Among still later wood-engravings, we may mention the large, rather coarse cuts in Aldrovandi’s ‘Dendrologia’ of 1667, one of which, the figure of the Orange, or “Mala Aurantia Chinensia,” is reproduced in Text-fig. 104, on a greatly reduced scale. [Illustration: Text-fig. 104. “Mala Aurantia Chinensia” = Orange [Aldrovandi, Dendrologia, 1667]. _Reduced._] In the present chapter no attempt has been made to discuss the illustrations of those herbals (e.g. the works of Turner, Tabernæmontanus, Gerard, etc.) in which most of the wood-cuts are copied from previous books. In the majority of such cases, the source of the figures has already been indicated in Chapter IV. This brief review of the history of botanical wood-cuts leads us to the conclusion that between 1530 and 1630, that is to say during the hundred years when the herbal was at its zenith, the number of sets of wood-engravings which were pre-eminent—either on account of their intrinsic qualities, or because they were repeatedly copied from book to book—was strictly limited. We might almost say that there were only five collections of wood-cuts of plants of really first-rate importance—those, namely, of Brunfels, Fuchs, Mattioli, and Plantin, with those of Gesner and Camerarius, all of which were published in the sixty years between 1530 and 1590. The wood-blocks of the two botanists last mentioned cannot be considered apart from one another; from the scientific point of view they show a marked advance, in the introduction of enlarged sketches of the flowers and fruit, in addition to the habit drawings. Plantin’s set included those blocks which were engraved for the herbals of de l’Obel, de l’Écluse, and the later works of Dodoens. At the close of the sixteenth century, wood cutting on the Continent was distinctly on the wane, and had begun to be superseded by engraving on metal. The earliest botanical work, in which copper-plate etchings were used as illustrations, is said to be Fabio Colonna’s ‘Phytobasanos’ of 1592. These etchings, two of which are shown in Text-figs. 46 and 105, are on a small scale, but are extremely beautiful and accurate. The details of the flowers and fruit are often shown separately, the figures, in this respect, being comparable with those of Gesner and Camerarius, though, owing to their small size, they do not convey so much botanical information. In a later book of Colonna’s, the ‘Ekphrasis,’ analyses of the floral parts are given in even greater detail than in the ‘Phytobasanos.’ Colonna expressly mentions that he used wild plants as models wherever possible, because cultivation is apt to produce alterations in the form. The decorative border, surrounding each of the figures reproduced, was not printed from the copper.