To choose a title that will felicitously fit the lifework of an artist is no easy matter, especially when the product is a very varied one, and the producer is disposed to take a modest estimate of its value.

In the present case the titles that have suggested themselves to one or other of those concerned in the selection have not been few, and a friendly contest has ensued over the desire of the artist on the one hand to belittle, and of author and publishers on the other to fairly appraise, both the ground which her work covers and the qualities which it contains.

The first point to be considered in giving the volume a name was that it forms one of a series in which an endeavour—and, to judge by public appreciation, a successful endeavour—has been made to illustrate in colour an artist’s impressions of a particular country: as, for instance, Mr. John Fulleylove’s of the Holy Land, Mr. Talbot Kelly’s of Egypt, and Mr. Mortimer Menpes’s of Japan. Now Mrs. Allingham throughout her work has been steadfast in her adherence to the portrayal of one country only. She has never travelled or painted outside Europe, and within its limits only at one place outside the British Isles, namely, Venice. Even in her native country her work has been strictly localised. Neither Scotland nor Wales has attracted her attention since the days when she first worked seriously as an artist, and Ireland has only received a scanty meed, and that due to family ties. England, therefore, was the one and only name under which her work could be included within the series, and that has very properly been assigned to it.

But it will be seen that to this has been added the prefix “Happy,” thereby drawing down the disapprobation of certain of the artist’s friends, who, recognising her as a resident in Hampstead, have associated the title with that alliterative one which the northern suburbs have received at the hands of the Bank Holiday visitant; and they facetiously surmise that the work may be called “’Appy England! By a Denizen of ’Appy ’Ampstead!”

But a glance at the illustrations by any one unacquainted with Mrs. Allingham’s residential qualifications, and by the still greater number ignorant even of her name (for these, in spite of her well-earned reputation, will be the majority, taking the countries over which this volume will circulate), must convince such an one that the “England” requires and deserves not only a qualifying but a commendatory prefix, and that the best that will fit it is that to which the artist has now submitted.

We say a “qualifying” title, because within its covers we find only a one-sided and partial view of both life and landscape. None of the sterner realities of either are presented. In strong opposition to the tendency of the art of the later years of the nineteenth century, the baser side of life has been studiously avoided, and nature has only been put down on paper in its happiest moods and its pleasantest array. Storm and stress in both life and landscape are altogether absent. We say, further, a “commendatory” title, because as regards both life and landscape it is, throughout, a mirror of halcyon days. If sickness intrudes on a single occasion, it is in its convalescent stage; if old age, it is in a “Haven of Rest”; the wandering pedlar finds a ready market for her wares, the tramp assistance by the wayside. In both life and landscape it is a portrayal of youth rejoicing in its youth. For the most part it represents childhood, and, if we are to believe Mr. Ruskin, for the first time in modern Art; for in his lecture on Mrs. Allingham at Oxford, he declared that “though long by academic art denied or resisted, at last bursting out like one of the sweet Surrey fountains, all dazzling and pure, you have the radiance and innocence of reinstated infant divinity showered again among the flowers of English meadows of Mrs. Allingham.”

This healthiness, happiness, and joy of life, coupled with an idyllic beauty, reveals itself in every figure in Mrs. Allingham’s story, so that even the drudgery of rural life is made to appear as a task to be envied.

And the same joyous and happy note is to be found in her landscapes. Every scene is

One feels that

Rain, wind, or lowering skies find no place in any of them, but each calls forth the expression

No attempt is made to select the sterner effects of landscape which earlier English painters so persistently affected. With the rough steeps of Hindhead at her door, the artist’s feet have almost invariably turned towards the lowlands and the reposeful forms of the distant South Downs. Cottages, farmsteads, and flower gardens have been her choice in preference to dales, crags, and fells.

And in so selecting, and so delineating, she has certainly catered for the happiness of the greater number.

What does the worker, long in city pent, desire when he cries

And what does the banished Englishman oftenest turn his thoughts to, even although he may be dwelling under aspects of nature which many would think far more beautiful than those of his native land? Browning in his “Home Thoughts from Abroad” gives consummate expression to the homesickness of many an exile:—

And Keats also—

These, the poets’ longings, suggested the prefix for which so lengthy an apology has been made, and which, in spite of the artist’s demur, we have pressed upon her acceptance, confident that the public verdict will be an acquittal against any charge either of exaggeration, or that he who excuses himself accuses himself.

If an apology is due it is in respect of the letterpress. The necessity of maintaining the size to which the public has been accustomed in the series of which this forms a part, and of interleaving the numerous illustrations which it contains, means the provision of a certain number of words. Now an artist’s life that has been passed amid such pleasant surroundings as has that of Mrs. Allingham, cannot contain a sufficiency of material for the purpose. Indulgence must, therefore, be granted when it is found that much of the contents consists merely of the writer’s descriptions of the illustrations, a discovery which might suggest that they were primarily the raison d’Être of the volume.

As regards the illustrations, a word must be said.

The remarkable achievements in colour reproduction, through what is known as the “three-colour process,” have enabled the public to be placed in possession of memorials of an artist’s work in a way that was not possible even so recently as a year or two ago. Hitherto self-respecting painters have very rightly demurred to any colour reproductions of their work being made except by processes whose cost and lengthy procedure prohibited quantity as well as quality. Mrs. Allingham herself, in view of previous attempts, was of the same opinion until a trial of the process now adopted convinced her to the contrary. Now she is happy that a leap forward in science has enabled renderings in little of her water-colours to be offered to thousands who did not know them previously.

The water-colours selected for reproduction have been brought together from many sources, and at much inconvenience to their owners. Both artist and publishers ask me to take this opportunity of thanking those whose names will be found in the List of Illustrations, for the generosity with which they have placed the originals at their disposal.

It was Mrs. Allingham’s wish that the illustrations should be placed in order of date, and this has been done as far as possible; but this and the following chapter being in a way introductory, it has been deemed advisable to interleave them with three or four which do not fall in with the rest as regards subject or locality. For reasons of convenience the description of each drawing is not inserted in the body, but at the end of the chapter in which it appears.