With its thirteenth volume (1868) _London Society_ still keeps up to the level it established. Among much that was intended for the moment only there is also work of far more sterling value. Charles Keene, in two drawings for _Tomkins' Degree Supper_ (pp. 224, 232), is seen at his best, and how good that is needs no retelling. Sir John Gilbert, among a new generation, keeps his place as a master, and in four drawings (pp. 113, 249, 314, 429) reveals the superb qualities of his work, coupled, it must be said, with certain limitations which are almost inseparable from rapid production. G. Du Maurier is represented by two, _Lift her to it_ (p. 324) and _The White Carnation_ (p. 558). The inscription of _Expectation_ (p. 360), by 'the late M. J. Lawless', marks the final discharge of an illustrator who did much to impart permanent interest to the magazine. It is always a regret to find that Mr. Sandys chose other fields of work, and that death withdrew Lawless so soon; for these two, not displaying equal power, together with Walter Crane maintained the decorative ideal through a period when it was unpopular with the public and apparently found little favour in editors' eyes. M. E. Edwards's _My Valentine_ (p. 114) and _Married on her tenth Birthday_ (p. 206). To this list must be added W. Small, with a delightful out-of-doors study, _'You did not come'_ (p. 368); G. B. Goddard with some capital 'animal' pictures: _Spring of Life_ (p. 353), _Buck Shooting_ (p. 72), and _Dogs of Note_ (pp. 75, 179); Wilfrid Lawson, _A Spring-tide Tale_ (p. 472); F. Barnard, _A Bracing Morning_ (p. 60); A. W. Cooper, _The Old Seat_ (p. 268); and others by Tom Gray, J. G. Thomson, W. L. Thomas, J. A. Pasquier, W. S. Gilbert, S. E. Illingworth, Rice, W. Brunton, H. French, A. Crowquill, Edwin J. Ellis, Fane Wood, and Isaac L. Brown. Vol. xiv., the second of 1868, contains J. D. Watson's _The Oracle_ (p. 457); W. Small's _The Lights on Gwyneth's Head_ (p. 165); A. Boyd Houghton, _The Turn of the Tide_ (p. 458); John Gilbert's _Cousin Geoffrey's Chamber_ (_Frontispiece_), and _Box and Cox in Bay of Bengal_ (p. 392); Birket Foster's _The Falconer's Lay_, probably engraved from a water-colour drawing (p. 529); Wilfrid Lawson's _Crush-room_ (p. 140); _For Charity's Sake_ (p. 112); _Behind the Scenes_ (p. 141), _The Gentle Craft_ (p. 86), and _The Golden Boat_ (p. 579), with many others by the regular contributors. In the Christmas number we find _Linley Sambourne_, whose work is encountered rarely outside the pages of _Punch_, with a design for a _Christmas Day Costume_ (p. 17); Charles Keene, with two drawings for _Our Christmas Turkey_ (pp. 44, 46); G. B. Goddard's full-page, _Knee-deep_ (p. 32); J. D. Watson's _Aunt Grace's Sweetheart_ (p. 19) and _The Two Voices_ (p. 86) deserve noting.