It is clear that frequently a sketch by one artist was worked up into a finished picture by a colleague: in particular several draughtsmen used sketches by Ernest Prater of The Sphere. Of the names appearing in this book, the most prominent are (needless to say) Baden-Powell, several of whose sketches feature, and Caton Woodville, who by this time was a veteran war-artist, having started his career covering the Balkan War of 1878 and who was still working at the outset of the Great War. Caton Woodville was also a competent military painter in oils (at least when not attempting to paint retrospectively) and many of his pictures survived, as does his reputation. This book provides a fascinating study of the interaction between the war-artist and the scenes of combat which he had to depict in the last war to be fought before the camera largely deprived him of his raison d'etre.