it reached its highest technical level before the close of the 18th century. Soon after the year 1800, a gradual decline is seen; which manifested itself both in the increase of the number of blocks used, and in the loss of quality in the colours. However, many prints of remarkably high technical excellence were still produced up to about the year 1864; soon after which time, all refinement both of engraving and printing seems to have been lost. The last 20 years or so, have, however, witnessed a sort of revival, by no means without merit in its way; and the adaptation of the process to the requirements of book-illustration and the reproduction of works of art, has reached a remarkably high standard in such publications as the _Kokka_ and those of the _Shimbi ShoÌin._ It is not unimportant to add that this process, sometimes modified in detail, has been revived in Europe; and is now practised by a considerable number of artists. The Department of Engraving, Illustration, and Design contains a representative collection of their productions, including a consecutive set of working proofs (E. 20-26, 1904) of a print by Mr. J. D. Batten and Mr. Morley Fletcher, who were the first to use the method in England. The collection also includes a similar set of working proofs of the modern development of the process, as used for the reproduction of paintings by Old Masters by the _Shimbi ShoÌin_(E. 1862-2043, 1910). ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ THE DRAWING Designs for Japanese colour-prints were made by artists, who, as a rule, were adherents of the Popular _(Ukiyoye)_ School and, socially, of the rank of artisans. The drawing was done with a brush on very thin _Mino_ or _Gampi_ paper, the colours used being washes of water-colour worked with rice-paste medium. To correct the design, the portions to be altered were covered with pieces of paper, on which the revised drawing was made. The completed design (generally, to begin with, in black lines only, or with only a little tint as a guide to the engraver) was then fastened face downwards on the block with rice starch weakened with water. As much as possible of its upper surface was rubbed away, some oil being used to make the remainder more translucent, and thus to enable the engraver more easily to follow the lines of the drawing. It is evident that this process resulted in the destruction of the designs. The Museum, however, has acquired a number of unused drawings, which fully illustrate this stage; and the series of blocks exhibited (E. 4136-4322, 1909) have, in several instances, remains of the paper still adhering to the uncut portions of their surfaces.