Fewer people, probably, have seen Vierge's Quevedo since it has been published, than in a day sit and gape, and yawn in awe-struck ignorance before the Sistine Madonna; and yet the latter is as blatant a piece of shoddy commercialism as has ever been produced; the Quevedo is a pure work of art. Indeed, never in the history of the world were there such marvellous drawings produced as to-day. But while collectors, dealers, and directors of Museums squabble over a piece of dirty paper, or throw public funds and private money away for drawings of which, if Dürer or Rembrandt, or any painter of distinction, perpetrated them, he should have been ashamed, none has the wit to spend as many pennies on the drawings of modern men with no popular reputation, as they do pounds for the work of others who have a widespread, and possibly justly merited fame, but no knowledge of the art they practise. Go through the National Galleries of Germany, and though you will find tons of miserable scrawls produced by painters, outside of Berlin you will scarcely come across a drawing by Menzel or Klinger. In the much-belauded gallery of Munich, you will not find an example of Dietz or any of the men who to-day are the leaders of German art; if you want to see them you must go to the publishing offices of _Fliegende Blätter_. And how many Charles Keenes or Frederick Sandys' does the British nation possess? Or where, outside of the offices of the _Century Magazine_ and _Harper's_, can you see a comprehensive collection of the work of American illustrators? In France, if you wish to study drawings produced by the cleverest of French draughtsmen, you must go, not to the Louvre or the Luxembourg, but to the Elysée Montmartre or the Chat Noir. So long as print sellers and curators have no real knowledge of art, one may expect the present state of affairs to continue. Until art be taken as seriously as literature, and be discussed with as much thought and care and attention by men who understand it practically as well as theoretically--for the theory of art is or no value, and the practice is everything--illustration will not find its proper place as one of the most living and important of the fine arts. But, no matter--the great illustrator is quite as much of a creator as the great painter or the great sculptor. If the illustrator print his conception of an author's meaning upon the same page as the latter's text, this does not belittle him any more than it increases a painter's greatness to give his picture the place of honour in a Museum, or the sculptor's genius to allow him to obstruct the traffic of a street.