiming of right the 
 foremost places in the list ; 
 later on, the task of afford¬ 
 ing variety led to the introduction of two notable foreign¬ 
 ers, and the same motive this year 
 induces us to present to our readers 
 a memoir of that distinguished artist 
 in the mediums of water colour and 
 black and white, Mr. Birket Foster, 
 
 Member of the Society of Painters in 
 Water Colours. 
 
 If the sentiments which influence 
 elections at the Royal Academy were 
 more elastic, if distinction in Art was 
 the only passport necessary to admis¬ 
 sion within its portals, if a world-wide 
 recognition of talents constituted a 
 claim, then assuredly the subject of 
 this biography would have found a 
 place amongst the self-elected im¬ 
 mortals of that institution at least a 
 quarter of a century ago. Had one 
 of the now fashionable plebiscites been 
 held amongst Englishmen all the world 
 over, during any year of that period, 
 the name of Birket Foster would have 
 been found very near the head of the 
 list of artists ; for not only to the pre¬ 
 sent but to the past generation his 
 name has been for years a household 
 word, and no living artist can be 
 cited who has afforded greater plea¬ 
 sure to a larger clientele, or who has 
 done more to educate the masses to 
 a love of all that is healthy and all 
 that is beautiful in that phase of Art 
 which appeals to his countrymen more 
 than any other, namely, English land¬ 
 scape. 
 
 Mr. Foster has not, like so many of 
 his profession, sprung from the ranks. 
 
 He is a member of an old Quaker 
 family which has for many generations 
 
 held an honourable position in the north country. It may not 
 be without interest to those of the name to have some particu¬ 
 lars of the branch from which he claims descent, and I there¬ 
 fore cull from a volume, “ The Pedigree of the Fosters of Cold 
 Hesledon, in the County Palatine of Durham,” the following 
 ancestral tree :— 
 
 Robert Foster of Cold Hesledon. 
 
 I 
 
 Thomas Foster b. at Hawthorne, 1662. 
 
 I 
 
 Robert Foster b. at Hawthorne, 1694. 
 
 Dodshon Foster b. at Hawthorne, 1730. 
 
 Robert Foster b. at Lancaster, 1754. 
 
 Myles Birket Foster b. at Hebblethwaite Hall, 178;. 
 
 I 
 
 Myles Birket Foster b. at North Shields, 4th February, 1825. 
 
 Birket Foster, R.W.S. 
 
 103746 
 
BIRKET FOSTER. 
 
 Robert Foster, the artist's grandfather, was, we gather from 
 this work, a naval officer of repute, who was engaged during 
 the last century in several desperate actions against the 
 privateers, and was altogether a source of much distress and 
 discomfort to his relations on account of his deserting those 
 principles of which his sect were the marked exponents. We 
 read that being appointed a store-keeper at Bermuda, where 
 was carried on a branch of his father’s mercantile business, 
 “ he was moved by the spirit (not the peaceable one of a 
 Quaker but the true spirit of an Englishman) to make up his 
 accounts, quit his store, collect together a few sailors, lay 
 aside the Quaker, mount a cockade, and join a Lieutenant 
 Tinsley, then fitting out a small armed vessel against the 
 Americans. Coming in her to Portsmouth, after several 
 severe actions he got himself recommended to Captain Rey¬ 
 nolds as an officer likely to show him some business; was with 
 
 him in the Jupiter, of 50 guns, when they went alongside 
 a French frigate of 64 guns ; was, in a desperate action which 
 ensued, sent for by the captain, the master being killed, and 
 appointed master in his place, and managing the ship for the 
 remainder of the action, was appointed Lieutenant of the 
 Pelican." 
 
 He was a friend of Wordsworth and Southey, and the 
 latter wrote thus of him in 1806 
 
 “Wordsworth sent me a man the other day who was 
 worth seeing; he looked like a first assassin in Macieth as 
 to his costume; but he was a rare man. He had been a 
 lieutenant in the navy, and was scholar enough to quote 
 Virgil aptly. He had seen much and thought much ; his 
 head was well stored and his heart in the right place.’’ 
 
 The late Professor Sedgwick, in a privately printed volume 
 of recollections, recounts an interview which this Robert 
 
 The Distribution of Coals. Drawing by Birket Foster for the Illustrated London News. 
 
 Foster, curiously enough, brought about for him with the 
 first great English illustrator in wood engraving, Thomas 
 Bewick, at Newcastle, in 1821. 
 
 T\ /f YLES BIRKET FOSTER,* or Birket Foster, as he is 
 universally known, was, as our pedigree shows, born 
 at North Shields on the 4th of February, 1825, his mother 
 being Ann, only daughter of Joseph and Mary King, of New- 
 castle-on-Tyne. He was the youngest but one of seven chil¬ 
 dren, six of them being boys. His father removed to London 
 when his son Birket was five 3'ears old, and it was there and 
 in its neighbourhood that his education was completed. 
 
 * Myles Birket has been a constantly recurring name in the family for a 
 century past, being derived from a marriage contracted by Dodshon Foster in 
 1753 with Elizabeth Myles Birket. 
 
 There is a tradition in the Foster family that young Birket 
 could draw before he could speak, and that the local renown 
 of Bewick, who was alive when Birket was born (Bewick died 
 in 1828), and who was then at the zenith of his fame, influenced 
 in no small degree the budding aspirations of a young artist 
 who was destined, at a future day, to popularize and carry 
 forward to fuller perfection the art which the Newcastle 
 school first made familiar in England. 
 
 Mr. Birket Foster himself is more diffident upon the subject 
 of his earliest efforts and infantile genius. Fie considers that 
 he was fortunate from the very outset in his surroundings and 
 influences, and that these had much to do with whatever 
 proficiency he attained to. At the first school he attended, 
 kept by two ladies at Tottenham, he found in them skilful 
 and sympathetic teachers, whilst instruction of a useful 
 kind was later on continued at a school for children of the 
 Society of Friends at Hitchin, in Hertfordshire. Here he 
 
PART I.—HIS BIRTH AND EDUCATION. 
 
 3 
 
 stayed until 1840, the rudiments of his teaching including 
 lessons in pencil drawing by an intelligent master named 
 Charles Parry. 
 
 In those times education for the most part terminated when 
 a lad had attained to the age of sixteen, and this was the case 
 with young Foster. The weighty question of a profession had 
 then to be decided upon. His inclinations were all for that of 
 
 Art, and especially that branch of it which had to do with 
 landscape. But there was at the time little promise in such a 
 choice; no magnificent houses in the northern and western 
 suburbs testified to the business being a lucrative one. Tiny 
 chambers in Canonbury, Camden Town, or the Gravel Pits, 
 Kensington, served as the studios even of Royal Acade¬ 
 micians ; decorative accessories of little or no worth as artistic 
 
 The Gleaners at the Stile. From " Pictures 0/ English Landscape.” 
 
 properties seldom, if ever, cumbered their floors, and the 
 simplicity of their surroundings was reflected in their lives. 
 
 The Foster family were intimate with several artists of note, 
 and it was common talk how badly they fared and how pre¬ 
 carious was their income. 
 
 But the youth was obdurate, and therefore nothing remained 
 but to seek for a branch of Art from which a living was a 
 
 possible, if not probable, result. The selection fell upon that 
 of a die engraver, fobs being still in fashion, and seals and 
 sealing wax in much probable request, owing to the introduc¬ 
 tion of the penny postage, whose jubilee we are this year 
 celebrating. Mr. Foster, senior, had some acquaintance 
 with a Mr. Stone, of Margaret Street, whose premises are those 
 now occupied by Wyon, the seal engraver, and it was pro- 
 
4 
 
 BIRKET FOSTER. 
 
 bably this acquaintance which turned the scale in the boy’s 
 favour. Stone was seen and everything was quickly arranged. 
 
 impetus to wood engraving which with ebbs and flows has lasted 
 up to the present time. Occasioned as many of these have been 
 by the caprices of fashion, the flood which carried on to fortune 
 the artist with whom we are most immediately concerned had 
 no fortuitous commencement, but was entirely brought about 
 by his being far-seeing enough to gauge the popular require¬ 
 ments and at once go out to meet them. In this respect he 
 followed in the footsteps of the great wood-engraver, the 
 founder of the Newcastle School, to which, as I have mentioned, 
 Birket Foster has with some reason been af&liatcd. In 
 Bewick’s as in Foster’s case the designer by his illustrations 
 made the work which he illustrated a success, and Bewick 
 in Gay’s Fables, and Foster in his Tupper, or Pollok, could 
 with truth quote the well-known lines in the Dunciad: 
 
 A S the career of the subject of our memoir was 
 for the next twenty years of his life inti¬ 
 mately connected with the art of wood-engraving, 
 a short digression may here be pardoned by the 
 reader whilst a glance is given at the position 
 which that pursuit then occupied and its fortunes 
 during that period. 
 
 Book illustration in England, as most of us are i 
 
 aware, is of comparatively recent growth. So far as 
 imaginative compositions are concerned it does not date beyond 
 the close of the last centurj', when Bewick and Stothard gave an 
 
 Delightful is this loneliness; it calms 
 
 My heart: pleasant the cool beneath these elms, 
 
 That throw across the stream a moveless shade.” 
 
 Frovi James Graham^s “ Sabbath, 
 
 everybody was heartily, tired of the name and sight of them 
 at the date when Birket Foster entered upon his apprenticeship. 
 
 Boy$ in Fursuit of their Clothes. From “ The Boy's Spring and 
 Summer Book." 
 
 But fate decided that Birket Foster should not pass his 
 life in the service of such a monotonous mistress, for upon 
 the day on which the articles of apprenticeship were to be 
 signed Mr. Stone unfortunately committed suicide, and this 
 naturally also put an end to the projected pupildom. 
 
 We do not know how much the numismatic art of the 
 country has lost by the diversion of young Foster’s 
 energies to other channels, but we do know what 
 other branches have gained, and we cannot be 
 sorry for the accident which deprived a profession 
 which very much needed it of so much talent, in¬ 
 ventiveness, and energy. 
 
 A fresh start had to be again made, and natu¬ 
 rally enough, with the father’s stringent provisions 
 as to the probabilities of success being fair ones, 
 the choice was much narrowed. But the good 
 fortune which has attended Birket Foster through¬ 
 out life again assisted him. Ebenezet Landells, 
 who then stood very high in his profession of a 
 wood-engraver, was included amongst the artistic 
 friends of the family, probably through his having 
 been a pupil of Bewick’s, and north-country born. 
 
 To him Mr. Foster, senior, went for advice, and 
 this advice resulted in an offer to take the boy 
 into the Landells business, not as an apprentice 
 but to try his hand at the work and see whether it 
 suited him, an offer which was cordially accepted. 
 
 The traditions established by Bewick were carried on by 
 Clennell, Harvey, and others, who transferred the school, about 
 1820, to London ; but for the next quarter of a century the 
 lustre of wood-engraving was eclipsed by the popularity of the 
 “Annuals” which depended upon steel engraving for their 
 illustrations, and of that obtained the best which Great Britain 
 has ever produced. In this respect their promoters were 
 fortunate in obtaining the co-operation of Turner and Stan¬ 
 field, the former of whom produced some of his finest work for 
 “ Annual Tours.” The fashion was of course overdone, much 
 money that had been gained at first was lost later on, and 
 
 “ The pictures for the page atone, 
 And Quarles is saved by beauties not his own.” 
 

 c 
 
 Going to Market. From a Water-Colour by Birket Foster. 
 
6 
 
 BIRKET FOSTER. 
 
 It is one of the most emphatic testimonials to his work 
 that within a space of ten years he was able to revive their 
 popularity. 
 
 The wood-engravers were at this time principally occupied 
 with ‘Ca.e Pentiy Magazine 
 and the numerous publi¬ 
 cations of Charles Knight. 
 
 But the value of these from 
 an artistic point of view 
 was very low, and if any 
 further proof is required of 
 the then state of the art it 
 may be found in the ear¬ 
 lier numbers of Punch or 
 of the Illustrated Lofi- 
 do 7 t News. As these were 
 both started almost con¬ 
 temporaneously with Bir- 
 ket Foster’s commencing 
 work, and as he was en¬ 
 gaged upon both of them, 
 some of his recollections 
 respecting them may be 
 of interest here. 
 
 Pimch, if not born in 
 Landells’ workshop, was for some time entirely produced 
 there, so far as the illustrations were concerned. Foster 
 well remembers the day when Landells came into the en¬ 
 gravers’ room, and said, “ Well, boys, we’ve fi.ved on the 
 title, we’re going to call it Punch," an appellation which 
 when he had left was unanimously voted a very stupid 
 one.* At first the success 
 of the venture was very 
 doubtful, which will not be 
 considered surprising by 
 any one who glances over 
 the earlier numbers, and 
 it was not until the Alma¬ 
 nack was published that 
 it obtained any hold upon 
 the affections of the public. 
 
 In the number of Septem¬ 
 ber 5th, 1841, Birket Fos¬ 
 ter’s work first appears, 
 and thenceforward for 
 some time all the small 
 initials were either his or 
 Mr. H. G. nine’s, now the 
 veteran Vice-President of 
 the Institute of Painters 
 in Water Colours. Birket 
 Foster’s illustrations for 
 the most part had nothing 
 comic about them, and the 
 initials were formed by tree 
 trunks, or fishes, contorted 
 into proper shape, evi¬ 
 dently suggested by Wil¬ 
 liam Harvey’s work. We have, however, a foretaste of his 
 later productions in a cornfield with waggons and a setting 
 
 * The name came about from a pun upon Mark Lemon, the first editor’s 
 name, some one having suggested that “ tunch must be good with so much 
 lemon.” 
 
 sun. Hine on his side attempted comicalities, and one which 
 appeared in December, 1841, entitled ‘A Sound Nap,’ a man 
 so fast asleep that a spider has spun a web between his nose 
 and a brandy-bottle, elicited great approbation from Mark 
 
 Lemon and Henry May- 
 hew, when young Foster 
 took it to Drury Lane 
 Theatre, where the former 
 was engaged in writing a 
 farce. It was in this same 
 month of December, that 
 Birket Foster, then not 
 eighteen j^ears of age, was 
 entrusted with the prepa¬ 
 ration of the principal car¬ 
 toon. It will be found as 
 “ Punch’s Pencillings,” 
 No. 22, and is entitled 
 “Jack (Lordjohn Russell) 
 cutting his name on the 
 beam.’’ It is a carica¬ 
 ture of Cruikshanks’ well- 
 known drawing in Har¬ 
 rison Ainsworth’s 
 novel, “Jack Sheppard,” 
 which had recently been published. 
 
 The Illustrated Lo 7 ido 7 t News appeared in the following 
 year and was suggested by the large sale obtained by the 
 Weekly Chro 77 icle, a ghastly production whose contents illus¬ 
 trated all the horrors of the day. Herbert Ingram, a printer 
 and newsagent, had made ;!^i,ooo by selling Parr’s Life Pills, 
 
 and had started Old 
 Moore's Alma 7 iack to 
 advertise them. For the 
 printing and illustrations 
 of this and other pam¬ 
 phlets connected with it, 
 he had called in the ser¬ 
 vices of Henry Vizetelly, 
 who in his turn had com¬ 
 missioned the present Sir 
 John Gilbert to illustrate 
 it with various imaginary 
 scenes in the life of old 
 Parr. After many lengthy 
 confabulations, for the 
 most part held at the 
 Cock Tavern, in Fleet 
 Street, the paper was 
 started on the 14th of 
 May, 1842. The illustra¬ 
 tions were at first never 
 drawn from nature, but 
 were concocted from any 
 other available source; 
 for instance, that of the 
 great fire at Hamburg, in 
 the first number, was ac¬ 
 tually an old block of the city altered. Later on, as the paper 
 succeeded, more money was spent upon the illustrations, and 
 Birket Foster was often sent into the country to depict events 
 which were happening. When the Queen, in 1845, went to 
 Germany, Landells was sent as a special artist to illustrate 
 
 “’Where the deer rustle through the twining br.ike.’’ 
 
 From Thomson's SeasonsF 
 
 “ The curfew tolls the knell of parting day.” 
 
 From Gray's Elegy," 
 
PART I—HIS BIRTH AND EDUCATION 
 
 7 
 
 her progress, and his sketches as they arrived in this country 
 were drawn on the block by Foster. One of Birket Foster’s 
 original drawings for the Illustrated London News is in 
 the collection of Mr. Edmund Evans, and is reproduced at 
 page 2. 
 
 But the major part of his original work for this paper was 
 upon its Annual Almanacl. Here his pencil will be recog¬ 
 
 nised for many years, even during the period when he was fully 
 occupied with book illustration. 
 
 The period at which Birket Foster entered upon his career 
 is an interesting one for those of us who know the notabilities 
 of the forties only by repute. If there were few giants in the 
 artistic world, there were many in the literary, and with several 
 of these, thanks to the requirements of the age which de- 
 
 The Stepping-Stones. From “ Pictures of English Landscape." 
 
 manded that the letterpress should be interspersed with illus¬ 
 trations, Birket Foster was brought into connection. When 
 he started at Landells, the house was busy engraving Catter- 
 mole’s and Phiz’s drawings for Dickens’s “ Old Curiosity 
 Shop,” and Foster had to take the results to Devonshire Place. 
 Thackeray was a frequent visitor at the establishment, and 
 angered young Foster and his fellow-student, Edmund Evans 
 
 (of whom more hereafter), by never taking any notice of them 
 when they opened the door to him, but pushing past, strode 
 up-stairs. All the early contributors to Pjinch were con¬ 
 stantly about the place, and of other literary celebrities. 
 Captain Marryat and Anthony Trollope may be mentioned 
 as having in one way or another come across Birket Foster’s 
 track. 
 
8 
 
 BIRKET FOSTER. 
 
 ' I 'HE first task to which Foster was set as an apprentice 
 was the rudiments of wood-engraving, and his master 
 at once told him he could not afford to let him spoil other 
 people’s drawings, so he must invent or copy designs for 
 himself. Full of zeal for his new occupation, he soon had 
 several ideas sketched upon blocks; Landells coming round 
 shortly afterwards took them up, and at once e.xclaimed, 
 “ these are too good to spoil,” and he took them away, di¬ 
 recting the boy to make others. When these were presented 
 to him, he said, ‘‘You mustn’t engrave, you must draw on the 
 wood ; there are plenty of engravers, but very few draughts¬ 
 men. 1 will go and see your father ; you will soon get on.” 
 
 So once again the rulings of fate directed the boy’s career, 
 and he abandoned, almost before he had entered upon it, 
 the profession of a wood-en¬ 
 graver. 
 
 The illustrative work upon 
 which young Foster was first 
 engaged was, singularly 
 enough, in connection with 
 the late editor of the Art 
 Journal. Mr. S. C. Hall 
 and his wife were preparing 
 a book on “ Ireland, ils 
 Scenery and Character” 
 
 (How and Parsons), and for 
 this Landells had to prepare 
 a portion of the blocks. 
 
 These were made from ama¬ 
 teur sketches supplied by 
 the author, and Foster was 
 at sixteen deemed suffi¬ 
 ciently competent to redraw 
 and improve upon them. 
 
 He was next employed to 
 copy some of the drawings 
 made by Stanfield for Mar- 
 ryat’s “ Poor Jack.” These 
 had already been placed on 
 wood by another draughts¬ 
 man, but they were not con¬ 
 sidered good enough. When 
 the blocks were engraved, 
 
 Foster was sent with them 
 to Marryat’s lodgings, 
 which were next door to the 
 Senior United Service Club, 
 
 Pall Mall, where he had an 
 interview with the Captain. For some time Foster’s spare 
 moments were utilised in running errands and taking blocks 
 home. On one of these occasions, in the winter of 1841, 
 whilst going to Miss Clint’s, at Islington, with the block of 
 the Maypole Inn in Barnaby Rudge, of which Miss Clint had 
 to engrave the easier parts, he fell, and snapped several 
 tendons of one of his legs, which made him have a personal 
 and painful interest in poor Barnaby. 
 
 In those days the opportunities of studying Art were not 
 much more extended than half a century earlier, w'hen the 
 only place where Turner could study any example of Art was 
 in Doctor Monro’s private collection. The National Gallery 
 contained but a tithe of the pictures it now possesses, and for the 
 greater part of the year no other exhibitions were open to the 
 public. To obtain the friendship of a collector of pictures was. 
 
 therefore, a great boon to a young artist, and Birktt Foster 
 was exceptionally fortunate even in this respect. For he had 
 not long been at Landells before he was taken notice of by 
 Jacob Bell, the chemist, the friend of Landseer and the donor 
 of the fine collection by that artist to the National Gallery. 
 Landells had recommended the boy to copy engravings, as 
 that would teach him how to represent colour by line and 
 tint, and Mr. Bell, who was a friend of his father, was only too 
 ready to lend him for this purpose the Landseer proofs which 
 were then being engraved after that artist’s works. These by 
 rising at an early hour he found time to copy. One day, pre¬ 
 senting a pen-and-ink drawing, after one of these drawings, to 
 Mr. Bell, he was so pleased with it that he would have it taken 
 off at once for Landseer to see, who, he said, w-as at that mo¬ 
 ment dining with Calcott at 
 Fladong’s Hotel in Oxford 
 Street. But the boy was 
 shy and would not go, and he 
 missed an interview which 
 might have been of much 
 assistance to him ; however, 
 the excellency of the copy 
 was attested by his selling 
 it elsewhere for the consi¬ 
 derable sum of twenty gui¬ 
 neas. 
 
 None but those who have 
 experienced it can tell the 
 delight which the unex¬ 
 pected possession of a 
 goodly sum, the first result 
 of one’s pencil or brush, 
 evokes. In Birket Foster’s 
 case it was a perfect God¬ 
 send, for it enabled him to 
 accomplish a great desire, 
 namely, to see the Highlands 
 during the holiday which the 
 master had promised to his 
 industrious apprentice. But 
 the delightful anticipations 
 with regard to the trip were 
 not destined to be fulfilled. 
 One day, after leaving Aber- 
 fcldy, the postillion took the 
 pair-horse chaise contain¬ 
 ing young Foster too near 
 the edge of a considerable 
 declivity, with the result that the whole went over the side and 
 our hero found himself Imbedded beneath the chaise with an 
 arm broken in two places. But though his pleasure came to 
 an untimely end, he would not allow his education to suffer, 
 and whilst his right arm was in splints he learnt to draw with 
 his left. Unfortunately the ill effects of the accident were not 
 confined to his arm, for shortly afterwards a lumbar abscess 
 formed on his back, and this not only kept him a prisoner to 
 his bed for the long period of seven months but nearly cost 
 him his life, as during several days his condition was so grave 
 that the eminent surgeon, Aston Key, told him to prepare for 
 the worst. But youth and a good constitution were on his side 
 and he left his sick-bed on his nineteenth birthday. 
 
 Mr. Foster is never tired of expressing his indebtedness to 
 Landells for the education he gave him and the kindness he 
 
EIHKET F''JST:vR PTN' 
 
I 
 
PART II.—HIS WORK IN BLACK AND WHITE. 
 
 9 
 
 showed him. Convinced that nature would be the youth’s 
 best mistress Landells sent him to her with these instructions: 
 “Now that work is slack in these summer months spend 
 them in the fields; take your colours and copy every de¬ 
 tail of the scene as carefully as possible, especially trees 
 and foreground plants, and come up to me once a month 
 and show me what you have done.” Nothing suited the 
 student better, and he passed all his days in the fields at 
 Hampstead or Highgate, and there he began an intimacy 
 with nature which has never ceased. A splendid memory 
 aided him so well that to this day he can draw with abso¬ 
 lute fidelity a nettle, a burdock, or any of those essential 
 foreground bits which, until then, with perhaps the e.xception 
 
 of Turner, no one had thought it worth while to translate 
 with accuracy. In the winter months he worked nearer 
 home, but still from nature, frequently visiting the river 
 wharves which, in the pre-embankment days, were full of 
 material for the true artist. 
 
 The only work which appeared during his apprenticeship 
 with his name attached to it as the illustrator, was a small 
 volume of poems upon Richmond, which were compiled by C. 
 Ellis, the brother of the landlord of the Star and Garter. For 
 this he made three drawings from views in its neighbourhood. 
 But there is many a book published at this period which 
 owes its illustrations to him but which shows no signature 
 or acknowledgment of authorship. 
 
 BIRKET FOSTER. PART IL—HIS WORK IN BLACK AND WHITE. 
 
 TT was in 1846 that Birket Foster parted company with Lan- 
 -*■ dells, and for the first time found himself left to his own 
 resources. The term for which he had agreed to serve Lan¬ 
 dells was at an end, and there was now nothing for it but to 
 go the round of the publishers and get work when and where 
 he could. Youth and 
 energy and a knowledge 
 of his own capacities all 
 combined to give him con¬ 
 fidence ; so, armed with 
 half-a-dozen drawings 
 which he had placed upon 
 the wood (leaving it in its 
 natural round condition as 
 a sort of framework), he 
 started in search of for¬ 
 tune. His first visit was 
 to Sharpe, the proprietor 
 of Sharpe's Magazine, 
 which was at that time a 
 good property. He kept 
 a shop in Newgate Street. 
 
 “ We don’t want any as¬ 
 sistance,” he at once said. 
 
 ‘‘Priordoes all our work, 
 and we are quite satisfied 
 with it.” He next pro¬ 
 ceeded to Robert Bran- 
 ston’s, who had a large 
 printing and engraving 
 establishment, and here 
 again he met with no suc¬ 
 cess, only politeness, an 
 expression of congratula¬ 
 tion upon his work, and 
 the usual notification that 
 he would not be forgotten 
 if anything in his line was 
 required. His third at¬ 
 tempt was more fortunate, for Henry Vizetelly (who was then 
 in a good business as a producer of books, undertaking the en¬ 
 graving and printing for other firms) directly he saw the draw¬ 
 ings, said, ‘‘ You’re the very man I want, I have several books 
 I can put into your hands at once, and if you will sell these 
 
 blocks I will buy them.” Our artist was at once commissioned 
 to illustrate a book Thomas Miller had written for Chapman 
 and Hall, entitled, ‘‘The Boy’s Country Book.” This was 
 published in four parts, corresponding to the four seasons. 
 A reproduction of one of the illustrations is given at page 4, 
 
 which clearly shows that 
 Birket Foster was under 
 the influence of Bewick at 
 this time, the introduction 
 of the comic clement, 
 namely, the tow rope 
 catching up the boys’ 
 clothes, being particularly 
 Bewickian. 
 
 The thorough education 
 he had received stood him 
 in such good stead that, 
 from the outset, he ac¬ 
 quitted himself so well 
 that Vizetelly had no hesi¬ 
 tation in recommending 
 him to all his clients. The 
 immediate result was a 
 commission to illustrate 
 Longfellow’s ‘‘ Evange¬ 
 line.” David Bogue had 
 entrusted this to certain 
 young pre - Raphaelites, 
 but tbeir work had stag¬ 
 gered him. Neither he 
 or any one else was as 
 yet educated up to such 
 revolutionary methods. 
 He would have none of it, 
 and when asked, ‘‘What 
 shall you do with the draw¬ 
 ings ? ” ‘‘This,” he re¬ 
 plied, and wetting one of 
 the blocks he erased the 
 drawing with the sleeve of his coat. Each was in like 
 manner destroyed, although a considerable sum had been 
 paid for them. 
 
 With his brother artists treated in this way it may well be 
 imagined that Birket Foster entered upon the work with some 
 
 D 
 
 “ His folded flock secure, the shepherd home 
 Hies, merrj^-hearted; and by turn relieves 
 The ruddy milkmaid of her brimming pail: 
 
 The beauty whom perhaps his witless heart, 
 Unknowing what the joy-mixed anguish means. 
 Sincerely loves, by that blest language shown 
 Of cordial glances, and obliging deeds.*' 
 
 Thomson's ” SeasonsT 
 
10 
 
 BIRKET FOSTER. 
 
 trepidation, and the publication of this his first important essay 
 and its reception by the public was perhaps the most anxiously 
 expected event of his life. But any fear as to the issue was 
 soon ended. The AthencBum was at that date the literary 
 and artistic paper which gave the cue to popular opinion, and 
 its verdict would probably make or mar the artist’s future 
 career. Coming into Vizetelly’s one morning Foster was 
 greeted by him with, “ Here’s the Athencsum ; by Jove, they 
 have given it to you ! ” 
 
 His heart may have been 
 said to have sunk into his 
 boots at this announce¬ 
 ment, but when the no-tice 
 was handed to him and 
 he read it, he hardly knew 
 whether he stood on his 
 head or his heels, for this 
 is what it said :—“A more 
 lovely book than this has 
 rarely been given to the 
 public; Mr. Foster’s de¬ 
 signs, in particular, have 
 a picturesque grace and 
 elegance which recall the pleasure we experienced on our 
 first examination of Mr. Rogers’s ‘ Italy,’ when it came before 
 us illustrated by persons of no less refinement and invention 
 than Stothard and Turner. Any one disposed to carp at our 
 praise as overstrained is invited to consider the ‘ Boat on the 
 Mississippi,’ which, to our thinking, is a jewel of the first 
 water.” 
 
 The criticism in the Ar^ journal for June 1850 was 
 equally laudatory, and was 
 accompanied by a block of 
 ‘Morning’ which Mr. Fos¬ 
 ter had been commissioned 
 to do, to illustrate a series of 
 Illustrations from the Poets 
 which w'as then running 
 through the Jotir 7 ial. 
 
 “Evangeline” had an 
 enormous sale, and not a 
 moment was lost in adver¬ 
 tising that the rest of Long¬ 
 fellow’s w'ould be similarly 
 published. Birket Foster’s 
 joy was somewhat dashed 
 at first by seeing the notice, 
 which ran as follows : “ In 
 preparation. The Minor 
 Poems of H. \V. Longfellow. 
 
 Printed uniform with ‘ Evan- 
 geline.’ Profusely Illus¬ 
 trated.” He was not yet 
 accustomed to the latitude 
 which publishers allow in 
 their notices, but he soon ascertained that the illustrations 
 were not “ in preparation,” but were to be placed in his 
 hands. 
 
 This second issue of Longfellow was as great a success as 
 the first, and Bogue, who acted throughout with liberality, 
 suggested that “ Hyperion ” must now be done, and that Vize- 
 telly and young Foster had better follow the footsteps of Paul 
 Flemming as far as the Austrian Tyrol, and so obtain that 
 
 •accuracy of local colouring which had not been aimed at in 
 the earlier illustrations. The trip, the first of many subse¬ 
 quent ones abroad, was a great joy to our artist, and is 
 sketched out at some length in an appendix which was 
 written to the volume by Vizetelly. “Hyperion” was pub¬ 
 lished at Christmas, 1852. 
 
 The route taken was up the Rhine, and Birket Foster 
 utilised to make a series of drawings of that subject; these 
 
 illustrations were engraved 
 on steel by the best line 
 engravers after the man¬ 
 ner of the old annuals, 
 Henry Mayhew being em¬ 
 ployed to write the letter- 
 press. The work appeared 
 in 1855 under the title of 
 “The Rhine,” and sold 
 largely, w'hereupon a se¬ 
 cond volume, “The Upper 
 Rhine,” was projected, 
 and in due course was 
 compiled. 
 
 An agreeable commis¬ 
 sion was entrusted to Birket Foster about this time, namely, 
 the illustration of Scott’s Poems. These were all, w'ith the 
 exception of “ Rokeby,” which had never been popular, 
 published during the years 1853—1855 by Messrs. Black, of 
 Edinburgh. The artist undertook several visits to the scenes 
 of the poems, as well as to Scotland and Wales for the 
 purpose of illustrating various guide-books which the firm 
 were then publishing. He considers that not only were the 
 
 drawings then made as good 
 as any that he at any time 
 accomplished, but that the 
 engraving and printing of 
 the blocks left nothing to 
 be desired. The first edi¬ 
 tions of the guide-books 
 were also beautifully printed. 
 
 From this time forward 
 the entirety of the illustra¬ 
 tions for almost every book 
 he was engaged upon were 
 placed in his hands. He 
 selected the subjects which 
 he cared to illustrate him¬ 
 self and placed the re¬ 
 mainder in the hands of va¬ 
 rious artists to whom he 
 considered they were best 
 fitted. Apropos of the pub¬ 
 lishers’ eagerness and his 
 popularity at this time, he 
 tells some amusing experi¬ 
 ences. The shelves were 
 ransacked for subjects which could be illustrated, and even 
 Blair’s “ Grave ” and Young’s “ Night Thoughts ” were sug¬ 
 gested, the former being actually undertaken. Pollok’s “Course 
 of Time ” could not be avoided, and Foster found himself at 
 work upon renderings of subjects for which he was entirely 
 unfitted, such, for instance, as “ The Plains of Heaven ” and 
 “The Unfathomable Lake,” the Fallen Angels in his drawing 
 of the latter now reminding him of eels being thrown out of a 
 
 Tha Leafless Avenue. From Cowper's “ Task." 
 
PART II.—HIS WORK IN BLACK AND WHITE. 
 
 II 
 
 bag. He gained an intimate acquaintance with Tapper’s 
 “ Proverbial Philosophy,” for taking it up the Rhine to read 
 and select his subjects from, he lost the volume just as 
 he had finished its perusal, and had upon his return to wade 
 through the whole of it again. 
 
 In other cases, in conjunction with his life-long friend 
 Edmund Evans, he drew the illustrations of works which took 
 his fancy, and Evans engraved them ; these they disposed of 
 to various publishers, and thereby secured a better result 
 both artistically and financially. 
 
 At this time the number of artists engaged upon book 
 illustrations who have subsequently attained to eminence in 
 the profession of Art was quite remarkable ; no similar period 
 bears any resemblance to it in this respect. Of painters we 
 have Sir F. Leighton, Sir J. E. Millais, E. Burne Jones, 
 Rossetti, Holman Hunt. Amongst water-colour painters Sir 
 J. Gilbert, G. Dodgson, E. Duncan, and Hine. Whilst in 
 workers of black and white the name of John Tenniel stands 
 pre-eminent. 
 
 A perusal of the list of works illustrated by Birket Foster 
 discloses the curious fact that three-fourths, at least, of them 
 consist of poetry, and yet he never illustrated Tennyson, 
 Shelley, or Keats, each of whose productions would have lent 
 itself so happily to his pencil. As regards the two last-named, 
 there is no apparent reason for the omission, but in the case 
 of Tennyson matters fell out thus. Tennyson’s publisher at 
 this date, when Birket Foster was in full swing as an illustrator, 
 was Moxon, and an arrangement had actually been made 
 with him for the illustration of the whole of the poems, and 
 
 Pembroke Castle. 
 
 two blocks were drawn and cut, when differences arose, and 
 Tennyson withdrew all his copyrights from the house. The two 
 
 blocks which illustrated ‘ Break, Break,’ and ‘ The Reapers,’ 
 were afterwards engraved on steel by William Miller, and 
 were used in the volumes of Hood’s poems. 
 
 Cawing Rooks. Cowper's “ Task." 
 
 Mr. Foster’s labours in book illustration practically came 
 to an end in 1859^ the volumes published at the end of that 
 year naturally bearing the date of i860. We 
 have subsequently to this, in the year i860, 
 only a single volume, ” The Scottish Reforma¬ 
 tion,” the illustrations to which were made to 
 oblige his friend the author. Dr. Lorimer. An 
 interval of eleven years elapsed before any other 
 new works appeared with Mr. Foster’s name 
 as illustrator. In 1871 and 1872 two volumes 
 of Hood’s Poems were published by Moxon ; 
 these each contained twenty-two vignettes en¬ 
 graved upon steel by the veteran, William 
 Miller, of Edinburgh. The work was practi¬ 
 cally a labour of love for the old man, and 
 whilst they were his last, they were little, if 
 anything, removed from being his best work. 
 He was close upon eighty when he undertook 
 what he called ‘‘a work after my own heart.” 
 The task evidently recalled to him his work of 
 forty years earlier, when he formed one of the 
 band of engravers which immortalised Rogers by 
 engraving for his poems Turner’s illustrations. 
 In the Hood illustrations the only defect is the 
 shape of the vignettes, which in many in¬ 
 stances leave much to be desired. Birket 
 Foster, who is a past-master in the art, cannot 
 have been answerable for this, and the fault 
 must be laid at the door of the engraver, who 
 carried the washes with too much hardness up 
 to the edges. Amongst the most successful 
 plates may be noted ‘Autumn,’ ‘A Storm off 
 Hastings,’ ‘Cologne,’ ‘The Rhine Dragon,’ 
 and ‘ Ghent.’ These volurres, when they turn 
 up with their repellently gaudy covers in second-hand book¬ 
 sellers’ catalogues, are purchaseable at an absurdly low price. 
 
12 
 
 BIRKET FOSTER. 
 
 In 1878, at the suggestion of hlessrs. Maclure and Mac¬ 
 donald, Mr. Foster used their lithographic process for a series 
 of thirt3'-five sketches which he had made in the previous 
 summer during a tour in Brittany; they reproduce, touch for 
 touch, his work at Vitre, Quimper, Morlaix, D 61 , Dinan, 
 and St. Malo, and perpetuating as they do phases of peasant 
 life and dress which are rapidly disappearing, will become 
 in time a valuable record. The volume, which is 
 of folio size, was published privately by the 
 artist. 
 
 Another interval of ten years elapsed before his 
 last illustrated work was offered to the public. In 
 1888 Messrs. Dowdeswell published a volume of 
 reproductions, also by a lithographic process, of 
 vignettes of the principal towns in England. 
 
 Before leaving the subject of Mr. Foster’s work 
 in black and white, mention must be made of 
 that which he has executed with the needle. 
 
 His earliest published etchings are the thirty 
 made (evidently in imitation of the Etching Club 
 productions) to illustrate Milton’s “ L’Allegro ” 
 and “ II Penseroso,” and published in 1855. 
 Representing as they do the work of the artist, 
 without the intermediary of the engraver, they are 
 especially interesting. They are, besides, full of 
 delicate beauties. I would call attention in this 
 respect to etchings No 4, 7, and 11. The Hamlet, 
 by Warton, w'as illustrated in a similar manner 
 with fourteen etchings in 1859. A long^interval 
 separates these from his next work, which was, 
 we believe, a plate of ‘ An Old English Mill ’ for 
 this Journal, and which appeared in 1881. This 
 was followed by an etching, published by Messrs. 
 
 Tooth; another, called ‘ The Wandering Musi¬ 
 cian,’ published by Messrs. Dowdeswell; and 
 Walker’s ‘ Cookham,’ etched for Mr. Maclean- 
 The frontispiece to this number completes the list, but Mr. 
 Foster is at present at work upon a more important plate than 
 any he has yet done, and which it is hoped will be com¬ 
 pleted this year. 
 
 The moods of the public in matters of Art are so fitful that 
 it is no wonder they make the critic despair. We look 
 down from our present eminence of Art culture upon the 
 appreciation of our fathers with a pity approaching con¬ 
 
 tempt. And yet they readily gave their guinea for the volumes 
 illustrated by Birket Foster, and, not content, called out 
 for more and more. We see them marked in the second-hand 
 booksellers’ catalogues at six, five, nay, even three shillings a 
 piece, and pass them by, although in the majority of instances, 
 independently of the illustrations, they are admirably printed 
 editions of standard authors. When Art is so much a matter 
 
 J, 
 
 *‘To Durham first their course they bear, 
 
 And in St. Cuthbert’s ancient seat sing mass.” 
 
 White Doe of Ryhtone, 
 
 of fashion it is hopeless to forecast, and foolish to do so in 
 print, but yet I have no hesitation in saying that the time 
 cannot be far distant when the turn of the wheel will bring 
 again a more accurate appreciation of these admirable speci¬ 
 mens of true woodcutter’s art, and that in their first editions, 
 where alone the blocks are seen to their best advantage, they 
 will be sought for and bought up at very different prices to 
 those for which they are now offered. 
 
 BIRKET FOSTER. PART III.—EIIS WORK IN COLOUR. 
 
 ’’ I 'HROUGHOUT the period during which his time had been 
 fully occupied with drawing on wood for book illustra¬ 
 tion, Birket Foster had never for a moment abandoned his 
 determination to become a painter either in oil or water colours. 
 Although he had derived a world-wide fame through his present 
 occupation, it naturally must have been a continual discour¬ 
 agement and annoyance to him to see his life’s work disappear 
 under the engraver’s tool, and to feel that be it ever so meri¬ 
 torious it would pass without recognition from any corporate 
 body of artists. It is not surprising, therefore, to find that 
 Birket Poster had from the very outset occupied his spare 
 moments with the practice of painting in oil and water colour. 
 Of specimens of the first-named method but few of this date 
 
 exist; he tells me that every spare coin was at one time spent 
 on paints and canvas, and that the latter cumbered the ground 
 in such numbers that the question arose what to do with them ; 
 the only solution that could be devised was to cut them from 
 their stretchers, roll them up into bundles, and be rid of them 
 somehow. He well remembers how he and Evans sneaked 
 out one night, with almost guilty feelings as if they were 
 surreptitiously disposing of the remains of a crime, and 
 watching their opportunity, dropped them from Blackfriars 
 Bridge into the Thames, where may-be some remnants are still 
 preserved beneath the river mud. 
 
 I have not seen any of his very early water-colours, but if 
 one can judge from reproductions which appear as a small 
 
PART III.—HIS WORK IN COLOUR. 
 
 13 
 
 volume issued in the fifties, they were characterized by that 
 minuteness of touch which has since been a principal feature of 
 his work. A drawing of Arundel Park, painted about this time, 
 in the possession of Mr. Edmund Evans, contains an amount 
 of microscopic detail which 
 must have been unparalleled 
 at that time, save, perhaps, 
 in some of John Lewis’s 
 works. Mr. Foster attributes 
 this to his extraordinarily 
 strong eyesight, which en¬ 
 abled him to see almost twice 
 as much in nature as any one 
 else, or as,perhaps, he ought 
 to do. He cannot recall that 
 at this time he studied or 
 affected anybody’s style, but 
 it seems as if he was influ¬ 
 enced by the pre-Raphaelite 
 work which Millais, Ros¬ 
 setti, and others were doing 
 at that time, and which 
 made itself felt in the produc¬ 
 tions of almost every young 
 artist of the day. 
 
 “ Beneath these Rugi 
 
 T he school of landscape 
 painting at the date 
 
 when Birket Foster was most impressionable, in fact, through¬ 
 out his student days, was not such as to inspire him with much 
 veneration for it, or to create in him a desire to follow it. 
 Turner, of course, there was, and of his gigantic achieve¬ 
 ments Birket Foster has always been a profound admirer, 
 and has evidenced it by acquiring, as soon as his means 
 permitted, several exceptionally beautiful spe¬ 
 cimens in water colour. But at the period to 
 which we refer the best of Turner’s life was 
 over, and he was exhibiting flashes only of his 
 genius, which to a youth would be almost be¬ 
 yond comprehension, and certainly of no use 
 for purposes of instruction. Besides Turner, 
 who was there practising landscape Art from 
 whom he could derive anything ? Certainly not 
 Calcott, who had by then reverted to historical 
 painting. From Collins, an imitator of nature 
 in generalities rather than details, but who 
 had attained considerable popularity with his 
 ‘Happy as a King’ (exhibited at the Royal 
 Academy, 1836), he may have unconsciously 
 gathered something, especially in his charming 
 method of dealing with rustic figures. So 
 again from Creswick’s work, who in 1842 had 
 been premiated by the British Institution, and 
 elected to the Royal Academy, and who would 
 therefore be in vogue, he may have had some 
 hints. His ‘ Pathway to the Village Church ’ in 
 the National Galler}q in its wooded landscape, 
 field path, church tower, and girl at stile, is 
 thoroughly Fosterian. Besides these we have the ideal 
 landscapists, Martin, Dancy, and Poole; David Roberts 
 with his scenic scenes, Lewis to whom we have already 
 referred, John Linnell and Muller, Harding and Prout, with 
 
 neither of whose work Birket Foster has any sympathy; 
 Copley Fielding, for whose distances Mr. Foster has mucli 
 admiration, but not for his foregrounds, which he considers 
 weak and mannered; Leitch, who was an echo of Stanfield, 
 
 but with an individuality of 
 his own as regards colour, 
 and F. Tayler; but in none 
 of his work can we recog¬ 
 nise any derivation from or 
 likeness to these. 
 
 Clarkson Stanfield per¬ 
 haps influenced Birket Fos¬ 
 ter more than any one else. 
 Himself an advocate of com¬ 
 position almost before any¬ 
 thing else, and with an 
 intuitive admiration forstyle, 
 he perceived both these ele¬ 
 ments in this painter’s pic¬ 
 tures. His massive fore¬ 
 grounds, and the strength 
 imparted to them by big 
 objects, and the advantage 
 which the delicate distances 
 gained thereby, always af¬ 
 fected him. The block of 
 timber which Stanfield al¬ 
 most always considered a 
 necessary property for his 
 foreground, was no spindly stick, but looked as if it could be 
 sawn through. This admission shows the derivation of those 
 felled elm trunks which are so familiar an adjunct to our 
 artist’s foregrounds, and which are always felicitously selected 
 as a playground for his children. 
 
 It must not be forgotten that about this time Ruskin was 
 
 ;cd Elms.” 
 
 From Grays''Elegy." 
 
 Hoyle’s Mouth. From Black's “ Guide to Wales." 
 
 issulngthevolumes of “Modern Painters,’’ in which he preached 
 again and again from the text of truth to nature. To judge 
 from his work Birket Foster might certainly have heard and 
 profited by these sermons, but so far as he can remember he 
 
14 
 
 BIRKET FOSTER. 
 
 did not come across Ruskin’s writings until a period in his 
 life when his style was too formed for them to have had any 
 perceptible influence upon it. 
 
 T T was in 1858 that Mr. Foster finally determined to give up 
 -*■ book illustrating for water-colour painting. Many engage¬ 
 ments still continued, but as these came to an end he accepted 
 no new ones. He aspired not only to become a water-colour 
 artist but one of the first 
 in his profession, and he 
 knew what a powerful 
 assistance to this end 
 membership of the So¬ 
 ciety of Painters in 
 Water Colours would be. 
 
 He therefore spent the 
 summer of 1858 in the 
 country, in the neigh¬ 
 bourhood of Dorking, 
 working by himself, and 
 painting very carefully 
 everything he saw, 
 which, as we have seen, 
 was in many instances 
 toomuch, and hequickly 
 found himself uncon¬ 
 sciously putting far too 
 much substance and far 
 too little mystery into 
 his work. However, the 
 result was a number of 
 drawings, from which 
 three were selected as 
 those upon which his 
 candidateshipat the Old 
 Society depended. He 
 was not successful; his 
 previous training was 
 alleged as the sufficient 
 cause for his rejection, 
 with the cry, “We have 
 quite enough of these 
 wood engravers. Look 
 at Gilbert, he’s always 
 at it.” . But a few weeks 
 afterwards he received 
 a solatium in the shape 
 of the acceptance of a 
 drawing sent in by him 
 to the Royal Academy 
 of 1859, entitled, ‘ A 
 Farm—Arundel Park in 
 the Distance,’ and the following year, i860, saw him elected 
 unanimously an Associate of the Water Colour Society upon 
 the strength of three drawings, ‘View on Holmwood Common,’ 
 ‘ Children Going to School,’ and ‘A View on the River Mole.’ 
 The Queen used to visit the Exhibition regularly during the 
 lifetime of the Prince Consort, and on the first occasion 
 on which she did so after this election, she expressed a 
 wish to purchase one of the new Associate’s drawings. Un¬ 
 fortunately it was already sold, and the owner would not 
 part with it. Mr. Foster’s elevation to the rank of a full 
 
 member followed in two years, namely in 1862, the shortest 
 time on record. 
 
 The year before his election to the Old Water-Colour 
 Society, an event happened which brought him under the 
 notice of the Art dealers, and through them, of the purchasers 
 of water-colours. The drawings which some six years previ¬ 
 ously he had made to illustrate the Rhine volumes were sent to 
 Foster’s, in Pall Mall, for sale by auction. They had been 
 executed when he was a comparative novice in the practice 
 
 of water-colour paint¬ 
 ing, but they realised the 
 considerable average 
 for those days of a dozen 
 guineas apiece,* but 
 what was better, they 
 attracted the attentions 
 of Mr. Wallis of the 
 French Gallery, and of 
 other dealers. Mr. 
 Wallis at once called 
 upon him, and arriving 
 just after the young 
 artist’s discomfiture at 
 the hands of the Water- 
 Colour Society, was at 
 once informed of the 
 fact. “Never mind,” 
 said he, “ set to work 
 directly, and paint me 
 a big drawing which we 
 will send into the Royal 
 Academy.’’ This was 
 done, with the result, as 
 before stated, of its be¬ 
 ing accepted and hung. 
 Mr. Foster was at this 
 time, and for some years 
 previously had been, 
 living at Carlton Hill 
 East, St. John’s Wood, 
 near his father, but 
 shortly after his election 
 increasing notoriety led 
 to such continuous in¬ 
 terruptions to his work, 
 often from mere busy- 
 bodies, that he deter¬ 
 mined to find a retreat 
 in the country. 
 
 The death of his father 
 in January, 1861, yet fur¬ 
 ther loosened his ties 
 to the metropolis. Con¬ 
 cerning this event a mistake arose which would have been 
 ludicrous under less painful circumstances. The death W'as 
 announced in the Times, and the Athenawn (the name of 
 father and son being similar) mistook the former for the 
 latter, and in its next issue published an obituary notice of 
 a most eulogistic nature, testifying to the loss which Art 
 
 • He received five pounds each for them, and individual specimens which have 
 since again come under the hammer have sold for as much as a hundred and fifty 
 guineas. 
 
PART III.—HIS WORK IN COLOUR. 
 
 15 
 
 had suffered through the early death of this most promising 
 artist. This was given wide publicity through being copied 
 into other papers, and the family was inundated with letters 
 of condolence and requests for biographical details of the 
 
 artist’s career. The artist still retains a sheaf of the most 
 amusing of these. 
 
 A desire to be in the heart of his sketching ground, and an 
 invitation from Mr. J. C. Hook, who was then residing there. 
 
 
 Rouen Cathedral. From a Water-Colour by Birket Foster. 
 
 led him down the South-Western line to Witley. In those 
 days the cottages which now exist, fitted up with every 
 necessity the artistic mind may demand, were not as plenti¬ 
 ful thereabouts as the blackberries on the hedgerows, and the 
 only one which presented itself as at all possible was a small one 
 a.t Tigburn, at the foot of the hill upon which Mr. Foster now 
 
 lives. It was inhabited by a poacher, whom the landlord much 
 wanted to be quit of, with the rest of the family, including a 
 bedridden old man, who was an almost insuperable difficulty. 
 Bribes of all sorts, including the purchase of the garden stuff 
 at a fabulous price, ultimately effected a clearance, and 
 Mr. Foster entered into possession in the summer of i86i. 
 
i6 
 
 BIRKET FOSTER. 
 
 The cottage was so small and uncomfortable that he soon 
 began looking about for a site whereon he could build a house 
 for himself. In this he was aided by Mr. and Mrs. Hook, 
 and they together scoured the country in search of one. 
 As it happened, a chance walk one afternoon with his friends 
 and fellow water-colour painters. Sir John Gilbert and Mr. 
 J. W. Whymper, brought him to that which was finally deter¬ 
 mined upon, and which e.xperience has shown could not have 
 been bettered. The land happened to be for sale, but as 
 building ground, and no more than three acres could be 
 purchased. This Mr. Foster soon found was too small for 
 his aspirations, and the building scheme not taking rapidly 
 the owner was induced to sell the whole to Mr. Foster and 
 Mr. Edmund Evans (who had married his niece), and the 
 two now possess within their ring fence a compact estate of 
 
 some score or more acres. Here the house, which will be 
 presently described at greater length, was commenced, and 
 1863 saw its completion. 
 
 The years which have gone by since then have been passed 
 in continuous activity and production, which has of course 
 been influenced, and that for the better, by delightful natural 
 and artistic surroundings. Given to hospitality, Mr. Foster’s 
 house has been a constant rendezvous for a large circle of 
 friends, of which the greater part have naturally enough been 
 selected from those of his own profession. Of some of these 
 friendships we may be permitted to speak here without 
 impropriety, for they concern beings whose lives may be said 
 to have become national property. 
 
 Much of the short Art life of Frederick Walker was passed 
 under Mr. Foster’s roof. The merriest of fellows, he evidently 
 
 The Falls of the Tummel. From a Water-Colour by Birhet Foster. 
 
 fascinated and enthralled all with whom he was brought into 
 contact. His fragile tenement contained a spirit brimful of 
 fun of the most original kind. Every corner of the house 
 and every part of the place has memories of his presence 
 and his work; the chimney-piece in one room recalls the 
 picture in which Walker portrayed two girls at work, and 
 many a precious hour was wasted because their merry 
 pranks prevented his ever starting his day’s work. On one 
 particular occasion, when these two models had arrayed them¬ 
 selves in the chintzy brocades which he much affected, the 
 whole day was lost and a hundred pounds or so as well, 
 because just before commencing Walker lighted on a hornet 
 in a half-dead condition, and he must needs spend several 
 hours in vainly trying to resuscitate it. His doctrine was that 
 he did not believe in work that was not done spontaneously 
 
 and rapidly, and so he seldom worked e.xcept when he was in 
 the humour, and then he got over it at a marvellous pace. 
 His picture of ‘ The Well ’ was created here, and Mrs. Foster 
 well remembers it, for he kept her and her step-daughter out 
 in a pouring rain for over two hours while he sketched them in. 
 
 Birket Foster was introduced to Walker at a private view of 
 the Academy. The ceremony had no sooner been performed 
 than Freddy took him aside and, with the most serious face, 
 said, “ Tell me kindly what is the proper thing to do on being 
 introduced to anybody ? I was introduced just now to Harri¬ 
 son Weir. I put out my hand and he took off his hat. So I 
 drew in my hand and took off my hat, whereupon he put on 
 his hat and held out his hand.” Walker’s brother had died 
 just previously, and he seemed so depressed that Mr. Foster 
 asked him at once down to Witley. He came and stayed for 
 

 
 
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PART III.—HIS WORK IN COLOUR. 
 
 17 
 
 many weeks, and after that he never waited for an invitation— 
 a ring- at the bell was heard and he entered the house as if he 
 were one of the family. 
 
 Many were the trips which these two artists made together; 
 one of the earliest was to Knole, whither they went because 
 Walker had been commissioned by Smith and Elder to illus¬ 
 trate “ Esmond,” and thought that the furniture there might 
 inspire him. But it did not, and the work fell into the hands 
 of Mr. Du Maurier, who carried it to a most successfid end. 
 
 Another and more lengthy e.xcursion was to Venice in 1868, 
 when Mr. Orchardson formed one of the party. Walker, who 
 was out of sorts, went round by sea, and, to his great consterna¬ 
 tion, was asked by the captain to conduct service on Sunda}'. 
 How he got through it he did not know, but he described it as 
 ‘‘frightfully impressive.” Here, again, it was a case rather 
 of play than work. Walker inaugurated what he termed 
 ‘‘gondola combats,” which consisted in the party going in 
 two gondolas and splashing one another until they were wet 
 through. Walker’s work during this trip consisted of his 
 beautiful picture 
 of ‘ The Gondola,’ 
 a water-colour of 
 a palace with Or¬ 
 chardson looking 
 out of a window 
 (this hangs in Mr. 
 
 Foster’s studio), 
 and a drawing 
 made out at the 
 I.ido, a favourite 
 haunt of his, be¬ 
 cause, as he e.x- 
 pressed it, it was 
 ‘‘ so Thamesy,” 
 and the little 
 streams between 
 the mud were 
 “ so lizardy.” 
 
 Mr. Foster has 
 made many ex¬ 
 cursions to Italy 
 before and since, 
 but none were so 
 enjoyable as this. 
 
 His first was in 1866, when his passage to Venice was 
 blocked by the Italian army warring against Austria. Se¬ 
 veral others (Mr. Foster thinks not less than seven) were 
 made round about 1880 to execute a series of fifty Vene¬ 
 tian drawings for the late Mr. Charles Seeley. P'or this 
 commission he received the large sum of five thousand 
 pounds, but the result has unfortunately never been seen by 
 the public, as the owner has never allowed the drawings to 
 be exhibited. 
 
 But besides Italy, most of the most picturesque parts of 
 Europe have been seen by him. One of his earliest trips was 
 an ornithological one to the Shetland Isles, and hardly a year 
 passed during the seventies and eighties but some part of 
 France, Italy, Switzerland, Spain, or Germany was delineated 
 by his pencil and brush. 
 
 Mr. Foster has received honours from many institutions ; 
 amongst them may be cited membership of the Royal Aca¬ 
 demy of Berlin, an honour which he received simultaneously 
 with Mr. Alma Tadema, R.A. 
 
 It goes without saying that Mr. Foster’s life has been a prolific 
 one, so far as work in colour is concerned. The Old Water- 
 Colour Society’s catalogues testify to two hundred and eighty- 
 three exhibits in the fifty-eight exhibitions which have been 
 held between i860 and 1890, and besides these many have 
 gone into private hands. Of works in oil the record is a much 
 smaller one. The Academy Exhibition index contains his 
 name continuously between 1869 and 1877, which period he 
 showed fourteen pictures ; but Mr. Foster soon found that 
 practising in the two mediums was incompatible with success 
 in both, and accordingly he has discontinued that of oil paint¬ 
 ing since the last named year. It would be w'ell if many of 
 his fellows would follow his example. It is of course very 
 natural for an artist to yield to the temptation and attempt 
 to obtain a mastery over the medium by which alone he can 
 hope to attain to Academic honours. But the instances in 
 which a successful water-colour painter has achieved distinc¬ 
 tion later in life in oil painting are so few that it is a most 
 hazardous speculation, and in almost every instance only 
 
 brings in its train 
 mortification and 
 disgust. 
 
 Our artist’s me¬ 
 thod of working 
 in colours has na¬ 
 turally, to a cer¬ 
 tain extent, been 
 influenced by his 
 long service in 
 wood draughts¬ 
 manship. Here 
 he combined the 
 pencil with the 
 brush, laying 
 upon the wood in 
 the first instance 
 a wash of Chinese 
 white, then put¬ 
 ting in his clouds 
 and distances 
 with Indian ink, 
 and his trees and 
 foreground with 
 a hard pencil. In 
 colours, as the Times remarked when criticising an exhibition 
 of his works held at Messrs. Vokins’s in 1882, ‘‘he was practi¬ 
 cally the inventor of a style, which consisted at first of minute 
 execution with the finest point, and with the use of body colour 
 carried it to an extent which when he first practised it was 
 quite new. But as this method obviou.sly led him away from 
 the qualities of breadth* rich tone of colour, and translucent 
 effect of light, which belong to pure water-colour, he soon 
 became sensible of it and gradually departed from the aim at 
 excessive detail, and employed a broader touch and worked 
 upon a larger scale. But he still maintains the principle of his 
 style, and although enlarging it somewhat in the direction of 
 obtaining greater breadth and general harmony, as in his 
 latest works, he has never lost an atom of his individuality or 
 swerved from his original view, however opposed it might be 
 considered to be to what is called the legitimate in water¬ 
 colour Art. It is this decided character that gives the greatest 
 interest to Birket Foster’s work. He began as an innovator, 
 attempting an imitative style that, inasmuch as it dispensed 
 
 F 
 
i8 
 
 BIRKET FOSTER. 
 
 with the broad washes of water-colour, was out of the pale of 
 orthodox practice, and now at last, he enlarges his style by 
 learning from nature and developing his method, until he 
 solves the problem by obtaining harmonious unity with the 
 utmost diversity of detail on such really noble drawings as the 
 ' Falls of the Tummel’ (see page i6), and the ‘ Porch of Rouen 
 Cathedral ’ (see page 15). 
 
 Mr. Foster’s palette is a restricted and simple one, and he 
 seldom uses new colours, as he finds it difficult to adapt himself 
 
 to them. Specimens of his rough sketches from nature are 
 given in this number. These he actually makes in small 
 books, of which he has hundreds full of memoranda. He 
 never uses an easel whilst sketching from nature, but works 
 with his block held between his knees. 
 
 Much of Mr. Foster’s work has been imitated in chromo¬ 
 lithography—a good deal of it very indifferently, a little of it 
 remarkably well. But most of the imitations have arisen 
 from thoughtless admirers who have attempted to copy his 
 
 The Ford. From a Water-Colour by Birket Foster. 
 
 drawings for the mere love of the thing, and from pirates who 
 have done it as a matter of trade. The specimens of these 
 latter submitted to Mr. Foster became after a time so numerous, 
 that he was driven to make a charge of a guinea before he would 
 
 examine them ; but this does not prevent constant application 
 for the identification of drawings which in at least nine in¬ 
 stances out of ten are miserable copies, not worth the cost of 
 the postage spent upon them. 
 
 PART IV.—BIRKET FOSTER AND HIS CRITICS. 
 
 T DO not propose myself to enter upon a criticism of Mr. 
 -*■ Foster’s work, whether in black and white or in colours, 
 save to defend it from one or two charges which have been 
 brought against it by certain critics who have evidently viewed it 
 with the most superficial glance. Mr. Foster has from the very 
 commencement of his career been favoured, I might almost say 
 pampered, by the Press. There is hardly an artist living who 
 has been received with so many smites and so few frowns, 
 and the reason for this is probably, as the Athenceum puts it, 
 that “ whilst his genius is not vigorous or dramatic, it is so 
 tender, delicate, and idyllic, that it is always congenial and 
 attractive or, as the Times thirty years later states, that “ his 
 long and successful career as an artist holding a high and 
 
 distinct position in our school of water-colour drawing,” has 
 been due to “ a mastery of method and style entirely the artist’s 
 own, inspired with an enthusiastic feeling for the picturesque¬ 
 ness of English landscape.” 
 
 The first charge brought against Mr. Foster’s work, es¬ 
 pecially in black and white, is that it is characterized by- 
 repetition. 
 
 As to this I would ask such cavillers to consider the task 
 which was laid upon the artist by the publishers, and then to 
 compare the result with that of any other illustrator similarly 
 situated. An artist naturally has certain predilections, and 
 when the public not only accepts these, but demands that they 
 shall be present in almost all that he does, it is not remarkable 
 
PART IV.—BIRKET FOSTER AND HIS CRITICS. 
 
 19 
 
 if these recur. For instance, I asked Mr. Foster, .seeing a quan¬ 
 tity of firs in his garden, why he so seldom introduced them into 
 his pictures, and whether 
 he differed from Virgil, who 
 sang ‘‘Fraxinus in sylvis 
 pulcherrima, pinus in hor- 
 tis.” His reply was con¬ 
 vincing. “ A fir always re¬ 
 minds me of a Noah’s ark 
 tree, a stem in the middle, 
 a pyramidal mass of foliage 
 above with absolutely no 
 variety. Now my favourite, 
 
 ‘ the hedgerow elm,’ as Mil- 
 ton calls it, has a magnifi¬ 
 cent bole, redolent of 
 strength, and a superstruc¬ 
 ture which constantly varies, 
 and is as picturesque when 
 shorn of leaves as when 
 covered with them.” 
 
 This penchant for certain 
 forms over others is perhaps 
 the secret of the charge just 
 mentioned. Mr. Foster pre¬ 
 fers the repose of nature to 
 its stormier phases, and the 
 stillness of noontide making 
 itself felt beneatli the trees 
 and inducing repose, to 
 
 a rough landscape drenched with rain or snow. For move¬ 
 ment he relies upon his figures, and especially on flocks or 
 cattle, the former attended by a favourite sheep dog, 
 of which he must have obtained the prototype when 
 he illustrated Cowper’s “Task,” wherein the wood¬ 
 man’s companion is described as— 
 
 “ Shaggy, and lean, and shrewd, with pointed ears 
 And tail cropp’d short, half lurcher and half cur.” 
 
 So too the “gentle art” is more to his liking than 
 the chase, and therefore we And his fields alive with 
 nibbling flocks, his lanes with the slowly moving 
 wain, his streams with the stolid angler, and his 
 woods with Horace’s pensive muser, who— 
 
 “ Libet jacere modo sub antiqua ilice, 
 
 Modo in tenaci gramine, 
 
 Labunter altis interim ripis aquae.” 
 
 From Poe's '■^Annabel Lee'' 
 
 Although a reason is hardly necessary, the artist adduces a very 
 cogent one for his treatment of the subject, namely, that in the 
 
 days of his youth it was con¬ 
 sidered correct to represent 
 the labouring rustic as a 
 chawbacon absolutely de¬ 
 void of manliness, with 
 turned-up nose, a long upper 
 lip, and a vacuous expres¬ 
 sion ; his children as sluts, 
 and his surroundings as ab¬ 
 ject. Wandering amongst 
 the Surrey lanes, Birket Fos¬ 
 ter saw none of this, but, on 
 the contrary, his young ima¬ 
 gination discovered beauty 
 in everything. The labourer 
 if not modelled on the heroic 
 type xvas at all events a 
 sturdy fellow, and as for his 
 children, can any one who 
 knows the country deny that 
 he has seen, over and over 
 again, instances of the 
 graces which our artist in¬ 
 troduces into his pictures ? 
 for instance, the bearing of 
 the girl who balances herself 
 upon the fallen elm in the 
 picture on page 30, and 
 who is not more beautiful than hundreds of other little 
 lasses for whom we have to thank Mr. Foster. Leaving then 
 
 
 “ Willows grey close crowding o’er the brook.” 
 
 A second and still more unfounded complaint 
 that has been urged against him is that the chil¬ 
 dren introduced into his pictures, and which add 
 so greatly to their charm, are too graceful and 
 idyllic, and too daintily clothed for the rustics 
 encountered in one’s walks abroad. It is hardly 
 necessary to answer the objections of those who 
 prefer ugliness to beauty, and who would insist 
 upon its retention rather than that truth should be 
 sacrificed. If Mr. Foster has sinned in this respect 
 he has done it in company with his friend Frederick 
 Walker, with Mason, and other names which w'ill for ever be 
 included amongst the immortals of English landscape Art. 
 
 “ Most happy in the shy recess 
 Of Barden’s humhle quietness.” 
 
 White Doe of Ryhtone. 
 
 the two, and I believe the only two objections which have 
 been raised to Mr. Foster’s work in black and white, we will 
 
 Although he sometimes paints the rushing torrent, 
 as in ‘ The Tummel’ (page 16), he much prefers the 
 infant stream and— 
 
20 
 
 BIRKET FOSTER. 
 
 pass on to a more agreeable part of the subject, and glance at 
 what we have to thank him for. 
 
 First of all, if he did not actually introduce, he was the artist 
 to popularize the homes of the peasantry and life in the 
 fields. 
 
 We in this generation have become so accustomed of late 
 years to seeing the walls of exhibitions crowded with these 
 subjects, that we are apt to overlook the fact that half a century 
 ago artists had never condescended to such things ; and if 
 they noted the one phase of it represented by tumble-down 
 buildings they did so because they were an echo of the classic 
 ruin which had for so long furnished a 7 'aisoii d'etre for a 
 most unreal and uninteresting landscape. But as a body they 
 had entirely overlooked the garden of nature, which cried out 
 for notice, no man regarding it. He was almost the first to 
 see beauty in the wayside cottage, with its tiled roof ridged 
 with moss and houseleek, its timbered sides half hidden in 
 
 vines, its apple-trees pushing their blossoms almost in at the 
 leaden lattices ; the first to put on paper the hedgerows decked 
 out with honeysuckles and wild rose, and the woods gay with 
 hyacinth and primroses. 
 
 Is it to be wondered at that as he stood at the gate of this 
 paradise he saw his opportunity, and that when he entered in 
 and recorded its loveliness the populace rose at him, accepted 
 all he did, and refused to let him draw aught else than country¬ 
 side, hamlet, winding lane, and wildflower pasture land ? 
 What more satisfying Art can the average Englishman require 
 than that presented in the 'Primrose-gatherers’ (on opposite 
 page), where one is carried back to memories of days when 
 all was youth, and spring, and sunshine, and no lowering 
 clouds gave promise of the gloom that was in store in the 
 hereafter ? 
 
 And out of this portrayal of nature he evoked three qualities, 
 which were not perhaps so rare at that time, but which are 
 
 Royal Cottage near the Trossachs. 
 
 getting day by day less common—daintiness, gentleness, and 
 repose. Look at any one of the illustrations in this number 
 and see if all three are not apparent. I take up the first illus¬ 
 trated work of to-day which presents itself (it happens to be a 
 popular illustrated magazine, famed for the amount which is 
 expended upon its illustrations), and I have not gone over half a 
 dozen of its illustrations before I am conscious of a lack, almost 
 an entire absence of this first quality of daintiness, a quality 
 which appears to me to be a very necessary one. The editor is 
 not, I imagine, to blame ; it is the insidious taint of a malady 
 which has recently attacked the Art training of every school, 
 and for which we have to thank our Gallic neighbours, namely 
 the delineation of everything which the eye sees, however 
 revolting and unfitted it may be for reproduction, together with 
 a supreme contempt of the principle of the selection of the 
 fittest. The quality of gentleness, or gentility, is closely akin to 
 
 this. When we look at the grossness of subject which per¬ 
 vaded every form of illustration at the commencement of the 
 century, witness the woodcuts of Bewick even, a word of more 
 than ordinary praise is due to an artist who has steered so 
 clear of it as Birket Foster has done. 
 
 Yet one more notable characteristic must be felt in all his 
 work, whether on wood or in water colour, and that is composi¬ 
 tion. With all artists of the old school he laments the de¬ 
 generacy of to-day, which relegates that essential quality to 
 the hindmost of seats, and he fails to see the merits of the pho¬ 
 tographic school, which places its nature on canvas exactly 
 as it sees it. To him composition came almost naturally, but 
 none the less he passed through a long course of study of it. 
 
 Before leaving the subject of Mr. Foster’s work, another fea¬ 
 ture of it, which has to do with composition, must not be passed 
 over without notice. I refer to his fondness for vignetting his 
 
G 
 
 Primroses. 
 
o ^ 
 
 BIRKET E'OSTER. 
 
 drawings, especially those of a small size. The origin of 
 this peculiarity, for such it was in water-colours when he first 
 practised it, is without doubt due to his having habituated 
 
 himself to it in his work in black and white, where it had been 
 utilized by Bewick, Harvey, and many others with more or 
 less success. Only those who have attempted it know the dif- 
 
 Butterciips. 
 
 ficulty of producing an entirely satisfactory result, where com¬ 
 position plays such a considerable part. Many artists have 
 tried, but very few have succeeded, and none have ever ap¬ 
 proached Mr. Foster in the delicacy of Ins little dainties, which 
 
 he produces with an ease, a variety, and a prolificness which 
 is quite astounding. There is a large public which never 
 tires of them, and nothing in water-colours commands a readier 
 sale, whether it be in the exhibitions or under the hammer. 
 
 PART V.—BIRKET FOSTER AT HOME. 
 
 The Foresters' or Fosters' horn. 
 
 T’ 
 
 'HE South-Western 
 line retains for a 
 longer distance per¬ 
 haps than any other its 
 hideous metropolitan 
 character. But when 
 that portion of it which 
 is termed the Direct 
 Portsmouth line at 
 length emerges into 
 open country, it does 
 its best to atone for its 
 earlier shortcomings 
 by presenting to the 
 traveller a series of syl¬ 
 van scenes as beautiful 
 as any in the south of 
 England, and these appear to greater advantage by reason 
 
 of the uglinesses w’hich have had to be borne before. The 
 country betters some time before Godaiming is reached, but 
 it is after passing that picturesque town that West Surrey 
 first dons its forest garb; then it is that above the sandy 
 embankment, tipped with heather and bright with broom, one 
 enjoys that always delightful sensation of peering down the 
 dim arcades formed by innumerable pines, whose resiny odour 
 penetrates even the stuffy railway compartment. 
 
 As the train deposits us at the little station of Witley, we 
 find ourselves in a garden, and the scent of the pine wood is 
 exchanged for that of the rose, hundreds of which, the pro¬ 
 duct of a single root, line the platform from end to end. 
 Traversing a short pathway, we arrive at a wicket gate, wdiich 
 opens into a wood, and we are on Mr. Foster’s soil, and at 
 the base of a steepish ascent, upon which stands his resi¬ 
 dence, “The Hill.’’ The shelter of the wood is presently 
 exchanged for that of an avenue of deftly wov^n filbert-trees, 
 diverging paths from which open up vistas of a sundial gar- 
 
PART V.—AT HOiMP. 
 
 23 
 
 den, a mass of roses, poppies, campanulas, corn and sun¬ 
 flowers, a lakelet white with water-lilies, and well-stocked 
 strawberry beds. 
 
 A constant and rapid climb brings the visitor ultimately 
 to a terrace, on one side of which stands the house, 
 and on the other is unfolded a marvellous panorama. Over 
 a rolling champaign, almost hidden by woods, is seen to 
 the right Hindhead, the highest point in the prospect, its 
 barren summit standing out a deep violet against the sunset 
 sky. Somewhat to the left, but apparently not much lower, 
 comes the spur which terminates in Blackdown, the topmost 
 houses of Haslemere peeping over its crest, and on its flank 
 the Poet Laureate’s house, and 
 Lythe Hill, where so many of Sir F. 
 
 Leighton’s best works are stored. 
 
 Beyond the Weald—here called of 
 Surrey, but for the most part of 
 Sussex—can be discovered the spire 
 of Petworth, recalling memories of 
 'I'urner, and far off on the horizon 
 the heights above Goodwood, and 
 the range of the South Downs, 
 broken midway by Arundel, and 
 away to the east by Shoreham Gaps. 
 
 'J hat most assertive of South-Down 
 beacons, Chanctonbury Ring, is of 
 course visible. 
 
 Whilst any delineation in black 
 and white of the scene would fail 
 as entirely as words to convey a 
 sense of its beauties, this is fortu¬ 
 nately not the case with the more 
 immediate object of our visit, 
 namely, the artist’s dwelling. Mr. 
 
 William Foster has given us at 
 page 25 a very artistic rendering of 
 his father’s house, which conveys 
 everything except the colour with 
 which it is decked by the flowers 
 which depend from the windows and 
 bloom over its sides and roof. 
 
 Leaving a game at bowls in which 
 he had been successfully combat¬ 
 ing against his son and a young 
 student of the Royal Academy (who 
 is supposed to be hard at work 
 painting an old graveyard hard by, 
 the competitive subject for the 
 Turner Gold Medal), our host hast¬ 
 ens up the lawn to greet us. Tall 
 and erect, no one would credit that 
 he is over sixty years of age, whilst his open countenance and 
 hearty welcome quite belie the somewhat stern appearance in 
 which his portraits always clothe him, and which is present 
 even when the photographer is, as in the case of the one taken 
 for us (page i), a member of his family, and the locale is his 
 own garden. One is at once assured of a welcome to Witley, 
 and having long heard of the artistic treasures which “The 
 Hill ’’ contains, but a few moments elapse before a movement 
 is irresistibly made towards the house, and one’s back is 
 turned upon the delights of the garden. 
 
 As Mr. Foster hastens to tell us, in a somewhat depreciatory 
 tone of voice, and as if to reconcile one to shortcomings, he 
 
 has practically been his own architect. There is little need 
 for him to mention this, for the house and its contents testify 
 to that best of all qualities, when the designer is an artist, 
 individuality. 
 
 Passing at once into the drawing-room, the windows of which 
 are seen in the illustration, at either side of the angle nearest 
 to us, we are conscious at a glance of the presence, in their 
 best attire, of the sister arts of painting in water-colours and 
 music. Not only in duty bound, but with a sense of delight, 
 we at once make our way across the room to worship at the 
 shrine of the great master of water-colour art, and revel over 
 a group of Turners, for the most part of the grey paper kind. 
 
 which form a wonderful bouquet of colour, as full and rich 
 as on the day on which the artist stayed his hand upon them. 
 The names of the Rhine, Switzerland, the Moselle, and 
 Sidon, will convey to those who are familiar with Turner’s 
 work an idea of the pleasurable anticipations which the 
 thought of a prospective quiet study of these induces. This 
 furnishing of the choicest meat at the outset has, as we 
 know, been regarded from very early times as a rather peril¬ 
 ous proceeding, and no greater proof of the high character 
 of the remainder of the feast could be furnished than this, 
 that subsequent dishes did not suffer by comparison. We are 
 sensible of this as we pass round the room, and Mr. Foster 
 
24 
 
 BIRKET FOSTER. 
 
 points out the examples of the work of his friends, Jolm 
 Lewis, Linnell, William Hunt, Frederick Wkalker, Pin- 
 
 Tiles from the Sleeping Beauty Series. By Bunie-Jones. 
 
 well, Frederick Tayler, and W. L. Leitch, all seen to 
 the best advantage in selected specimens, hung upon a 
 ground of roughened gold. The only indications in the 
 room of jSIr. F'oster’s work are two small drawings which, 
 enclosed in a ;passeparfoiit, find a place 
 upon his wife’s work-table. The mu¬ 
 sical bent of the family is evidenced 
 by a novel decoration of the glazing of 
 the upper part of the windows, sug¬ 
 gested by Charles Keene, whereon scores 
 of quaint rounds, catches, and carols are 
 imaged, and oftentimes are made actual 
 use of. 
 
 He who is endued with a liking for blue 
 and white china (and who is not nowa¬ 
 days ?) will find it hard to keep his hands 
 off many of the specimens which decorate 
 not only the chimney-breast, but the frieze 
 round the room. Mr. Foster was very 
 early in the field in quest of this, the best 
 of decorative material. In company with 
 Rossetti and a few others he recognised 
 its value long before the rest of mankind. 
 
 As evidence of its price at that time, he 
 shows a ginger jar for which, at Rossetti’s 
 instance, he was induced to give what he 
 considered the enormous price of £,\b, 
 and for which he has since refused several 
 hundreds. But the ware was then to be 
 had in abundance. As Rossetti said, 
 
 Murray IMarks’ shop in New Oxford Street 
 was like a scene in the Arabian Nights, 
 so full was it of enormous jars. He might 
 now almost apply the term to any room 
 at “ The Hill,” for so replete is the house 
 that every bedroom is decked with it, and 
 one not only washes, but drinks one’s soup 
 out of it. 
 
 To Rossetti, in a way, is also due the deco¬ 
 ration of the dining-room. Mr. F'oster, whilst the house was in 
 course of building, had been brought a good deal into con¬ 
 
 nection with William Morris, who had some time previously 
 started a sort of co-operative shop in Queen Square, where a 
 
 number of young full-blooded 
 artists were working off their 
 superfluous energies in all sorts 
 of decorative ventures. Wil¬ 
 liam Morris came down to ‘‘The 
 Hill,” and mapped out a won¬ 
 derful scheme for the decora¬ 
 tion of the house. Much of it 
 did not get beyond this stage, 
 but some of it fortunately was 
 carried out to its accomplish¬ 
 ment. Mr. Burne-Jones also 
 came, and Mr. Foster asked 
 him to do something towards 
 the decoration. Burne-Jones 
 said that Rossetti had just com¬ 
 pleted a version of St. George 
 and the Dragon in stained glass 
 for Morris, and suggested that 
 the adornment of the dining¬ 
 room should consist of a portrayal of the same legend. 
 Accordingly Mr. Jones painted seven canvases, which form 
 a continuous band round three sides of the room. These, 
 apart from their excellence, form a most interesting record 
 
 yiew from the Verandah. 
 
 of the work of the painter in the early years of the sixties. 
 We give a reproduction of the fifth panel (see page ?6), not 
 
H 
 
 ' The Hill,'' Willey, South Front. 
 
26 
 
 BIRKEr FOSTER. 
 
 because it is more characteristic than the others, but because 
 it lent itself best to photography. 
 
 Other examples either of Mr. Burne-Jones’s brush or from 
 his designs are to be found in every room of the house. The 
 lights upon the stairs are full of stained glass, and include a 
 series, very fine in colour, illustrative of the Seasons. On 
 pages 28 and 31 will be found two examples of Mr. Burne- 
 Jones’s work in this branch of Art. The fireplaces in the 
 bedrooms have tiles not only on the hearth-sides but on the 
 chimney-breasts upon which various fairy stories are told in 
 many a scene, ‘Beauty and the Beast,’‘Cinderella,’‘The Steep¬ 
 ing Beauty,’ and others. Our illustration (p. 24) from the last 
 named will be of interest just now, when the artist has carried 
 out the subject with such a wealth of imaginative detail; it is 
 noteworthy that he has kept to his early idea as regards the 
 
 Prince encountering the bodies of those earlier aspirants who 
 had succumbed to the magic spell. But one of the most 
 remarkable examples of Mr. Jones’s work is the great screen 
 which ornaments Mr. Foster’s studio, and of which we give 
 one of the eight folds (p. 29). Hereon is portrayed in marvel¬ 
 lous detail sixteen events in the life of St. Frideswide, a record 
 of whose good works it was meet and right that a graduate of 
 the University of Oxford should assist in handing down to 
 posteiity. Photography and engraving both fail to translate 
 the wonderful wealth of colour which flushes across the studio 
 when this screen is unfolded. It was upon calling on Mr. 
 Burne-Jones at his house in Great Russell Street, to acquaint 
 him of his election to the Water-Colour Society, that Mr. Foster 
 first saw the screen, and wanted to purchase it, but it was not 
 until some time after, upon Mr. Jones’s moving from Ken- 
 
 Si. George and the Dragon. From the Dining-room. 
 
 sington Square, that he co.nsented to hand it over to his 
 brother artist’s safe keeping. 
 
 “ The Hill ” contains two studios, a large one which since 
 Mr. Foster has discarded oil painting he seldom uses, and a 
 smaller room in which most of his water-colours are produced. 
 We give an illustration (p. 27) of the first named, which is 
 distinguished by an arched roof, and at either end has two un¬ 
 finished frescoes by J. D. Watson, ‘The Feast of the Peacock,’ 
 and ‘ The Raising of the Maypole,’ both of which testify to the 
 well-known ability of Mr. Foster’s brother-in-law. It was in 
 this studio that the plays which took place here during so 
 many years at Christmas, and which attracted a consider¬ 
 able notoriety, were performed. The master of the cere¬ 
 monies was Robert Dudley, and the plays which were 
 acted under his direction left little to be desired. The 
 scenery was painted for the most part by Fred. Walker, who 
 
 delighted in the contrasts which he introduced. A library in 
 which everything was artistic, and in which the portraits on 
 the walls were painted with as much care as if they had had 
 to satisfy the originals, would be succeeded by an apartment 
 which was a growth of everything that was vulgar, from the 
 wall paper to the wax fruits. Birket Foster painted for the 
 drop-scene a view of Venice, and when a curtain was for 
 convenience substituted, a well-known dealer purchased it 
 for a considerable sum, and it now adorns a nobleman’s stair¬ 
 case. The mzse en scene was most elaborate, and the dresses 
 and make-up of the actors were admirable. Frederick 
 Walker painted his face so as to be quite unrecognisable, 
 making it quite a work of Art. 
 
 The smaller studio has little or no pretensions to distinction; 
 it is surrounded by cases in which are stored the multitudinous 
 studies which have of necessity accumulated during thirty years’ 
 
PART V.—AT HOME. 
 
 27 
 
 work. Sketch-books without end exhibit the artist’s industry. 
 Of properties there are none, unless a splendid brass-bound 
 chest of Spanish mahogany, a relic it is said of the Spanish 
 Armada, may be classified as such. The view from the large 
 and low window is an uncommon one. A high bank, a suf¬ 
 ficient distance away, allows free entry to the light, but gives 
 complete privacy to the apartment. All the vegetation within 
 and around it is allowed to run wild, and the artist has 
 without moving his chair a mass of useful material at hand 
 in the shape of ferns, gorse, and bramble. 
 
 Many other rooms in the house would furnish interesting 
 details, but space permits our mentioning only one other, and 
 that Is the library. Mr. Foster has not only a voracious 
 appetite for pictures but is a bibliomaniac as well, and whilst 
 well-fitted bookshelves afford the visitor an ample pabulum 
 of light reading, one special case offers an opportunity which 
 is seldom met with of conning over the mysteries of first folios 
 and quartos of Shakespeare, Caxtons, and works of the early 
 printers. But the volume which the illustrator of Milton sets 
 most store by is an edition of the Lycophron, which has had 
 
 Mr. Foster's Large Studio. 
 
 the privilege of forming part of the great poet's library and 
 bears in his handwriting not only the legend, ‘‘ Sum ex libris 
 Jo Miltoni, 1634,” but annotations in Greek and Latin at 
 frequent intervals upon its pages. After these even Mr. 
 Foster would not contend that the shelves allotted to first 
 editions of the books which he has illustrated appear of higher 
 importance. But there is plenty else to occupy the attention, 
 including scrap-books full of sketches and caricatures by 
 Fred. Walker, Charles Keene, J. D. Watson, and Orchardson. 
 
 Nor will the visitor leave the room without an inspection of 
 the charming portrait of our hostess, from the brush of Mr. 
 Orchardson, which is let into the over-mantel. 
 
 Mr. Foster married, in 1850, Ann, daughter of Mr. Robert 
 Spence, and by her had five children. His eldest son, Myles 
 Birket, has followed the profession of music, and as organist 
 of the Foundling Hospital and the author of many services 
 holds high rank amongst his fellows. His second son, Wil¬ 
 liam, is well known as a water-colour artist and illustrator. 
 
28 
 
 BIRKET FOSTER. 
 
 especially of children’s books, in which he has displayed a 
 considerable fund of humour. All our illustrations ot Mr. 
 Foster’s house are from his brush. He is also an ornitho¬ 
 logist of no mean order, the woods at Witley affording him 
 ample scope for work and observation. To effect this latter 
 end he has established himself as the friend of the feathered 
 tribes, for he provides them with an infinity of bo.xes in which 
 to nest and rear tlieir progeny, an advantage of which they 
 are not slow' to avail themselves. 
 
 Mrs. Foster died in 1859, and in 1864, our artist married 
 his present w'ife, who was the daughter of Mr. Dawson Watson, 
 of Sedburgh, and a sister of Mr. J. D. \Vatson, also a member 
 of the Society of Painters in Water Colours. 
 
 Mr. Foster will not allow us to leave without a tour round 
 his village, of which he is very proud. The Corporation of 
 London in building a hideous charity school, and one or 
 two other owners of property in failing to discharge their 
 duty in preserving picturesque cottages, have spoilt one or 
 two corners of it ; but Witley has still a good title to rank 
 as one of the most picturesque hamlets in England, and were 
 old Anthony Smith (w'hose memory is to last in his native 
 village as long as its church bells give forth a sound) to 
 issue from the vault which he tenants, and wander round, 
 he would find many a house but little different to what it 
 was when as “ Pentioner to King Charles ye ist,’' he and his 
 dame and family wended their way each Sunday to occupy the 
 squire’s pew. 
 
 Thanks to Birket Foster, who is at work at the present time 
 in putting on to copper a series entitled ‘ Memorials of an 
 
 Old Village,’ to Mrs. Allingham and scores of other artists, 
 the beauties of Witley cottages may be perpetuated on paper 
 even after the tenements themselves have passed away. So 
 too Mr. Foster’s drawings will hand down to posterity the 
 dress and habits of a race of peasants which has altogether 
 changed, and not for the better. The children of a quarter 
 of a century ago were almost of the Gainsborough type, in 
 their clean flowered prints and white pinafores and sun bon¬ 
 nets ; they have given place to smart little wenches decked 
 out in the latest fashions of the day ; the picturesque smock- 
 frocks are fast disappearing, and are now replaced by respect¬ 
 able broadcloth from the ready-made shop at Godaiming. But 
 one or two ancients remain to testify to what the rude fore¬ 
 fathers of the hamlet were like before the railway came and 
 swept away the past. The White Hart, the signboard whereof 
 by the way is the combined work of Birket Foster and A. W. 
 Cooper, son of an old Academician of that name, is still 
 a model public-house, and as such is appreciated by all 
 artists. 
 
 'i'he view from every point of vantage in the village is 
 interesting; especially is it so from Banacle Hill, wherefrom 
 not only the 4 inorama seen from Mr. Foster’s house unfolds 
 itself, but a stretch of interesting country lying to the north, 
 including Crookesbury Hill, at the foot of which is Waverley 
 Abbey, which gave its name to Scott’s novel, and the little 
 cottage the home of Swift and Stella. Amongst more modern 
 celebrities connected with art or letters who have lived nearer 
 home, and actually w'ithin the precincts of Witley, are George 
 Eliot, Mr. Hook, Sir Henry Cole, and Mrs. Allingham. 
 
 Stained Gtass. From a Design by Mr. Burne-Jones, A.R.A. 
 
LIST OF BOOKS ILLUSTRATED BY BIRKET FOSTER, 
 
 This list docs not include editions subsequent to the first, or any books of lekich the illustrations were not specially 
 
 made by the artist. 
 
 ‘ Ireland, its Scenery, 
 Character, &c.,’ by Air. 
 and Mrs. S. C. Hall. 
 How and Parsons. 
 
 ‘ Aldershot and all about 
 it.’ 
 
 ‘Birds, Trees, and Blos¬ 
 soms.’ 
 
 ‘ Richmond and other 
 Poems,’ by C. Ellis. 3 
 illustrations by Birket 
 Foster. Madden and Malcolm. 
 
 1847. ‘The Boy’s Spring Book,’ by Thos. Miller. 35 illus¬ 
 
 trations by Birket Foster. Chapman and Hall. 
 
 ‘ The Boy’s Summer Book,’ by Thos. Aliller. Chapman 
 and Hall. 
 
 ‘The Boy’s Autumn Book,’ by Thos. Miller. Chapman 
 and Plall. 
 
 ‘ The Boy’s Winter Book,’ by Thos. Miller. Chapman 
 and Hall. 
 
 1848. ‘ The Female Worker to the Poor.’ 3 illustrations by 
 
 Birket Foster. Seeleys. 
 
 1849. ‘The River Thames,’ by J. F. Murray. 
 
 1850. ‘ The Pilgrims of the Rhine,’ by Sir E. B. Lytton. 
 
 I illustration by Birket Foster. Chapman and Hall. 
 
 ‘ Evangeline : a Tale of Acadie,’ by Henry Wadsworth 
 Longfellow. Engravings after Birket Foster. 
 Bogue. 
 
 ‘The Year Book of the Country; or the Field, the 
 Forest, and the Fireside,’ by W. Howitt. Colburn. 
 
 ‘ Original Poems for my Children,’ by Thos. Miller. 
 All illustrations by Birket Foster. Bogue. 
 
 1851. ‘Christmas with the Poets.’ 52 tinted illustrations 
 
 by Birket Foster. Bogue. 
 
 ‘ The Moorland Cottage.’ By the Author of Mary 
 Barton. 
 
 ‘The Illustrated Book'of Songs for Children.’ W. 
 Orr & Co. 
 
 1851. ‘Voices of the Night,’ by H. W. Longfellow. Bogue. 
 ‘ The Poetical Works of Oliver Goldsmith.’ 
 
 Fold of a Screen, by Mr. Burne-Jones, A .R.A., illustrating the life of 
 St, Frideswide. 
 
 1852. ‘Longfellow’s Poetical Works.’ 81 illustrations by 
 Birket Foster. Bogue. 
 
 ‘ The Story of Alont Blanc,’ by Albert Smith. Bogue. 
 
 I 
 
30 
 
 BIRKET FOSTER. 
 
 1852. ‘A Month at Constantinople,’ by Albert Smith. 
 
 Bogue. 
 
 1853. ‘ Fern Leaves from Fanny’s Portfolio.’ 8 illustrations 
 
 by Birket Foster. Ingram, Cooke & Co. 
 
 ‘ Poetry of the Year.’ i in water-colour by Birket 
 Foster. G. Bell. 
 
 ‘ The Lady of the Lake,’ by Sir Walter Scott. A. & 
 C. Black, Edinburgh. 
 
 ‘The Lay of the Last Minstrel,’ by Sir Walter Scott. 
 100 illustrations by Birket Foster and John Gilbert. 
 A. and C. Black, Edinburgh. 
 
 1853. ‘A Holiday Book for Christmas and the New Year. 
 
 Ingram Cooke & Co. 
 
 ‘A Picturesque Guide to the Trossachs.’ All by 
 Birket Foster. Black. 
 
 1854. ‘ Proverbial Philosophy,’ by Martin Tupper. 6 illustra¬ 
 
 tions by Birket Foster. Hatchards. 
 
 ‘The Blue Ribbon : a Story of the Last Century,’ by 
 Anna Harriet Drury. King and Son. 
 
 ‘ An Elegy written in a Country Churchyard,’ by 
 Thomas Gray. 13 illustrations by Birket Foster. 
 Joseph Cundall. 
 
 Playtime. From a Water-colour by Birket Foster. 
 
 1854. ‘Little Ferns for Fanny’s little Friends.’ 8 illustra¬ 
 
 tions by Birket Foster. Nathaniel Cooke & Co. 
 
 ‘L’Allegro’ and ‘II Penseroso,’ by John Milton. 30 
 etchings on steel by Birket Foster. Bogue. 
 
 ‘ The Golden Legend,’ by Henry Wadsworth Long¬ 
 fellow. 35 illustrations by Birket Foster. Bogue. 
 
 1855. ‘Marmion,’ by Sir Walter Scott. 80 engravings by 
 
 Birket Foster and John Gilbert. Black, Edin¬ 
 burgh. 
 
 ‘ The Dairyman’s Daughter.’ Seeley. 
 
 1856. ‘Sabbath Bells chimed by the Poets.’ In colours. 
 All illustrations by Birket Foster. Bell and Daldy, 
 
 1856. ‘The Task,’ by William Cowpcr. Illustrated by Birket 
 
 Foster. Nisbet & Co. 
 
 The Rhine and its Picturesque Scenery,’ described 
 by Henry Mayhew. 20 illustrations on steel after 
 Birket Foster. London. Bogue. 
 
 ‘ The Traveller,’ by Oliver Goldsmith. With 30 etchings 
 on steel by Birket Foster. Bogue. 
 
 ‘ Mia and Charlie.’ Bogue. 
 
 ‘The Poetical Works of George Herbert.’ Nisbet. 
 
 ‘ Sacred Allegories,’ by the Rev. W. Adams. 7 illustra¬ 
 tions by Birket Foster. Rivington. 
 
 1857. ‘ The Sabbath,’ ‘ Sabbath Walks,’ and other Poems by 
 
LIST OF BOOKS ILLUSTRATED BY BIRKET FOSTER. 
 
 31 
 
 James Grahame. Illustrations by Birket Foster. 
 Nisbet & Co. 
 
 Stained Glass, From a Design by Mr. Burne-Jones, A R.A. 
 
 857. ‘ The Poets of the Nineteenth Century.’ Selected and 
 
 edited by the Rev. R. A. Willmott. 15 illustrations 
 by Birket Foster. Routledge. 
 
 ‘Ministering Children.’ 8 illustrations by Birket 
 Foster. Seeley Jackson. 
 
 ‘ The Rime of the Ancient Mariner,’ by Samuel 
 Taylor Coleridge. 2 illustrations by Birket 
 Foster. Sampson Low & Co. 
 
 ‘ Rhimes and Roundelays in Praise of a Country 
 Life.’ Bogue. 
 
 ‘ The Course of Time,’ by R. Pollok. 27 illus¬ 
 trations by Birket Foster. Blackwood. 
 
 ‘ Dramatic Scenes and New Poems,’ by Barry 
 Cornwall. 14 illustrations by Birket Foster. 
 Chapman. 
 
 ‘ The Lord of the Isles.’ Adam and C. Black. 
 
 ‘The Farmer’s Boy,’ by Robert Bloomfield. 18 
 illustrations by Birket Foster. Low & Co. 
 
 ‘ The Upper Rhine : the Scenery of its Banks 
 and the Manners of its People,’ described by 
 Henry Mayhew. Routledge & Co. 
 
 858. ‘ Poems of William Bryant.’ 34 illustrations by 
 
 Birket Foster. R. Grififin, Low & Co. 
 
 ‘The Poetical Works of Edgar Allen Poe.’ 17 
 trations by Birket Foster. Sampson Low & Co. 
 
 1858. ‘ Comus,’ by John Milton. Routledge. 
 
 ‘ The Prince of Peace; or, Lays of Bethlehem.’ 
 Seeley & Co. 
 
 .“ Flitting light 
 
 From spray to spray, where’er he rests he shakes 
 From many a twig the pendent drops of ice,” 
 
 From Cowper^s Tas^F 
 
 1858. ‘ The Home Affections portrayed by the Poets,’ se¬ 
 
 lected and edited by Charles Mackay. 20 illustra¬ 
 tions by Birket Foster. Routledge. 
 
 ‘ Kavanagh: a Tale,’ by Henry Wadsworth Longfellow. 
 38 illustrations by Birket Foster. Kent A Co. 
 
 ‘ Poetry and Pictures from Thomas Moore.’ 20 illus¬ 
 trations by Birket Foster. Longmans. 
 
 ‘ The Shipwreck,’ by Robert Falconer. 
 
 ‘ The Grave,’ by Robert Blair. 10 illustrations by 
 Birket Foster. A. and C. Black. 
 
 ‘ Lays of the Holy Land ; from Ancient and Modern 
 Poets.’ 15 illustrations by Birket Foster. Nisbet. 
 
 
 Venice. From a Water-colour by Birket Foster. 
 
 illus- 1859. ‘The Seasons,’ by James Thomson. 21 illustrations 
 by Birket Foster. Nisbet &: Co. 
 
32 
 
 BIRKET FOSTER. 
 
 1859. ‘The Merrie Days of England,’ by Ed. McDermott. 
 
 4 illustrations by Birket Foster. Kent & Co. 
 
 ‘ Poems and Songs,’ by Robert Burns. 18 illustrations 
 by Birket Foster. Bell and Daldy. 
 
 ‘ Poems by William Wordsworth,’ edited by Robert 
 Aris Willmott. 70 illustrations by Birket Foster. 
 Routledge. 
 
 ‘The Hamlet,’ by Thomas Warton. 14 etchings on 
 steel by Birket Foster. Sampson Low. 
 
 ‘ The Poetical Works of Thomas Gray.’ Sampson 
 Low. 
 
 ‘ Favourite English Poems. Illustrations by Birket 
 Foster. Sampson Low & Co. 
 
 ‘ The Poems of Oliver Goldsmith,’ edited by Robert 
 Aris Willmott. Routledge. 
 
 ‘The Deserted Cottage,’ by William Wordsworth. 
 Routledge. 
 
 ‘ The White Doe of Rylstone,’ by Henry Wadsworth 
 Longfellow. 30 illustrations by Birket Foster. Long¬ 
 mans. 
 
 1860. ‘ Childe Harold’s Pilgrimage,’by Lord Byron. John 
 
 Murray. 
 
 ‘ The Tempest,’ by William Shakespeare. 5 illustra¬ 
 tions by Birket Foster. Bell and Daldy. 
 
 i860. ‘The Merchant of Venice,’ by William Shakespeare. 
 5 illustrations by Birket Foster. Sampson Low. 
 
 ‘ The Poets of the West.’ Sampson Low. 
 
 ‘ Common Wayside Flowers,’ by Thomas Miller. In 
 colours. Routledge. 
 
 ‘ Poems by James Montgomery.’ 39 illustrations by 
 Birket Foster. Routledge. 
 
 ‘ A Book of Favourite Modern Ballads.’ Illustrated 
 by modern English artists. 11 illustrations by Birket 
 Foster. W. Kent & Co., late Bogue. 
 
 ‘ Lallah Rookh,’ by Thomas Moore. 5 illustrations by 
 Birket Foster. Routledge. 
 
 ‘ Songs for my Little Ones at Home.’ In colours. 
 Sampson Low. 
 
 1862. ‘ The Scottish Reformation,’ by Peter Lorimer, 
 
 D. D. 25 illustrations by Birket Foster. R. 
 Griffin. 
 
 1863. 'Odes and Sonnets.’ All illustrations in colour by 
 
 Birket Foster. Routledge. 
 
 1867. ‘Summer Scenes,’ by Birket Foster. A series of pho¬ 
 tographs from some of his choicest water-colours. 
 Bell and Daldy. 
 
 1873. ‘The Trial of Sir Jasper,’ by S. C. Hall, i illustration 
 by Birket Foster. Virtue. 
 
 From Graham's “ Sabbath.” 
 
 PRINTED BY J. S. VIRTUE AND CO., LIMITED, CITY ROAD, LONDON. 
 
THE ART ANNUAL ADVERTISER, 1890. 
 
 SCOTTISH PROVIDENT INSTITUTION. 
 
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 THIS SOCIETY comlnnes the advantages of Mutual Assurance witli Moderate Premiums. 
 
 The PREMIUMS are so moderate that an Assurance of £1,200 or £1,2-50 may generally be secured from the fii’st for the yearly 
 payment which would elsewhere assure (with profits) £1,000 only — being equivalent to an immediate Bonus of 20 to 25 per cent. 
 
 The Whole PROFITS go to the Policyholders, on a system at once safe and equitable, — no share being given to those by whose 
 early death there is a loss to the Common Fund. 
 
 Ox THIS PRINCIPLE, notwithstanding the lowness of the premiums, large additions have been, and will be, made to the policies of 
 those Avho live to participate. 
 
 The SURPLUS at last Investigation was £1,051,035, of which £350,345 was reserved for future participation. The number who shared 
 was 9,384. First shares were (udth a few unimportant exceptions) from 18 or 20 to 34 per cent., according to age and class. Other policies 
 were increased 50 and 80 per cent. 
 
 EXAMPES OF PREMIUMS FOR ASSURANCE OF £100 AT DEATH—WITH PROFITS. 
 
 Age. 
 
 Payable for Life. 
 
 21 Payments. ' 
 
 Age. 
 
 Payable for Life. 
 
 21 Payments. Age. 
 
 Payable for Life. I 21 Payments. 
 
 25 
 
 £1 18 0 
 
 £2 12 6 
 
 35 
 
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 £302 45 
 
 £359 ' £3 17 6 
 
 30 
 
 2 1 6* 
 
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 40 
 
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 [The usual non-paHicipaiing Bates differ little from these Premiums.] 
 
 * A person of 30 may secure £1000 at death, by a yearly payment, during life, of £20 : LSs. This premium would generally elsewhere secure £800 only, instead of 
 £1000. OK, he may secure £1000 hy 21 yearly payments of £27 : 13 : 4 — being thus free of payment after age 50. 
 t At age 40, the Premium ceasing at age 60, is, for £1000, £33 : 14 : 2,-—about the Siime as most Offices require during the wliole term of life. Before the 
 Premiums have ceased the Policy will have shared in at least one division of profits. To Professional Men and others, whose income is dej)endent on 
 continuance of health, this limited payment system is specially recommended. 
 
 The NEW ASSUBANCES completed in 1889 were £1,023,179- 
 
 Being for the 16f/t year in succession above a Million. 
 
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 The Expenses were under 10 per cent, of premiums, or SJ of income. 
 
 The CLAIMS of year (including Bonus additions*) were £312,706- 
 
 • These Bonuses averaged 50 7 per cent, on Assurances which participated. 
 
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 Their Increase in last Septennium has been greater than in any other Office in the Kingdom—due in large measure to systematic economy 
 of management, the ratio of expenses over the same period having been under 10 per cent, of premiums. 
 
 All Policies (not seafaring or military risks, for which special arrangements may he made) are World-Wide, and free from Restrictions on Residence after five 
 years—provided the Assured has attained the ago of 30. 
 
 Arrangements as to Surrender, Non-Fori-eiture, Loans on Policies (within their value), Early Payment of Claims, &c., are specially liberal. 
 
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