Some of the designs made for a later work (Dalziel's Bible Gallery, about 1865-70) also show the effect of the pre-Raphaelite influence, as well as, in the case of the designs of Sir Frederic Leighton and Mr. Poynter, the influence of Continental ideas and training. I saw some of these drawings on the wood at the time, I remember. For study and research, and richness of resource in archæological detail, as well as firmness of drawing, I thought Mr. Poynter's designs were perhaps the most remarkable. A strikingly realized picture, and a bright and successful wood-engraving, is Ford Madox Brown's design of "Elijah and the Widow's Son." There is a dramatic intensity of expression about his other one also, "The Death of Eglon." Still, at best, we find that these are but carefully studied pictures rendered on the wood. The pre-Raphaelite designs show the most decorative sense, but they are now issued quite distinct from the page, whatever was the original intention, and while they may, as to scale and treatment, be justly considered as book illustrations, and as examples of our more important efforts in that direction at that time, they are not page decorations. One may speak here of an admirable artist we have lost, Mr. Albert Moore, who so distinguished himself for his refined decorative sense in painting, and the outline group of figures given here shows that he felt the conditions of the book page and the press also. [Illustration: ALBERT MOORE. FROM MILTON'S ODE ON CHRIST'S NATIVITY. (NISBET, 1867.)] [Sidenote: HENRY HOLIDAY.] Mr. Henry Holiday is also a decorative artist of great refinement and facility. He has not done very much in book illustration, but his illustrations to Lewis Carroll's "Hunting of the Snark" were admirable. His decorative feeling in black and white, however, is marked, as may be seen in the title to "Aglaia." [Illustration: HENRY HOLIDAY. COVER FOR A MAGAZINE.] [Sidenote: TOY BOOKS.] As, until recently, I suppose I was scarcely known out of the nursery, it is meet that I should offer some remarks upon children's books. Here, undoubtedly, there has been a remarkable development and great activity of late years. We all remember the little cuts that adorned the books of our childhood. The ineffaceable quality of these early pictorial and literary impressions afford the strongest plea for good art in the nursery and the schoolroom. Every child, one might say every human being, takes in more through his eyes than his ears, and I think much more advantage might be taken of this fact.