The first issue of _Pablo de Segovia_ completely revolutionised the art of illustration and created a new school of illustrators, the influence of which is now felt all over the world, even by artists to whom the name of Vierge is absolutely unknown, and by critics who, in praising their friends, are really only testifying to the greatness of the master whose name they never heard. And here I should like to say that I make no pretension to having discovered Daniel Vierge, although I have been accused of it; this book discovered him to all artists.
When it came to reproduction, most of the drawings had to be much reduced. This was beautifully done by Gillot (and it is interesting to compare the latter's work of ten years ago with that in this volume done by him to-day), while the printing of Lahure was most careful and satisfactory; but the appearance of Vierge's work in many cases was entirely changed, though he himself knew how it would be changed. Vierge, as anyone can see from these new reproductions, drew openly, freely, boldly, but most carefully. The reproductions in Bonhoure's edition gave one the impression of exquisite delicacy, a refinement of line which did not altogether exist in the original drawings, but was produced because the artist knew exactly what he wanted, and because the engraver was able to obtain it.