Studying his work at this date, you realise how very strongly he influenced the so-called '_Graphic_ School' which supplanted the movement we are considering in the next decade. Despite the appreciation, contemporary and retrospective, already bestowed upon his work, despite the influence--not always for good--upon the younger men, it is yet open to doubt if the genius of this remarkable artist has received adequate recognition. In a running commentary upon work of all degrees of excellence, one is struck anew with its admirably sustained power and its constantly fresh manner. This digression, provoked by the four delightful 'Small' drawings, must not lead one to overlook the rest of the pictures in _Good Words_ for 1866. They include _The Island Church_, by J. W. North (p. 393), _The Life-Boat_, by J. W. Lawson (p. 248), _Between the Showers_, by W. J. Linton, (p. 424), six illustrations to _Ruth Thornbury_, by M. E. Edwards, and one by G. J. Pinwell, _Bridget Dally's Change_. Perhaps the most notable of the year are the five still to be named: A. Boyd Houghton's _The Voyage_, and a set of four half-page drawings, _Reaping_, _Binding_, _Carrying_, _Gleaning_, entitled _The Harvest_ (pp. 600, 601). These have a decorative arrangement not always present in the work of this clever artist, and a peculiarly large method of treatment, so much so that if the text informed you that they were pen-sketches from life-size paintings, you would not be surprised. Whether by accident or design, it is curious to discover that the landscapes in each pair, set as they are on pages facing one another, have a look of being carried across the book in Japanese fashion. 1867 might be called the Pinwell year, as a dozen of his illustrations to Dr. George Mac Donald's _Guild Court_, and one each to _A Bird in the Hand_ and _The Cabin Boy_, account for nearly half the original drawings in the volume. W. Small is seen in five characteristic designs to Dr. Macleod's _The Starling_, and one each to _Beside the Stile_ (p. 645) and _The Highland Student_ (p. 663). Arthur Boyd Houghton contributes _Omar and the Persian_ (p. 104) and _Making Poetry_ (p. 248); the first a typical example of his oriental manner, the latter one of his home scenes. S. L. Fildes appears with _In the Choir_ (p. 537), a church interior showing the influence of William Small. F. W. Lawson illustrates _Grace's Fortune_ with three drawings, also redolent of Small, and Fred Walker has _Waiting in the Dusk_, a picture of a girl in a passage, which does not illustrate the accompanying verses, and has the air of being a picture prepared for a serial some time before, that, having been delayed for some reason, has been served up with a poem that chanced to be in type.