Presently photography came, which was to reverse completely the conditions of illustration of the Book by the numerous means of reproduction to which it gave birth. Then wood engraving entered on a new phase, a complete transformation of its ordinary terms, under the influence of Gustave Doré. Little by little it had been attempted to render in relief that which engraved plates only had hitherto done. Black, half-tints, lowered tones, were tried where formerly a simple line, bold and spirited, signified everything. The house of Hachette, founded by one of the normal teachers of the liberal movement, at the beginning of the century, was, together with Lahure, the promoter of relief so inclusive and practical. The numerous periodicals of these publishers spread the taste afar. England, for its part, entered on the road, followed by America and Germany. To-day wood engravings have reached perfection, finesse, and suppleness; but they are not, properly speaking, engravings on wood. [Illustration: Fig. 98.--Balzac writing his _Contes Drôlatiques_. Vignette by Gustave Doré.] [Illustration: Fig. 99.--Wood block by Bewick, from his "Fables," 1818. The fox and the goat.] We have seen that French publishers were largely indebted to English wood engravers for their blocks. The school that was established by Bewick and his pupils made enormous progress. From the "Fables," published in 1818, we reproduce an illustration as also a specimen from the second volume of the "British Birds." Luke Clennell was one of the most distinguished of Bewick's pupils; and he made some excellent blocks, among them the illustrations to an edition of Rogers's "Poems" (1812), engraved from pen-and-ink drawings by Thomas Stothard. It was Stothard's opinion that wood engraving best reproduced pen-and-ink drawings. Other pupils of Bewick were J. Jackson, John Thompson, who engraved Harvey's beautiful illustrations to Milton and Henderson's "History of Wines," S. Williams, Orrin Smith, Robert Branston, and C. Nesbit. The most prolific and perhaps the most popular book-illustrator of the century in England, was George Cruikshank, who engraved most of his own designs on wood, steel, or with the etching needle; the catalogue of his works by Mr. G. W. Reid, formerly keeper of the Prints in the British Museum, occupies three quarto volumes. The designs of "Phiz," as H. K. Browne called himself, largely contributed to the popularity of the works of Charles Dickens; and the mere mention of Richard Doyle and John Leech will recall the palmy days of _Punch_, although both of these artists did excellent work in book illustration. From the days of the Bewicks to the present wood engraving has formed the most widely used means of illustration in England and the United States. Its adaptability to the printing machine renders it admirably suited to the production of books in large numbers and at low expense. Without it we could not have our _Graphics_ and _Illustrated News_, nor