To add another eulogy of these works is hardly necessary at this moment, when their superb quality has provoked a still wider recognition than ever. Concerning the engraving of some Mr. Sandys complained bitterly, but of others, notably the _Danae_, he wrote in October 1880: 'My drawing was most perfectly cut by Swain, from my point of view, the best piece of wood-cutting of our time--mind I am not speaking of my work, but Swain's.' To see that the artist's complaint was at times not unfounded one has but to compare the _Advent of Winter_ as it appears in a reproduction of the drawing (_Art Journal_, March 1884) and in _The Quiver_. 'It was my best drawing entirely spoilt by the cutter,' he said; but this was perhaps a rather hasty criticism that is hardly proved up to the hilt by the published evidence. As a few contemporary criticisms quoted elsewhere go to prove, Sandys was never ignored by artists nor by people of taste. To-day there are dozens of men in Europe without popular appreciation at home or abroad, but surely if his fellows recognise the master-hand, it is of little moment whether the cheap periodicals ignore him, or publish more or less adequately illustrated articles on the man and his work. Frederick Sandys is and has been a name to conjure with for the last thirty years. Though still alive, he has gained (I believe) no official recognition. But that is of little consequence. There are laureates uncrowned and presidents unelected still living among us whose lasting fame is more secure than that of many who have worn the empty titles without enjoying the unstinted approval of fellow-craftsmen which alone makes any honour worthy an artist's acceptance. * * * * * SIR EDWARD BURNE-JONES.--The illustrations of this artist are so few that it is a matter of regret that they could not all be reproduced here. But the artist, without withholding permission, expressed a strong wish that they should not be reprinted. The two in _Good Words_ have been already named. Others to a quite forgotten book must not be mentioned; but it is safe to say that no human being, who did not know by whom they were produced, would recognise them. A beautiful design[20] for a frontispiece to Mr. William Morris's _Love is Enough_ was never engraved. The _Nativity_ in Gatty's _Parables from Nature_, and the one design in the _Dalziel Bible_ have already been named. Many drawings for _Cupid and Psyche_, the first portion of a proposed illustrated folio edition of _The Earthly Paradise_, were actually engraved, some of the blocks being cut by Mr. Morris himself. Several sets of impressions exist, and rumour for a long time babbled of a future Kelmscott Press edition. Of his more recent designs nothing can be said here; besides being a quarter of a century later than the prescribed limits of the volume, they are as familiar as any modern work could be. * * * * *