more scope for the imagination than in the drawing of the pure line or in the suggestions of _chiaro-oscuro_. Therein lies the enormous power of the art of Rembrandt. He dealt with that seemingly simple but really inexhaustible medium, light and shade: in the hands of a master, potent as the wand of a magician to evolve worlds out of chaos. [Illustration: "WASHINGTON OPENING THE BALL."--[C. S. REINHART.]] Barry, Bensell, Shepherd, Davis (who is also known as a decorative artist), T. A. Richards, Eytinge, Frost, Merrill, Ipsen, Shirlaw, Lathrop, Lewis, Perkins, and Davison are other artists who have justly acquired repute for success in the department of black and white, or book illustration. Kelley has a sketchy style that is very effective, and of which the correct rendering on wood would have been well-nigh impossible with the old processes; but there is danger of carrying it to the verge of sensationalism. The facilities afforded by photographing a design on wood has seemed to be the occasion for aiding the development of a class of artist-authors who both write and illustrate their own articles for the magazines. How remarkably well this can be done is proved by such clever artists as Howard Pyle and W. Gibson, who display at once fertility of imagination and technical facility as draughtsmen. C. S. Reinhart has become widely known as one of the most versatile illustrators we have produced. Excelling as a draughtsman, he brings to his aid an active fancy that enables him vividly to realize the scenes he undertakes to represent; and he seems equally at home in the portrayal of quaint old-time scenes, or the brilliant costumes and characters of the present day, combined with forcible delineations of scenery. The Puritan damsel or the belle of Newport may alike be congratulated when Mr. Reinhart ushers them before us with the grace of a master. The success of this school of artists, who have made their mark in the department of illustration, has doubtless been due in part to the increasing study of the figure in this country, and the greater facilities afforded for drawing from the life. Most of these artists are young men, whose abilities have been vastly assisted by their studies in life schools, which it would have been well-nigh impossible for them to find in the earlier periods of our art. Although perhaps better noticed under the head of Ethics rather than of Æsthetics, we may allude to the surprising growth and influence of caricature-drawing in this country, represented by such able artists as Nast, Bellew, Kepler, or Cusack, as associated with the development of our black and white art.