We must go back now to England, where at the end of the seventeenth century the requirements of book-illustration were neglected, partly because of the growing taste for a neat simplicity in books, partly because the chief English engravers all devoted themselves to mezzotint. A few foreigners came over to supply their place, and Michael Burghers, of Amsterdam, illustrated the fourth edition of _Paradise Lost_, a stately folio, in 1688, with plates which enjoyed a long life and were also imitated for smaller editions. Burghers also illustrated the Oxford almanacs, and supplied frontispieces to the Bibles and other large books issued by the University Press up to about 1720. Another Dutchman who came to England not much later (in about 1690) was Michael Van der Gucht, who worked for the booksellers, as his children did after him. How low book-illustration had fallen in England at the beginning of the eighteenth century may be seen by a glance at the wretched plates which disfigure Rowe's Shakespeare in 1709, the first edition on which an editor and an illustrator were allowed to work their wills. The year after this Louis Du Guernier came to England, and was soon engaged in the not too patriotic task of helping Claude Du Bosc to illustrate the victories of Marlborough. In 1714 he and Du Bosc were less painfully, though not very successfully, employed in making plates for Pope's _Rape of the Lock_. Du Bosc subsequently worked on the _Religious Ceremonies of all Nations_ (1733), an English edition of a book of Bernard Picart's, and on plates for Rapin's _History of England_ (1743), but he was far from being a great engraver. It is a satisfaction that the plates to the first edition of _Robinson Crusoe_ (1719) were engraved by two Englishmen, and not very badly. Their names are given as "Clark and Pine," the Clark being presumably John Clark (1688-1736), who engraved some writing-books, and the Pine, John Pine (1690-1756), who imitated some designs by Bernard Picart to the book of Jonah in 1720, and may have been a pupil of his at Amsterdam. It should, perhaps, have been mentioned that two years before _Crusoe_ an English engraver, John Sturt (1658-1730), produced a Book of Common Prayer, of which the text as well as the pictures was engraved. This is rather a curiosity than a work of art, the frontispiece being a portrait of George I made up of the Creed, Lord's Prayer, Ten Commandments, Prayer for the Royal Family, and Psalm XXI. written in minute characters, instead of lines. Sturt produced another engraved book, _The Orthodox Communicant_, in 1721.