The first issue of _Pablo de Segovia_ completely revolutionised the art of illustration and created a new school of illustrators, the influence of which is now felt all over the world, even by artists to whom the name of Vierge is absolutely unknown, and by critics who, in praising their friends, are really only testifying to the greatness of the master whose name they never heard. And here I should like to say that I make no pretension to having discovered Daniel Vierge, although I have been accused of it; this book discovered him to all artists. When it came to reproduction, most of the drawings had to be much reduced. This was beautifully done by Gillot (and it is interesting to compare the latter's work of ten years ago with that in this volume done by him to-day), while the printing of Lahure was most careful and satisfactory; but the appearance of Vierge's work in many cases was entirely changed, though he himself knew how it would be changed. Vierge, as anyone can see from these new reproductions, drew openly, freely, boldly, but most carefully. The reproductions in Bonhoure's edition gave one the impression of exquisite delicacy, a refinement of line which did not altogether exist in the original drawings, but was produced because the artist knew exactly what he wanted, and because the engraver was able to obtain it. The drawings were made upon white paper--Bristol board or drawing paper--with a pen and liquid Indian ink. Vierge uses now a glass pen like an old stylus, and this, I believe, he prefers to all others. The drawings were then given to Gillot, the photo-engraver, who, by means of photography and handwork, produced in a metal block a reproduction of the original drawing which could be printed with type. It is a favourite, but fallacious, statement of the art critics that mechanical reproduction not only ruins the drawing, but is not to be compared to facsimile woodcutting. This is absolutely untrue if the artist is a craftsman, and the engraver, who is a craftsman, is also an artist. Vierge and Gillot fulfill these conditions. No woodcutter, not even Whitney, Collins, Gamm or Léveillé (there are, unfortunately, none in England to be considered) could reproduce any one of these drawings in the wood a bit better than Gillot has done by the mechanical process. Many of Vierge's lines are so clear and so pure and so simple, that they would be comparatively easy to cut in the wood. Other arrangements of lines are so complex, that no woodcutter could ever follow them, but would have to suggest them. Gillot has reproduced them perfectly, and almost altogether by mechanical means. But, granted that the woodcutters could have made equally good reproductions, unless you could find a consummate artist, who, for the love of the thing, was willing to give years of his life to it, it would be much more sensible to do what has been done--give the work to a mechanical engraver like Gillot. For the