They extend to several volumes, and were printed by Bulmer and his successors Nicoll and T. Bensley, illustrated by engraved plates and woodcuts by F. C. Lewis and others. H. G. Bohn, besides the fine series known as "Bohn's Libraries," numbering over six hundred volumes, in every branch of literature, art, and science, published many finely illustrated books, and as a bookseller had the largest stock of his day. Charles Knight did marvels in popularising literature in his day. William Pickering published a long series of very beautiful books, and in conjunction with Charles Whittingham, printer, of the far-famed Chiswick Press, revived the Aldine or old-faced types; one of the most beautiful of his publications was Sir Harris Nicolas's edition of Walton's "Angler," in two volumes, imperial octavo, with a very fine set of steel plates, designed by Stothard and engraved by Augustus Fox and W. J. Cooke, besides engraved vignettes and representations of fish drawn by Inskipp. In Germany perhaps the most remarkable achievement of the century is the extraordinary series of volumes of English authors, now (1887) numbering 2,500, issued by Baron Tauchnitz, of Leipzig, which, although eminently popular in their character, are well and tastefully printed. Among the most notable of the printing and publishing houses of Germany, many of them combining the two trades, are J. G. Cotta, dating from 1640; Breitkopf and Härtel, dating from 1719; Justus Perthes, founded 1796; T. O. Weigel, 1797; F. A. Brockhaus, 1805; B. G. Teubner, 1811; W. Drugulin, 1829; J. J. Weber, 1834, etc. Germany has advanced with England and France in fine typography and illustration in their several kinds. The modern school of book illustration in Germany undoubtedly has its origin in the influence given to it by the designs of the artist Adolph Menzel, amongst which a series of two hundred illustrations to the works of Frederick the Great, engraved on wood by the Vogels, Unzelman and Müller, show him to be one of the most powerful and accurate draughtsmen of the century. To return to France, a new literature arose that was to react against the Greek full of Gallicisms; but the movement, in reversing the ancient state of things, in wishing to replace antiquity by the Middle Ages, old Romans by old French, completely changed the physiognomy of the Book. The engraved vignette and the copper plate of the seventeenth and eighteenth centuries were to lose their supremacy and to give way to etching and wood engraving, also a revival of the Middle Ages. [Illustration: Fig. 93.--Wood engraving by Clennell after West, for the diploma of the Highland Society.]