The photographic reproductive processes began now to change the spirit of the illustrator’s dream. Both in black-and-white and colour the artist had to readjust his methods and adapt them to the new mechanical conditions--to the domination of the camera, in fact. Already the photographer had become an intermediary between the artist and the wood-engraver, though the designer’s lines were still at the mercy of the craftsman’s knife. Now the artist made his designs with the camera in view, knowing that his line would reproduce exactly as he drew it. Naturally this change had a considerable influence on the character of the designs made for book-illustration. But, meanwhile, there were artists, individual and in groups, who, setting themselves against the innovating photographic reproduction in book-illustration, sought by the older methods to make books beautiful with pictorial adornment. Charles Ricketts and Charles Shannon, two artists inspired always by high ideals, to whose originality and initiative modern book-decoration owes a great deal, issued _The Dial_ in 1889, and this was the beginning of an important movement in the making of beautiful books. Among the pages Mr. Shannon set those exquisite lithographs of his in which his pictorial poetry is most eloquent; while from this publication we may perhaps date the modern revival of original wood-engraving--Messrs. Ricketts, Shannon, Sturge Moore, Reginald Savage, and Lucien Pissarro cutting their lovely designs upon the wood. From the enthusiasm that produced _The Dial_ grew the Vale Press, which, with its remarkable series of beautiful books, has given so much joy to bibliophiles, a joy that Mr. Pissarro continues to give with the delicately lovely books he issues from his Eragny Press--the Vale’s successor--books in which the ideal of harmonious decorative relation between the lettering of the page and its pictorial adornment is logically realized with exquisite results. How splendidly this ideal was realized by William Morris in his books from the Kelmscott Press has already been shown in “The Art of the Book” (the Special Spring Number of THE STUDIO, 1914); to speak further of it here were beyond my province. I wish only to suggest its great influence for beauty on the book-decoration of to-day and yesterday, an influence one would wish to see still more widely extended.