States. Moreover, as far as I can learn, it is only
in Great Britain and America that the form of books is now the subject
of the ceaseless experiment and ingenuity which are the signs of a
period of artistic activity.

As regards book-illustration the same claim may be put forward, though
with a little more hesitation. We have been taught lately, with
insistence, that 'the sixties' marked an epoch in English art, solely
from the black and white work in illustrated books. At that period our
book-pictures are said to have been the best in the world; unfortunately
our book-decoration, whether better or worse than that of other
countries, was almost unmitigatedly bad. In the last quarter of a
century our decorative work has improved in the most striking manner;
our illustrations, if judged merely for their pictorial qualities, have
not advanced. In the eyes of artists the sketches for book-work now
being produced in other countries are probably as good as our own. But
an illustration is not merely a picture, it is a picture to be placed
in a certain position in a printed book, and in due relation to the size
of the page and the character of the type. English book-illustrators by
no means always realise this distinction, yet there is on the whole a
greater feeling for these proprieties in English books than in those of
other countries, and this is an important point in estimating merits.
Another important point is that the rule of the 'tint' or 'half-tone'
block, with its inevitable accompaniment of loaded paper, ugly to the
eye and heavy in the hand, though it has seriously damaged English
illustrated work, has not yet gained the predominance it has in other
countries. Our best illustrated books are printed from line-blocks, and
there are even signs of a possible revival of artistic wood-engraving.

In endeavouring to make good my assertion of what I have called the
occasional primacy of English book-work, I am not unaware of the danger
of trying, or seeming to try, to play the strains of 'Rule Britannia' on
my own poor penny whistle. As regards manuscripts, therefore, it is a
pleasure to be able to seek shelter behind the authority of Sir Edward
Maunde Thompson, whose words in this connection carry all the more
weight, because he has shown himself a severe critic of the claims
which have been put forward on behalf of several fine manuscripts to be
regarded as English. In the closing paragraphs of his monograph on
_Engli