Samuel Wale (died 1786), a pupil of Hayman, was also an illustrator, and in 1760 supplied Sir John Hawkins with fourteen drawings for his edition of Walton's _Angler_. These were engraved by the luckless W. W. Rylands, who was hanged for forgery in 1783, and the Walton thus produced is one of the prettiest and least affected of the illustrated books of its day (see Plate XL). Wale also drew designs for Wilkie's _Fables_ (1768) and Goldsmith's _Traveller_ (1774). He also worked for the magazines which about the middle of the century made rather a feature of engravings, often as headpieces to music. A few of the isolated books may be named, thus Paltock's _Peter Wilkins_ (1750) was illustrated very well by Louis Peter Boitard, who had previously contributed numerous plates to Spence's _Polymetis_, and in 1751 supplied a frontispiece to each of the six books of the _Scribleriad_ by R. O. Cambridge. Another book which, like _Peter Wilkins_, was concerned with flight, Lunardi's _Account of the first aerial voyage in England_ (1784), has a portrait of the author by Bartolozzi and two plates. For Baskerville's edition of the _Orlando Furioso_ (Birmingham, 1773) recourse was had to plates by De Launay, after Moreau and Eisen. FOOTNOTES: [65] "In quo precipue tractat: An amico sepe ad scribendum prouocato ut scribat, non respondenti sit amplius scribendum." [66] It was probably from his Horae plates that Plantin illustrated the _rerum Sacrarum Liber_ of Laur. Gambara in 1577. They are printed with the text and are of average merit. [67] They were bought to accompany the fine set of De Bry collected by Mr. Grenville, but have since been transferred to the Department of Prints and Drawings. [68] Contributed to the work by Sir Sidney Colvin, _Early Engravers and Engraving in England_, already quoted. [69] This was an early proof of the portrait which is found in a slightly different state in copies of the third edition, and seemed to be an insertion in the first edition rather than an integral part of it. CHAPTER XVI MODERN FINE PRINTING After the Restoration, printing and the book trade generally in England became definitely modern in their character, and the printer practically disappears from view, his work, with here and there an exception, as in the case of Robert Foulis or John Baskerville, being altogether hidden behind that of the publisher, so that it is of Herringman and Bernard Lintott and Dodsley that we hear, not of Newcomb and Roycroft.