The information and assistance so freely given should be credited in detail, yet to do so were to occupy space already exceeded. But I cannot avoid naming Mr. G. H. Boughton, R.A., Mr. Dalziel, Mr. G. R. Halkett, Mr. Fairfax Murray, and Mr. Joseph Pennell for their kind response to various inquiries. Thanks are also due to the many holders of copyrights who have permitted the illustrations to be reproduced. As some blocks have changed hands since they first appeared, the original source given below each picture does not always indicate the owner who has allowed it to be included. The artists' names are printed in many cases without titles bestowed later, as it seemed best to quote them as they stood at the time the drawing was published. Lastly, I have to thank Mr. Temple Scott for his elaborate index, prepared with so much care, which many interested in the subject will find the most useful section of the book. The claims of wood-engraving _versus_ process have been touched upon here very rarely. If any one doubts that nearly all the drawings of the 'sixties' lost much, and that many were wholly ruined by the engraver, he has but to compare them with reproductions by modern processes from a few originals that escaped destruction at the time. If this be not a sufficient evidence, the British Museum and South Kensington have many examples in their permanent collections which will quickly convince the most stubborn. If some few engravers managed to impart a certain interest at the expense of the original work, which not merely atones for the loss but supplies in its place an intrinsic work of art, such exceptions no way affect the argument. Wood-engraving of the first order is hardly likely to die out. It is true that, as the craft finds fewer recruits, the lessened number of journeymen, experts in technique (whence real artist-engravers may be expected to spring up at intervals), will diminish the supply. Given the artist as craftsman, he may always be trusted to distance his rival, whether it be mechanism or a profit-making corporation which reduces the individuality of its agents to the level of machines. For in art, still more than in commerce, it is the personal equation that finally controls and shapes the project to mastery, and the whole charm of the sixties is the individual charm of each artist. The incompetent draughtsman, then, was no less uninteresting than he is to-day; even the fairly respectable illustrators gain nothing by the accident that they flourished in 'the golden decade.' But the best of the work which has never ceased to delight fellow-workers will, no doubt, maintain its interest in common with good work of all schools and periods. Therefore, this rough attempt at a catalogue of some of its most striking examples, although its publication happens to coincide with a supposed 'boom,' may have more than ephemeral value if it save labour in hunting up commonplace facts to many people now and in the future.