brought back visions of delight to show his fellow-men. The first suspicion of that land of faëry came to him when, in a small volume of poems by William Allingham, he found a little wood-cut, 'Elfen-mere,' signed with a curious entwinement of the initials D. G. R. The slumbering spirit of fancy awoke to life within him and cast her spells upon him never to be shaken off.' In the _Oxford and Cambridge Magazine_, 1856, Mr. Burne-Jones wrote of this very design: 'There is one more I cannot help noticing, a drawing of higher finish and pretension than the last, from the pencil of Rossetti, in Allingham's _Day and Night Songs_, just published. It is, I think, the most beautiful drawing for an illustration I have ever seen: the weird faces of the maids of Elfen-mere, the musical, timed movement of their arms together as they sing, the face of the man, above all, are such as only a great artist could conceive.' This picture, 'three damsels clothed in white,' who came 'With their spindles every night; Two and one, and three fair maidens, Spinning to a pulsing cadence, Singing songs of Elfen-mere,' reproduced here, is still issued in William Allingham's volume of poems entitled _Flower Pieces_ (Reeves and Turner, 1888). Five illustrations to Moxon's edition of _Tennyson's Poems_, 1857, two in Christina Rossetti's _The Goblin Market and other Poems_, 1862, and two in _The Princes Progress and other Poems_, 1866, by the same author, complete the ten in question. As the _Tennyson_ has been republished lately, and a monograph, _Tennyson and his pre-Raphaelite Illustrators_, by G. Somes Layard (Elliot Stock, 1894), has brought together every available scrap of material connected with the famous quintette of designs, it would be superfluous to describe them here in detail. Any distinctly recognised 'movement' is very rarely a _crescendo_, but nearly always a waning force that owes what energy it retains to the original impetus of its founder. Should this statement be true of any fashion in art, it might be most easily supported, if applied to Rossetti's ten drawings on wood, set side by side with the whole mass of modern 'decorative' illustration. Even a great artist like Howard Pyle has hardly added a new motive to those crowded into these wood-engravings. The lady by the casement, '_The long hours come and go_,' upon the title-page of _The Princes Progress_, is an epitome of a thousand later attempts. Mr. Fairfax Murray has collected over a dozen studies and preliminary drawings for this little block, that would appal some of the younger men as evidence of the intense care with which a masterpiece was wrought of old. Highly-finished drawings were done over and over again until their author was satisfied. The frontispieces to _Goblin Market_ and to _The Prince's Progress_, no less than the Tennyson designs, form, obviously enough, the treasure-trove whence later men have borrowed; too often exchanging