After 1620 the old architectural and symbolical titlepages began to be replaced by titles in compartments, in which a central cartouche is surrounded by little squares, each representing some incident of the book. Portraits of the author remained much in request, and nearly a hundred of these were done by William Marshall, who was employed also on about as many engraved titlepages. As has been noted, his work was strangely uneven, and he fully deserved the scorn poured on him by Milton for the wretched caricature of the poet prefixed to the _Poems_ of 1645. Yet Marshall could at times do a good plate, as, for instance, that in Quarles's _Hieroglyphikes_ already mentioned, a portrait of Bacon prefixed to the 1640 Oxford edition of his _Advancement of Learning_ and the charming frontispiece to Brathwait's _Arcadian Princess_. Marshall at his worst fell only a little below the work of Thomas Cross; at his best he rivalled or excelled the good work of Thomas Cecill and George Glover. After Cromwell's strong hand had given England some kind of settled government the book market revived, and some ambitiously illustrated books were soon being published. The too versatile John Ogilby, dancing-master, poet, and publisher, appeared early in the field, his version of the Fables of Aesop, "adorned with sculpture," being printed by T. Warren for A. Crook in 1651. The next year came Benlowe's _Theophila, or Love's Sacrifice_, a mystical poem, some copies of which have as many as thirty-six plates by various hands, with much more etching than engraving in them. In 1654 Ogilby produced his translation of Virgil, a great folio with plates dedicated to noble patrons by Pierre Lambart. Ogilby's other important ventures were the large _Odyssey_ of 1665, and the Aesop's _Fables_ of the same year, with plates by Hollar, D. Stoop, and F. Barlow, and two portraits of the translator engraved respectively by Pierre Lambert and W. Faithorne. Faithorne embellished other books of this period, e.g. the Poems of the "Matchless Orinda" (1667), with portraits, and publishers who could not afford to pay Faithorne employed R. White. The presence of a portrait by White in a copy of the first edition of Bunyan's _Pilgrim's Progress_, to which it was very far indeed from certain that it really belonged,[69] has once made the book sell for over L1400, but save for the sake of completeness his handiwork is not greatly prized by collectors, nor is there any English illustrated book of this period after the Restoration which is much sought after for the sake of its plates, although those of Ogilby's _Virgil_ were sufficiently well thought of to be used again for Dryden's version in 1697.