The popularity of the large collection of blocks got together by the publishing house of Plantin is shown by the frequency with which they were copied. Dr B. Daydon Jackson has pointed out that the wood-cut of the Clematis, which first appeared in Dodoens’ ‘Pemptades’ of 1583, reappears, either in identical form, or more or less accurately copied, in works by de l’Obel, de l’Écluse, Gerard, Parkinson, Jean Bauhin, Chabræus and Petiver. The actual blocks themselves appear to have been used for the last time when Johnson’s edition of Gerard’s herbal made its final appearance in London in 1636. [Illustration: Text-fig. 99. “Cyclaminus” [Camerarius, De plantis Epitome ... Matthioli, 1586].] Another school of plant illustration is represented in the work of Gesner and Camerarius. As we mentioned on p. 92, Gesner’s drawings were not published during his life-time, but some of them were eventually produced by Camerarius, with the addition of figures of his own, to illustrate his ‘Epitome Matthioli’ of 1586 (Text-figs. 72 and 99) and also his later work. In 1751, C. J. Trew published a collection of Gesner’s drawings, many of which had never been seen before; but even then, it proved impossible to separate the work of the two botanists with any completeness, since Gesner’s drawings and blocks had passed through the hands of Camerarius, who had incorporated his own with them. A few wood-cuts however, which appeared as an appendix to Simler’s Life of Gesner, are undoubtedly Gesner’s own work. One of these is reproduced in Text-fig. 48. [Illustration: Text-fig. 100. “Rosa Hierichuntica” = _Anastatica hierochuntica_ L., Rose of Jericho [Camerarius, Hortus medicus, 1588].] [Illustration: Text-fig. 101. “Piper Nigrum” = Pepper [d’Aléchamps Historia generalis plantarum, Vol. II. 1587].] Professor Treviranus, whose work on the use of wood-engravings as botanical illustrations is so well known, considered that some of the drawings published by Camerarius in connection with his last work (‘Hortus medicus et philosophicus,’ 1588) were among the best ever produced. Examples are shown in Text-figs. 34, 35, 71, 100. Treviranus pointed out that one of their great merits lay in the selection of good, typical specimens as models. These figures are very much more botanical than those of any previous author; in fact—as Hatton has pointed out in ‘The Craftsman’s Plant-Book’—they are beginning to become too botanical for the artist! Camerarius often gives detailed analyses of the flowers and fruit on an enlarged scale (Text-fig. 99). Among the illustrations here reproduced will be seen one (Text-fig. 100) in which the seedling of the Rose of Jericho is drawn side by side with the mature plant, and another (Text-fig. 35) in which the structure of a germinating Date is shown with great clearness. This interest in seedlings gives a modern touch to the work of Camerarius. [Illustration: Text-fig. 102. “Cedrus” = Cedar [Belon, De arboribus, 1553].]