Volume v. also contains but two, _Tannhäuser_ (p. 211) and _Swing

Song_ (p. 434), a small boy in a Spanish turban swinging. Volume vi. houses a dozen: _Schwerting of Saxony_ (p. 43), _The Battle of the Thirty_ (p. 155), _The Child of Care_ (pp. 2, 39), five designs for Miss Martineau's _Sister Anne's Probation_ (pp. 309, 337, 365, 393, 421), _Sir Tristem_ (p. 350), _The Crusader's Wife_ (p. 546), _The Chase of the Siren_ (p. 630), and _The Drowning of Kaer-is_ (p. 687). The seventh volume contains eleven examples by this artist: _Margaret Wilson_ (p. 42), five to Miss Martineau's _Anglers of the Don_ (pp. 85, 113, 141, 169, 197), _Maid Avoraine_ (p. 98), _The Mite of Dorcas_ (p. 224), (which is the subject of the Academy picture, _The Widow's Mite_ of 1876; although in the painting the widow turns her back on the spectator), _The Parting of Ulysses_ (p. 658), _The Spirit of the Vanished Island_ (p. 546), and _Limerick Bells_ (p. 710), a design of which a eulogist of the artist says: 'the old monk might be expanded as he stands into a full-sized picture.'

In the eighth volume _Endymion on Latmos_ (p. 42), a charming study of the sleeping shepherd, is the only independent picture; the other nine are by way of illustration to Miss Martineau's _The Hampdens_ (pp. 211, 239, 267, 281, 309, 337, 365, 393, 421, 449). These are delightful examples of the use of costume by a great master. Neither pedantically correct, nor too lax, they revivify the period so that the actors are more important than the accessories.

The ninth volume, like the eighth, has only one picture by Millais not illustrating its serial. This is _Hacco the Dwarf_ (p. 504). The others represent scenes in Miss Martineau's _Sir Christopher_ (pp. 491, 519, 547, 575, 603, 631, 659, 687), a seventeenth-century story. The illustrators of to-day should study these and other pictures where the artist was hampered by the story, and imitate his loyal purpose to expound and amplify the text, accomplishing it the while with most admirably dramatic composition and strong character-drawing. In the remaining volume of the first series there are no other examples by Millais; nor, with the exceptions _Death Dealing Arrows_ (Jan. 25, 1868, p. 79), one in the _Christmas Number for 1860_, and _Taking his Ease_, 1868 (p. 65), does he appear as a contributor to the magazine. It must not be forgotten that high prices are often responsible for the desire, or rather the necessity, of using second-rate work. When an artist attains a position that monopolises all his working hours, it is obvious that he cannot afford to accept even the highest current rate of payment for magazine illustration; nor, on the other hand, can an editor, who conducts what is after all a commercial enterprise, afford to pay enormous sums for its illustrations. For later drawings this artist was paid at least five times as much as for his earlier efforts, and possibly in some cases ten or twelve times as much.

Charles Keene, the great illustrator so little appreciated by his contemporaries, whose fame is still growing daily, was a frequent contributor to _Once a Week_ for many years. Starting with volume i. he depicted, in quasi-mediæval fashion, Charles Reade's famous _Cloister and the Hearth_, then called, in its first and shorter form, _A Good Fight_ (pp. 11, 31, 51, 71, 91, 111, 131, 151, 171, 191, 211, 231, 251, 254, 273). Coincidently he illustrated also _Guests at the Red Lion_ (pp. 61, 65), _A Fatal Gift_ (p. 141), _Uncle Simkinson_ (pp. 201, 203), _Gentleman in the Plum-coloured Coat_ (p. 270), _Benjamin Harris_ (pp. 427, 449, 471), _My Picture Gallery_ (p. 483), and _A Merry Christmas_ (p. 544). In volume ii. there are only five illustrations by him (pp. 1, 5, 54, 111, and 451) to shorter tales; but to George Meredith's _Evan Harrington_, running through this volume and the next, he contributes thirty-nine drawings, some of them in his happiest vein, all showing strongly and firmly marked types of character-drawing, in which he excelled. Volume iii. contains also, on pages 20, 426, 608, 687, and 712, less important works: _The Emigrant Artist_ on p. 608 is a return to the German manner which distinguished the _Good Fight_. The drawings for _Sam Bentley's Christmas_ commence here in (pp. 687, 712), and are continued (pp. 19, 45, 155, 158) in vol. iv., where we also find _In re Mr. Brown_ (pp. 330, 332), _The Beggar's Soliloquy_ (p. 378), _A Model Strike_ (p. 466), _The Two Norse Kings_ (pp. 519, 547), and _The Revenue Officer's Story_ (p. 713). In volume v. are: _The Painter Alchemist_ (p. 43), _Business with Bokes_ (p. 251), _William's Perplexities_ (pp. 281, 309, 337, 365, 393), also a romantic subject, _Adalieta_ (p. 266): a poem by Edwin Arnold, and _The Patriot Engineer_ (p. 686). To the sixth volume, the illustrations for _The Woman I Loved and The Woman who loved me_ (pp. 85, 113, 141, 169, 197, 225, 253, 281) are by Keene, as are also those to _My Schoolfellow Friend_ (p. 334), _A Legend of Carlisle_ (p. 407), a curiously Germanic _Page from the History of Kleinundengreich_ (p. 531), _Nip's Daimon_ (p. 603), and _A Mysterious Supper-Party_ (659). In vol. vii. and vol. viii. _Verner's Pride_, by Mrs. Henry Wood, supplies motives for seventeen pictures. In vol. viii. _The March of Arthur_ (p. 434), _The Bay of the Dead_ (p. 546), and _My Brother's Story_ (p. 617). In vol. ix. _The Viking's Serf_ (p. 42), _The Station-master_ (pp. 1, 69), and _The Heirloom_ (pp. 435, 463) complete Charles Keene's share in the illustration of the thirteen volumes of the first series.

Fred Walker is often supposed to have made his first appearance as an illustrator in _Once a Week_, vol. ii. with _Peasant Proprietorship_ (p. 165); and, although an exception of earlier date may be discovered, it is only in an obscure paper (of which the British Museum apparently has no copy) barely a month before. For practical purposes, therefore, _Once a Week_ may be credited with being the first-established periodical to commission a young artist whose influence upon the art of the sixties was great. This drawing was quickly followed by _God help our Men at Sea_ (p. 198), _An honest Arab_ (p. 262), _Après_ (p. 330), _Lost in the Fog_ (p. 370), _Spirit Painting_ (p. 424), and _Tenants at No. 27_ (p. 481), and _The Lake at Yssbrooke_ (p. 538). Looking closely at these, in two or three only can you discover indications of the future creator of _Philip_. Those on pages 424 and 481 are obviously the work of the Fred Walker as we know him now. But those on pp. 165, 198, 330, and 538 would pass unnoticed in any magazine of the period, except that the full signature 'F. Walker' arouses one's curiosity, and almost suggests, like Lewis Carroll's re-attribution of the _Iliad_, 'another man of the same name.'

In vol. iii. a poem, _Once upon a Time_, by Eliza Cook, has two illustrations (pp. 24, 25), which, tentative as they are, and not faultless in drawing, foreshadow the grace of his later work. In _Markham's Revenge_ (pp. 182-184) the artist is himself, as also in _Wanted a Diamond Ring_ (p. 210). _A Noctuary of Terror_ (pp. 294, 295), _First Love_ (p. 322), _The Unconscious Bodyguard_ (p. 359), are unimportant. _The Herberts of Elfdale_ (pp. 449, 454, 477, 505, 508), possibly the first serial Walker illustrated, is infinitely better. _Black Venn_ (p. 583), _A Young Wife's Song_ (p. 668), and _Putting up the Christmas_, a drawing group, complete the examples by this artist in vol. iii. Volume iv. contains: _Under the Fir-trees_ (p. 43), _Voltaire at Ferney_ (p. 66), a very poor thing, _The Fan_ (p. 75), _Bring me a light_ (pp. 102-105), _The Parish Clerk's Story_ (p. 248), _The Magnolia_ (pp. 263, 267), _Dangerous_ (p. 416), _An Old Boy's Tale_ (p. 499), _Romance of the Cab-rank_ (p. 585), and _The Jewel Case_ (p. 631). In vol. v. we find _Jessie Cameron's Bairn_ (p. 15), _The Deserted Diggings_ (p. 83), _Pray, sir, are you a Gentleman_? (pp. 127, 133), _A Run for Life_ (p. 306), _Cader Idris_ (p. 323), and a series of illustrations to _The Settlers of Long Arrow: a Canadian Story_ (pp. 421, 449, 477, 505, 533, 561, 589, 617, 645, 673, and 701). To volume vi. Walker contributes _Patty_ (pp. 126, 127), _A Dreadful Ghost_ (p. 211), and nine to Dutton Cook's _The Prodigal Son_ (pp. 449, 477, 505, 533, 561, 589, 617, 673, 701), which story, running into volume vii., has further illustrations on pp. 1, 29, and 57. _The Deadly Affinity_ (pp. 421, 449, 477), and _Spirit-rapping Extraordinary_ (p. 614) are the only others by the artist in this volume. The eighth volume has but one, _After Ten Years_ (p. 378), and _The Ghost in the Green Park_ (p. 309) is the only one in volume ix., and his last in the first series. Vol. i. of the New Series has the famous _Vagrants_ (p. 112) for one of its special art supplements.

Amid contemporary notices you often find the work of M. J. Lawless placed on the same level as that of Millais or Sandys; but, while few of the men of the period have less deservedly dropped out of notice, one feels that to repeat such an estimate were to do an injustice to a very charming draughtsman. For the sake of his future reputation it is wiser not to attempt to rank him with the greatest; but in the second order he may be fitly placed. For fancy and feeling, no less than for his loyal adherence to the Dürer line, at a time it found little favour, Lawless deserves to be more studied by the younger artists of to-day. A great number of decorative designers are too fond of repeating certain mannerisms, and among others, Lawless in England and Howard Pyle in America, two men inspired by similar purpose, should receive more attention than they have done. _Once a Week_ contains the largest number of his drawings. In vol. i., to _Sentiment from the Shambles_, there are three illustrations attributed to him. Those on pp. 505 and 509 are undoubtedly by Lawless, but that on p. 507 is so unlike his method, and indeed so unimportant, that it matters not whether the index be true or in error.

In vol. ii. are ten examples, two on the same page to _The Bridal of Galtrim_ (p. 88), _The Lay of the Lady and the Hound_ (p. 164), a very pre-Raphaelite composition, _Florinda_ (p. 220), (more influenced by the later Millais), _Only for something to say_ (p. 352), a study of fashionable society, which (as Mr. Walter Crane's attempts show) does not lend itself to the convention of the thick line, _The Head Master's Sister_ (pp. 386, 389, 393), _The Secret_ (p. 430), and _A Legend of Swaffham_ (p. 549). In vol. iii. _Oysters and Pearls_ (p. 79) is attributed to Lawless, but one hopes wrongly; _The Betrayed_ (p. 155), Elfie Meadows (p. 304), _The Minstrel's Curse_ (p. 351), _The Two Beauties_ (unsigned and not quite obviously a Lawless) (p. 462), and _My Angel's Visit_ (p. 658) are the titles of the rest. In the fourth volume there are: _The Death of OEnone_ (pp. 14, 15), _Valentine's Day_ (p. 208), _Effie Gordon_ (pp. 406, 407), and _The Cavalier's Escape_ (687), all much more typical. In vol. v. we find _High Elms_ (p. 420), _Twilight_ (p. 532), _King Dyring_ (p. 575), and _Fleurette_ (p. 700). In the sixth volume there are only three: _Dr. Johnson's Penance_ (one of the best drawings of the author), (p. 14), _What befel me at the Assizes_ (p. 194), and _The Dead Bride_ (p. 462). In the seventh volume there is one only to a story by A. C. Swinburne, _Dead Love_ (p. 434). Despite the name of Jacques d'Aspremont on the coffin, the picture is used to a poem with quite a different theme, _The White Witch_, in Thornbury's _Legendary Ballads_, which contains no less than twenty of Lawless's _Once a Week_ designs. In vol. viii. are two, _The Linden Trees_ (p. 644) and _Gifts_ (p. 712). In vol. ix. three only: _Faint heart never won fair lady_ (p. 98), _Heinrich Frauenlob_ (p. 393), and _Broken Toys_ (p. 672). In vol. x. appears the last of Lawless's contributions, and, as some think, his finest, _John of Padua_ (p. 71).

The first work by Frederick Sandys in _Once a Week_ will be found in vol. iv.: it is not, as the index tells you, _The Dying Hero_, on page 71, which is wrongly attributed to him; _Yet once more on the Organ play_ (p. 350) is by Sandys, as is also _The Sailor's Bride_ (p. 434) in the same volume. In vol. v. are three, _From my Window_ (p. 238), _The three Statues of Ægina_ (p. 491), and _Rosamund, Queen of the Lombards_ (p. 631). In vol. vi. we find _The Old Chartist_ (p. 183), _The King at the Gate_ (p. 322), and _Jacques de Caumont_ (p. 614). In vol. vii. _Harold Harfagr_ (p. 154), _The Death of King Warwolf_ (p. 266), and _The Boy Martyr_ (p. 602). Thence, with the exception of _Helen and Cassandra_, published as a separate plate with the issue of April 28, 1866 (p. 454), no more Sandys are to be found.

To _Once a Week_ Holman Hunt contributed but three illustrations: _Witches and Witchcraft_ (ii. p. 438), _At Night_ (iii. p. 102), and _Temujin_ (iii. p. 630); yet this very scanty representation is not below the average proportion of the work of this artist in black and white compared with his more fecund contemporaries.

A still more infrequent illustrator, J. M'Neill Whistler, is met with four times in _Once a Week_, and, I believe, but twice elsewhere. Speaking of the glamour shed upon the magazine by its Sandys drawings, it is but just to own that to another school of artists these four 'Whistlers' were responsible for the peculiar veneration with which they regarded an old magazine. The illustrations to _The Major's Daughter_ (vi. p. 712), _The Relief Fund in Lancashire_ (vii. p. 140), _The morning before the Massacre of St. Bartholomew_ (vii. p. 210), and _Count Burckhardt_ (vii. p. 378), a nun by a window, are too well known to need comment. That they show the exquisite sense of the value of a line, and have much in common with the artist's etchings of the same period, is evident enough.

G. J. Pinwell first makes his appearance in _Once a Week_, in the eighth volume, with _The Saturnalia_ (p. 154), a powerful but entirely untypical illustration of a classical subject by an artist who is best known for pastoral and bucolic scenes, _The Old Man at D._ 8 (p. 197), _Seasonable Wooing_ (p. 322), _A Bad Egg_ (p. 392), and _A Foggy Story_ (p. 477); but only in the latter do you find the curiously personal manner which grew to a mannerism in much of his later work. These, with _Blind_ (p. 645) and _Tidings_ (p. 700), are all well-thought-out compositions. To volume ix. he contributes _The Strong Heart_ (p. 29), _Not a Ripple on the Sea_ (p. 57) (a drawing which belies its title), _Laying a Ghost_ (p. 85), _The Fisherman of Lake Sunapee_ (p. 225), _Waiting for the Tide_ (p. 281), _Nutting_ (p. 378), and _The Sirens_ (p. 616). In volume x. he is represented by _Bracken Hollow_ (pp. 57, 85), _The Expiation of Charles V._ (p. 99), _The Blacksmith of Holsby_ (pp. 113, 154), _Calypso_ (p. 183), _Horace Winston_ (p. 211), _Proserpine_ (p. 239), _A Stormy Night_ (p. 253), _Mistaken Identity_ (p. 281), _Hero_ (p. 350), _The Vizier's Parrot_ (406), _A Pastoral_ (p. 490), _A' Beckett's Troth_ (p. 574), and _The Stonemason's Yard_ (p. 701). The eleventh volume contains only four: _Hettie's Trouble_ (p. 26), _Delsthorpe Sands_ (p. 586), _The Legend of the Bleeding Cave_ (p. 699), and _Rosette_ (p. 713); and volume xii. has three: _Followers not allowed_ (p. 71), _Homer_ (p. 127), and _Dido_ (p. 527). The last volume of the first series (1866) has but one, _Achilles_ (p. 239). Pinwell's work bulks so largely in the sixties that a bare list of these must suffice; but this period, before he developed the curiously immobile manner of his later years, is perhaps the most interesting.

The index asserts that George Du Maurier is responsible for the pictures in _Once a Week_, vol. iii. pp. 378-379, signed M.B., and as you find others unmistakably Du Maurier's signed with various monograms, its evidence must not be gainsaid; but neither these nor others, to _My Adventures ... in Russia_ (pp. 553, 557), _The Two Hands_ (p. 640), and _The Steady Students_ (pp. 691, 695), betray a hint of his well-known style. But _Non Satis_ (p. 575) is signed in full, and obviously his, as a glance would reveal. In vol. iv., _Indian Juggling_ (p. 41), _The Black Spot_ (p. 134), _A Life Story_ (p. 165), _In search of Garibaldi_ (p. 210), and _The Beggar's Soliloquy_ (p. 378, more like a Charles Keene) are from his hand. In the picture here reproduced, _On her Deathbed_ (p. 603), the artist has found himself completely, yet _A Portuguese Tragedy_ (p. 668) has no trace of his manner. In vol. v. _Recollections of an English Gold Miner_ (p. 361), _Monsieur the Governor_ (p. 445), _A man who fell among thieves_ (p. 463), _Sea-Bathing in France_ (p. 547), and _The Poisoned Mind_, are his only contributions. In vol. vi. are three illustrations to _The Admiral's Daughters_ (pp. 1, 29, 57), _The Hotel Garden_ (p. 24), _The Change of Heads_ (p. 71), _The latest thing in Ghosts_ (p. 99), _Metempsychosis_ (p. 294), _Per l'Amore d'una Donna_ (p. 390), _A Parent by Proxy_ (p. 435), and _Threescore and Ten_ (p. 644). Vol. vii. contains _Miss Simons_ (p. 166), _Santa_ (pp. 253, 281, 309, 337), _Only_ (p. 490), and the _Cannstatt Conspirators_ (p. 561). _A Notting Hill Mystery_ is pictured on pages 617, 645, 673, and 701 of the seventh volume, and in vol. viii. is continued on pages 1, 5, 7, 85; _Out of the Body_ (p. 701), is also here. _Eleanor's Victory_ is illustrated on pages 295, 351, 407, 463, 519, 575, 631, and 687, and continued in vol. ix on pages 15, 71, 127, 183, 239, 295, 351, 407. Vol. x. contains _The Veiled Portrait_ (p. 225), _The Uninvited_ (p. 309), _My Aunt Tricksy_ (p. 393), _The Old Corporal_ (p. 462), and _Detur Digniori_ (pp. 505 and 533). In vol. xi. we find two illustrations only by this artist, _Philip Fraser's Fate_, and vols. xii. and xiii. contain no single example.

A few illustrations by T. Morten appear, and these are scattered over a wide space. The first, _Swift and the Mohawks_ (iv. p. 323), is to a ballad by Walter Thornbury; _The Father of the Regiment_ (v. p. 71), _Wish Not_ (x. p. 421), _The Coastguardsman's Tale_ (x. p. 561), _Late is not Never_ (xi. p. 141), _The Cumæan Sibyl_ (xi. p. 603), and _Macdhonuil's Coronach_ (xii. p. 161), make one regret the infrequent appearance of one who could do so well.

Edward J. Poynter (the present director of the National Gallery) is also sparsely represented: _The Castle by the Sea_ (vi. p. 84), a very pre-Raphaelite decoration to Uhland's ballad, _Wife and I_ (vi. p. 724), _The Broken Vow_ (vii. p. 322), _A Dream of Love_ (vii. pp. 365, 393), _A Fellow-Traveller's Story_ (vii. pp. 699, 722), _My Friend's Wedding-day_ (viii. p. 113), _A haunted house in Mexico_ (viii. p. 141), _Ducie of the Dale_ (viii. p. 476), and _A Ballad of the Page to the King's Daughter_ (viii. p. 658), are all the examples by this artist in _Once a Week_.

Charles Green, of late known almost entirely as a painter, was a fecund illustrator in the sixties. Beginning with vol. iii., in which seven of his works appear (pp. 246, 327, 330, 375, 472, 612, 633), he contributed freely for several years; in vol. iv. there are examples on pp. 41, 52, 53, 357, 359, 361, and 529, and on pp. 518, 519 of the fifth volume, and 206 and 255 of the sixth, on pp. 306, 505, 589, and 670 of the seventh. But not until the eighth volume, with _The Wrath of Mistress Elizabeth Gwynne_ (p. 169), do we find one that is of any importance. Whether spoilt by the engraver, or immature work, it is impossible to say; but the earlier designs could scarcely be identified except for the index. In the same volume _The Death of Winkelried_ (p. 224), _Milly Leslie's Story_ (p. 225), _The Countess Gabrielle_ (p. 253), _Corporal Pietro Micca_ (p. 364), _Damsel John_ (p. 490), _My Golden Hill_ (p. 505), _Five Days in Prison_ (p. 533), _The Queen's Messenger_ (p. 561), _The Centurion's Escape_ (p. 589), and _The Cry in the Dark_ (p. 673), are so curiously unlike the earlier, and so representative of the artist we all know, that if the 'C. Green' be the same the sudden leap to a matured style is quite remarkable. In volume ix. but three appear: _Paul Garrett_ (p. 1), _A Modern Idyll_ (p. 322), and _My Affair with the Countess_ (p. 337); but in the tenth are nine: _Norman's Visit_ (pp. 1, 43), _Legend of the Castle_ (p. 14), _A Long Agony_ (p. 127), _The Lady of the Grange_ (p. 141), _The Gentleman with the Lily_ (pp. 169, 197), _The Mermaid_ (p. 295), and _T' Runawaa Lass_ (p. 630). _The Hunt at Portskewitt_ (p. 126) is in vol. xi., the last appearance of the artist I have met with in this magazine.

F. J. Shields, so far as I can trace his drawings, is represented but three times: _An hour with the dead_ (iv. p. 491), _The Risen Saint_ (v. p. 378), and _Turberville_ (x. p. 378). As reference to this comparatively infrequent illustrator appears in another place no more need be said of these, except that they do not show the artist in so fine a mood as when he illustrated Defoe's _History of the Plague_. Simeon Solomon contributes a couple only of drawings of Jewish ceremonies (vii. pp. 192, 193). J. Luard, an artist, whose work floods the cheaper publications of the time, shows, in an early drawing, _Contrasts_ (iii. p. 84), a pre-Raphaelite manner, and a promise which later years did not fulfil, if indeed this be by the Luard of the penny dreadfuls.

M. E. Edwards, a most popular illustrator, appears in the last volume of the first series, with _Found Drowned_ (xiii. pp. 14, 42, 70, 98, 253, 281, 309, 337, 365, 393, 442, 471), in which volume J. Lawson has three: _Ondine_ (p. 351), _Narcissus_ (p. 463), and _Adonis_ (686). Of a number of more or less frequent contributors, including F. Eltze, R. T. Pritchett, P. Skelton, F. J. Slinger, J. Wolf (the admirable delineator of animals), space forbids even a complete list of their names.

Among other occasional contributors to the first thirteen volumes are: J. D. Watson with _The Cornish Wrecker's Hut_ (viii. p. 602), _No Change_ (ix. p. 210), and _My Home_ (ix. 266); A. Boyd Houghton:--_The Old King Dying_ (xii. p. 463), _The Portrait_ (xiii. p. 209), _King Solomon_ (xiii. p. 603), _The Legend of the Lockharts_ (xiii. p. 715), and _Leila and Hassan_ (xiii. p. 769); Walter Crane:--_Castle of Mont Orgueil_ (ix. p. 713) and _The Conservatory_ (xiii. p. 763); J. W. North:--_Bosgrove Church_ (ix. p. 447), _The River_ (xii. p. 15), and _St. Martin's Church, Canterbury_ (xii. p. 713)--the two latter being worthy to rank among his best work; Paul Gray with _Hans Euler_ (xii. p. 322), _Moses_ (xiii. p. 55), _The Twins_ (xiii. pp. 378-406), _Two Chapters of Life_ (xiii. p. 519), and _Quid Femina Possit_ (xii. pp. 491, 517, 547, 575); A. R. Fairfield (x. pp. 546, 589, 617, 686, 712); W. S. Burton, _Romance of the Rose_ (x. p. 602), _The Executioner_ (xi. p. 14), _Dame Eleanor's Return_ (xi. p. 210), and _The Whaler Fleet_ (xi. p. 638); T. White (viii. p. 98); F. W. Lawson, _Dr. Campany's Courtship_ (xii. pp. 351, 390, 407, 446), and others on pp. 586, 631, 722; (xiii. pp. 127, 141, 169, _Lucy's Garland_, p. 516); C. Dobell (vi. p. 420); _Our Secret Drawer_, by Miss Wells (v. p. 98); and four by Miss L. Mearns, which are of genuine interest (xiii. pp. 85, 153, 657, 742).

The New Series of _Once a Week_, started on January 6, 1866, was preceded by a Christmas number, wherein one of the most graceful drawings by Paul Gray is to be found, _The Chest with the Silver Mountings_ (p. 30). It contains also a full-page plate by G. B. Goddard, _Up, up my hounds_ (p. 34), and designs by W. Small, _A Golden Wedding_ (p. 37); G. Du Maurier, _The Ace of Hearts_ (p. 56); J. Lawson, _A Fairy Tale_ (p. 44), and others of little moment.

The New Series announced, as a special attraction, 'extra illustrations by eminent artists, printed separately on toned paper.' Those to the first volume include _Little Bo Peep_, a delightful and typical composition by G. Du Maurier (_Frontispiece_); _The Vagrants_ (p. 112), by Fred Walker; _Helen and Cassandra_ (p. 454), by F. Sandys; _The Servants' Hall_ (p. 560), by H. S. Marks; _Alonzo the Brave_ (p. 359), by Sir John Gilbert, and _Caught by the tide_, by E. Duncan (p. 280).

'A specimen of the most recent application of the versatile art of lithography' which is also given, dates the popular introduction of the coloured plate by which several magazines, _Nature and Art_, _The Chromo-lithograph_, etc., were illustrated entirely; others, especially _The Sunday at Home_, _Leisure Hour_, _People's Magazine_, etc., from 1864 onwards issued monthly frontispieces in colours and gold--a practice now confined almost wholly to boys' magazines. The pictures by artists already associated with _Once a Week_ include (in vol. i. p. 8) two by A. Boyd Houghton, _The Queen of the Rubies_ (p. 177) and _A Turkish Tragedy_ (p. 448); four by Paul Gray, _The Phantom Ship_ (p. 43), _Blanche_ (pp. 291, 317), and _The Fight on Rhu Carn_ (p. 713); two by T. Morten, _The Dying Viking_ (p. 239), a drawing curiously like Sandys's _Rosamunda_, and _King Eric_ (p. 435); six by W. Small, _Billy Blake's Best Coffin_ (p. 15), _Kattie and the Deil_ (p. 99), _The King and the Bishop_ (p. 183), _The Staghound_ (p. 295), _Thunnors Slip_ (p. 351), and _Larthon of Inis-Huna_ (p. 575); five by J. Lawson: _The Watch-tower_ (p. 121), _Theocritus_ (p. 211), _In statu quo_ (p. 463), _Ancient Clan Dirge_ (p. 491), and _Wait On_ (p. 631); one by F. W. Lawson, _A Sunday a Century ago_ (p. 671), and others. Among recruits we find R. Barnes with _Lost for Gold_ (p. 407), B. Bradley with _A Raid_ (p. 659), eleven by Edward Hughes, and many by G. Bowers, R. T. Pritchett, F. J. Slinger, and others. Altogether the New Series started bravely. In vol. ii. New Series, the so-called 'extra illustrations' include _The Suit of Armour (Frontispiece)_, by Sir John Gilbert; _Evening_ (p. 97), by Basil Bradley; _Poor Christine_ (p. 245), by Edward Hughes; _Among the Breakers_ (p. 344), by E. Duncan; _The Nymph's Lament_ (p. 476), by G. Du Maurier; and _The Huntress of Armorica_ (p. 706), by Paul Gray. Of 'old hands' Du Maurier has another of his graceful drawings, _Lady Julia_ (p. 239), and Paul Gray has, besides the special plate, eleven to _Hobson's Choice_ (pp. 169, 197, 225, 253, 281, 309, 337, 365, 393, 421, and 449); three by A. Boyd Houghton are _A Dead Man's Message_ (p. 211); and _The Mistaken Ghost_ (pp. 687, 723); T. Morten has only a couple, _The Curse of the Gudmunds_ (p. 155) and _On the Cliffs_ (p. 308); and G. J. Pinwell one, _The Pastor and the Landgrave_ (p. 631); J. W North's _Luther's Gardener_ (p. 99) is a curious drawing to a curious poem; W. Small, with _Eldorado_ (p. 15), _Dorette_ (p. 379), _The Gift of Clunnog Vawr_ (p. 463), _The Prize Maiden_ (pp. 491, 519, 560), and _Tranquillity_ (p. 575), shows more and more that strong personality which by and by influenced black and white art, so that men of the seventies are far more disciples of Small than even were the men of the sixties of Millais. M. E. Edwards's _Avice and her Lover_ (p. 141); six by Basil Bradley (pp. 140, 252, 279, 532, 603, and 659), Charles Green's _Kunegunda_ (p. 71), _Hazeley Mill_ (p. 85), and _Michael Considine's Daughter_ (p. 351); five by Edward Hughes (pp. 183, 407, 547, 585, and 599); three by J. Lawson: _Ariadne_ (p. 127), _The Mulberry-tree_ (p. 323), and _Gabrielle's Cross_ (p. 699). F. W. Lawson's _A Midshipman's Yarn_ (p. 113) and _Grandmother's Story_ (p. 223) deserve to be noted. Others by G. Bowers, F. Eltze, R. T. Pritchett, P. J. Skelton, E. Wimpress (_sic_), and J. Wolf among the rest, call for no comment. For the Christmas number for this year 1866, W. Small has _The Brown Imp_ (p. 12); J. Lawson, _The Birth of the Rose_ (p. 20); E. Hughes, _The Pension Latoque_ (p. 25); Ernest Griset, _Boar Hunting_ (p. 57); G. B. Goddard, _Christmas Eve in the Country_ (p. 58); and Basil Bradley, _A Winter Piece_ (p. 62); John Leighton contributes a frontispiece and illustrations to _St. George and the Dragon_, a poem by the author of _John Halifax_.

In volume iii. 1867 the extra illustrations are still distinguished by a special subject index; they include _Lord Aythan (Frontispiece)_, by J. Tenniel; _Coming through the Fence_ (p. 112), by R. Ansdell, A.R.A.; _Feeding the Sacred Ibis_ (p. 238), by E. J. Poynter; _Come, buy my pretty windmills_ (p. 360), by G. J. Pinwell; _Hide a Stick_ (p. 569), by F. J. Shields; and _Highland Sheep_ (p. 692), by Basil Bradley. Another extra plate, a drawing by Helen J. Miles, 'given as an example of graphotype,' is not without technical interest. In the accompanying article we find that the possibilities of mechanical reproduction are discussed, and the writer adds, as his highest flight of fancy, 'who shall say that graphotype may not be the origin of a daily illustrated paper?' It would be out of place to pursue this tempting theme, and to discuss the _Daily Graphic_ of New York and succeeding illustrated dailies, for all these things were but dreams in the sixties. Yet, undoubtedly, graphotype set people on the track of process-work. By and by the photographer came in as the welcome ally, who left the draughtsman free to work upon familiar materials, instead of the block itself, and presently supplanted the engraver also, and the great rival of wood-cutting and wood-engraving sprang into life. Among the ordinary illustrations A. Boyd Houghton is represented by _The Mistaken Ghost_ (p. 15), _A Hindoo Legend_ (p. 273), and _The Bride of Rozelle_ (p. 663); G. J. Pinwell by _Joe Robertson's Folly_ (p. 225) and _The Old Keeper's Story_ (p. 483); J. W. North by _The Lake_ (p. 303); W. Small by _A Queer Story about Banditti_ (pp. 55, 83); S. L. Fildes by a strongly-drawn design, _The Goldsmith's Apprentice_ (p. 723); Ernest Griset by a slight yet distinctly grotesque _Tale of a Tiger_ (p. 7); M. Ellen Edwards by _Wishes_ (p. 633) and Kate Edwards by _Cherry Blossom_ (p. 543); J. Lawson by _The Legend of St. Katherine_ (p. 127), _Sir Ralph de Blanc-Minster_ (p. 168), and _Hymn to Apollo_ (p. 406); F. W. Lawson by _The Singer of the Sea_ (p. 603). The various examples by F. A. Fraser, T. Green, T. Scott (a well-known portrait engraver), E. M. Wimpress, and the rest may be dismissed with bare mention. In vol. iv., New Series, we find Charles Keene with a frontispiece, _The Old Shepherd_; _The Haymakers_ (p. 105), E. M. Wimpress; _Cassandra_ (p. 345), S. L. Fildes; _Fetching the Doctor_ (p. 494), H. S. Marks; _Imma and Eginhart_ (p. 644), W. Small; and _The Christmas Choir_ (p. 762), F. A. Fraser, are the other separate plates. Those printed with the text include _The Child Queen_ (p. 135) and _Feuilles d'Automne_ (p. 285), by S. L. Fildes; _Evening Tide_ (p. 255), a typical pastoral, by G. J. Pinwell; _Zoë Fane_ (p. 705), by J. Mahoney; and others by B. Bradley, E. F. Brewtnall, F. Eltze, T. Green, E. Hughes, F. W. Lawson, E. Sheil, L. Straszinski, T. Sulman, E. M. Wimpress, etc. Despite the presence of many of the old staff, the list of names shows that the palmy days of the magazine are over. The Christmas number contains, _inter alia_, a frontispiece by John Gilbert; _My Cousin Renie_ (p. 13), by J. Mahoney; _Scotch Cattle_, by Basil Bradley; and _The Maiden's Test_, by M. E. Edwards (p. 49).

In 1868 another new series starts. A notable feature has disappeared: the illustrations no longer figure in a separate list, but their artists' names are tacked on to the few articles and stories which are illustrated in the ordinary index. Yet the drawings by Du Maurier to Charles Reade's _Foul Play_ (pp. 12, 57, 140, 247, 269, 312, 421, 464, 530) would alone make the year interesting. People, who regard Du Maurier as a society draughtsman only, must be astonished at the grim melodramatic force displayed in these. 'John Millais, R.A.,' also appears as a contributor with _Death Dealing Arrows_ (p. 79); S. L. Fildes has _The Orchard_ (p. 396); F. W. Lawson, _The Castaway_ (p. 242); Basil Bradley is well represented by _The Chillingham Cattle_ (p. 100), and _Another day's work done_ (p. 346); F. S. Walker appears with _A Lazy Fellow_ (p. 211), John Gilbert with _The Armourer_ (p. 364), and M. E. Edwards with the society pictures, _The Royal Academy_ (p. 409) and _A Flower Show_ (p. 516). In the second volume for 1868 we find _Salmon Fishing_ (p. 292) and _Daphne_ (p. 397), both by S. L. Fildes; _Found Out_ (p. 31), _A Town Cousin_ (p. 150), _Left in the Lurch_ (p. 230), and _Blackberry Gatherers_ (p. 213), by H. Paterson; _Sussex Oxen_ (p. 110) and _The Foxhound_ (p. 355), by Basil Bradley; _The Picnic_ (p. 270), by F. W. Lawson, who has also _The Waits_, the frontispiece of the Christmas number, which contains _Taking his ease_ (p. 264), the last Millais in the magazine; a clever gallery study; _Boxing Night_, by S. L. Fildes, and a capital domestic group, _The Old Dream_ (p. 48), by M. E. Edwards.

In 1869, vol. iii., New Series, contains a single example by G. J. Pinwell, _A seat in the park_ (p. 518); five by S. L. Fildes; _The Duet_ (p. 56), _The Juggler_ (p. 188), _Hours of Idleness_, the subject of a later Academy picture (p. 475), _Led to Execution_ (p. 540), and _Basking_ (p. 562); and others by Fred Barnard (pp. 166, 254, 346, 450), B. Bradley (pp. 78, 210, 496), Val Prinsep (p. 298), F. W. Lawson (p. 34), and Ford Madox Brown, _The Traveller_ (p. 144). To state that vol. iv., New Series, is absolutely without interest is to let it off cheaply.

In the volume for 1870 the names of artists are omitted, and if we follow the editor's example no injustice will be done, despite a few clever drawings by R. M[acbeth]; the work, not merely in date but in spirit, is of the new decade, and as it is exceptionally poor at that for the most part, it no longer belongs to the subject with which this volume is concerned.