Meanwhile, make yourself familiar with the general information given by Laurence Housman in his article on =Illustration=. Leaving aside the illumination of manuscripts, the art of illustration in its modern sense goes back to the invention of printing. Many incunabula were enriched with drawings by artists of the French, German, Spanish and Italian schools. Many engravings on both wood and copper by such men as Dürer and Holbein were made to adorn the printed page. The art of illustration has always been influenced by the prevailing pictorial art. French engraving was influenced by the painting of Watteau. English illustrations of different periods show the large following which such men as Reynolds and Hogarth were accorded. Bewick laid the foundations for a school of English wood engraving which persisted until the invention of mechanical methods of reproduction came into vogue. The cheap magazines created a great demand for illustrations that could be inexpensively produced, and the files of illustrated periodicals thereby became one of the best places in which to study the work of wood engravers and illustrators whose work lent itself to reproduction in cheap form. To those who know how to use them aright this gives a new interest to some of the Poole sets which have of late years been retired to out of the way places, such as _Once a week_, _Good words_, _London Society_, _Sunday at home_, for in the pages of these journals are found illustrations by some of the best men of the school known as “of the ’sixties.” The technical developments of the art of illustration form the subject of a brief supplementary article by E. F. Strange of the South Kensington Museum. This is concerned with the history of experiments leading to the development of the present day half-tone block and color printing.