nearly two floors high. The Brocks built the studio. All four brothers worked together in this studio, with Charles and Henry returning to it by day even after they had married and moved out of the main house. The studio was heated by a big 'jumbo' stove which impressed Katharine's daughter Barbara. One feature of the studio, was the collection of period costumes and furniture that Charles and Henry maintained there, these, together with the costume prints and fashion plates of the Regency period helped to ensure the accuracy of their illustrations of authors such as Jane Austen. They sometimes had clothes especially made to match those of a particular period for their models. Their knowledge of antiques led in part to their being asked by Walter Mallett to help illustrate the 6th edition of the Illustrated history of furniture, from the earliest to the present time. (1906) by Frederick Litchfield (1850-1930). This edition had 86 more pages and 100 more illustrations than the 5th edition of 1903. The Cranford School The 'Cranford School' of illustration was not so much a 'school' with a common training, but more of a style. It was named for the 1891 Macmillian reissue of Elizabeth Cleghorn Gaskell's Cranford by Hugh Thomson. The style was a nostalgic, affectionate and slightly whimsical approach to historical themes. Thomson's illustration in the book inaugurated a Cranford School distinguished by graphic nostalgia for a philistinism that was no more. The members of the school had all been fired by the literature, art, costume or atmosphere of England in the eighteenth century and became dealers in nostalgia on a very large scale. It was a style of illustration harking back to pre-industrial rural England, which specialized in the nostalgic recreation of a by-gone golden era before the ravages of industrialization. In reality, it was only the introduction of photo-mechanical reproduction of drawings instead of wood engravings that enabled the fine pen lines distinctive of the school. Charles and Henry were both members of the 'Cranford School'. It is probably no accident that the house Charles' moved to after his marriage in 1902, at Grange Road, Cambridge, was named 'Cranford'. Although Richard drew in the same style, he can hardly be called a member of the school as when he turned to illustration in 1920, he concentrated on contemporary topics rather than harking back to The Regency and Georgian eras. The