C. J. Hullmandel and J. D. Harding were friends and co-workers in the new art, and they were both adepts at it; Hullmandel drew several of the beautiful plates of birds for John Gould, and they were afterwards coloured by hand. From the beginning colour has been much liked by English lithographers, either added by hand or produced by means of “chromo-lithography,” that is, several plates inked in different colours and then printed over each other on one piece of paper. Roberts’ _Holy Land_ is magnificently illustrated with lithographic plates by Louis Haghe, a left-handed Belgian, who worked here, and these plates were afterwards coloured by hand. Clarkson Stanfield and Cattermole both worked in lithography, and Nash’s _Mansions of England in the Olden Time_, 1839-49, are familiar to most of us. Nash coloured several copies by hand. Owen Jones’ _Plans of the Alhambra_, published 1842-5, are excellent chromo-lithographs. In quite modern times the old tradition is worthily upheld by William Griggs, whose colour plates of _Illuminated MSS. in the British Museum_ are in every way excellent--indeed, for truth and fidelity to their originals they have never been equalled. Munich was a sort of headquarters of lithography in the early part of the nineteenth century, when H. J. Mitterer succeeded to Senefelder’s establishment there. Among the first lithographers in Germany were J. M. Mittenleiter, who also invented the art of engraving on stone, and Joseph Hauber. Most of the German lithographers contented themselves with making copies of existing pictures, and one of the finest examples of this kind of lithography is to be found in the _Gemälde Galerie des K. Museums in Berlin_, published in 1842, and containing excellent work by Fr. Jentzen, C. Fischer, and others. Adolf Menzel did some notable lithographic work about the middle of the century, and Mouilleron, Eybl, and Ritter were all excellent workmen. Belgian lithographers have nearly always been very good; besides Haghe, who worked in England, there were, with others, Tuerlinckoe, Van der Meulen, and Van Loo. Although there have been lithographic workshops set up at Rome, Florence, Turin, Milan, and other towns, the art has never flourished much in Italy: it never appealed to the sensitive artistic Italian nature. Such examples as do exist are mostly portraits. Lithography has been popular in Spain, and Spanish artists have done excellent work in this manner. In 1824 J. de Madrazo published the most important Spanish work illustrated with photographs; it is called _Collection lithographica de cuadros del Rey ... Fernando VII., lithographiada por habiles artistas_, among whom are named J. Jollivet, P. Blanchard and A. Guerrero. The work of all of these is excellent. Lithographic work in Spain, so far as books are concerned, has been mostly of an archæological character--views of old buildings or old pictures particularly. F. Goya, however, worked largely in this manner.