71), _Hazeley Mill_ (p. 85), and _Michael Considine's Daughter_ (p. 351); five by Edward Hughes (pp. 183, 407, 547, 585, and 599); three by J. Lawson: _Ariadne_ (p. 127), _The Mulberry-tree_ (p. 323), and _Gabrielle's Cross_ (p. 699). F. W. Lawson's _A Midshipman's Yarn_ (p. 113) and _Grandmother's Story_ (p. 223) deserve to be noted. Others by G. Bowers, F. Eltze, R. T. Pritchett, P. J. Skelton, E. Wimpress (_sic_), and J. Wolf among the rest, call for no comment. For the Christmas number for this year 1866, W. Small has _The Brown Imp_ (p. 12); J. Lawson, _The Birth of the Rose_ (p. 20); E. Hughes, _The Pension Latoque_ (p. 25); Ernest Griset, _Boar Hunting_ (p. 57); G. B. Goddard, _Christmas Eve in the Country_ (p. 58); and Basil Bradley, _A Winter Piece_ (p. 62); John Leighton contributes a frontispiece and illustrations to _St. George and the Dragon_, a poem by the author of _John Halifax_. In volume iii. 1867 the extra illustrations are still distinguished by a special subject index; they include _Lord Aythan (Frontispiece)_, by J. Tenniel; _Coming through the Fence_ (p. 112), by R. Ansdell, A.R.A.; _Feeding the Sacred Ibis_ (p. 238), by E. J. Poynter; _Come, buy my pretty windmills_ (p. 360), by G. J. Pinwell; _Hide a Stick_ (p. 569), by F. J. Shields; and _Highland Sheep_ (p. 692), by Basil Bradley. Another extra plate, a drawing by Helen J. Miles, 'given as an example of graphotype,' is not without technical interest. In the accompanying article we find that the possibilities of mechanical reproduction are discussed, and the writer adds, as his highest flight of fancy, 'who shall say that graphotype may not be the origin of a daily illustrated paper?' It would be out of place to pursue this tempting theme, and to discuss the _Daily Graphic_ of New York and succeeding illustrated dailies, for all these things were but dreams in the sixties. Yet, undoubtedly, graphotype set people on the track of process-work. By and by the photographer came in as the welcome ally, who left the draughtsman free to work upon familiar materials, instead of the block itself, and presently supplanted the engraver also, and the great rival of wood-cutting and wood-engraving sprang into life. Among the ordinary illustrations A. Boyd Houghton is represented by _The Mistaken Ghost_ (p. 15), _A Hindoo Legend_ (p. 273), and _The Bride of Rozelle_ (p. 663); G. J. Pinwell by _Joe Robertson's Folly_ (p. 225) and _The Old Keeper's Story_ (p. 483); J. W. North by _The Lake_ (p. 303); W. Small by _A Queer Story about Banditti_ (pp. 55, 83); S. L. Fildes by a strongly-drawn design, _The Goldsmith's Apprentice_ (p. 723); Ernest Griset by a slight yet distinctly grotesque _Tale of a Tiger_ (p. 7); M. Ellen Edwards by _Wishes_ (p. 633) and Kate Edwards by _Cherry Blossom_ (p. 543); J. Lawson by _The Legend of St. Katherine_ (p. 127), _Sir Ralph de Blanc-Minster_ (p. 168), and _Hymn to Apollo_ (p. 406); F. W. Lawson by _The Singer of the Sea_ (p. 603). The various examples