[1] The drawings of the cheese-press, the pump, and the fireplace in the kitchen of the cottage, as well as of the croft at Rolleston, here reproduced, were executed by Kate Greenaway while she was still a girl.

[2] Little Ann and other Poems, by Jane and Ann Taylor, illustrated by Kate Greenaway, printed in colours by Edmund Evans. London: George Routledge & Sons, etc. (n.d.)

[3] The head in water-colours, which won her the silver medal, was bought by the late Sir Julian Goldsmid.

[4] Official inscription on the drawing: ‘National Medallion Award. Finsbury, 1864. Stage 22. Aged 17 years. Time in School, 9 sessions, 4 hours a week. Medals already obtained in Stages 4^b, 10^a, 10^b, 22^c. Teachers: S. A. Doidge, S. Hipwood.’

[5] The following is a complete list of her exhibits at the Dudley Gallery:—

1868—Kilmeny.
1869—The Fairies of the ‘Caldon Low.’
1870—Apple Blossom—A Spring Idyll.
1872—(1) A Study.
———(2) A Reverie.
1875—Little Miss Prim.
1876—Little Girls at Play.
1877—(1) In Spring Time.
———(2) Dorothy.
———(3) Birthday Tea.
———(4) A Procession of Children with Flowers.
1878—(1) A Procession of Children.
———(2) Darby and Joan.
———(3) Miss Patty.
1879—(1) Prissy.
———(2) A Morning Call.

[6] See Mr. Lionel Robinson’s introduction to the Exhibition of Kate Greenaway’s Works in 1891.

[7] These were the first things she ever sold publicly. Mr. Loftie forgets the apparent fact that the two remaining designs were also published, though at a later date, for on looking through the volume of the People’s Magazine for 1873 we find on pp. 24 and 97 two of her drawings (unsigned) written up to respectively by ‘M, E.’ and ‘E. J. Ellis.’ The first illustrates a set of verses entitled ‘Nonsense about Cat’s Cradle’; the second a sort of Alice-in-Wonderland story entitled ‘Bebel,’ an ingenious rendering of a somewhat cryptic design.

[8] This was also published by Messrs. Marcus Ward & Co.

[9] Of Messrs. Griffith, Farran, & Co., for whom she worked later.

[10] An excellent account of Mr. Evans’s work is to be found in The British and Colonial Printer and Stationer for March 31, 1904.

[11] The April Baby’s Book of Tunes, by the author of Elizabeth and her German Garden.

[12] As ‘K. G.,’ the reader should be reminded, Miss Greenaway was known to most of her friends, and even to many of her relations as well.

[13] The originator of Punch.

[14] In addition there were French and German editions, which probably brought up the number to 100,000 copies.

[15] It should be understood, however—lest the strict facts of the arrangement mislead the reader—that the half-share royalty only became payable after the expenses of publication had been cleared off—that is to say, after the sale had passed a given number of copies. Consequently, as certain of the books never reached the limit, K. G. only received payment for the use of the drawings, which were returned to her. Such failures, commercially speaking, were A Day in a Child’s Life, the Calendars, and one or two more. It was found in practice that, except in rare cases, books with music were not successful.

[16] These words have been added in MS. by Mr. Evans.

[17] From a letter written in 1879 it will be seen that the heaviness of her line had before been a matter of complaint with him.

[18] The reader will see that this is a misconception, as Fairy Gifts preceded it by four years.

[19] See ‘Christmas Cards and their Designers, by Gleeson White.’ Extra number of the Studio, 1894, which is full of interesting information on the subject.

[20] At this sale Kate Greenaway’s illustrations to Topo fetched—after the copyright had been used—35 guineas; whilst others of her pictures sold were ‘Three Innocents,’ 12 guineas; ‘My Lady and her Pages,’ 23 guineas; ‘The Seasons,’ 17 guineas; ‘The Time of Roses,’ 18 guineas; ‘On the Road to the Ball,’ and ‘The Fancy Dress Ball,’ £28; and ‘My Lord’s Page and my Lady’s Maid,’ 13 guineas.

[21] ‘Those indisputably by Miss Greenaway,’ he proceeds, ‘include: a set of children, 1878; another set, a Page in Red, with a cup, etc.; children by ponds; a set of little people in initial letters; a set of damsels with muffs, and lads in ulsters; another set of four initials; a Red Riding Hood set; an oblong set, with processions of little people; a tiny set of three; an upright set of three single figures; a set of heads; and a set of “Coachmen.” To these may be added the Calendars published by Marcus Ward, as well as the annual “Kate Greenaway’s Almanack,” published by Geo. Routledge & Sons; a set in circular panels on small cards, published by Goodall; a set, “The Four Seasons”; also a calendar with four designs issued separately as cards, and a few early cards published by Marcus Ward.

‘Without very minute and tedious detail, it is not possible to identify even these in written descriptions; but, unless collectors have at least as many sets (usually four in as I have noted), they may still be certain that the most prized section of their collection is incomplete. How many more can be traced it would be pleasant to discover.’

[22] Of these little drawings in pen-and-ink, many of them scarcely more than an inch high, 292 have lately been offered for sale by a London west-end bookseller, prettily mounted on pages, in an elaborately-bound morocco-covered box, for the sum of £300.

[23] Under the Window.

[24] By Miss Laffan, author of Baubie Clarke (Blackwood, 1880).

[25] See Under the Windows, p. 35.

[26] Now Lady St. Helier.

[27] For authorisation to reproduce these letters we are indebted to the German Ambassador.

[28] This word is illegible.

[29] The lurid and dramatic witch in Under the Window.

[30] The Greenaways were contemplating moving from Holloway to Hampstead.

[31] Birket Fosters.

[32] William Black’s novel, published in 1871.

[33] By his American friend, Miss Francesca Alexander, the exquisite artist of The Roadside Songs of Tuscany and the charming writer and poet who to this day with her mother are residents of Florence, famous for their charity, kindliness, and hospitality.

[34] Ruskin’s body-servant.

[35] This includes an edition of 2,000, published by Hachette & Cie., of Paris.

[36] Miss Francesca Alexander.

[37] Page 22 of Marigold Garden.

[38] A water-colour drawing of ‘Rock, Moss, and Ivy’ by K. G. is now in the Sheffield Museum. Of its origin the catalogue says ‘The sketch was made by Miss Greenaway in consequence of Mr. Ruskin having told her one day at Brantwood, that she could draw pretty children daintily enough but she couldn’t make a drawing of that rock. Miss Greenaway hastily produced this study of it, and presented it to Mr. Ruskin.’

[39] Portrait of the present Duke of Argyll.

[40] Portrait of Lady Campbell when a little girl—Miss Nina Lehmann. Painted in 1865.

[41] Lady Campbell (Miss Nina Lehmann) on her marriage.

[42] ‘Aphrodite’ by Philip Calderon, R.A.

[43] The Society of British Artists.

[44] For Claudian—the play produced by Wilson Barrett, who acted the title-rÔle—Ruskin had a prodigious and rather unaccountable admiration. To one of the present writers, he said during the run of the piece: ‘I admired it so much that I went to see it three times out of pure enjoyment of it, although as a rule I cannot sit out a tragic play. It is not only that it is the most beautifully mounted piece I ever saw, but it is that every feeling that is expressed in the play, and every law of morality that is taught in it, is entirely right.’

[45] A young lady who died young. Her fine character and sweet disposition Ruskin greatly admired.

[46] Miss Francesca Alexander.

[47] The Correspondence of Sir Philip Sidney and Hubert Languet. Now first collected and translated from the Latin with Notes and Memoir of Sidney. By Stewart A. Pears (London, William Pickering, 1845).

[48] Miss Trotter.

[49] Miss Burne-Jones.

[50] Miss Anderson, his secretary, of whom on rare occasions Ruskin spoke thus.

[51] Ruskin had much faith in the educational value of drawings from Greek coins of the finest period.

[52] It was Mr. Ruskin’s practice to destroy everything not of special interest to him or what was unlikely to be of use. On one occasion the present writer sent him by request certain early proofs of etched plates, the coppers of which were in the Professor’s possession. After a time, on being requested to return them, he replied that he had destroyed them—‘How else do you think I could do my work if I litter my house with such?’—and offered by way of compensation to have as many proofs pulled as his disconsolate correspondent might desire.

[53] Di Pa was the pet name Ruskin bore at that time in his immediate family circle.

[54] ‘Venus, Mistress of the World’—one of the series of allegorical subjects by Giovanni Bellini in the Academy of Fine Arts in Venice.

[55] These comprised designs from the Almanack for 1884, and drawings from Marigold Garden, the Language of Flowers, and Little Ann.

[56] Reproduced as end-papers of this volume.

[57] It will be remembered that although Marie Bashkirtseff was given out to be thirteen the facts in the book prove that she was four years older.

[58] Held at the New Gallery, London.

[59] From the Hampton Court Collection.

[60] Lent by Louisa Lady Ashburton. The ‘beautiful lady’s name’ is unknown.

[61] The Wonderful Visit, by H. G. Wells (1895).

[62] Robert Anning Bell, R.W.S.

[63] Miss Greenaway raised the point again later on with one of the present writers, and was vastly interested to learn that Ruskin, as she suspected, is presented as ‘Mr. Herbert,’ Huxley as ‘Storks,’ Tyndall as ‘Stockton,’ Jowett as ‘Jenkinson,’ Kingdon Clifford as ‘Saunders,’ Carlyle as ‘Donald Gordon,’ Matthew Arnold as ‘Luke,’ Pater as ‘Rose,’ and Hardinge as ‘Leslie,’ while Lady Dilke is ‘Lady Grace’ and Mrs. Singleton ‘Mrs. Sinclair.’ ‘Then who is Lawrence?’ asked Miss Greenaway. ‘Mallock himself.’ ‘Ah!’ she replied,’ that settles it; I don’t like him.’

[64] By H. G. Wells.

[65] Mr. Stuart M. Samuel, M.P.

[66] By J. W. Waterhouse, R.A.

[67] Byam Shaw.

[68] An exhibition of the works of painters who had flourished during Queen Victoria’s reign, held at the Guildhall Art Gallery.

[69] ‘An Idyll, 1745.’

[70] ‘The Proscribed Royalist.’

[71] ‘May Morning on Magdalen Tower,’ Oxford.

[72] The net profit to Miss Greenaway was £645. The most important pictures sold were ‘Little Girl with Tea Rose’ (35 guineas), ‘Going to School’ (35 guineas), ‘Betty’ (35 guineas),’Girl in Pink and Black—Grey Muff’ (60 guineas), ‘Little Girl in Scarlet Coat and Tippet’ (35 guineas), ‘A Girl in Hat and Feathers’ (45 guineas), ‘Thoughts of the Sea’ (35 guineas), ‘Two Girls in a Garden’ (35 guineas), ‘Lilies’ (35 guineas), and ‘Baby Boy in Blue Coat and Tippet’ (35 guineas).

[73] By George du Maurier.

[74] She here refers to Millais’ ‘Rescue,’ of which Ruskin had written in 1855: ‘The only great picture exhibited this year; but this is very great. The immortal element is in it to the full.’

[75] Apparently, Luini’s ‘St. Catherine.’

[76] First volume published in 1843, edited by Douglas Jerrold, and written and illustrated by some of the most brilliant authors and artists of the day.

[77] Published by Mr. Austin Dobson in his delightful article on Kate Greenaway in the Art Journal, and written by him, on the 29th January 1902, in the Album of Mr. Ernest G. Brown, and here printed by consent of both gentlemen.

[78] See p. 254.

[79] The History of Modern Painting, vol. iii. p. 137.

[80] The Journal des DÉbats.

[81] So true is it that ‘Greenawisme’ stands for a phase of art and dress, that in that entertaining publication, the Almanac Hachette for 1904 (p. 329), under the heading ‘L’Histoire du Costume des Enfants,’ the ‘Coiffure Greeneway’ (sic) takes its place in the series of woodcuts immediately preceding ‘la jupe cloche fin du xix^e siÈcle’; and many more examples might be adduced.

[82] To consult the drawings mentioned see the Index of Illustrations.

[83] Translated by J. Levoison. The German version, Am Fester, was translated by Frau KÄthe Freiligrath-KrÖker.