anatomy, which has been one of the strong points in all his paintings, has been learned in some measure from these studies, which also give it a very high degree of expression. There is a force, a vigour, a meaning about these sketches which are interesting enough, if for no other reason than because they show so vividly the inadequacy of the mechanical efforts of photography, when brought into competition, as a means of expression, with the pencil of a really great artist. You feel almost as if you must jump aside out of the way of the fellow stepping forward to drive the leg volley, or of the fearful man drawn back to cut, so forcefully is the force expressed with which the batsman is inevitably going to hit the ball (_vide_ p. 67). One of the most charming pictures of those who have taken cricket for their theme is that which is lent by His Majesty the King to the M.C.C., and is styled “A Village Match.” It is by Louis Belanger, of date 1768 (_vide_ p. 361). Charming, too, is the picture attributed to Gainsborough, “Portrait of a Youth with a Cricket-bat”; it is said to be a portrait of George IV. as a boy, but it seems doubtful. The bat here is curved, but hardly perceptibly; it shows the last stage in evolution before the straight bat was reached (_vide_ p. 208). Our frontispiece is a jolly scene—the ragged boys tossing the bat for innings—“Flat or Round?” and the fellow in the background heaping up the coats for a wicket. We all of us have played and loved that kind of cricket. A wonderfully good and detailed picture is that of “Kent _v._ Sussex” (_vide_ p. 137). It is a picture of a match in progress on the Brighton ground, and Brighton is seen in the background; in the foreground is a group of celebrated cricketers in the spectators’ ring, yet posed, in a way that gives a look of artificiality to the whole scene, so as to show their faces to the artist. Even old Lillywhite, bowling, is turning his head quaintly, to show his features. One of the most conspicuous figures is the great Alfred Mynn, who was to a former generation what W. G. Grace has been to ours. All the figures are portraits, and every accessory to the scene is worked out most carefully. The drawing is by W. H. Mason. Sir Spencer Ponsonby-Fane has a note on this picture: “As a matter of fact, this match, as here represented, did not take place, the men shown in the engraving never having played together in such a match, but they all played for their respective counties about 1839-1841.” Very delightful, too, is the picture that is the last in our book (p. 433), “At the End of the Innings”—an old veteran with eye still keen, and firm mouth, telling of a determination to keep his wicket up and the ball down “as well as he knows how,” and with an interest in the game of his youth unabated by years. A jolly painting is that of “Old Charlton Church and Manor House” (_vide_ p. 415), with the coach and four darting past, and the boys at cricket on the village green. And