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8 Bottigheimer, R. (1987). Grimms’ Bad Girls & Bold Boys: The Moral and Social Vision of the Tales. New Haven and London: Yale University Press.
9 Briggs, J. and Butts, D. (1995). The emergence of form (1850–1890). In: Children’s Literature: An Illustrated History (ed.P. Hunt), 130–159. Oxford and New York: Oxford University Press.
10 Cundall, J. (ed.) (1850). The fox and the geese. In: A Treasury of Pleasure Books for Young Children, unpaged. Lowell, MI: William. G. Baker.
11 Darnton, R. (1984). The Great Cat Massacre and Other Episodes in French Cultural History. Philadelphia: Basic Books.
12 Delarue, P. (1956). The story of the grandmother. Reprinted in: Little Red Riding Hood: A Casebook (1989) (ed. A. Dundes), 13–20. Madison: The University of Wisconsin Press.
13 Dundes, A. (1988). Interpreting “Little Red Riding Hood” psychoanalytically. Reprinted In: Little Red Riding Hood: A Casebook (1989) (ed. A. Dundes), 192–236. Madison: University of Wisconsin Press.
14 Fromm, E. (1955). The Forgotten Language: An Introduction to the Understanding of Dreams, Fairy Tales and Myths. New York: Grove.
15 Graham, J. and Shefrin, J. (1988). The tale of the pigs. In: Pigweeney the Wise or the History of a Wolf and Three Pigs, unpaged. Reproduced by The Friends of the Osborne and Lilian H. Smith Collections. Toronto: Toronto Public Library.
16 Haase, D. (2013). Dear reader. In: Marvelous Transformations: An Anthology of Fairy Tales and Contemporary Critical Perspectives (ed. C. Jones and J. Schacker), 539–544. Peterborough, ON: Broadview Press.
17 Harris, J.C. (1880). The awful fate of Mister Wolf. In: Uncle Remus His Songs and Sayings, 38–43. Boston and New York: Houghton Mifflin Company.
18 Haviland, V. (1965). The three goslings. In: Favorite Fairy Tales Told in Italy, unpaged. London: The Bodley Head Ltd.
19 Hearne, B. (1989). Beauty and the Best: Visions and Revisions of an Old Tale. Chicago and London: University of Chicago Press.
20 Hearne, B. (1999). Swapping tales and stealing stories: The Ethics and aesthetics of folklore in children’s literature. Library Trends 47 (3): 509–528.
21 Hillard, M.C. (2013). The fairy tale in Victorian England. In: Marvelous Transformations: An Anthology of Fairy Tales and Contemporary Critical Perspectives (ed. C. Jones and J. Schacker), 545–550. Peterborough, ON: Broadview Press.
22 Jones, C. and Schacker, J. (eds.) (2013). Marvelous Transformations: An Anthology of Fairy Tales and Contemporary Critical Perspectives. Peterborough, ON: Broadview Press.
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30 Róheim, G. (1953). Fairy tale and dream: “Little Red Riding Hood.” Reprinted in: Little Red Riding Hood: A Casebook (1989) (ed. A. Dundes), 159–167. Madison: University of Wisconsin Press.
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33 Seifert, L. (1996). The marvelous in context: The place of the Contes de Fées in late seventeenth-century France. Reprinted in: The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm (2001) (ed. J. Zipes), 902–933. New York and London: Norton.
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4 The Victorian Picturebook
Hannah Field
The Victorian period marks the birth of the children’s picturebook as we know it, that is, the book in which “words are left out – but the picture says it. Pictures are left out – but the word says it” (Sendak 1988, p. 25). Indeed, two of the most major national awards for children’s illustration, the Caldecott Medal and the Kate Greenaway Medal, are named after Victorian illustrators.1 Picturebooks from this period share many constitutive features with present-day examples of the form, including colorful images, the use of the page opening as a unit, and often comprehensive attention to book design (Masaki 2006). As such, they provide an excellent case study for how contemporary picturebook theory can be placed in dialogue with historical examples.
This chapter approaches this task in two sections, one providing a historical overview, the other a close reading. The first section summarizes key milestones in the period. I discuss canonical picturebook creators such as Randolph Caldecott and Kate Greenaway, briefly analyzing examples of their work, but also stress the importance of printers and publishers, which play roles of comparable importance to authors and illustrators as they influence how picturebooks meet their readers and which picturebooks are published at all. This zoomed-out treatment gives way in the second section to a sustained account of a succession of pictures by Caldecott, the period’s most illustrious figure. Caldecott’s