In regard to paper, a description made of rag or rag and esparto is most desirable for all work on grained stones, but for work in ink and consequently from polished stone a good coated paper with sufficient "size" in it is frequently desirable; this paper is generally called "chromo" paper. There is at the present time very little encouragement for the high class of chromo-lithography that was so much in evidence from 1855 to 1875, but there is little doubt that the work could be done equally well by the present-day craftsmen if the demand revived. Belonging to the period mentioned, distinguished examples of chromo-lithography are "Blue Lights," after Turner, by Carrick; "Spanish Peasants" and the Lumley portrait of Shakespeare, by Risdon; "Queen Victoria receiving the Guards," by W. Bunney, after John Gilbert; and the series of chromos after John Leech, produced under the general direction of Vincent Brooks. A small proportion only of the Arundel Society's prints were executed in England, but many reproductions of water-colours after Birket Foster, Richardson, Wainwright and others were executed by Samuel Hodson, James Lewis and others. Perhaps the most consistently good work of modern times has been the reproduction of Pellegrini's and Leslie Ward's drawings for _Vanity Fair_, which from 1870 to 1906 were with very few exceptions executed by the firm of Vincent Brooks, Day & Son. _Transfers._--A very large proportion of work is got on to the stone by transfer, and there is no more important part of the business perhaps at the present time. When there is so much original lithography done on grained paper by artists of eminence, the transferring of grained paper drawings is the most important. The stone most desirable for this purpose will be neither a grey nor a light yellow, but one that stands mid-way between the two; it should be very carefully polished so as to be quite free from scratches, and brought to blood-heat by being gradually heated in an iron cupboard prepared with the necessary apparatus. The methods that sometimes prevail of pouring boiling water over the stone, heating with the flame of an ordinary plumber's lamp, or even heating the surface in front of a fire, are ineffective substitutes, for the surface may thus become unduly hot and spread the work, and there is no increased tendency for the chalk to enter into the stone and thus give the work a long life. If there are no colours or registration troubles to be considered, it is well to place the transfer in a damping book till the composition adheres firmly to the finger, before placing it on the stone; it should then be pulled through twice, after which it should be damped on the back and pulled through several times; after this has again been well damped the paper will be found to peel easily off the stone, leaving the work and nearly all the composition attached; the