The Charles Keene drawing to _Nanneri the Washerwoman_ is another Dalziel block which merits praise in no slight measure; as here again one fancies that the attempt has been to preserve a facsimile of each touch of the artist, and not to translate wash into line. The _King Sigurd_ of Burne-Jones has certainly lost a great deal; in fact, judging by drawings of the same period still extant, it conveys an effect quite different from that its author intended. Certainly, at the present time, he regards it as entirely unrepresentative; but no doubt then as now he disliked drawing upon wood. To-day it has been said that his Chaucer drawings in pencil were practically translated by another hand in the course of their being engraved on wood. Certainly technique of lead pencil is hardly suggested, much less reproduced in facsimile in the entirely admirable engravings by the veteran Mr. W. H. Hooper. But if the designs were photographed on the block such translation as they have undergone is no doubt due to the engraver. A drawing by Simeon Solomon, _The Veiled Bride_ (p. 592), seems also much less dainty than his pencil studies of the same period. Many artists, when they attempt to draw upon wood, find the material peculiarly unsympathetic. Rossetti has left his opinion on record, and it is quite possible that in both the Burne-Jones and Solomon, as in the Tennyson drawings, although the engravers may have accomplished miracles, what the artist had put down was untranslatable. For the delicacies of pencil may easily produce something beyond the power of even the most skilful engraver to reproduce. The Sandys, _Until her Death_ (p. 312), illustrating a poem, loses much as it appeared in the magazine; you have but to compare a proof from the block itself, in a reprinted collection of Messrs. Strahan's engravings, to realise how different a result was secured upon good paper with careful printing. A. Boyd Houghton is represented by four subjects: _My Treasure_ (p. 504), _On the Cliff_ (p. 624), _True or False_ (p. 721), and _About Toys_ (p. 753); they all belong to the manner of his _Home Scenes_, rather than to his oriental illustrations. _The Battle of Gilboa_ (p. 89), by Tenniel, is typical. M. J. Lawless is at his best in _Rung into Heaven_ (p. 135), and in the _Bands of Love_ (p. 632) shows more grace than he sometimes secured when confronted by modern costume.