Meanwhile, other printers and publishers had produced a few more illustrated books in the 'seventies. Thus in 1575 Henry Bynneman had printed Turberville's _Booke of Faulconrie_ for Christopher Barker. The numerous excellent illustrations of hawks (and probably those of dogs also) are taken from French books, but there is a fairly vigorous picture of Queen Elizabeth hawking attended by her suite, badged, back and front, with large Tudor roses, and this (see Plate XXXIII) looks like English work. In a much later edition--that of 1611--it is curious to note that the portrait of the Queen was cut out and one of James I substituted. In 1576 a rather forbidding woodcut portrait of George Gascoigne was printed (by R. Smith) in that worthy's _Steele Glas_. In 1577 came a very important work, the famous _Chronicle_, begun on a vast scale by Reyner Wolfe and completed for England, Scotland, and Ireland by Raphael Holinshed, now published by John Harrison the elder. This has the appearance of being much more profusely illustrated than the _Book of Martyrs_ or any other English folio, but as the cuts of battles, riots, executions, etc., which form the staple illustrations, are freely repeated, the profusion is far less than it seems. The cuts, moreover, are much smaller than those in Foxe's _Martyrs_. As a rule they are vigorously designed and fairly well cut, and if it had come fifty years earlier the book would have been full of promise. But, as far as pictorial cuts in important books are concerned, we are nearing the end. In 1579 H. Singleton published Spenser's _Shepheardes Calender_ with a small cut of no great merit at the head of each "aeglogue," and in the same year Vautrollier illustrated North's _Plutarch_ with insignificant little busts which derive importance only from the large ornamental frames, stretching across the folio page, in which they are set. Woodcuts did not cease to be used after this date. They will be found in herbals (but these were mainly foreign blocks), military works, and all books for which diagrams were needed. They continued fashionable for some time for the architectural or other forms of borders to titlepages, some of them very graceful, as, for instance, that to the early folio editions of Sidney's _Arcadia_; also for the coats of arms of the great men to whom books were dedicated. They are found also at haphazard in the sixpenny and fourpenny quartos of plays and romances, and many of the old blocks gradually drifted into the hands of the printers of ballads and chapbooks, and appear in incongruous surroundings after a century of service. But I cannot myself call to mind any important English book after 1580 for which a publisher thought it worth his while to commission a new set of imaginative pictures cut on wood, and that means that woodcut illustration as a vital force in the making of books had ceased to exist. They needed good paper and careful presswork, and