the forms of nature for their success, but upon the dramatic or intellectual imagination of the man who conceived them. When the witty or ethical man is at the same time a master draughtsman his work has two values, the "literary" content and the beauty of his drawing of natural objects. But it must be borne in mind that these values are fundamentally distinct; so much so that the spectator who has no appreciation of the forms of nature enjoys the story told and remains blind to the qualities of draughtsmanship, whilst the lover of nature's forms may or may not trouble to unravel the literary plot but finds perfect satisfaction in the drawing. By far the greater part of illustration, and of artistic production generally, must be classed as symbolic art. Magazine stories to-day are sometimes illustrated even by photography, for the hand of the artist is not required. Symbolic art describes indirectly and in a necessarily limited scope what literature can do directly and with unlimited powers. The only content of symbolic drawing is its literary meaning; as drawing it may be quite worthless. Pure drawing, however, whether it represent a dramatic event or a knee-joint, has a content that cannot be expressed by words, and is not necessarily directed towards literary expression. Just as a fragment of good sculpture pleases the connoisseur without any reference either to the whole original or to its spiritual significance, fine drawing can appeal to the lover of nature independently of indirect considerations.