by different hands, although, of
course, under the same general direction and supervision, the natural
inference is, that something positive has been attained, either in the
principle of manufacture, or in a better understanding of the elements
which must enter into the composition of a really elegant book, and a
juster estimate of the manner in which these elements are to be
combined.

In the four books under consideration, all the necessary conditions
appear to have been recognized and fulfilled. It is, of course, too much
to say that they are perfect, and many who are versed in the particulars
of lineal art will perhaps find things which they might wish otherwise.
But with all such qualification, these volumes show indisputably that in
the matter of illustration and typography the New World is now quite the
equal of the Old.

The artists engaged--to whose names, as mentioned above, should be added
those of H. Fenn, G. Perkins, S. Colman, Jr., and W. Waud, as
illustrators of "Flower-de-Luce"--are all men well known, and most of
them are eminent in their profession. Each has had a subject which
suited closely his capacity and taste, together, evidently, with the
liberty of treating his theme according to his own discretion, and as
amply as he pleased,--the brief poem, "Maud Muller," for instance,
having been supplied by Mr. Hennessy with thirteen illustrations, while
in the other volumes equal liberality is manifest.

We have not the space to make, as we should like to do, an exact
analysis of these volumes, comparing each artist's series of drawings,
one by one, with his chosen passages of the text; but a careful
examination convinces us that as a whole these designs are remarkably
appreciative and apt. Every person will not expect his own ideal
Evangeline or Sir Launfal to appear before him on the page, but every
reflective mind will find, we think, such a parallelism between poetry
and picture as is not only consistent with exactness, but will further
serve to illuminate and beautify the text.

Intelligent or even inspired drawing is vain, if to it be not added
faithfulness and fervor on the part of those whose handiwork follows
that of the draughtsman, and upon whom his fate and fame greatly
depend,--the engraver and the printer. Heretofore it has seemed almost
impossible for American representatives of these three arts to work
together for good. The drawing might be faultless as it lay intact upon
the wood,