Borders and designs by Holbein were used by Pynson, and these had a renaissance feeling which was quite foreign to the existing style. The mixed style which consequently made its appearance is very curious. It shows well in the semi-classical device of Lucretia used by Thomas Berthelet, royal printer to Henry VIII. Towards the end of the century there were several large volumes of chronicles published in England, Halle, Grafton and Holinshed, and these and similar volumes are all well illustrated with wood cuts. Foxe’s “Book of Martyrs,” published in 1563 by John Day, is also an example of a well illustrated and popular book, the cuts in which were all probably made here. [Illustration: “The Peacock.” Wood engraving by Thos. Bewick, from the “History of British Birds.” (_Newcastle_, 1797-1804.) [_To face p._ 110.] Wood engravings in England gave way gradually in the seventeenth and the earlier half of the eighteenth centuries before the advancing tide of line engraving, but in the latter half of the eighteenth century Thomas Bewick came to give it a new impetus. Bewick’s style was quite original, and although his particular “white line” style, good as it was, does not ever seem to have retained any hold upon the mass of engravers, yet somehow or other we find that the revival of wood cutting, both here and abroad, is generally put down to his influence. Bewick worked on an entirely different principle to that of any of his predecessors. He gave up imitating the black line of the metal engraver and used the white line to gain his effects. No doubt this is the true theory of wood engraving. Bewick took several apprentices, many of whom afterwards became famous, but, curiously enough, none of them kept long to their master’s style. In modern days Timothy Cole has revived the use of the white line; his work is most excellent and learned in every way. I have never found a wrong line in it, and if Bewick had not shown the way, and therefore put Mr. Cole in the position of a follower, the latter would have ranked as the greatest master who has ever worked on wood on the white line principle. William Harvey was one of Bewick’s apprentices; he did an immense quantity of work, which is always excellent. He soon gave up Bewick’s “white line,” and most of his wood engravings are like line engravings on copper. The engraving of the Death of Dentatus, after B. R. Haydon, is Harvey’s most celebrated piece of work. It shows every appearance and characteristic of a line engraving, but the black marks are in intaglio. It is a _tour de force_, and cannot but be considered as a waste of energy. It was engraved upon several blocks clamped together by an iron band, and prints of it can now and then be picked up at printsellers for two or three shillings, as it is seldom recognised as a wood engraving.