Eytinge, Solomon Actor, Artist, Illustrator. William Winter describes Solomon Eytinge, Jr. as &amp;quot;[a] man of original and deeply interesting character, an artist of exceptional facility, possessed of a fine imagination and great warmth of feeling [. . .] In his prime as a draughtsman he was distinguished for the felicity of his invention, the richness of his humor, and the tenderness of his pathos. He had a keen wit and was the soul of kindness and mirth” (&lt;I&gt;Old Friends&lt;/i&gt; 317).  Though he worked as a successful illustrator on the books of authors like Alcott, Browning, Tennyson, Harte, Holmes, Lowell, and Whittier, Eytinge is best-remembered as the illustrator who first used the motif of Tiny Tim perched on Bob Cratchit&amp;rsquo;s shoulders for an 1867 edition of Dickens&amp;rsquo; &lt;I&gt;A Christmas Carol&lt;/i&gt;.  In addition to illustrating other Dickens&amp;rsquo; works including &lt;I&gt;Bleak House&lt;/i&gt;, &lt;I&gt;Dombey and Son&lt;/i&gt;, and &lt;I&gt;A Tale of Two Cities&lt;/i&gt;, Eytinge also painted an oil portrait of the author during his second American tour from 1867-1868.  According to William Winter, Dickens claimed that Eytinge &amp;quot;made the best illustrations for his novels and the best portrait of himself&amp;quot; (&lt;I&gt;Old Friends&lt;/i&gt; 66).

As a measure of his critical and commercial success, Eytinge&amp;rsquo;s caricatures also began appearing regularly in &lt;I&gt;Harper&amp;rsquo;s Weekly&lt;/i&gt; in the 1870s. Some of his sketches are redrawn from original work by Theodore Davis and W.H. Redding. His work addresses the theme of poverty as it existed in the city side-by-side with upper-class opulence.  This theme occurs in &amp;quot;Hearth-stone of the poor-- waste steam not wanted&amp;quot; and in &amp;quot;Rich and Poor,&amp;quot; both of which appeared in &lt;I&gt;Harper&amp;rsquo;s&lt;/i&gt; in the early 1870s.  He was also “celebrated for his humorous negro drawings of the &#039;Small Breed Family&amp;rsquo;” (Paine 21).

Etyinge illustrated the works of his fellow Pfaffians. He drew illustrations to accompany Charles Henry Webb&amp;rsquo;s &lt;I&gt;Liffith Lank&lt;/i&gt; and &lt;I&gt;St. Twel&amp;rsquo;mo&lt;/i&gt;, and contributed to the work of Thomas Bailey Aldrich, Bayard Taylor, and Fitz-James O&amp;rsquo;Brien.  He also illustrated the work of Washington Irving who, along with Dickens and Poe, was a favorite writer of the Pfaff&amp;rsquo;s crowd.  Eytinge can be considered a Pfaffian, but he was also a member of a Bohemian group that predated Pfaff&amp;rsquo;s.  That group included Gayler, North, Bellew, Charles G. Rosenberg, Seymour, and O&amp;rsquo;Brien and, according to William Winter, &amp;quot;unlike the Pfaff&amp;rsquo;s coterie, was, after a fortuitous fashion, organized, and it had a name,--the remarkable name of the Ornithorhyncus Club.&amp;quot; The club was named after a Duck-Billed Platypus (&lt;I&gt;Old Friends&lt;/i&gt; 308).


References & Biographical Resources\n";
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&lt;article data-history-node-id=&quot;60712&quot; about=&quot;/node/60712&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60712&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 10.&quot; &lt;em&gt;Diaries, Vol. 10&lt;/em&gt;(1858).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60713&quot; about=&quot;/node/60713&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60713&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 11.&quot; &lt;em&gt;Diaries, Vol. 11&lt;/em&gt;(1859).&lt;/a&gt;
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&lt;article data-history-node-id=&quot;60714&quot; about=&quot;/node/60714&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60714&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 12.&quot; &lt;em&gt;Diaries, Vol. 12&lt;/em&gt;(1860).&lt;/a&gt;
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&lt;a href=&quot;/node/60715&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 13.&quot; &lt;em&gt;Diaries, Vol. 13&lt;/em&gt;(1860).&lt;/a&gt;
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&lt;article data-history-node-id=&quot;60724&quot; about=&quot;/node/60724&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/60724&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 14.&quot; &lt;em&gt;Diaries, Vol. 14&lt;/em&gt;(1860).&lt;/a&gt;
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&lt;a href=&quot;/node/60732&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 15.&quot; &lt;em&gt;Diaries, Vol. 15&lt;/em&gt;(1861).&lt;/a&gt;
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&lt;a href=&quot;/node/60716&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 16.&quot; &lt;em&gt;Diaries, Vol. 16&lt;/em&gt;(1861).&lt;/a&gt;
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&lt;a href=&quot;/node/60725&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 17.&quot; &lt;em&gt;Diaries, Vol. 17&lt;/em&gt;(1861).&lt;/a&gt;
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&lt;a href=&quot;/node/60711&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 18.&quot; &lt;em&gt;Diaries, Vol. 18&lt;/em&gt;(1861).&lt;/a&gt;
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&lt;article data-history-node-id=&quot;60718&quot; about=&quot;/node/60718&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/60718&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 19.&quot; &lt;em&gt;Diaries, Vol. 19&lt;/em&gt;(1862).&lt;/a&gt;
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&lt;a href=&quot;/node/60717&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 20.&quot; &lt;em&gt;Diaries, Vol. 20&lt;/em&gt;(1862).&lt;/a&gt;
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&lt;a href=&quot;/node/60726&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 21.&quot; &lt;em&gt;Diaries, Vol. 21&lt;/em&gt;(1862).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/60727&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 22.&quot; &lt;em&gt;Diaries, Vol. 22&lt;/em&gt;(1863).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/60723&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 6.&quot; &lt;em&gt;Diaries, Vol. 6&lt;/em&gt;(1853).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 23-24, 31, 40, 47]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60731&quot; about=&quot;/node/60731&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/60731&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 7.&quot; &lt;em&gt;Diaries, Vol. 7&lt;/em&gt;(1855).&lt;/a&gt;
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&lt;article data-history-node-id=&quot;60728&quot; about=&quot;/node/60728&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/60728&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 8.&quot; &lt;em&gt;Diaries, Vol. 8&lt;/em&gt;(1856).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60720&quot; about=&quot;/node/60720&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/60720&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 9.&quot; &lt;em&gt;Diaries, Vol. 9&lt;/em&gt;(1857).&lt;/a&gt;
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&lt;a href=&quot;/node/55709&quot;&gt;Lalor, Eugene T. &quot;The Literary Bohemians of New York City in the Mid-Nineteenth Century.&quot; Ph.D. Dissertation, St. John&amp;#039;s University, 1977.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Described by Lalor as a &quot;non-literary artist,&quot; perhaps a painter or a sculptor (3).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 3]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60173&quot;&gt;Lause, Mark A. &lt;em&gt;The Antebellum Crisis and America&amp;#039;s First Bohemians&lt;/em&gt;. Kent, OH: Kent State University Press, 2009.&lt;/a&gt;
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&lt;a href=&quot;/node/59760&quot;&gt;Lukens, Henry Clay. &quot;American Literary Comedians.&quot; &lt;em&gt;Harper&amp;#039;s New Monthly Magazine&lt;/em&gt;, April 1, 1890, 783-797.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 792]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55847&quot; about=&quot;/node/55847&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/55847&quot;&gt;Odell, George Clinton. &lt;em&gt;Annals of the New York Stage: Volume VI (1850-1857)&lt;/em&gt;. New York: Columbia University Press, 1931.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;(Questionable whether or not this is him.)Mentioned in supporting roles on the stage (if this is him).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 424, 518]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55935&quot; about=&quot;/node/55935&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/55935&quot;&gt;Odell, George Clinton. &lt;em&gt;Annals of the New York Stage: Volume VII (1857-1865)&lt;/em&gt;. New York: Columbia University Press, 1931.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;(Not confirmed that this is him)&lt;/p&gt;
&lt;p&gt;He may have played the role of Rob Royland in &lt;cite&gt;Married for Monday&lt;/cite&gt; at the Broadway at for the opening show of the 1857-1858 season.&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 1]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55921&quot; about=&quot;/node/55921&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/55921&quot;&gt;Paine, Albert Bigelow. &lt;em&gt;Thomas Nast: His Period and His Pictures&lt;/em&gt;. New York: Macmillan, 1904.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Eytinge is mentioned as one of Nast&#039;s colleagues at &lt;cite&gt;Frank Leslie&#039;s Illustrated Paper&lt;/cite&gt; and as a frequenter of Pfaff&#039;s. Paine mentions that Eytinge was &quot;celebrated for his humorous negro drawings of the &#039;Small Breed Family&#039;&quot; (21).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 21-22,28,34,94]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55766&quot; about=&quot;/node/55766&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/55766&quot;&gt;Parry, Albert. &quot;Garrets and Pretenders: A History of Bohemianism in America.&quot; &lt;em&gt;Garrets and Pretenders: A History of Bohemianism in America&lt;/em&gt;(1933).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Parry includes Eytinge&#039;s sketch of Fitz-James O&#039;Brien on p.51.&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 51]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;58856&quot; about=&quot;/node/58856&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/58856&quot;&gt;Seitz, Don Carlos. &lt;em&gt;Artemus Ward (Charles Farrar Browne): A Biography and Bibliography&lt;/em&gt;. NY: Harper &amp;amp; Brothers, 1919.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 99]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55290&quot; about=&quot;/node/55290&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/55290&quot;&gt;Winter, William. &lt;em&gt;Old Friends; Being Literary Recollections of Other Days&lt;/em&gt;. New York: Moffat, Yard and Company, 1909.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Eytinge is mentioned as one of the artists who came to Pfaff&#039;s.Mentions Dickens&#039; appreciation of Eytinge&#039;s work.&lt;/p&gt;
&lt;p&gt;During Dickens&#039;s visit to New York, Eytinge was a member of the party that traveled with him to his steamship for his return to England.Dickens had wanted to slip away quietly, but was met by a crowd (182).&lt;/p&gt;
&lt;p&gt;Eytinge was a member of a New York group of artists and writers that existed before the Pfaff&#039;s Bohemians that also included Gayler, North, Bellew, Charles G. Rosenberg, Seymour, and O&#039;Brien.Winter was not a member of this group; all of its members are dead at the time of Winter&#039;s writing.Winter states, &quot;That society, unlike the Pfaff&#039;s coterie, was, after a fortuitous fashion, organized, and it had a name,--the remarkable name of the Ornithorhyncus Club.&quot;The club was named after a Duck-Billed Platypus(308).&lt;/p&gt;
&lt;p&gt;Winter dedicates a section of a chapter to a discussion of Eytinge&#039;s life and work. Winter describes him as &quot;A man of original and deeply interesting character, an artist of exceptional facility, possessed of a fine imagination and great warmth of feeling.&quot;Eytinge passed away on March 26, 1905, in Bayonne, NJ.Winter expresses sadness over the loss of his &quot;old companion of many years.&quot; Winter continues: &quot;In his prime as a draughtsman he was distinguished for the felicity of his invention, the richness of his humor, and the tenderness of his pathos.He had a keen wit and was the soul of kindness and mirth&quot; (317).&lt;/p&gt;
&lt;p&gt;Winter mentions that Eytinge completed many works, but they are &quot;widely scattered.&quot;Winter claims that &quot;the most appropriate pictures that have been made for illustration of the novels of Dickens,--pictures that are truly representative and free from the element of caricature,--are those made by Eytinge, and it is remembered that they gained the emphatic approval of the novelist.&quot;Winter also notes that the portrait of Dickens done by Eytinge for his novels is the best picture of the author &quot;because, while faithful to physical lineaments, it conveys expression of the mind and soul.The artist loved, reverenced, and understood the man whose semblance he had undertaken to create&quot; (317-318).&lt;/p&gt;
&lt;p&gt;Of Eytinge&#039;s life, Winter states: &quot;A life dedicated to &#039;serene and silent art&#039; is seldom eventful.That of Solomon Eytinge was exceptionally tranquil.&quot; Eytinge was born in Phildelphia on October 23, 1833, and was educated in that city.He married Margaret Winshop in Brooklyn in June 1858.Rev. Henry Ward Beecher performed the ceremony and Mortimer Thomson (Q.K.Philander Doesticks, P.B.) was the groomsman (318).&lt;/p&gt;
&lt;p&gt;Eytinge&#039;s &quot;circle of artistic companionship, then and in after years,&quot; inlcuded Elihu Vedder, George H. Boughton, Cass Griswold, Charles Coleman, W. J. Hennessey, William J. Linton, Albert and William Waud, and A.V.S. Anthony.Winter remembers having many happy and &quot;festive&quot; hours with this group (319).&lt;/p&gt;
&lt;p&gt;Eytinge is buried in New York Bay Cemetary in Jersey City, NJ.His wife survived him, and &quot;long ago made her name in letters, by reason of her exceptional humor and her expert invention, particularly as a writer for the young, and to think of her is to recall many a convivial occasion that her generous hospitality provided and that her kindness and her genial wit enriched&quot; (319). &lt;/p&gt;
&lt;p&gt;Winter states that the pictures Eytinge made for Lowell&#039;s &quot;Vision of Sir Launfal&quot; &quot;are especially significant of his sense of romantic atmosphere and his sympathetic perception of poetic ideals.&quot; In rememberence of his friend, Winter quotes Dr. Johnson&#039;s lines about Hogarth, and feels that they would be a fitting epitaph for Eytinge (320).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 66,182,308,317-320]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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