ADVERTISEMENTS. Published by HAMILTON, ADAMS, & Co., Paternoster Row. DAILY BIBLE TEACHINGS. BIBLE WORDS By T. S. HENDERSON. 2s. 6d., cloth gilt; 3s. 6d., limp morocco. In TWO COLOURS, on toned paper, bevelled boards, 2s. 6d. cloth gilt; 3s. 6d. limp merecta. BIBLE WORDS for Daily Use, Consisting of (1) Bible Questions; (2) Promises and Precepts; (3) Prayers and Praises. DAILY COMMUNION. Consisting of (1) MORNING VOWS; (2) NOONTIDE HELPS; (3) EVENING VOICES Uniform with the SIXPENNY TEXT BOOKS, price 6d., cloth; ls., morocco. WATCHWORDS FOR THE HAPPY. 3. PRAYERS & PRAISES 3. EVENING VOICES. LIGHT IN DARK PLACES. THE PENNY BIBLE TEXT-BOOK, in Packets of Six Copies, price 6d. LONDON: HAMILTON, ADAMS, & Co., Paternoster Row; NISBET & Co., Berners Street B OOKS, PERIODICALS, ROBERTS'S HOLY LAND, IN SIX Magazines, Newspapers, all supplied punctually, and on the best terms, by HALL & Co., 25, Paternoster Row. Volumes, imperial folio, half morocco, for sale, price £25. Apply for a magnificent copy of this work, "Beta,' "BOOKSELLER" Office, 10, Warwick Square. DUBRONI'S APPARATUS, PATENTED IN France, England, Belgium, and the United States, &c. This Photographic Instrument can be carried in the pocket, and requires no darkened room, does not soil the fingers in using, and is alike adapted for the drawing-room, or the lawn. Suitable for Portraits, Landscapes, and the Copying of Works of Art. This Instrument is alike adapted for professionals and amateurs, requires no practice, full instruction being given to every purchaser. The APPARATUS complete, is only £2; the requisite CHEMICALS, 10s. PARIS: 6, RUE JACOB. To Second-hand Booksellers in Town and Country. ESSRS. TRÜBNER & CO., 60, Paternoster Row, London, MES E.C., will be glad to receive at least 50 Copies of every Secondhand Bookseller's Catalogue. The revival of Trade in the United States holds out a prospect of considerable increase in the Export of Books. Messrs. T. & Co. also circulate Second-hand Catalogues to advantage in India and on the European Continent. Wholesale Bookbinders, RED LION COURT & JOHNSON'S COURT, BIBLES, PRAYER BOOKS, AND CHURCH SERVICES, COUNTING HOUSE, No. 1, JOHNSON'S COURT. T. J. & J. Smith's Diaries, 1866, SEE LIST, PAGE 867. T. J. & J. SMITH'S Metallic Books, Pocket Books, Despatch Boxes, and Photographic Album Manufacturers, 83, QUEEN STREET, LONDON, E.C. JOHN POPLETT, Type Music and General Printer, 43, BEECH STREET, CITY, E.C. (ESTABLISHED 1822.) ESTIMATES FORWARDED FOR EVERY DESCRIPTION OP WORK. Orders by Post promptly attendedto. NOT OTICE.-DARTON and HODGE, of 58, Holborn Hill, London, are in no way connected with Darton and Co., who have just started in business elsewhere. To prevent errors and delay, be careful to address all communications to DARTON and HODGE, 58, HOLBORN HILL, LONDON. [TRADE CIRCULAR.] December, 1865. ALFRED W. BENNETT has the satisfaction of announcing that the movement which he commenced a year and a half ago for the reduction of all Carte de Visite Portraits to a uniform selling price of ONE SHILLING each, has now been fallen in with by nearly all the leading photographers in town and country. With very few exceptions (and these it is hoped will not long continue), all Portraits can now be supplied at EIGHT SHILLINGS PER DOZEN (less the usual discount for monthly settlements).. It is hoped that now the prices have been reduced to a uniform rate, the trade will order more freely than has recently been the case. Mr. BENNETT will be prepared to supply all the new PHOTOGRAPHIC ALBUMS for the ensuing season on the most favourable trade terms, from 3s. to 35s: He would also call attention to the REDUCTION IN THE TRADE PRICE of the series of LARGE VIEWS OF CONTINENTAL SCENERY, as under, viz. : PLAIN, reduced from 3s. 6d. to 2s. 6d. COLOURED, reduced from 7s. to 68. NEW TRANSPARENT SLIDES, Including the best interiors of French Palaces, Churches, &c., 8s. per doz. MODEL DRAWING-ROOM STEREOSCOPE. The Stereoscopic Treasury. The Clairvoyant Stereoscope. This Model Drawing-room Stereoscope is distinguished from those in ordinary use by its defining and magnifying powers,-by the peculiar lightness and elegance of its form, which renders it in itself an ornament to the drawing-room table,-and especially by the ease and simplicity of its mode of adjustment to SUIT ALL SIGHTS. Among the many favourable Notices of the Press are included the following"Decidedly the best that have yet been manufactured."-Photographic Notes. "This instrument has the following advantages over those in common use: it suits equally for examining opaque and transparencies, paper and glass impressions; it can be used to cover plates bound in books; it adapts itself to all angles of sight and focal lengths; it is easy to hold in the hand, and admits the light with perfect freedom; it is pretty, compact, and can be put away out of sight."-Athenaeum. "It is very simple in construction, being open at the sides, so as to obtain the largest available quantity of light The focus is easily obtained, and altogether it is convenient as well as elegant in construction and design." Journal. In order to meet the steadily increasing demand for this instrument, it has been determined to issue at a reduced price a plain but well-finished instrument, under the title of THE GUINEA STEREOSCOPIC TREASURY. This, like those preceding, includes the Clairvoyant Stereoscope, in a Walnut case, which serves also to hold the Slides, and, though more plainly finished, it possesses all the optical advantages and convenience which distinguish this make. Price of Instrument alone. SHIPPERS AND THE TRADE SUPPLIED. London: ALFRED W. BENNETT, 5, Bishopsgate Without, E.C. LTHOUGH the books of the present season are not, as a whole, equal to those of past years, still there are some that deserve commendation. Conspicuous amongst them we may mention Mr. John Leighton's symbolic "Life of Man," which, adopting the motto of "All the world's a stage," points out the gradual development, ripening, and decay of man, accompanied by references to the months of the year and the life of trees and plants. This is unquestionably the best illustrated book of the season. Which of the others may rank next we will not venture to say. The Dalziel Adelphi make an annual offering in their own names; and also, under the veil of Cervantes, the "Arabian Nights' Entertainments," and other disguises, they present a variety of tempting books. But publishers appear to have nearly exhausted their resources, and therefore reproduce the books of the past in a new, and, in some instances, a cheaper form. The public need not be dissatisfied with this. Tennyson's "Princess," with Maclise's illustrations; Willmott's "Poets of the Nineteenth Century;" Mackay's "Home Affections;" and the "Juvenile Verse and Picture-book," are all more than equal to any of the new books. Of the smaller volumes the most noticeable are, a charming edition of "Watts's Moral Songs" and "Alice's Adventures in Wonderland," in which latter there is a freshness quite delightful: "Our Life Illustrated by Pen and Pencil;" and a religious work, "The Path on Earth to the Gate of Heaven," the illustrations to which are of a very high order. To those who prefer old acquaintances, either Mr. Millais's "Illustrations," or the "Pictures of Society," will possess a charm. This year we have nothing in colour printing equal to the grand work of Kellerhoven's, which we last year introduced to the notice of the English public; but we have Herr Stilke's "Leaves and Blossoms of the Year"-a work of considerable beauty; also a "Book of Favourite Ballads," which has some merit. But the great feature of the year is the introduction of Gustave Doré to a wide circle of admirers to whom he has hitherto been almost unknown. Doré takes the town by storm. He gives us the playful in Perrault, the funny in Munchausen, the awful and horrible in Dante, and the solemn, the grand, and the devotional in the Bible. Doré will ere long be as familiarly known in this country as in his own. Neither must photography be overlooked, for in Mr. Bennett's volume of "Flemish Relics" we have the most satisfactory book of the kind yet produced. Much as we delight in designs upon wood or steel, some subjects appear better suited for, and can only have justice done them by, the photographic art. THE BOOKSELLER, DEC. 12, 1865. GUSTAVE DORÉ. SINCE the days of Bewick wood-engraving has passed through many phases of style and execution in this country, till scarcely a trace of the manner of that conscientious master of the art is to be found in contemporary productions. This has not been a step in advance, but rather a retrograde movement, in which the true resources and capabilities of the art are lost sight of or perverted. Wood-engraving has been made to appear anything but what it really is, as if it were ashamed of its origin. At one time it was sought to make it look as much like line engraving and etching as possible; now the prevailing fashion is to give to wood engraving the character of pen-and-ink drawings, so that at first sight they appear like lithographs. But wood-engraving is an honest, original art, which can rely upon its own means and resources and assert its own method. It attains its end by lines in relief, as distinguished by the intaglio lines of steel or copper-plate-engraving; but when it attempts to closely imitate either of these styles, it is so far a false art that it produces by great labour the appearance of being done in a way exactly the reverse of that by which it really is done. That wood-engraving has not kept pace with the increased demands upon it, is probably due to the fact that as an art it has been greatly underrated. Neither the artist who draws the design on the wood, nor the engraver who cuts it, have, as a general rule, shown due respect for this art. The artist, especially, has thought it an act of great condescension to waste his talent upon a woodcut, forgetful of the fact that the little vignettes by Stothard are more highly prized than his paintings. Then, again, artists accustomed to the wide space afforded by the cartoon and canvas, have found themselves unequal to the effort of drawing on a miniature scale upon the hard surface of boxwood. But that genius can overcome all difficulties and impediments, is well exemplified in the person of Gustave Doré, who, though comparatively young, has by sheer force of genius and hard work achieved a greater fame in Europe than any individual of his years, solely by the excellence of his drawings on the wood. Gustave Doré has effected a complete revolution in wood-engraving, or rather a renaissance; for much of his success has arisen through his return to the legitimate aims and methods upon which the art is based, while he has discovered or invented several new resources in wood-engraving, and formed an entirely new school in Paris. An examination of the numerous designs from the pencil of Gustave Doré serves to assure us that he is a man possessing remarkable genius, developed by unremitting application and industry. Before he had attained his thirtieth year the number of his designs are said to have exceeded forty-four thousand-not those sketchy things which are so frequently put forth to conceal a lack of resources-but for the most part carefully studied designs, teeming with ori ginality. It is usual to speak of Gustave Doré as a very young man, which, in the face of the prodigious fecundity of his pencil, seems a contradiction. He was born at Strasburg in January, 1833, and is now in his thirtythird year. His artistic career in Paris was begun in 1854, where he soon made a name by his exquisite pen-and-ink drawings and book illustrations. His earlier efforts appeared in the Journal pour Rire, in the Musée Anglo-Français, and the Journal pour Tous. His first series of book illustrations were drawn for an edition of Rabelais, followed in 1856 by an illustrated Wandering Jew, and some of Balzac's stories. In 1857 his illus. trated edition of Montaigne and of Perrault's Fairy Tales were published, followed in 1859 by his designs for Taine's Tour in the Pyrenées. Next Baron Munchausen and Don Quixote received new vitality from his pencil. All these works display a marvellous fancy, fertility of invention, and quickness of conception, sustained by careful elaboration of individual character and accessories. They show a rare creative power, through which he is enabled to give embodiment to the wildest conceptions of the imagination. For Doré is not the mere illustrator, who writes out the author's thoughts by prescrip tion in dull prose; he is an original thinker and poet" of imagination all compact;" one who might worthily associate with Dante and Cervantes. We now see, for the first time, how great is the quantity of intellect which may be put into book illustration. The dignity and worth of the art of wood-engraving are asserted with invincible power; and every one with a true perception of art must fee! that more power lies in designing a woodcut for Dante, than in covering many square feet of canvas with gaudy insipidities. For what we naturally look for in a pictorial illustration, be it drawing or painting, is the thought;-in a book illustrated by Doré, such as Dante, there is more thought than is usually presented by an entire academic exhibition. Doré's genius is many-sided. His imagi |