n by Ruskin,
was published by Chatto & Windus, 1880.

The above are the main collections of fairy tales in England. Many
individual publications show the gradual development of fairy tale
illustration in England:[6]--

1713-1767. John Newbery's _Books for Children_. Among these
were _Beauty and the Beast_, by Charles Lamb, 1765, and
_Sinbad the Sailor_, 1798.

1778. _Fabulous Histories of the Robins_. Mrs. Sarah
Trimmer. Cuts designed by Thomas Bewick, engraved by John
Thompson, Whittingham's Chiswick Press.

1755-1886. _Life and Perambulations of a Mouse_; and
_Adventures of a Pin-Cushion_. Dorothy Kilner.

1785. Baron Munchausen's _Narratives of His Famous Travels
and Campaigns in Russia_. Rudolf Raspe.

1788. _Little Thumb and the Ogre_. Illustrated by William
Blake; published by Dutton.

1790. _The Death and Burial of Cock Robin_. Illustrated by Thomas
Bewick. Catnach.

1807. _Tales from Shakespeare_. Charles and Mary Lamb. W.J.
Godwin and Co. William Blake illustrated an edition of these
tales, probably the original edition.

1813. Reprints of forgotten books, by Andrew Tuer: _Dame
Wiggins of Lee; The Gaping Wide-Mouthed Waddling Frog: The
House that Jack Built. Dame Wiggins of Lee_ was first
printed by A.K. Newman and Co., Minerva Press. Original cuts
by Stennet or Sinnet. Reprinted by Allen, 1885, with
illustrations added by Kate Greenaway.

1841. _King of the Golden River_. John Ruskin. Illustrated
by Richard Doyle, 1884.

1844. _Home Treasury_, by "Felix Summerley" (Sir Henry
Cole). "Felix Summerley" was a reformer in children's books.
He secured the assistance of many of the first artists of
his time: Mulready, Cope, Horsley, Redgrave, Webster, all of
the Royal Academy, Linnell and his three sons, Townsend, and
others. These little books were published by Joseph Cundall
and have become celebrated through Thackeray's mention of
them. They aimed to cultivate the affections, fancy,
imagination, and taste of children, they were a distinct
contrast to the Peter Parley books.
They were new books, new combinations of old materials, and
reprints, purified but not weakened. Their literature
possessed brightness. The books were printed in the best
style of the Chiswick Press, with bindings and end papers