when expressed within the limitations of the decorative line, enriched with poetic symbol artistically conceived! Then there was Frederick Sandys, one of the greatest masters of black-and-white of any time, and a living influence to-day, whose noble designs, with their beauty and dignity of sweeping line and perfect balance of composition, are instinct with fine dramatic vitality and emotional expression. If the period had been artistically remarkable for nothing else, it would have been memorable for the gift of Sandys’s designs, which have surely influenced many later illustrators. Much these may owe, too, to Arthur Boyd Houghton, a truly original illustrator, of the richest imagination when happily inspired by his subject, as he certainly was in the most extraordinary degree by the stories of the “Arabian Nights”; an artist of extremely live and sensitive temperament, a master of design in which vivacious line and white significant space were balanced with almost magic felicity. Two other names that shone with particular lustre in the book-illustration of the “sixties” were Frederick Walker and George John Pinwell. There was an idyllic fragrance about Walker’s work; the charm of Pinwell’s was its vivid pictorial truth to life, its dramatic feeling. One must not forget the graces of Arthur Hughes’s designs, the tender naturalness of Birket Foster’s and J. W. North’s. Who would think now of Whistler as an illustrator of other men’s ideas? Yet even his original genius lent itself to the prevailing fascination of interpretative vision upon the wood-block. But if we take up any of the illustrated books or periodicals of that period, especially any issued under the auspices of the Dalziels, who did so much to encourage and stimulate the art of illustration, we shall find famous names attached to designs worth pondering over: Leighton, Burne-Jones, Ford Madox Brown, Charles Keene, Tenniel, Du Maurier, Frederick Shields, Simeon Solomon, John Gilbert--all these, besides those already named, were expressing their pictorial inventions in line, and most of them drawing direct upon the wood.