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 which, without being actually members of that Society, have contributed to the two annual exhibitions which it has already held at the Chenil Gallery. But the selection has by no means been confined to that group, nor is it by the desire, or the fault, of publisher or editor that certain artists who might naturally be expected to contribute, are not represented. The alphabetical arrangement of the woodcuts by the artists' names which has been adopted, as the fairest to all concerned, results in some startling contrasts which will be accepted, it is hoped, as evidence of an impartial desire to recognise the validity of widely different tendencies in modern art. The "Cubist" or "Post-Impressionist" element is represented by Mr. Gibbings, Mr. McKnight Kauffer, and Mr. Wadsworth, some of whose most typical work was unfortunately excluded by the large size of the blocks. Less geometrical and rigid in its use of lines and masses, but also thoroughly modern, is the art of Mr. Rupert Lee and that of Mr. Ethelbert White, who makes ingenious use of motives furnished, I dare to conjecture, by the chap-book and the willow-pattern plate. Mr. Hagreen and Mr. Dickey are among the engravers who rely very much upon the effective use of white lines and spaces. So, too, does a less known but very modern and original engraver. Lady Mabel Annesley, a recent pupil of Mr. Noel Rooke at the L.C.C. Central School of Arts and Crafts, who draws her inspiration from the mountains of her own County Down. Mr. Rooke himself, represented by examples of his earlier and later woodcuts, has discovered a vigorous treatment of mountain forms. Mr. John Nash is represented in a tamer and more domestic mood than he himself would, probably, choose as typical, by the exquisite renderings of fur and flowers which he must blame the writer for preferring to some of his more recent landscape woodcuts. Mr. Eric Gill, the greatest master of the cleanly engraved white line defining with rigorous economy black spaces rendered expressive by this exactly calculated definition, is not represented here, but something akin to his method may be observed, applied to animals, birds and vegetation, in the work of Mr. Eric Daglish. The older tradition of English illustration may be traced in the graceful "Echo" of Mr. Nightingale, and in the specimen which we give of Miss Marcia Lane Foster, latest scion of a family whose artistic traditions go back, through Richard and William Lane, to Gainsborough. Mr. Greenwood excels in the delicate and minute work in white line upon black, which has also won the admiration of many collectors for the earlier wood engravings of Mrs. Raverat. The two specimens given here of this artist's work have been chosen partly for their size and importance, partly