volume iv. there are other drawings by Fildes, Pinwell, and many by F.

Barnard, F. S. Walker, and other popular draughtsmen of the period.

In 1870 we find another change, this time to a page that may be a quarto technically, but instead of the square proportions we usually connect with that shape, it seems more akin to an octavo. The illustrations are smaller, but far better engraved and better printed. W. Small illustrates Wilkie Collins's cleverly-constructed story, _Man and Wife_, with thirty-seven pictures. His character-drawing appears at its best in 'Bishopriggs,' the old Scotch waiter, his love of beauty of line in two or three sketches of the athlete, 'Geoffrey Delamayne,' the working villain of the story. The dramatic force of the group on p. 305, the mystery of the scene on p. 529, or the finely-contrasted emotions of Anne Silvester and Sir Patrick on p. 481, could hardly be beaten. The other contributors to this vol. i. of the new series, include R. Barnes, Basil Bradley, H. K. Browne, W. R. Duckman, E. H. Corbould, M. E. Edwards, E. Ellis, S. L. Fildes, F. A. Fraser, E. Hughes, F. W. Lawson, H. Paterson, and others, most of whom it were kindness to ignore. For side by side with Mr. Small's masterly designs appear the weakest and most commonplace full pages. Hardly one, except S. L. Fildes's _A Sonnet_ (p. 9), tempts you to linger a moment. In vol. ii. the serial story, _Checkmate_, is illustrated by Towneley Green. The drawings throughout are mainly by those who contributed to the first volume. In the third volume, Charles Reade's _A Terrible Temptation_ is illustrated by Edward Hughes; a somewhat powerful composition by J. D. L[inton], p. 377; one by W. Small (p. 9), and others by J. Lawson, F. W. Lawson, M. E. Edwards, are all that can claim to be noted.

BELGRAVIA

This illustrated shilling monthly, the same size and shape as most of its predecessors, was not started until 1866, and its earlier volumes have nothing in them sufficiently important to be noticed. In the seventies better things are to be found.

THE ARGOSY

This monthly periodical, as we know it of late years, suggests a magazine devoted to fiction and light literature, with a frontispiece by some well-known artist, and small engravings in the text mostly from photographs, or belonging to the diagram and the record rather than to fine art. I am not speaking of the present shilling series, but of the long array of volumes from 1868 until a few years ago. Nor does this opinion belittle the admirable illustrations by Walter Crane, M. Ellen Edwards, and other artists who supplied its monthly frontispiece. But the first four half-yearly volumes were planned on quite different lines, and these deserve the attention of all interested in the subject of this book, to a degree hardly below that of the better-known magazines; better known, that is to say, as storehouses of fine illustrations. As these volumes seem to be somewhat scarce, a brief _résumé_ of their contents will not be out of place. In the year 1866 we have William Small at his best in twelve illustrations to Charles Reade's dramatic novel, _Griffith Gaunt_. Whether because the ink has sunk into the paper and given a rich tone to the prints, or because of their intrinsic merit, it is not quite easy to say, but the fact remains that these drawings have peculiar richness, and deserve to be placed among the best works of a great artist not yet fully recognised. One design by F. Sandys to Christina Rossetti's poem, _If_, is especially noticeable, the model biting a strand of hair embodies the same idea as that of _Proud Maisie_, one of the best-known works of this master. A. Boyd Houghton has a typical Eastern figure-subject, _The Vision of Sheik Hamil_; Edward Hughes one, _Hermione_; Paul Gray, a singularly good drawing to a poem _The Lead-Melting_, by Robert Buchanan. Another to a poem by George Macdonald, _The Sighing of the Shell_, is unsigned, whether by Morten or Paul Gray I cannot say, but it is worthy of either artist; J. Lawson has one to _The Earl of Quarterdeck_, M. Ellen Edwards one to _Cuckoo_ and one to _Cape Ushant_, a ballad by William Allingham; a group, with Napoleon as the central figure, is by G. J. Pinwell, and J. Mahoney contributes three: _Autumn Tourists, Bell from the North_, a girl singing by a Trafalgar Square fountain, and _The Love of Years_. The next year, 1867, is illustrated more sparsely. _Robert Falconer_, by George Macdonald, has one unsigned drawing, and nine by William Small; these, with _A Knight-Errant_ by Boyd Houghton, make up the eleven it contains. In the next year Walter Crane illustrates the serial, _Anne Hereford_, by Mrs. Henry Wood, and also a poem, _Margaret_, by his sister.

THE QUIVER

This semi-religious monthly magazine, published by Messrs. Cassell and Co., was not illustrated at first. It is almost unnecessary to describe it volume by volume, as a reprint of its principal illustrations was made in 1867, when fifty-two pictures were sandwiched between poems, and published in a small quarto volume entitled '_Idyllic Pictures_, drawn by Barnes, Miss Ellen Edwards, Paul Gray, Houghton, R. P. Leitch, Pinwell, Sandys, Small, G. Thomas, etc' The curiously colloquial nomenclature of the artists on the title-page is the only direct reference to their share in the book, which is well printed, and includes some admirable illustrations. The book is now exceptionally scarce, and like its companion, _Pictures of Society_, selected from _London Society_, must be searched for long and patiently. Personal inquiries at all the accessible shops in London, Bath, and Edinburgh failed to find one bookseller who had ever heard of either book. Yet, in spite of it, single copies of both turned up alternately on the shelves of men who were at the moment of its discovery glibly doubting its existence. The ignorance of booksellers concerning this period is at once the terror and the joy of the collector. For when they do know, he will have to pay for their knowledge.

Yet it would be unfair to the reputation of a periodical which issued so many designs by representative artists of the sixties to dismiss it without a little more detail. Started as a non-illustrated paper on October 6, 1864, it entered the ranks with a very capable staff. In 1866 a third series on toned paper still further established its claim to be considered seriously, and the fact that these few years supplied the matter for the volume just mentioned shows that it fulfilled its purpose well. In volume i. third series (1866), pictures by A. Boyd Houghton will be found on pages 532, 585, 664, 728, 737, 776, and 868; and in vol. ii. 1867, he appears upon pages 88 and 456. Those by William Small (pp. 90, 232), G. J. Pinwell (pp. 60, 641), and J. D. Watson (p. 596) also deserve looking up. M. W. Ridley, an illustrator of promise, is also represented. In vol. iii. 1868, J. D. Watson's designs on pages 25, 57, 497, 680, 713, and 745 are perhaps his best. Drawings by John Lawson (p. 108), Hubert Herkomer (p. 73), A. Boyd Houghton (pp. 97, 705, 721, 737), S. L. Fildes (pp. 327, 417, 433), G. J. Pinwell (pp. 121, 193, 449, 481, 585 and 753), C. Green (p. 241), J. Mahoney (p. 328), and T. B. Wirgman (p. 649) all merit notice. In vol. iv. many of the above artists are represented--S. L. Fildes (p. 396), J. D. Watson (p. 407), W. Small (p. 696), and the designs by S. L. Fildes and J. D. Watson in the Christmas number being perhaps the most noticeable. Other frequent contributors include R. Barnes, C J. Staniland, M. E. Edwards, J. A. Pasquier, G. H. Thomas, F. W. Lawson, and Edith Dunn. Although not to be compared artistically with its rivals, _Good Words_ and the _Sunday Magazine_, it is nevertheless a storehouse of good, if not of exceptionally fine, work.

THE CHURCHMAN'S SHILLING MAGAZINE,

A periodical of the conventional octavo size, affected by the illustrated shilling periodicals of the sixties, was commenced in 1867. The first two volumes contain little of note, and are illustrated by R. Huttula, John Leigh, E. F. C. Clarke; the third volume has M. E. Edwards, and in the fifth volume Walter Crane supplies two full pages (pp. 267, 339). Despite the fact that it credited its artists duly in the index, and seemed to have been most favourably noticed at the time, it may be dismissed here without further notice.

TINSLEY'S MAGAZINE

This shilling monthly was started in August 1867 with illustrations by 'Phiz,' W. Brunton, D. H. Friston, and A. W. Cooper. A. Boyd Houghton's contributions include _The Story of a Chignon_ (i. p. 544), _For the King_ (ii. p. 149), and _The Return from Court_ (ii. p. 377). J. D. Watson appears in vol. iii. pp. 87, 399, 665, and a drawing, signed A. T. (possibly Alfred Thompson), is on p. 207. But the magazine, although published at a shilling, and therefore apparently intended as a rival to the _Cornhill_ and the rest, is not important so far as its illustrations are concerned.

THE BROADWAY

This international magazine, heralded with much flourish in 1867 by Messrs. Routledge, is of no great importance, yet as it was illustrated from its first number in September 1867 to July 1874, it must needs be mentioned. Examples of the following artists will be found therein:--F. Barnard, G. A. Barnes, W. Brunton, M. E. Edwards, Paul Gray, E. Griset, A. B. Houghton, R. C. Huttula, F. W. Lawson, Matt Morgan, Thomas Nash, J. A. Pasquier, Alfred Thompson, and J. Gordon Thomson.

SAINT PAUL'S,

Yet another shilling magazine which was started in October 1867, and published by Messrs. Virtue and Co., is memorable for its twenty-two drawings by Millais. These appeared regularly to illustrate Trollope's _Phineas Finn the Irish Member_. A few illustrations by F. A. Fraser were issued to _Ralph the Heir_, the next story, and to _The Three Brothers_, but from 1871 it appears without pictures. By way of working off the long serial by Trollope, _Ralph the Heir_, independent supplements as thick as an ordinary number, but entirely filled with chapters of the story in question, were issued in April and October 1870. So curious a departure from ordinary routine is worth noting.

GOOD WORDS FOR THE YOUNG,

A most delightful children's magazine, which began as a sixpenny monthly under the editorship of Dr. Norman Macleod in 1869, bids fair to become one of those books peculiarly dear (in all senses) to collectors. There are many reasons why it deserves to be treasured. Its literature includes several books for children that in volume-form afterwards became classics; its illustrations, especially those by Arthur Hughes, appeal forcibly to the student of that art, which is called pre-Raphaelite, Æsthetic, or Decorative, according to the mood of the hour. Like all books intended for children, a large proportion of its edition found speedy oblivion in the nursery; and those that survive are apt to show examples of the amateur artist in his most infantile experiments with a penny paint-box. From the very first it surrounded itself with that atmosphere of distinction, which is well-nigh as fatal to a magazine's longevity as saintliness of disposition to a Sunday-school hero. After a career that may be called truthfully--brilliant, it suddenly changed to a periodical of no importance, illustrated chiefly by foreign _clichés_. How long it lingered in this state does not concern us. Indeed, it is only by a liberal interpretation of the title of this book that a magazine which was not started until 1869 can be included in _the sixties_ at all; but it seems to have continued the tradition of the sixties, and until the first half of 1874, although it changed its editor and its title (to _Good Things_), it kept the spirit of the first volume unimpaired; but after that date it joined the majority of uninteresting periodicals for children, and did not survive its recantation for many years.

In 1869 Arthur Hughes has twenty-four drawings to George Macdonald's _At the Back of the North Wind_, and ten to the earlier chapters of Henry Kingsley's _Boy in Grey_. The art of A. Boyd Houghton is seen in three instances: _Cocky Locky's Journey_ (p. 49), _Lessons from Russia_ (p. 101), and _The Boys of Axleford_ (p. 145). J. Mahoney has about a dozen; H. Herkomer one to _Lonely Jane_ (p. 28); and G. J. Pinwell one to _Black Rock_ (p. 255). Although, following the example set by its parent _Good Words_, it credits the illustrations most faithfully to their artists in a separate index, yet it developed a curious habit of illustrating its serials with a fresh artist for each instalment; and, as their names are bracketed, it is not an easy task to attribute each block to its rightful author. The list which I have made is by my side, but it is hardly of sufficient general interest to print here; as many of the sketches, despite the notable signatures upon them, are trivial and non-representative. Other illustrations in the first volume include one hundred and fifty-five grotesque thumb-nail sketches by W. S. Gilbert to his _King George's Middy_, and many by F. Barnard, B. Rivière, E. F. Brewtnall, E. Dalziel, F. A. Fraser, H. French, S. P. Hall, J. Mahoney, J. Pettie, T. Sulman, F. S. Walker, W. J. Wiegand, J. B. Zwecker, etc.

In 1870 Arthur Hughes contributes thirty-six illustrations to _Ranald Bannerman's Boyhood_, by George Mac Donald (who succeeded Dr. Macleod as editor), forty-eight to the continuation of the other serial by the same author, _At the Back of the North Wind_, four to the concluding chapters of Henry Kingsley's _Boy in Grey_, and one to _The White Princess_. A. Boyd Houghton has but two: _Two Nests_ (p. 13), _Keeping the Cornucopia_ (p. 33); _Miss Jane_ 'wandering in the wood' (p. 44) is by H. Herkomer, while most of the artists who contributed to the first volume reappear; we find also E. G. and T. Dalziel, Charles Green, Towneley Green, and Ernest Griset.

In 1871, Arthur Hughes, the chief illustrator of this magazine, to whose presence it owes most of its interest (since other artists are well represented elsewhere, but he is rarely met with outside its pages), contributes thirty pictures to Dr. George Mac Donald's _Princess and the Goblin_, and fourteen others, some of which have been republished in _Lilliput Lectures_ and elsewhere,--one, _Mercy_ (p. 195), reappearing in that work, and again as the theme of a large painting in oils, which was exhibited at the Royal Academy 1893, and reproduced in _The Illustrated London News_, May 3rd of that year. A. Boyd Houghton, in _Don José's Mule_ (p. 28), has a most delightfully grotesque illustration, and in two drawings for _The Merry Little Cobbler of Bagdad_ (pp. 337-338), both in his 'Arabian Nights' vein, is typically representative. For the rest, W. Small in _My Little Gypsy Cousin_ (p. 95), a good full page, and Ernest Griset with ten of his humorous animal pictures, combine with most of the artists already named to maintain the well-deserved reputation of the magazine. In 1872 Arthur Hughes supplies nine delightful designs for _Gutta-Percha Willie_, by the Editor; twenty-four to _Innocent's Island_, a long-rhymed chronicle by the author of _Lilliput Levée_, and a curiously fantastic drawing to George Mac Donald's well-known poem, _The Wind and the Moon_. Some one, with the initials F. E. F. (not F. A. F.), illustrates _On the High Meadows_ in nineteen sketches; with the exception of two by J. Mahoney, the rest of the pictures are chiefly by F. A. Fraser, T. Green, F. S. Walker, W. J. Wiegand, and J. B. Zwecker.

In 1873 the magazine changed its name to _Good Things_. The most attractive illustrations are by Arthur Hughes: ten to _Sindbad in England_ (pp. 25, 89, 129, 193, 236, 432, 481, 594, 641), two to _Henry and Amy_ (pp. 72, 73), and one each to _A Poor Hunchback_ (p. 17), _The Wonderful Organ_ (p. 24), and _My Daughter_ (p. 136). J. Mahoney has a small design, _The Old Mill_ (p. 600). The rest are by Ernest Griset, W. J. Wiegand, and Francis Walker. On and after 1874 the _cliché_ enters, and all interest ceases. At this time the business of trading in _clichés_ had begun to assume large proportions. You find sometimes, in the course of a single month, that an English periodical hitherto exclusively British becomes merely a vehicle for foreign _clichés_. In this instance the change is so sudden that, excepting a few English blocks which we may presume had been prepared before, the foreigner is supreme. That, in at least three cases, the demise of the publication was merely a question of months is a sequel not to be regretted. But we need not assume too hastily that the _cliché_ killed it--possibly it had ceased to be profitable before, and the false economy of spending less has tempted the proprietor to employ foreign illustrations.

BRITANNIA,

Another shilling illustrated magazine, was started in 1869. The British Museum, it seems, possesses no set, and my own copy has disappeared, excepting the first volume, but so far as that proves, and my memory can be trusted, it was illustrated solely by Matt Morgan, a brilliant but ephemeral genius who shortly after migrated to New York. The peculiarity of this magazine is that, like _The Tomahawk_, a satirical journal illustrated by the same artist, its pictures were all printed in two colours, after the fashion of the old Venetian wood-blocks. The one colour was used as a ground with the high lights cut away; the other block, for the ordinary convention of line-drawing. Some of the pictures are effective, but none are worthy of very serious consideration.

DARK BLUE

Although _Dark Blue_, a shilling monthly magazine, did not begin until March 1871, and ran its brief career until March 1873 only, it deserves mention here, because quite apart from its literary contributions which were notable, including as they did Swinburne's _End of a Month_, Rossetti's _Down Stream_, its earlier volumes contain at least two drawings that will be prized when these things are collected seriously. Besides, it has a certain _cachet_ of its own that will always entitle it to a place. Its wrapper in colours, with three classically-attired maidens by a doorway, is singularly unlike that of any other publication; possibly F. W. L. would not be anxious to claim the responsibility of its design, yet it was new in its day, and not a bad specimen of the good effect of three simple colours on a white ground. Its serial, _Lost_, a Romance by J. C. Freund, was illustrated by F. W. Lawson, T. W. Perry, T. Robinson, and D. T. White; and its second serial, _Take care whom you trust_, by M. E. Freere and T. W. Ridley. A full-page drawing (they are all separately printed plates in this magazine), by Cecil Lawson, _Spring_, is far more interesting. _Musaeus_, by A. W. Cooper, a somewhat jejune representation of the Hero and Leander motive, and other illustrations by E. F. Clarke, W. J. Hennessey, M. Fitzgerald, D. H. Friston, S. P. Hall, J. A. H. Bird, are commonplace designs engraved by C. M. Jenkin; but _The End of a Month_, a study of two heads, by Simeon Solomon, and _Down Stream_, by Ford Madox Brown, (here reproduced from the original drawing on wood by kind permission of Mr. Frederick Hollyer), represent the work of two artists who very rarely appeared as magazine illustrators. The literature includes many names that have since become widely known, but the project failed, one imagines, to secure popular support, and so it must be numbered with the long list of similar good intentions.

THE BRITISH WORKMAN

It would be unjust to ignore a very popular penny magazine because of its purely philanthropic purpose. For from the first it recognised the importance of good illustrations as its great attraction, and enlisted some of the best draughtsmen to fulfil its didactic aim. We cannot help admiring its pluck, and congratulating the cause it championed (and still supports), and its fortune in securing coadjutors. The first number, issued in February 1855, has a design, the _Loaf Lecture_, by George Cruikshank on its first page; for some time H. Anelay and L. Huard were the most frequent contributors; then came John Gilbert and Harrison Weir, the earliest important Gilbert being _The Last Moments of Thomas Paine_ (January 1862). As a sample of white-line engraving, a block after a medallion of the _Prince Consort_, by L. C. Wyon, and another of _H.M. The Queen_, would be hard to beat. Among these more frequent contributors, we find drawings by J. D. Watson, _My account with Her Majesty_ (August 1864) and _Parley and Flatterwell_ (December 1865) being the most notable; and others by A. W. Cooper, and lastly many by R. Barnes, whose studies of humble life yet await the full appreciation they deserve. These large and vigorous engravings maintain a singularly high level of excellence, and, if not impeccable, are yet distinctly of art, and far above the ephemeral padding of more pretentious magazines.

THE BAND OF HOPE REVIEW

Of all unlikely publications to interest artist or collector a halfpenny monthly devoted to teetotalism might take first place. Not because of its price, nor because it was a monthly with a mission, for many cheap serials have attracted the support of artists who gave liberally of their best for the sake of the cause the publications championed. _The Band of Hope Review_ is no esoteric pamphlet, but a perfect instance of a popular venture unconcerned, one would think, with art. It would be easy to claim too much for it; still the good work in its pages merits attention. It was started in 1861 as a folio sheet about the size of _The Sketch_, its front page being always filled by a large wood-engraving. The first full page, by H. Anelay, a draughtsman whose speciality was the good little boy and girl of the most commonplace religious periodicals, promises little enough. A series of really fine drawings of animals and birds by Harrison Weir commenced in No. 2. The third issue included a page by L. Huard, whose work occasionally found its way to the shilling magazines, although the bulk of it appeared in the mass of journals of the type of the _London Journal_, _Bow Bells_, etc. In the fifth number John Gilbert (not then knighted) appears with a fine drawing, _The Golden Star_; J. Wolf, honourably distinguished as an illustrator of animals, is also represented. For December 1862 John Gilbert provided a decorative composition of _The Ten Virgins_, that is somewhat unlike his usual type. In August 1865 Robert Barnes appears for the first time with admirably drawn boys and girls full of health and characteristically British. Afterwards one finds many of his full pages all vigorous and delightfully true to the type he represents. In August 1866 a group, _Young Cadets_, may be selected as a typical example of his strength and perhaps also of his limitations. In 1870 the falling off apparent everywhere is as noticeable in this unimportant publication as in those of far higher pretensions. Here, as elsewhere, the foreign _cliché_ appears, or possibly the subjects were engraved specially, and were not, as was so often the case, merely replicas of German and French engravings. But all the same they are from oil-paintings, not from drawings made for illustration.

THE LEISURE HOUR

The publications of the Religious Tract Society have employed an enormous mass of illustrations, but as the artist's name rarely appears at the period with which we are concerned, either in the index of illustrations or below the engravings, the task of tracing each to its source would be onerous and the result probably not worth the labour.

Yet, in the volumes of the _Leisure Hour_ for the sixties, there are a few noteworthy pictures which may later on attract collectors to a periodical which so far appealed more, one had thought, to parish workers than to art students.

The 1861 volume starts with the 471st number of the magazine, illustrated by 'Gilbert' (probably Sir John). In 1863 coloured plates are given monthly, three being after originals by the same artist, but, although attributed duly in the advertising pages of its wrapper, the name of the design does not appear in the index. With 1864 a surprise faces you in the illustrations to _Hurlock Chase_, which are vigorous, dramatic, and excellently composed, full of colour and breadth. That they are by G. Du Maurier internal evidence proves clearly, but there is no formal recognition of the fact. Robert Barnes has a full page, _Granny's Portrait_ (p. 825). _Enoch Arden_ is by 'an amateur whose name the publishers are not able to trace.'[4] In 1865 the illustrations to _The Awdries_, also unsigned, are distinctly interesting; later the well-known monogram of J. Mahoney is met with frequently. In 1866 a series of ten illustrations of the ceremonies of modern Jewish ritual, domestic and ecclesiastical (pp. 72, 167, 216, 328, 376-475, 540, 603, 653, 823) appear. Contrary to the rule usually observed here, they are entitled, 'by S. Solomon.' These are, so far as I know (with four exceptions), the only contributions to periodical literature by Simeon Solomon, an artist who at this date bade fair to be one of the greatest pre-Raphaelite painters. They are distinctly original both in their technical handling and composition, and excellently engraved by Butterworth and Heath. For their sake no collector of the sixties should overlook a book which is to be picked up anywhere at present. The illustrations to _The Great Van Bruch property_, unsigned, are most probably by J. Mahoney. Others include _George III. and Mr. Adams_, a full page by C. J. Staniland (p. 494); a series of _Pen and Pencil Sketches among the Outer Hebrides_, R. T. Pritchett; _Finding the body of William Rufus_, J. M. In 1867 J. Mahoney illustrates the serial, _The Heiress of Cheevely Dale_, and contributes a full page, _The Blue-Coat Boy's Mother_ (p. 812); Whymper has two series, _On the Nile_ and _A trip through the Tyrol_, both oddly enough attributed to him in the index. Silent, with scarce an exception, as regards other artists, the sentence, 'engraved by Whymper,' finds a place each time. In 1868 are more Mahoneys; in 1869 Charles Green illustrates the serial.

THE SUNDAY AT HOME

This magazine, uniform with the _Leisure Hour_ in style and general arrangement, is hardly of sufficient artistic interest to need detailed comment here. Started in 1852 it relied, like its companion, on Gilbert and other less important draughtsmen. In the sixties it was affected a little by the movement. In 1863 there is one design by G. J. Pinwell, _The German Band_ (p. 753), several by C. Green, and one probably by Du Maurier (p. 513), who has also six most excellent drawings to _The Artist's Son_ in the number for January, and one each to short stories, _John Henderson_ and _Siller and Gowd_, later in the year. A serial in 1865 and one in 1866 are both illustrated by J. Mahoney; and, in the latter year, W. Small supplies drawings to another story. Beyond a full page, obviously by R. Barnes, there is nothing else peculiarly interesting in 1866; in the 1867 volume F. W. Lawson and Charles Green contribute a good many designs. In 1868 S. L. Fildes has one full page, _St. Bartholomew_ (p. 329), and F. A. F. appears; in 1869 Charles Green is frequently encountered, but the magazine is not a very happy hunting-ground for our purpose.

OTHER SERIAL PUBLICATIONS

Serial issues of Cassell's _History of England_, the _Family Bible_, and other profusely illustrated works might also repay a close search, but, as a rule, the standard is too ordinary to attract any but an omnivorous collector. Still, men of considerable talent are among the contributors, (Sir) John Gilbert for instance, and others like H. C. Selous, Paolo Priolo, who never fell below a certain level of respectability.

_Golden Hours_, a semi-religious monthly, started in 1864 as a penny magazine. In 1868 its price was raised to sixpence, and among its artist-contributors we find M. E. Edwards, R. Barnes, and A. Boyd Houghton (represented once only) with _An Eastern Wedding_ (p. 849). In 1869 Towneley Green, C. O. Murray, and others appear, but the magazine can hardly be ranked as one representative of the period. Nor is it essential to record in detail the mass of illustrations in the penny weeklies and monthlies--to do so were at once impossible and unnecessary; nor the mass of semi-religious periodicals such as _Our Own Fireside_ and _The Parish Magazine_, which rarely contain work that rises above the dull average.

THE BOYS' OWN MAGAZINE

The art of this once popular magazine may be dismissed very briefly. J. G. Thomson made a lot of designs to _Silas the Conjuror_ and other serials. R. Dudley, a conscientious draughtsman whose speciality was mediæval subjects, illustrated its historical romances with spirit and no little knowledge of archæological details. A. W. Bayes, J. A. Pasquier, and others adorned its pages; but from 1863 to its death it contains nothing interesting except to a very rabid collector.

EVERY BOY'S MAGAZINE

This well-intentioned periodical (Routledge, 1863, etc.), except for certain early works by Walter Crane, would scarce need mention here. Its wrapper for 1865 onwards was from a capital design by Walter Crane, who contributed coloured frontispieces and titles to the 1864 and 1865 volumes. C. H. Bennett illustrated his own romance of _The Young Munchausen_. In 1867 it called itself _The Young Gentleman's Magazine_; an heraldic design by J. Forbes Nixon, with the shields of the four great public schools, replaced the Crane cover. T. Morten, M. W. Ridley, and others contributed. A. Boyd Houghton illustrated _Barford Bridge_, its serial for 1866, and Walter Crane performed the same offices to Mrs. Henry Wood's _Orville College_ in 1867. These few facts seem to comprise all of any interest.

AUNT JUDY'S MAGAZINE

The sixpenny magazine for children, edited by Mrs. Alfred Gatty, issued its first number, May 1866. The artists who contributed include F. Gilbert, J. A. Pasquier, T. Morten, M. E. Edwards, E. Griset, F. W. Lawson, E. H. Wehnert, A. W. Bayes, A. W. Cooper, and others. There are two drawings by George Cruikshank, and later on Randolph Caldecott will be found. In both cases the illustrations were for Mrs. Ewing's popular stories, which had so large a sale, reprinted in volume-form. Neither in the drawings nor in their engraving do you find anything else which is above the average of its class.

Two other magazines remain to be noticed out of their chronological order, both of little intrinsic importance, but of peculiar value to collectors.

EVERYBODY'S JOURNAL,

A weekly periodical the size of the _London Journal_, and not more attractive in its appearance, nor better printed, began with No. 1, October 1, 1859, and ceased to exist early in the following year; probably before the end of January, since the British Museum copy in monthly parts is inscribed 'discontinued' on the part containing the December issues. That a complete set is not in our great reference library is a matter for regret; for the first published illustration by Fred Walker, which was issued in _Everybody's Journal_, January 14, must needs have been in the missing numbers. Those which are accessible include drawings by (Sir) John Gilbert, T. Morten, and Harrison Weir, none of peculiar interest. Among the names of the contributors will be found several that have since become widely known.

ENTERTAINING THINGS

This twopenny monthly magazine, which is probably as unfamiliar to those who read this notice as it was to me until a short time since, was published by Virtue and Co., the first number appearing in January 1861. It contains many designs by J. Portch, F. J. Skill, M. S. Morgan, E. Weedar, W. M'Connell, P. Justyne, and W. J. Linton, none being particularly well engraved. But it contains also Walter Crane's first published drawing--a man in the coils of a serpent (p. 327), illustrating one of a series of articles, _Among the Mahogany Cutters_, which is not very important; another a few pages further on in the volume is even less so. Collectors will also prize _A Nocturne_ by G. Du Maurier, and some designs by T. Morton (_sic_). The Christmas number contains a delightful design by A. Boyd Houghton, _The Maid of the Wool-pack_, and another drawing by Du Maurier. The publication ceased, according to a note in the British Museum copy, in May 1862. Among rarities of the sixties this magazine may easily take a high place, for one doubts if there are many copies in existence. Should the mania for collecting grow, it is quite possible this volume, of such slight intrinsic value, will command record prices.

BEETON'S ANNUALS

These were of two sorts, a badly printed shilling annual, which appealed to children of all ages, and a six-shilling variety, which appealed to those of a smaller growth. In the higher-priced volumes for 1866 T. Morten, J. G. Thomson, and J. A. Pasquier appear. In the shilling issue, an independent publication, are more or less execrably engraved blocks, after C. H. Bennett, G. Cruikshank, Jun., and others who would probably dislike to have their misdeeds chronicled. These publications added to the gaiety of nations, but when they ceased no eclipse was reported. Yet a patient collation of their pages renewed a certain boyish, if faded, memory of their pristine charm, which the most cautious prophet may assert can never be imparted anew to any reader. _Kingston's Annuals_ and _Peter Parley's Annuals_, also revisited, left impressions too sad to be expressed here. Nor need _Routledge's Christmas Annuals_ be noticed in detail. _Tom Hood's Comic Annuals_, which contained much work typical of the seventies, although it began its long career in 1869, includes so little work by heroes of the 'sixties' that it need not be mentioned.

The mass of penny magazines for children do not repay a close search. Here and there you will find a design by a notable hand, but it is almost invariably ruined by poor engraving; so that it were kinder not to attempt to dispel the obscurity which envelops the juvenile 'goody-goody' literature of thirty years ago.