Originally published in Pearson's Weekly (C. Arthur Pearson Ltd.) vol.1 #23 (27 Dec 1890).
Christmas cards, in the form of little etchings, have been seen which were executed as early as 1817, but they appear to have been done by an artist for private circulation among his friends. It was Mr. J.C. Horsley, R.A., who in 1864 really designed the first card of this description; and although less than thirty years have elapsed since then, the sale of Christmas cards, which in the early days of their use might be reckoned by the thousand, may now be counted by the million.
As many can, no doubt, remember, the beginnings of this new popular custom were of the humblest. Cheap images of the robin redbreast or the dove, and simple colour prints of flowers conveying the compliments of the season, were among the most familiar; while old Father Christmas, depicted as he always is amid peace and plenty, was also popular then as he is now. Nor, indeed, we are happy to note, is that feathered favourite, the cock-robin, altogether absent from the designs of the present day; and, so far as can be judged, he does not seem likely to lose his favourite hold upon the popular mind and sentiment.
Beyond such exceptions, however, it is to be feared that the simple and inexpensive trifles that did their duty well enough some thirty years ago are fast passing away and surrendering their positions to the higher claims of art. Popular requirements nowadays insist that the Christmas card shall possess something of art in its design, and with this demand manufacturers have of course to comply.
Prize exhibitions and competitions, with such judges as Mr. H.S. Marks, RA, Mr. G.H. Broughton, A.R.A., and Sir Coutts Lindsay, have been the natural result of this development of national taste for art, and the result has been of course that some really artistic designs and excellent workmanship are to be found among modern Christmas cards.
Although the popular use of Christmas cards is no doubt condemned by stern philosophers of the unemotional school as so much worthless sentiment, it is not only, we think, productive of considerable moral benefit, but it works a substantial good by the development of a new department of art. It has created quite a new trade, and has Le up a new field of labour for artists, lithographers, engravers, printers, ink and pasteboard makers, and several other trade classes.
The work too, is perennial, and does not occur only at one particular season. All the year round brains are at work devising new designs and inventing novelties, not only as regards Christmas cards, but also in respect of those used at Easter and on other festive
occasions, such as birthdays, etc., the use of which appears to be extending concurrently with the Christmas custom.
The very cheep Christmas cards come, it is true, from Germany, where they can be produced at a much cheaper rate than here, but the more artistic and more highly-finished cards are the result of British workmanship. Science and mechanics, too, play an important part in this work. The colour properties best suited to the requirements for manufacturing the necessary printing-ink have had to be discovered, special sorts of paper to be made, and photography, lithography, and every available form of reproductive process capable of being dealt with by the printing-machine, have had to be resorted to.
Nor must we forget the host of trained and skilled workpeople required for successfully carrying out the necessary operations. And last, though by no means least, let us remember the poet who, as can be imagined, has his inventive faculties well tested in providing Christmas sentiment for the millions of individuals, each with a taste of his own.
Perhaps the chief cause of this wondrous popularity is, that Christmas cards are sold at a range of prices calculated to meet any pocket. The poor may indulge in art to the extent of one farthing—nay, even less—the rich, if so minded, may expend five guineas on a single card.