About the year 1868 grained paper was invented by Maclure, Macdonald & Co. This method consists in impressing on ordinary Scotch transfer or other suitable paper a grain closely allied to that of the lithographic stone. It appears to have been rather an improvement than a new invention, for drawing paper and even canvas had been coated previously with a material that adhered to a stone and left on the stone the greasy drawing that had been placed thereon; but still from this to the beautifully prepared paper that was placed on the market by the firm of which the late Andrew Maclure was the head was a great advance, and although the first use was by the ordinary craftsman it was not long before artists of eminence saw that a new and convenient mode of expression was opened up to them. On the first introduction of lithography the artists of every nation hastened to avail themselves of it, but soon the cumbrous character of the stone, and the fact that their subjects had to be drawn backwards in order that they might appear correctly on the paper, wore down their newly-born zeal, and it was only when the grained paper system was perfected, by which they could make their drawings in the comfort of their studios without reversing, that any serious revival took place. Although excellent work on grained paper had been done by Andrew Maclure, Rimanozcy, John Cardwell Bacon, Rudofsky and other craftsmen, the credit for its furtherance among artists must be given to Thomas Way and his son T. R. Way, who did much valuable pioneer work in this direction. The adhesion of such artists of eminence as Whistler, Legros, Frank Short, Charles Shannon, Fantin Latour, William Strang, Will Rothenstein, Herbert Railton and Joseph Pennell, did not a little to aid lithography in resisting the encroachments of other methods into what may still be considered its sphere. As a means of reproducing effects which an artist would otherwise get by pencil or crayon, it remains entirely unequalled, and it is of obvious advantage to art that twenty-five or fifty copies of an original work should exist, which, without the aid of lithography, might have only been represented by a single sketch, perhaps stowed away among the possessions of one private collector.