The student should acquaint himself with the best specimens of the various pictorial arts mentioned in this chapter, and he can do this with little difficulty by obtaining a ticket for the print-room at the British Museum; while in the provinces there are no doubt good specimens at the local galleries. Cambridge, we know, is very rich in Rembrandt’s work. The masters in each department whose work we recommend for study are—

In Lead Pencil.—Harding and Bonington in EnglandEngland, and Ingres in France.

Pen and Ink.—Titian, Albert Durer, Rembrandt, Fortuny, Rousseau, abroad; and among Englishmen—Leech, Caldecott, De Maurier.

Chalk.—Da Vinci, Andrea del Sarto, Rembrandt, Raphael, Titian, Constable and Millet.

Lithography.—Harding.

Chromo-lithography.—Greg.

Line Engraving.—Albert Durer, and Cousins.

Wood Engraving.—Bewick, Thompson, and Linton.

Facsimile Wood Engraving.—“The Century,” Scribner’s, and Harper’s Magazines.

Etching.—Rembrandt, Millet, Meryon, Rajon, and Whistler.

Facsimile Etching.—Brunet-Debaines.

Charcoal.—Lhermitte.

Monochrome Painting.—Mauve and Rossi.

Mezzotint.—Turner’s and Lupton’s reproductions of some of the plates of Turner’s “Liber Studiorum,” Smith’s reproductions of Sir Joshua Reynolds' pictures, and Lucas' plates after Constable.

Photography.—Adam Salomon, Rejlander, and Mrs. Cameron.

Photogravure in facsimile.—A. Dawson, W. Colls, and Scamoni.

It must not be forgotten that water-colour drawing and etching have both been despised in their time by artists, dealers, and the public, but they have lived to conquer for themselves places of honour. The promising young goddess, photography, is but fifty years old. What prophet will venture to cast her horoscope for the year 2000?