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.

T. Morten has a finely-engraved night-piece, Pictures in the Fire (p. 200), besides The Christmas Child (p. 56) and The Carrier Pigeon (p. 121). The Holman Hunt, Go and Come (p. 32), a weeping figure, is not particularly interesting. Honesty (p. 736), by T. Graham, gives evidence of the power of an artist who has yet to be 'discovered' so far as his illustrations are concerned. H. H. Armstead's Seaweeds (p. 568), and eight by J. D. Watson (pp. 9, 81, 144, 201, 209, 302, 400, 433) need no special comment, nor do the ten by J. Pettie (pp. 264–713). Fred Walker is represented by The Summer Woods, a typical pastoral (p. 368), Love in Death, a careworn woman in the snow (p. 185), and Out among the wild flowers (p. 657), the latter an excellent example of the grace he imparted to rustic figures. These, with a few diagrams and engravings from photographs, complete the record of a memorable, if not the most memorable, year of the magazine.

T. GRAHAM

'GOOD WORDS'
1862, p. 736

HONESTY

M. J. LAWLESS

'GOOD WORDS'
1862, p. 153

RUNG INTO HEAVEN