With 1865 comes a sudden cessation of interest, as seventy of the illustrations are engraved 'from photographs of oriental scenes to illustrate the editor's series of travel papers,' _Eastward_. This leaves room merely for pictures to the two serials. Paul Gray contributed those to Charles Kingsley's novel, _Hereward, the Last of the English_; but the twelve drawings are unequal, and in few show the promise which elsewhere he exhibited so fully. Robert Barnes supplies nine for the story, _Alfred Hagart's Household_, by Alexander Smith of _City Poems_ fame. These, like all the artist's work, are singularly good of their kind, and show at once his great facility and his comparatively limited range of types. In 1866, although engravings after photographs do not usurp the space to the extent they did in the previous year, they are present, and the volume, in spite of many excellent drawings, cannot compare in interest with those for 1862-64. The frontispiece, _Lilies_, is a most charming figure-subject by W. Small, who contributes also three others: _The Old Yeomanry Weeks_ (p. 127), _Deliverance_ (p. 663), a typical example of a landscape with figures in the foreground, which, in the hands of this artist, becomes something entirely distinct from the 'figure with a landscape beyond' of most others; and _Carissimo_ (p. 736), a pair of lovers on an old stone bench, 'just beyond the Julian gate,' which seems as carefully studied as if it were intended for a painting in oils. To compare the average picture to a poem to-day, with the work of Mr. Small and many of his fellows, is not encouraging. Thirty years ago it seemed as if the draughtsman did his best to evolve a perfect representation of the subject of the verses; now one feels doubtful whether the artist does not keep on hand, to be supplied to order, a series of lovers in attitudes warranted to fit, more or less accurately, any verses by any poet. Of course for one picture issued then, a score, perhaps a hundred, are published to-day, and it might be that numerically as many really good drawings appear in the course of a year now, as then; but, while our average rarely descends to the feeblest depths of the sixties, it still more rarely comes near such work as Mr. Small's, whose method is still followed and has influenced more decidedly a larger number of draughtsmen than has that of Millais, Walker, Pinwell, or Houghton.