In describing the _Illustrated London News_ during the first year of its existence, I have directed attention chiefly to the pictorial portion of its contents, that being the characteristic feature of the paper by which it was distinguished from its purely literary contemporaries. The engravings I have reprinted from it are given as curiosities and not as specimens of excellence. The succeeding volumes contain abundant evidence that the highest talent was afterwards employed in producing the best examples of art as well as in the illustration of news. In its sixth year the course of public events opened up new and stirring scenes for its pages. So great was the interest felt in the exciting events of the year 1848, that the sale of the _Illustrated London News_ was more than doubled in three months. The vigorous sketches of the French Revolution published week after week were so eagerly bought that the publisher was not always able to meet the demand. On one occasion he was freely pelted with flour and other harmless missiles because the London 'trade' could not get their supply soon enough to satisfy their impatience. The noisy newsboys, in mocking imitation of the Paris mob which was then making the streets of that city ring with cries of 'à bas Guizot!' vented their indignation against the publisher of the _Illustrated London News_ by shouting 'à bas Little! à bas Little!' But though the year of revolutions was so rich in materials for pictorial journalism, the year of the Great Exhibition was yet more fruitful. The Great Exhibition of 1851 was a perfect novelty, and was hailed as the harbinger of peace on earth and good-will among men. Coming so soon after the convulsions of 1848, the peaceful display was more enchanting from the contrast. Such a golden opportunity was not lost upon the pictorial press, and every stage of the construction of the first Crystal Palace was represented. The very plan of the building was first made public in the pages of the _Illustrated London News_, the first design adopted by the Commissioners having been superseded by Sir Joseph Paxton's Palace of Glass. The building was shown in progress from the raising of the first column, and its removal was illustrated to the clearing away of the foundations. In this 'Festival of Labour' the _Illustrated London News_ took a prominent place. An edition was printed in the Exhibition building by one of Applegarth's vertical printing-machines, then the quickest method of printing in use. At this time the paper was distinguished by the number and excellence of its illustrations, and the '_London News_' printing-machine was one of the attractions of the 'World's Fair.'