And though, in consequence, many of his best designs have somewhat the air of a specimen plate, he succeeded in bringing into black-and-white illustration an element of colour which had been wholly absent from it in the work of the 15th and 16th century German and Italian schools. Bewick's method started a new school; but the more racy qualities of his woodcuts were entirely dependent on the designer being his own cutter; and the same happy relationship gave distinct characteristics to the nearly contemporary work of William Blake and of Calvert. Blake's wonderful _Illustrations to the Book of Job_, while magnificent in their conventional rendering of light and shade, still retain the colourlessness of the old masters, as do also the more broadly handled designs to his own books of prophecy and verse; but in his woodcuts to Philips's _Pastorals_ the modern tendency towards local colour makes itself strongly felt. So wonderfully, indeed, have colour and tone been expressed in these rough wood-blocks, that more vivid impressions of darkness and twilight falling across quiet landscape have never been produced through the same materials. The pastoral designs made by Edward Calvert on similar lines can hardly be over-praised. Technically these engravings are far more able than those from which they drew their inspiration. With the exception of the two artists named, and in a minor degree of Thomas Stothard and John Flaxman, who also produced original illustrations, the period from the end of the 18th century till about the middle of the 19th was less notable for the work of the designer than of the engraver. The delicate plates to Rogers's _Italy_ were done from drawings which Turner had not produced for purposes of illustration; and the admirable lithographs of Samuel Prout and Richard Bonington were merely studies of architecture and landscape made in a material that admitted of indefinite multiplication. It is true that Géricault came over to England about the year 1820 to draw the English race-horse and other studies of country life, which were published in London in 1821, and that other fine work in lithography was done by James Ward, G. Cattermole, and somewhat later by J. F. Lewis. But illustration proper, subject-illustration applied to literature, was mainly in the hands of the wood-engravers; and these, forming a really fine school founded on the lines which Bewick had laid down, had for about thirty years to content themselves with rendering the works of ephemeral artists, among whom Benjamin R. Haydon and John Martin stand out as the chief lights. It must not be forgotten, however, that while the day of a serious English school of illustration had not yet come, Great Britain possessed an indigenous tradition of gross and lively caricature; a tradition of such robust force and vulgarity that, by the side of some choicer specimens of James Gillray and Henry W. Bunbury, the art of Rowlandson appears almost refined. This was the school in