In its present form the story contains certain passages not printed in the magazine--notably, a brief disquisition on sitting for the nude. On the other hand, certain passages have been altered in deference to the wishes of Mr. Whistler, who saw in Joe Sibley, as described and pictured by Mr. du Maurier, an unpleasant resemblance to himself. Not only has the text been altered, but our friend Sibley is now called Antony, and his hitherto unbearded face is adorned with a non-Whistlerian beard. (See "Trilby," opposite page 132.) One picture has been omitted altogether. It needed not the accidental advertising of Mr. Whistler's threatened libel suit to draw attention to the book. It is its own best advertisement, and has fairly earned the success implied in advance orders so numerous as to cause the postponement until to-day (8 Sept. 1894) of the original date of publication. Mr. du Maurier as a Draughtsman It is hardly necessary to say that Mr. du Maurier's work as a novelist is in no way matched by his work as a draughtsman, as exemplified, for instance, in the 120 drawings for "Trilby," exhibited in December, 1894, at the Avery gallery. Until he began to write he was known merely as the author of innumerable caricatures, which had a certain vogue because they were at the same time pictures of fashionable society; but even of these the legend was often the best part. He had mastered many types, but they were nothing more than that; and one had seen his millionaires and swells and singing people and artists until one had grown rather tired of them. Then, suddenly, it was found, with the first chapters of his first novel, that in writing he could give to all these well-known figures individuality, could make flesh and blood of them. The drawings themselves, at least those done as illustrations for his two romances, seem to have gained by that discovery. These do not appear to be the same French blouses and English guardsmen. Something has got into them, a touch of life, which they did not have before. Yet no one will say that the Little Billee of the drawings now exhibited at Avery's gallery is even a shadow of the Little Billee of the text. Of Trilby there is not so much as the famous foot. Any schoolboy, almost, might have made as clever a travesty of the Venus de Milo. The best presentment of the gigantic Taffy is that in which he poses as the Ilyssus. The Laird o' Cockpen is much better, being frequently very like Mr. George W. Cable, particularly where he listens to Trilby's confession--an accidental likeness, no doubt, but one that increases our respect for the Laird. The intentional likeness of Frederick Walker, who is said to be the real original of Little Billee, is vastly superior to the ideal one; and the many unnamed figures in the more crowded compositions that appear to have been sketched from the life or from a particularly vivid memory are among the most amusing and enjoyable things in the drawings.