As early as 1483 wood-cuts were used for illustration in Caxton's "Golden Legend," and subsequent printers adopted the same practice in issuing their publications. In like manner, copperplate engravings appeared first as illustrations for books, notably in one called "The Birth of Mankind," dedicated to Queen Catherine, and published by Thomas Raynalde in 1540, and in a translation of Vesalius' "Anatomy," published in 1545 by Thomas Geminus, who not only did the literary work, but copied the original wood-cuts on copper. In the middle of the century, the Hogenbergs took advantage of the method for portraiture, Francis engraving in 1555 a portrait of Queen Mary, and his brother Remigius in 1573 one of Matthew Parker, Archbishop of Canterbury, who seems to have retained the engraver in his service. About the same period appeared William Rogers, who was born in London in 1545, and may be considered as the earliest English engraver worthy of mention. His series of portraits are of considerable merit, especially a whole length, taken from a drawing by Isaac Oliver, of Queen Elizabeth, standing with orb and sceptre, and clothed in a rich embroidered and puffed dress. This print bears at the bottom the name of the engraver, and was afterwards reduced in size all round, turning the figure of the Queen into a three-quarter length, and cutting away Rogers' name, which was not reinserted in the later publication. Both sizes of the print are scarce, especially the original, and indeed for a considerable time the reduced impression was considered anonymous, until the appearance of the larger engraving and its comparison with the smaller established the identity of the two. The elder Crispin de Passe engraved a plate from the same drawing of smaller size, and with different accessories in the background. De Passe, a native of Utrecht, and his family, William, Simon, and a daughter Magdalen, came over to England at the beginning of the seventeenth century, and engraved many prints of much interest in a style peculiarly their own. Reginald Elstracke (born 1620) and Francis Delaram flourished about the same period.