St. Nicholas, vol. 1
http://www.archive.org/details/stnicholasserial01dodg + http://hdl.handle.net/2027/mdp.39015068521825 (Nov. 1873–Oct. 1874)
Illustrators credited: Edwin [Henry] Landseer, F. W. Chapman, Frank Beard, J. W. Champney, L. Y. Hopkins, M. I. MacDonald, S. McSpeden, W. Brooks, W. H. Gibson, Wm. Cruikshanks.
“Zebra and Colt,” uncredited illustration in “The Zebra,” Nov., 8.
Uncredited illustrations of character Dave Booden blown from his boat and perhaps of an angel watching over the boys of the story, in “By the Sea,” by Noah Brooks, Nov., 11–12.
Uncredited illustration of character Grandmother, in “Grandmother,” by Elsie G—, Nov., 16.
“The Enchanted Prince,” by Rebeca [Rebecca] Harding Davis, not illustrated, Nov., 18–20.
“Seals Enjoying Themselves” and “Shags and Sea‐gulls,” uncredited illustrations in “The Farallone Islanders,” by John Lewees, Nov., 20–21.
Purported Chinese characters in “Ya‐Sek,” by Mary G. Wingate, Nov., 30.
“Major,” uncredited illustration of eponymous dog in “For Little Folks,” Nov., 32.
“Which Is Caught?,” odd uncredited illustration of clothed cat character Puss in a rocking chair, in “Which Is Caught?,” Nov., 34.
“Who Wrote the ‘Arabian Nights?’,” by Donald G. Mitchell, not illustrated, Nov., 42–44.
Uncredited illustration of clothed pig character Tom Gip pulling his lunchbox behind him, in “The Story of Tom Gip,” by “Aunt Fanny,” Nov., 44.
“Jack Frost,” poem by Celia Thaxter, not illustrated, Dec., 49. █
Adorable uncredited illustrations of cats doing various human activities, in “The Brighton Cats,” by Joel S. Stacy [Mary Mapes Dodge], Dec., 50–51.
“The Giant Watabore,” by Mary Mapes Dodge, one illustration by Émile Bayard of title giant, Dec., 56–57. █
“Jack Waltzing on the Ice with the White Bears,” uncredited illustration in “The Cruise of the Antioch,” by Cyrus Martin, Jr., Dec., 60.
“The Date and Some Other Palms,” by Fannie R[oper] Feudge, uncredited illustration of tall palm with camel and palace alongside, Dec., 60–62.
“‘This Picture Shall Make My Fortune,’ Said Ned,” uncredited illustration of bear watching painter, in “An Adventure with a Critic,” by John Riverside, Dec., 64.
Bizarre uncredited illustration of personification of the moon, in poem “The Moon Came Late,” Dec., 69. See also poem “What was the moon a‐spying,” 83. █
“The Ten Little Dwarfs,” by Émile Souvestre, trans. Sophie Dorsey, not illustrated but for an initial T, Dec., 70–71. Re Mother Water Green. █
Various uncredited illustrations of birds, in “For the Birds,” by C. C. Haskins, Dec., 72–74.
“Fish‐Hawk’s Nest,” uncredited illustration in “Fish‐Hawks and Their Nests,” by M. D. Ruff, Dec., 81.
Crude uncredited drawing of a cow, in “Sam Quimby’s Art Summer,” by Fanny Barrow, Dec., 97.
“What Great Man Is This?,” illustration of reclining man on the point of a vertical pole, for “Rebus,” Dec., 103. “Napoleon. (Nap‐pole‐on.)”
Uncredited illustrations of angels, in “Christmas Angels,” by Donald G. Mitchell, Jan., 105–07.
“The Elves’ Gift: The Veritable Narrative of Thomas Graspen,” by Arthur Crosby, two uncredited illustrations, Jan., 108–11. █
Silly uncredited illustration of little girl and her grandma, in “The Little Girl Who Would N’t Eat Crusts,” by Mary Mapes Dodge, Jan., 117.
Various folk characters depicted in uncredited illustration in “Baby’s Thoughts,” Jan., 168. █
Illustration of Mother Hubbard in “Rebus,” Jan., 175. █
Uncredited illustrations in “The Manatee,” by Harriet M. Miller, Feb., 200–01.
“What May Happen When Little Boys Play Leap‐Frog Too Much,” strange drawing by Frank Beard of boys changing into frogs, Feb., 205.
“Chased by a Moose,” uncredited illustration in “A Moose Hunt in the Maine Woods,” by C. A. Stephens, Feb., 208.
“Some Boys in Africa,” by Marian [Edwards] Stockton, uncredited illustrations (“Selim Besieged by a Lion,” “Upset by a Hippopotamus,” “‘Fire!’ Cried Moto” and “Simba and the Leopard”), Feb., 230–33. See separate page. Re How I Found Livingstone: Travels, Adventures, and Discoveries in Central Africa … (Internet Archive); and My Kalulu, Prince, King, and Slave: A Story of Central Africa (Internet Archive) (Internet Archive); by Henry Morton Stanley. (See also Comic Vine.) █
“Some Curious Fishes,” uncredited illustration in “Some Curious Fishes,” by Jas. C. [James Carter] Beard, Mar., 256.
“Elfin Jack the Giant‐Killer,” by Joel S. Stacy [Mary Mapes Dodge], uncredited illustrations, Mar., 272–73. Elf compared to the great folk hero. █
“About Some Queer Little People,” by Donald G. Mitchell, two uncredited illustrations, Mar., 296–99. Re Lemuel Gulliver and Lilliputians. █
Letter by Helen E. S., in “The Letter Box,” Mar., 308–09. Re Persian and Arabic. Also see response to reader Clara Hannum re etymology of audience.
“Rebus No. 1” illustration, Mar., 311. Planet with up over it and mountains with like over them. (“Up above the world …” and “Like a diamond in the sky.”)
“The Sleeping Bloodhound,” painting by Edwin Henry Landseer (as Sir Edwin Landseer), Mar., 328. (→)
“Isham Entrenched Himself Behind a Large Limb,” uncredited dramatic eagle illustration in “The Wrong Bird,” by Paul Fort, Apr., 344. See also similar uncredited illustration in “Nimpo’s Troubles,” by Olive Thorne, May, 418.
Uncredited illustration with personifications of sun and other stars, in “Little ‘Wide‐Awake’,” by Mary A. Lathbury, Apr., 354.
“Picture Quotation,” illustration of a child about to eat a mouse, Apr., 375. “But mice and rats and such small deer / Have been Tom’s food for seven long year.”
“A Queer Aquarium,” illustration of “puzzle‐fish,” bizarre underwater animals, Apr., 376. “Pipe‐fish, Balloon‐fish, Moon‐fish, Sea‐horse, Sheep’s‐head, Swallow‐fish, Bullhead, Sword‐fish, Toad‐fish, Wolf‐fish, Dog‐fish, Pike, Horse‐shoe, Dace, Razor‐fish, Star‐fish, Cat‐fish, Trunk‐fish.” █
“The Peach‐Boy: A Japanese Fairy Story,” trans. Isaac Yaunkahama, one uncredited illustration, May, 386–88. Re Momotaro. █
“Blue Beard’s Island,” by Charles [Patton] Dimitry, not illustrated, May, 409–10. Re Gilles de Rais, repeatedly associating him with Bluebeard. █
“The Bears Besieging the Mission House,” uncredited illustration in “A Bright Idea,” by M. S. [Marian Stockton?], May, 414.
“Jawge Washington!,” uncredited illustration of character Persimmons’ granny, in “How Persimmons Took Cah ob der Baby,” by Lizzie W. Champney, May, 421.
“They Snap Its Fluttering Threads,” uncredited illustration of birds, in “The Robin’s Nest,” by Emily C. Ford (C. F. Jackson in table of contents), May, 428.
“Something New: The Language of the Restless Imps,” stick‐figure pictograph code, May, 439. See also answer, June, 502. █
“Rebus,” illustrations of bee armed with a rifle, hissing snake etc., May, 440. “A thing well begun is half done.”
“Ready for Action,” uncredited snarling dog frontispiece, June, 441. Apparently by Carl Friedrich Deiker, based on signature.
“The Herons Along the Shore,” uncredited illustration in “The Heronry Among the Gnarled Pines,” by C. A. Stephens, June, 446.
“The Last Guest at the Wedding,” illustration by M. I. MacDonald of mouse eating from a large hunk of cheese, June, 448. Appears to be signed J. P. Davis.
“Ho! Ho! the Sun Broke Forth,” uncredited illustration of personified sun with a face, in “The Sun and the Stars,” by Mary Mapes Dodge, June, 455.
Uncredited illustrations of personified bowling ball and pins, in “Ten Little Gentlemen,” June, 458. Appears to be signed F. Beard.
“Walter Ford’s Ideal Kennel,” uncredited illustration in “The Little Reformers,” by Rossiter Johnson, June, 463.
“A Steady Old Fellow” and “The Ostrich Carriage,” uncredited elephant and ostrich illustrations in “A Famous Garden,” by M. E. Edwards, June, 467–68. The former appears to be signed J. G. Beard.
“What Might Happen to a Little Boy Who Will Not Have His Hair Brushed,” drawing by Frank Beard of boy changing into a beast (dog?), June, 477.
Uncredited illustration of birds drinking, in “The Drinking‐Pan,” by Mary Mapes Dodge, June, 480.
Uncredited illustration of clothed character Mr. Monkey, in “Playing Circus,” June, 494.
“The Gift of the Nile,” not illustrated, June, 496. Re Egypt and the Nile. See also “More Conundrums” for “pigment for the palate” and Pegasus jokes, 497.
“There Was No Mistaking It Now—It Was a Baby Bear” and untitled uncredited illustration, in “Baby Sylvester,” by Bret Harte, July, 508, 513.
Uncredited cormorant illustration in “The Shag,” by Celia Thaxter, July, 517.
Uncredited abstract inkblot figures, in “Magic Pictures,” by M. V. M., July, 520–21.
“The Dragon” and “Man Fuku Do,” uncredited illustrations, the latter of Chinese calligraphy, in “Fire‐crackers and the Fourth of July,” by William H. Rideing, July, 546.
Uncredited illustration of title characters, a dog and a fly, in “Pompey and the Fly,” July, 556.
“The First Looking‐Glass,” frontispiece of drinking elk, Aug., 565.
“A Garden Party of Wild Animals,” by Elizabeth Lawrence, Aug., 583–88. Multiple uncredited animal illustrations, including Syrian bear, gazelle, dromedary and hippopotamuses.
“Jack,” uncredited illustration of forlorn monkey, in “Le singe favori,” by H. D. Field, Aug., 591. Appears to be signed J. G. Beard. See also Oct., 732–33.
Uncredited illustration of birds at sea, in “How the Little Bird Went to Sea,” by F. V. W., Aug., 610.
“Picture Quotation,” illustration of rabbit seeing its shadow, Aug., 625. “Hence, horrible shadow! unreal mockery, hence!”
Uncredited illustrations of many underwater animals as well as a mermaid, in “The Little Boy Who Went Out to Swim,” by Henry Howland, Sept., 632–33. █
Uncredited illustrations of various activities, including riding a dog, of title character, in “Jim Crow,” by Annabel Lee, Sept., 647–49.
Uncredited illustration of class of cats in “Pussy’s Class,” by Mary Mapes Dodge, Sept., 657.
“Dear Old Robinson Crusoe,” uncredited illustration in “Fifty Pounds Reward!,” by Donald G. Mitchell, Sept., 672. █
Uncredited illustrations of various farm animals (chicken, rat, cat, dog, duck, pig), in “The Story of the Little Red Hen,” Sept., 680–81. █
Great fox initial W, in “When the Moon Is Shining Brightly,” poem, Sept., 681.
“Mutual Terror,” frontispiece by Gustave Doré of hare and frogs, Oct., 689. (→)
“A Letter from Egypt,” by Sara Keables Hunt, three uncredited illustrations of ancient Egyptian art and architecture, Oct., 693–95.
Uncredited illustrations with personifications of earth, the moon and a comet, in “The Earth, the Moon and the Comet,” by C. P. Cranch, Oct., 699–701.
“Ice in India,” by M. E. Edwards, two uncredited illustrations (“East Indians Carrying a Monster Block of Ice,” “Making Ice in India”), Oct., 714–16.
Dingbat of a little person of some sort, Oct., 723. █
“A Dog‐Day Fancy,” uncredited illustration of apparently frightened girl and dog, Oct., 741.
Uncredited illustration of Scottish pig playing bagpipes, in “Scotch Pig,” Oct., 745.
“Rebus, No. 1,” illustrations of serpent, devil silhouette etc., Oct., 749.
See also Baby Days: A Selection of Songs, Stories, and Pictures, for Very Little Folks, New York: Scribner & Co., 1877, Google Books.
Watabore is a tremendous “scientific giant” who, instead of eating humans or animals, eats information. He falls ill after devouring too many indiscriminate opinions and cannot be cured until he alters his diet to only eating opinions he deems worthy after careful consideration. Among the characters to offer him questionable medical advice is the Man in the Moon. Scribner & Co.
“The Ten Little Dwarfs” original is “Les dix travailleurs de la mère Vert‐d’Eau,” by Émile Souvestre, Le magasin pittoresque, vol. 19, no. 52, Dec. 1851, 406–08 (Internet Archive), reprinted in Au coin du feu, nouvelle édition, by Émile Souvestre, Paris: Michel Lévy Frères, 1856. (Google Books) (The story is not in the 1851 edition.) The original describes Mother Water Green as a fairy (fée).
• “The Ten Little Dwarfs,” translated by Sophie Dorsey, St. Nicholas, Dec. 1873, 70–71. (Internet Archive)
• “Mother Water‐Green’s Workmen,” translated by Alice Wood, The Christian Union, vol. 10, no. 23, 9 Dec. 1874, 465. Abridged translation. (Google Books)
• Os dez anõezinhos da Tia Verde‐Água, by Ana de Castro Osório, 1897. (Illustrator Tomás Leal da Câmara has not yet been dead seventy years.)
• “The Ten Little Workmen,” translated by E. D., Chatterbox, no. 20 (new series), 1901, 162–63. (Google Books)
Charlotte, a young woman who is overwhelmed by all her tasks, summons the fairy Water Green who then appears before her. Mother Water Green is described as “ugly, old, and wrinkled” and “clad entirely in a frog skin, the head of which served as a hood” and she was “supporting herself on her staff of holly.” Ten dwarfs emerge from her cloak and diligently finish all of Charlotte’s chores. Water Green then decides to give the ten dwarfs to Charlotte as a gift: “[A]s you cannot carry them about with you without being accused of witchcraft, I will order each of them to make himself very little and to hide in your ten fingers ….” With the ten dwarfs hidden in her fingers, Charlotte was thereafter able to complete her chores and accomplish many goals in life. {No_image.jpg}
The king of a very local community of little people that are called both elves and fairies at different points in the story intercepts a boy on his walk home and brings the boy to his beautiful throne room embedded in a snowbank. A group of royal subjects present the boy with a gift of an exquisite handmade sled, but withdraw the offer in anger when he is selfishly dissatisfied with it.
Multiple Web sites say that the 1935 ComiColor cartoon Old Mother Hubbard is in the public domain. (Internet Archive)
Gilles de Rais was a real‐life French knight and lord of the 1400s who was also an infamous serial killer. Gilles de Rais appears in Kid Eternity no. 6, Summer 1947. (Internet Archive) (Comic Vine)
• Thomas Wilson, Blue‐Beard: A Contribution to History and Folklore, Being the History of Gilles de Retz of Brittany, France, Who Was Executed at Nantes in 1440 A. D. and Who Was the Original of Blue‐Beard in the Tales of Mother Goose, New York: G. P. Putnam’s Sons/Knickerbocker Press, 1899. (Internet Archive)
The DC/Vertigo and Egmont/Fleetway versions of the character are not in the public domain.
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Charles Patton Dimitry (31 July 1837–10 November 1910), born in Washington, DC, the second son of Alexander Dimitry (1805–1883), of Hydran Greek and, according to Wikipedia, Native American background (although other sources says both of his parents were from Greece), and Mary Powell Mills, daughter of Robert Mills. Author of Guilty or Not Guilty (1864), Angela’s Christmas (1865), The Alderly Tragedy (1866) (serial reprinted as The House in Balfour Street [1868] [Internet Archive]), Gold Dust and Diamonds, Two Knaves and a Queen, From Exile, Louisiana’s Story in Little Chapters, The Louisiana of the Purchase and Families of Louisiana (biographical sketches collected from The New Orleans Times‐Democrat) (1902). Son and father both graduated from Georgetown College. State historian of Louisiana. Sometimes used the pseudonyms Tobias Guarnerius Jr. and Braddock Field. HBS may be the only novel to be released in standalone book form.
Fairly detailed biography of Dimitry in The South in History and Literature: A Hand‐Book of Southern Authors from the Settlement of Jamestown, 1607, to Living Writers, by Mildred Lewis Rutherford, Atlanta: Franklin‐Turner Co., 1907, 684 <http://books.google.com/books?id=By8LAAAAMAAJ&pg=PA684>. Also The Louisiana Book: Selections from the Literature of the State, ed. Thomas M’Caleb, New Orleans: R. F. Straughan, 1894, 180 <http://books.google.com/books?id=MbJYAAAAMAAJ&pg=PA180>. Listing in A Manual of American Literature: A Text‐Book for Schools and Colleges, by John S. Hart, Philadelphia: Eldredge & Bro., 1873, 482 <http://books.google.com/books?id=nzDeq7-QyIQC&pg=PA482>, states he was born 1838.
“Charles Patton Dimitry, one of the South’s oldest, most noted and most gifted authors, journalist and historian, closed his long and honored career Thursday morning, Nov. 10, at 2 o’clock, after an illness, or practical invalidism, extending over a period of six months. His demise was not unexpected, since it was known that he was seriously ill in a sanitarium, yet the sad news brought sorrow and regret to countless hearts, for he was deeply beloved and held in high esteem by the many who enjoyed the pleasure of his acquaintance. The venerable gentleman had been in feeble health for more than a year past, owing to the infirmities which come with the many years that had gathered over him, but it was not until about six months ago that his ailments made him helpless and his mental and other faculties began to fail him. As a youth he had always been vigorous and active, fond of outdoor life and of exercise of the beneficial kind, and the natural result was prolonged activity, energy, and extended longevity, with all of his faculties well preserved until the beginning of the end, when time demanded its toll. Until then, however, he was most active and continued his literary work as writer of Louisiana Story in Little Chapters in the Picayune, his mind being clear, his recollection certain, and his grace of style as pronounced as ever. When his condition became such as showed that the end was not far distant he was removed to a sanitarium in the hope of prolonging life as long as possible. On Tuesday he lapsed into unconsciousness, however, and steadily sank to the end, which came peacefully and calmly in blessed unconsciousness, the venerable writer passing into the life beyond as into a gentle slumber.” —The Colfax Chronicle, 19 Nov. 1910, with attempted corrections
For quite a different take on The Little Red Hen, see Félicité Lefèvre, The Cock, the Mouse and the Little Red Hen, illustrated by Tony Sarg, Philadelphia: Macrae Smith Co., [1907?]. (Internet Archive)