As regards the history and use of printing, the Japanese had it from the Chinese, who invented the art of printing from wooden blocks in the sixth century. "We have no record," says Professor Douglas,[5] "as to the date when metal type was first used in China, but we find Korean books printed as early as 1317 with movable clay or wooden type, and just a century later we have a record of a fount of metal type being cast to print an 'Epitome of the Eighteen Historical Records of China.'" Printing is supposed to have been adopted in Japan "after the first invasion of the Korea by the armies of Hideyoshi, in the end of the sixteenth century, when large quantities of movable type books were brought back by one of his generals, which formed the model upon which the Japanese worked."[6] [5] Guide to the Chinese and Japanese Illustrated Books in the British Museum. [6] Satow. "History of Printing in Japan." [Illustration: ROBERT BATEMAN. FROM "ART IN THE HOUSE." (MACMILLAN, 1876.)] I have mentioned the American development of wood-engraving. Its application to magazine illustration seems certainly to have developed or to have occurred with the appearance of very clever draughtsmen from the picturesque and literal point of view. [Illustration: ROBERT BATEMAN. FROM "ART IN THE HOUSE." (MACMILLAN, 1876.)] [Sidenote: JOSEPH PENNELL.] The admirable and delicate architectural and landscape drawings of Mr. Joseph Pennell, for instance, are well known, and, as purely illustrative work, fresh, crisp in drawing, and original in treatment, giving essential points of topography and local characteristics (with a happy if often quaint and unexpected selection of point of view, and pictorial limits), it would be difficult to find their match, but very small consideration or consciousness is shown for the page. If he will pardon my saying so, in some instances the illustrations are, or used to be, often daringly driven through the text, scattering it right and left, like the effect of a coach and four upon a flock of sheep. In some of his more recent work, notably in his bolder drawings such as those in the "Daily Chronicle," he appears to have considered the type relation much more, and shows, especially in some of his skies, a feeling for a radiating arrangement of line. [Sidenote: AMERICAN DRAUGHTSMEN.] Our American cousins have taught us another mode of treatment in magazine pages. It is what I have elsewhere described as the "card-basket style." A number of naturalistic sketches are thrown accidentally together, the upper ones hiding the under ones partly, and to give variety the corner is occasionally turned down. There has been a great run on this idea of late years, but I fancy it is a card trick about "played out."