"The Studio," which, while under the able and sympathetic editorship of Mr. Gleeson White, first called attention (by the medium of Mr. Pennell's pen) to Mr. Beardsley's work, has done good service in illustrating the progress of decorative art, both at home and abroad, and has from time to time introduced several young artists whose designs have thus become known to the public for the first time, such as Mr. Patten Wilson, Mr. Laurence Housman, Mr. Fairfax Muckley, and Mr. Charles Robinson, who all have their own distinctive feeling: the first for bold line drawings after the old German method with an abundance of detail; the second for remarkable taste in ornament, and a humorous and poetic fancy; the third for a very graceful feeling for line and the decorative use of black and white--especially in the treatment of trees and branch work, leaves and flowers associated with figures. Mr. J. D. Batten has distinguished himself for some years past as an inventive illustrator of Fairy Tales. In his designs, perhaps, he shows more of the feeling of the story-teller than the decorator in line, on the whole; his feeling as a painter, perhaps, not making him quite content with simple black and white; and, certainly, his charming tempera picture of the sleeping maid and the dwarfs, and his excellent printed picture of Eve and the serpent, printed by Mr. Fletcher in the Japanese method, might well excuse him if that is the case. Mr. Henry Ford is another artist who has devoted himself with much success to Fairy Tale pictures in black and white, being associated with the fairy books of many different colours issued under the fairy godfather's wand (or pen) of Mr. Andrew Lang. He, too, I think perhaps, cares more for the "epic" than the "ornamental" side of illustration; he generally shows a pretty poetical fancy. At the head, perhaps, of the newer school of decorative illustrators ought to be named Mr. Robert Anning Bell, whose taste and feeling for style alone gives him a distinctive place. He has evidently studied the early printers and book-decorators in outline of Venice and Florence to some purpose; by no means merely imitatively, but with his own type of figure and face, and fresh natural impressions, observes with much taste and feeling for beauty the limitations and decorative suggestions in the relations of line-drawing and typography. Many of his designs to "The Midsummer Night's Dream" are delightful both as drawings and as decorative illustrations. [Illustration: CHARLES RICKETTS. FROM "DAPHNIS AND CHLOE." (THE VALE PRESS.)] The newest book illustrator is perhaps Mr. Charles Robinson, whose work appears to be full of invention, though I have not yet had sufficient opportunities of doing it justice. He shows quaint and sometimes weird fancy, a love of fantastic architecture, and is not afraid of outline and large white spaces. [Illustration: C. H. SHANNON. FROM "DAPHNIS AND CHLOE." (THE VALE PRESS.)]