A gentle graciousness of line and decorative design, with simplicity of expression, constitutes the peculiar charm of Mr. Robert Anning Bell’s illustrated books. That he finds happy suggestion among the poets will be seen in the drawings representing him here; but his “Midsummer Night’s Dream” is a book to enjoy in its entirety, so harmonious is its scheme, while the _Masque of Courteous Monsters_ in “The Tempest” is a remarkable composition. The distinguished graphic fancy of Mr. W. Heath Robinson has also been inspired to beautiful pictorial interpretation by Shakespeare’s immortal fairy play, and it is interesting to compare his more suggestive treatment with Mr. Anning Bell’s, the more definitely decorative significance of his design. As a quaintly humorous draughtsman Mr. Heath Robinson is also represented in these pages. There is no artist now devoting himself to book-decoration who has been truer to the ideals of his art than Mr. Charles Robinson. From the time when he proved himself the ideal illustrator of Stevenson’s “Child’s Garden of Verses” to the present he has aimed always at treating the book as an harmonious whole from cover to cover, providing decoration or illustration just where the scheme seemed to call for it. This unity of treatment may be noted particularly in his more recent books, “The Sensitive Plant,” “The Four Gardens,” “The Happy Prince,” and “The Big Book of Nursery Rhymes.” But Mr. Robinson is a man of original if delicate imagination, as well as an exquisite interpretative artist, and the double-page drawing given here, _The Dream_, will show him graphically illustrating his own fanciful vision--carrying out his pictorial ideas in a book of his own creation. “A Dream of St. Nicholas in Heaven” is a sort of allegory on the modern aspect of maternity. A wonderful contrast is the robust interpretative imagination of Mr. Edmund J. Sullivan, one of the greatest book-illustrators we have ever had, as he is one of the finest living draughtsmen on the page. His virility of mind and manner have found Carlyle wonderfully inspiring, and in the “Sartor Resartus” drawings shown here, as in the still greater “French Revolution” series, his certainty of expressive effect is extraordinary. Mr. Sullivan’s pictorial sense of character and incident is explicit also in the Goldsmith illustrations.