Leighton's "Lyra Germanica" and "Moral Emblems," and the "Spiritual
Conceits" of W. Harry Rogers. These are some only of the number,
which does not include books like Mrs. Hugh Blackburn's "British
Birds," Wolf's "Wild Animals," Wise's "New Forest," Linton's "Lake
Country," Wood's "Natural History," and many more. Nor does it take
in the various illustrated periodicals which have multiplied so
freely since, in 1859, "Once a Week" first began to attract and
train such younger draughtsmen as Sandys, Lawless, Pinwell,
Houghton, Morten, and Paul Grey, some of whose best work in this way
has been revived in the edition of Thornbury's "Ballads and Songs,"
recently published by Chatto and Windus. Ten years later came the
"Graphic," offering still wider opportunities to wood-cut art, and
bringing with it a fresh school of artists. Herkomer, Fildes,
Small, Green, Barnard, Barnes, Crane, Caldecott, Hopkins, and
others,--quos nunc perscribere longum est--have contributed good
work to this popular rival of the older, but still vigorous,
"Illustrated." And now again, another promising serial, the
"Magazine of Art," affords a supplementary field to modern
refinements and younger energies.

Not a few of the artists named in the preceding paragraph have also
earned distinction in separate branches of the pictorial art, and
specially in that of humorous design,--a department which has always
been so richly recruited in this country that it deserves more than
a passing mention. From the days of Hogarth onwards there has been
an almost unbroken series of humorous draughtsmen, who, both on wood
and metal, play a distinguished part in our illustrated literature.
Rowlandson, one of the earliest, was a caricaturist of inexhaustible
facility, and an artist who scarcely did justice to his own powers.
He illustrated several books, but he is chiefly remembered in this