The Golden Legend (1910), Henry Wadsworth Longfellow’s poetic reworking of medieval religious tales, received one of its most visually striking interpretations in this edition illustrated by Sydney H. Meteyard. Published by Hodder & Stoughton in London 1910. This lavish volume presents Longfellow’s verses through Meteyard’s distinctive blend of Pre-Raphaelite intensity and emerging Symbolist aesthetics. The artist’s watercolor illustrations glow with an almost stained-glass radiance, particularly in scenes depicting the miracle of “The Divine Tragedy” or the mystical visions of “The Student’s Tale.” Meteyard demonstrates a remarkable sensitivity to Longfellow’s medieval inspirations, his figures elongated like cathedral statuary and his color palette rich with ecclesiastical golds, royal blues, and cardinal reds. The decorative elements—from intricate initial letters mimicking illuminated manuscripts to borders woven with symbolic vines and angels—create a cohesive visual world that transports readers to a romanticized Middle Ages. Particularly powerful is Meteyard’s treatment of “The Legend Beautiful,” where the kneeling monk’s vision shimmers with supernatural light against the dark monastery walls, demonstrating his mastery of luminous transparency in watercolor. The book’s production matches its artistic ambition, with thick handmade paper, gilt-edged leaves, and Meteyard’s illustrations reproduced through a complex photogravure process that preserves the subtlety of his brushwork.

About Sydney H. Meteyard (1868-1947):
This English painter and illustrator developed a unique style bridging late Pre-Raphaelitism and early Symbolism through works like this 1910 masterpiece. Trained at Birmingham School of Art under Edward R. Taylor alongside Arthur Gaskin, Meteyard became known for his spiritually charged compositions that combined medieval influences with Art Nouveau stylization. Unlike many of his contemporaries who focused on secular subjects, Meteyard specialized in religious and allegorical themes, making him particularly suited to illustrate Longfellow’s medieval Christian poetry. His illustrations for The Golden Legend demonstrate his mature period where he perfected the technique of painting on gesso-prepared panels to achieve luminous, enamel-like effects in reproduction. Beyond book illustration, Meteyard created stained glass designs for Birmingham churches and exhibited symbolist paintings at the Royal Academy. This 1910 work represents his artistic apex—where his technical innovations in watercolor met profound spiritual expression—though his later career was hampered by worsening eyesight. Today, Meteyard is recognized as one of the most original yet underappreciated illustrators of the Edwardian spiritual revival.

For readers who value this edition, these related works may resonate:
• The Little Flowers of St. Francis (1905) illustrated by Harold Copping – another medieval-inspired religious work
• The High History of the Holy Graal (1903) illustrated by Jessie M. King – offering Arthurian connections
• Christ Legends (1904) by Selma Lagerlöf, illustrated by Richard Roland Holst – presenting Scandinavian sacred tales

Art Gallery: Sydney H. Meteyard – The Golden Legend 1910