which George Cruikshank, John Leech, and the Dickens illustrators had their training, from which they drew more and more away; until, with the help of _Punch_, just before the middle of the 19th century, English caricaturists had learned the secret of how to be apposite and amusing without scurrility and without libel. (See CARICATURE.) Influence of Wood-engraving. Under NEWSPAPERS will be found some account of the rise of _illustrated journalism_. It was in about the year 1832 that the illustrated weekly paper started on its career in England, and almost by accident determined under what form a great national art was to develop itself. While in France the illustrators were making their triumphs by means of lithography, English illustration was becoming more and more identified with wood-engraving. The demand for a method of illustration, easy to produce and easy to print, for books and magazines of large circulation and moderate price, forced the artist before long into drawing upon the wood itself; and so soon as the artist had asserted his preference for facsimile over "tint," the school which came to be called "of the 'sixties" was in embryo, and waited only for artistic power to give it distinction. The engraver's translation of the artist's painting or wash-drawing into "tint" had largely exalted the individuality of the engraver at the expense of the artist. But from the moment when the designer began to put his own lines upon the wood, new conditions shaped themselves; and though the artist at times might make demands which the engraver could not follow, or the engraver inadequately fulfil the expectation of the artist, the general tendency was to bring designer and engraver into almost ideal relations--an ideal which nothing short of the artist being his own engraver could have equalled. Out of an alliance cemented by their common use and understanding of the material on which they worked came the school of facsimile or partial-facsimile engraving which flourished during the 'sixties, and lasted just so long as its conditions were unimpaired--losing its flavour only at the moment when "improved" mechanical appliances enabled the artist once more to dissociate himself from the conditions which bound the engraver in his craft. Pre-Raphaelite movement. Influence of Millais.