In France the general movement has proceeded upon lines on the whole very similar. Process--especially what was called "Gillotage"--was adopted earlier, and used at first with greater liberality than in England, although wood-engraving has persisted effectively even up to our own time. In the various types of periodicals of which the _Revue Illustrée_, _Figaro Illustré_ and _Gil Blas Illustré_ may be taken as examples, the most noticeable feature is a use of colour-printing, which is far in advance of anything generally attempted in Great Britain. A favourite and effective process is that employed for the reproduction of chalk drawings (as by Steinlen), which consists of the application of a surface-tint of colour from a metal plate to a print from an ordinary process block. In Germany, _Jugend_, _Simplicissimus_, and other publications devoted to humour and caricature, employ colour-printing to a great extent with success. The organ of the artists of the younger German schools, Pan (1895), makes use of every means of illustration, and has especially cultivated lithography and wood-cuts, using these arts effectively but with some eccentricity. Holland has also employed coloured lithography for a remarkable series of children's books illustrated by van Hoytema and others. The Viennese _Kunst und Kunsthandwerk_ is an art publication which is exceptionally well produced and printed. Illustration in the United States has some few characteristics which differentiate it from that of other countries. The later school of fine wood-engraving is even yet in existence. American artists also introduced an effective use of the process block, namely, the engraving or working over of the whole or certain portions of it by hand. This is generally done by an engraver, but in certain cases it has been the work of the original draughtsman, and its possibilities have been foreseen by him in making his drawing. The only other variant of note is the use of half-tone blocks superimposed for various colours. (E. F. S.) ILLUSTRES, the Latin name given to the highest magistrates of the later Roman Empire. The designation was at first informal, and not strictly differentiated from other marks of honour. From the time of Valentinian I. it became an official title of the consuls, the chief praefecti or ministers, and of the commanders-in-chief of the army. Its usage was eventually extended to lower grades of the imperial service, and to pensionaries from the order of the _spectabiles_. The Illustres were privileged to be tried in criminal cases by none but the emperor or his deputy, and to delegate procuratores to represent them in the courts. See O. Hirschfeld in _Sitzungsberichte der Berliner Akademie_ (1901), p. 594 sqq.; and T. Hodgkin, _Italy and her Invaders_ (Oxford, 1892), i. 603-617.