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 execution which diminish the probability of of its being Blake's actual work.

A contrast to this is seen in the queer little cut in which a woman is either drying the tears of a little girl or punching her in the eye. It is from one of the goody books, and the absence of much of the right side of the girl's face seems rather to point to punching than tear drying.

Another queer little wood-cut is a mere copy of an inn sign, which was rather popular in old days—the "Bull and of an Mouth." It is a very magnificent mouth, at which the bull appears rather scared, as well he may. He seems to be considering the advisability of going in, but doesn't feel quite safe in venturing. This is one of the instances of the corruption of the title older sign. Originally it was the "Boulogne Mouth," and referred to the mouth of Boulogne Harbour, being adopted as an inn sign in commemoration of the taking of Boulogne in the reign of Henry VIII. The "Goat and Compasses" (originally "God Encompasses Us") is a similar case.

One woodcut from grandfather's picture-book (or was this from grandmother's?) gives us some information about the inside of a shop in the days when ladies wore their waists just under their armpits. The polite shopman, in a wig, shows a piece of ribbon to the two ladies in big bonnets. The transaction is very similar one to those of to-day, but we get a glimpse of the old square-paned shop window; and the cut is rather crude and quaint.

There was a device in some of these picture-books of dividing a space into little squares, and filling each of these little squares with a representation of some object, with its name printed over it. The intention, of course, was instruction—the little grandfather would become familiar with the outline of the object while learn-