It is unnecessary to belittle his art for the sake of glorifying those who succeeded him in popularity. That he obtained a strong hold upon English taste, lettered and unlettered, is undeniable. It has become part and parcel of that English life, especially of the insular middle-class, whose ideal permitted it to regard the exhibition building of 1851 not as a big conservatory, but as a new and better Parthenon, and to believe honestly enough that the millennium of universal peace with art, no less than morals, perfected to the '_n_th' degree (on purely British lines), was dawning upon humanity. That the efforts of 1851 made much possible to-day which else had been impossible may be granted. The grace and truth of John Leech's designs may be recognised despite their technical insufficiency, but at the same time we may own that, in common with Cruikshank and the rest, he has received infinitely more appreciation than his artistic achievement merited, and leave his share unconsidered here, although no doubt it was a big commercial factor in the success. To vol. i. of _Once a Week_ he contributed no less than thirty-two designs, to vol. ii. forty-six, to vol. iii. seven, to vol. iv. one, and to vol. v. four. John Tenniel, although he began to work much earlier, and is still an active contemporary, may be considered as belonging especially to the sixties, wherein he represents the survival of an academic type in sharply accentuated distinction to the pre-Raphaelism of one group or to the romantic naturalism of a still larger section. On page 4 of vol. i. we find his first drawing, a vignette, and page 5 a design, _Audun and the White Bear_, no less typically 'a Tenniel' in every particular than is the current cartoon in _Punch_. Those on pages 21, 30, 60, 90, 101, 103, and 170 are all relatively unimportant. _The King of Thule_ (p. 250) is an illustration to Sir Theodore Martin's familiar translation of Goethe's poems. Others are on pp. 285, 435, 446. To vol. ii. he is a less frequent contributor. The designs, pp. 39, 98, 99, and 103 call for no comment. The one on p. 444 (not p. 404 as the index has it), to Tom Taylor's ballad _Noménoë_, is reprinted in _Songs and Ballads of Brittany_ (Macmillan, 1865). In vol. iii. there is one (p. 52) of small value. On pp. 533, 561, 589, 617, 645, 673, and 701 are pictures to Shirley Brooks's _The Silver Cord_, showing the artist in his less familiar aspect as an illustrator of fiction. The one on p. 589 is irresistibly like a 'Wonderland' picture, while that on p. 225 (vol. iv.) suggests a _Punch_ cartoon; but, on the whole, they are curiously free from undue mannerism in the types they depict. In vol. iv. are more illustrations to _The Silver Cord_ (pp. 1, 29, 57, 85, 113, 141, 169, 197, 225, 253, 281, 309, 337, 365, 393, 421, 449, 477, 505, 533, 561, 589, 617, 645, 673, and 701), and illustrations to Owen Meredith's poem, _Fair Rosamund_ (pp. 294, 295). In volume v. _The