Of late he has changed his manner in line, showing at times, especially in "Twilight Land" (Osgood, McIlvaine, 1896), the influence of Vierge, but even in that book the frontispiece and many other designs keep to his earlier manner. In "The Garden behind the Moon" (issued in London by Messrs. Lawrence and Bullen) the chief drawings are entirely in wash, and yet are singularly decorative in their effect. The "Story of Jack Bannister's Fortunes" shows the artist's "colonial" style, "Men of Iron," "A Modern Aladdin," Oliver Wendell Holmes' "One-Horse Shay," are other fairly recent volumes. His illustrations have not been confined to his own stories as "In the Valley," by Harold Frederic, "Stops of Various Quills" (poems by W. D. Howells), go to prove. [Illustration: ILLUSTRATION FROM "SINBAD THE SAILOR" BY WILLIAM STRANG (LAWRENCE AND BULLEN. 1896)] [Illustration: ILLUSTRATION FROM "ALI BABA" BY J. B. CLARK (LAWRENCE AND BULLEN. 1896)] It is strange that Mr. Heywood Sumner, who, as his notable "Fitzroy Pictures" would alone suffice to prove, is peculiarly well equipped for the illustration of children's books, has done but few, and of these none are in colour. "Cinderella" (1882), rhymes by H. S. Leigh, set to music by J. Farmer, contains very pleasant decoration by Mr. Sumner. Next comes "Sintram" (1883), a notable edition of De la Motte Fouqué's romance, followed by "Undine" (in 1885). With a book on the "Parables," by A.L.O.E., published about 1884; "The Besom Maker" (1880), a volume of country ditties with the old music, and "Jacob and the Raven," with thirty-nine illustrations (Allen, 1896), the best example of his later manner, and a book which all admirers of the more severe order of "decorative illustration" will do well to preserve, the list is complete. Whether a certain austerity of line has made publishers timid, or whether the artist has declined commissions, the fact remains that the literature of the nursery has not yet had its full share from Mr. Heywood Sumner. Luckily, if its shelves are the less full, its walls are gayer by the many Fitzroy pictures he has made so effectively, which readers of THE STUDIO have seen reproduced from time to time in these pages.