In 1563 John Shute for his work on _The First and Chief Groundes of Architecture_ produced four amateurish engravings to illustrate four of the five "orders," a woodcut being considered good enough for the fifth. In 1568 we find the first edition of the "Bishops'" Bible adorned with an engraved titlepage in the centre of which, in an oval, is a not unpleasing portrait of the Queen, holding sceptre and orb, set in a mass of strapwork, amid which are seated Charity and Faith with the royal arms between them, while below the portrait a lion and dragon support a cartouche enclosing a text. Besides this titlepage, attributed by Sir Sidney Colvin to Franciscus Hogenberg, before the book of Joshua there is an engraved portrait of Leicester, while the "Blessed is the man" of the first Psalm is heralded by another engraved portrait which shows Lord Burghley holding in front of him a great B. In 1573 Remigius Hogenberg, brother of Franciscus, engraved after a picture by John Lyne a stiff but rather impressive portrait of Archbishop Parker, prefixed to some copies of his _De Antiquitate Ecclesiae Britanniae_. The year before this the second edition of the "Bishops'" Bible had been enriched with a decorative engraved map of the Holy Land, and in 1574 Archbishop Parker employed John Lyne to engrave for the _De Antiquitate Academiae Cantabrigiensis_ of Dr. Caius (printed by Day) a plate of the arms of the colleges, a plan of the University schools, and a large map of the town. In 1579 there appeared a work which had occupied the intermediate five years, a series of maps of England from the drawings of Christopher Saxton, engraved by Augustine Ryther (like Saxton a native of Leeds), Remigius Hogenberg and others, and with a fine frontispiece showing the Queen seated in state beneath an architectural canopy, which Sir Sidney Colvin thinks may perhaps be the work of Ryther. Ryther was subsequently concerned with other maps, including the series illustrating the defeat of the Armada (_Expeditionis Hispanorum in Angliam vera descriptio_), and other cartographers got to work who hardly concern us here. Two long engraved rolls, the first by Marcus Gheraerts, representing a procession of the Knights of the Garter (1576), the second by Theodor de Bry, from the designs of Thomas Lant, the funeral of Sir Philip Sidney (1587), although most safely preserved when bound in book form, can hardly be reckoned as books. Yet over the latter I must stop to confess a dreadful sin of my youth, when I jumped to the conclusion that the portrait on the first page stood for Sidney himself, whereas it really represents the too self-advertising Lant. That it appears in the sky, above the Black Pinnace which bore home Sidney's body, and itself bears the suggestive motto "God createth, Man imitateth, Virtue flourisheth, Death finisheth," may palliate but cannot excuse the crime which enriched an edition of _Astrophel and Stella_ with a portrait, not of Sidney, but of