It is interesting, as an addition to the comparison we have drawn between Meredith and du Maurier, to note that of the illustrators to Meredith's own novels it was the latter who seemed to experience life in a mood similar to the author's. In illustrating _Harry Richmond_ he secured the Meredithian sense of romance and of pedigree in scenes as well as people. However modern Meredith's characters were, they were all the children of old-fashioned people; within them all was the pride of the family tree, and, in the scenes in which they move, the memory of an older world. Du Maurier, too, in his art was a patrician, and when he gave up romance and took to satire pure and simple he put both beauty and dignity into the world that he described. All the time he was drawing his Society world others were working the same vein. But to him alone it seemed to be given to glimpse the splendour of it, and to suggest the link of romance that holds the present and the past together. Let us praise that very wise Editor who, appreciating the artist's character, confined him to the art most natural to him. What has become of Editors of this kind to-day? Is not this the very genius of the art of editing--this and not the wholly fictitious "what the public wants?" Who knows what the public want but the public themselves? It is the artist who is allowed by his Editor to go his own way, who takes the public with him. If he has not the same sympathies as the public no Editorial direction will save the situation, while it will drive perhaps a fine artist away to another trade. § 5 After the appearance of his first drawing in _Punch_, for more than a year du Maurier's connection with the paper seems to have been maintained by the execution of initial letters for it. Mr. W.L. Bradbury, zealous in the preservation of all records that redound to the glory of _Punch_, has in one or two instances had pulls taken from the wood blocks upon special paper. These special proofs show all the charm of wood engraving. In the case of the initial large C, reproduced on page 91, Mr. Bradbury's specimen shows the beautiful quality which in our own time Mr. Sturge Moore and Mr. Pissarro are at such pains to secure in engravings made for love of the art. One only wishes that the exigencies of book-production would allow us to attempt rivalry with Mr. Bradbury's specimen in our reproduction. But we see no reason why specimens of the wood-printing of du Maurier's work should not be on view in the British Museum. The "impressions" in old volumes of _Punch_, after the wear and tear, the opening and the shutting, and the effect of time are not an adequate record of du Maurier's skill in accommodating his art to the methods of reproduction of the period.