attitude, or some ingenious contrivance in composition. Considering that
from Wenham's edition of 1780, nearly every illustrator of repute had
tried his hand at Goldsmith's masterpiece in fiction,--that he had been
attempted without humour by Stothard, without lightness by
Mulready,[31]--that he had been made comic by Cruikshank, and vulgarised
by Rowiandson,--it was certainly to Mr. Thomson's credit that he had
approached his task with so much refinement, reverence and originality.
If the book has a blemish, it is to be mentioned only because the
artist, by his later practice, seems to have recognised it himself. For
the purposes of process reproduction, the drawings were somewhat loaded
and overworked.

Note:

[31]: Mulready's illustrations of 1843 are here referred to, net his
pictures.


This was not chargeable against the next volumes to be chronicled. Mrs.
Gaskell's _Cranford_, 1891, and Miss Mitford's _Our Village_, 1893, are
still regarded by many as the artist's happiest efforts. I say "still,"
because Mr. Thomson is only now in what Victor Hugo called the youth of
old age (as opposed to the old age of youth); and it would be premature
to assume that a talent so alert to multiply and diversify its efforts,
had already attained the summit of its achievement. But in these two
books he had certain unquestionable advantages. One obviously would be,
that his audience were not already preoccupied by former illustrations;
and he was consequently free to invent his own personages and follow his
own fertile fancy, without recalling to that implacable and Gorgonising
organ, the "Public Eye," any earlier pictorial conceptions. Another