[Illustration: THE FIELD OF CLOVER By Laurence Housman, Engraved by Clemence Housman
BE KINDLY TO THE WEARY DROVER & PIPE THE SHEEP INTO THE CLOVER
One may group the names of Charles Ricketts, C. H. Shannon, T. Sturge Moore, Lucien Pissarro, and Reginald Savage together in memory of 'The Dial,' where the activity of five original artists first became evident, though, save in the case of Mr. Ricketts and Mr. Shannon, no continuance of the classification is possible. The first number of 'The Dial' (1889) had a cover design cut on wood by Mr. C. H. Shannon--afterwards replaced by the design of Mr. Ricketts. Twelve designs by Mr. Ricketts may be said to represent the transitional--or a transitional--phase of his art, from the earlier work in magazines, which he disregards, to the reticent expression of 'Vale Press' illustrations. In 1891 the first book decorated by these artists appeared, 'The House of Pomegranates,' by Oscar Wilde. There was, however, nothing in this book to suggest the form their joint talent was to take. Many delightful designs by Mr. Ricketts, somewhat marred by heaviness of line, and full-page illustrations by Mr. Shannon, printed in an almost invisible, nondescript colour, contained no suggestion of 'Daphnis and Chloe.'
The second 'Dial'(1892) contained Mr. Ricketts' first work as his own wood-engraver, and in the following year the result of eleven months' joint work by Mr. Ricketts and Mr. Shannon was shown in the publication of 'Daphnis and Chloe,' with thirty-seven woodcuts by the artists. Fifteen of the pictures were sketched by Mr. Shannon and revised and drawn on the wood by Mr. Ricketts, who also engraved the initials. It is a complete achievement of individuality subordinated to an ideal. Here and there one can affirm that Mr. Shannon drew this figure, composed this scene, Mr. Ricketts that; but generally the hand is not to be known. The ideal of their inspiration--the immortal 'Hypnerotomachia'--seems equally theirs, equally potent over their individuality. Speaking with diffidence, it would seem as though Mr. Shannon's idea of the idyll were more naïve and humorous. Incidents beside the main theme of the pastoral loves of young Daphnis and Chloe--the household animals, other shepherds--are touched with humorous intent. Mr. Ricketts shows more suavity, and, as in the charming double-page design of the marriage feast, a more lyrical realization of delight and shepherd joys.