art in all its versatility, engraving some of the plates himself and closely supervising the mezzotinting of the others. This “Inverary Pier,” his own throughout, is a glorious vision of morning on the shores of Loch Fyne. The night mists are clearing in the sunlight; a luminous haze still trails along between the hills, beyond the quiet water. The scene suggests unbounded space and calm, peaceful beauty. Another plate, “Æsacus and Hesperie,” carries us into the depth of the woods. The figures are mere accessories: what we potently feel is the fragrant shade, emphasized by a slanting shaft of sunlight, which gleams on soil, branch, and leaf, and builds a pathway of light amidst the luminous shadows. [5] A series of one hundred plates, seventy-one of which were published by the artist, then discontinued, because financially unsuccessful. [Illustration: INVERARY PIER From “Liber Studiorum.” J. M. W. Turner] [Illustration: ÆSACUS AND HESPERIE From “Liber Studiorum.” J. M. W. Turner] * * * * * In the early nineteenth century two new processes demand recognition: wood-engraving and lithography. The former, reviewed in the preceding chapter with reference to its development in America, speedily gained in technical perfection at the hands of English engravers. It spread far and wide in Europe, adapting itself to the charming illustrations of Ludwig Richter and doing full justice to the expressive, accurate line of Adolph von Menzel’s pen-and-ink work. Light and vivacious in the vignettes of Tony Johannot, Gigoux, Célestin Nanteuil, it grows somber in Doré’s designs for the Bible and for Dante’s “Divina Commedia.” [Illustration: CHRIST DISPUTING WITH THE DOCTORS Adolph von Menzel]