From 1861 the chief full-page illustrations were printed separately on toned paper. A series of animal subjects by 'J. B.,' twelve 'Illustrations of Scripture,' engraved by Dalziel Brothers, were announced in the prospectus as a special feature. Somewhat pre-Raphaelite in handling they are distinctly interesting, but hardly masterly. But the volume will be always memorable for its early work by Frederick Walker and G. Du Maurier. _A Time to Dance_, by the latter, shows a certain decorative element, which in various ways has influenced his work at different periods, although no one could have deduced from it the future career of its brilliant author as a satirist of society, a draughtsman who imparted into his work, to a degree no English artist has surpassed, and very few equalled, that 'good form' so prized by well-bred people. The drawing unsigned _The Blind School_ (p. 505), attributed to Fred Walker in the index, suggests some clerical error. Like one attributed to Sandys in a later volume, you hesitate before accepting evidence of the compiler of the list of engravings, which the picture itself contradicts flatly. _Only a Sweep_ (p. 609) is signed, and, although by no means a good example, is unquestionably attributed rightly. John Pettie has two designs, _Cain's Brand_ (pp. 376, 422); J. M'Whirter and W. Q. Orchardson, one each; H. H. Armstead, a pre-Raphaelite composition, _A Song which none but the Redeemed ever sing_, which is amongst the most interesting of the comparatively few illustrations by the Royal Academician, who is better known as a sculptor, as his _Music, Poetry, and Painting_ in the Albert Memorial, the panels beneath Dyce's frescoes at Westminster Palace, and a long series of works shown at the Academy exhibitions suffice to prove. T. Morten, a draughtsman who has missed so far his due share of appreciation, is represented by _The Waker, Dreamer, and Sleeper_ (p. 634), a powerful composition of a group of men praying at night by the side of a breaking dyke. John Pettie has two drawings; and J. D. Watson, six subjects--the first, _The Toad_, being singularly unlike his later style, and suggesting a closer discipleship with the pre-Raphaelites than he maintained afterwards. Two by Clarence Dobell, and three by T. Graham--one, _The Young Mother_, a charming arrangement in lines; with others by J. Wolf, Zwecker, W. M'Taggart, J. L. Porter, A. W. Cooper, A. Bushnell, W. Fyfe, W. Linney, and C. H. Bennett, are also included. Altogether the second volume shows marked advance upon the first, although this admirable periodical had not yet reached its high-water mark.