In the first stage the engraver was a mechanic pure and simple, unless he drew his own design, or could take the liberty of improving upon the artist's lines. If, however, it was an experienced artist, the engraver simply copied, and did not trouble himself to think much, so long as he got his lines out clean. In the second stage, when he had wash drawings on the block, there was seldom any appeal from the artist; he had, it is true, the option of lightening up his picture on the proof and saving his reputation somewhat by making a few bold and hard lights where his other effect had been lost; but this was all that was left to him, because _his original drawing_ had been cut up. [Illustration: BY CHRISTOPHER JEGHER, AFTER RUBENS] Now the original drawing is seldom destroyed; it stands to the bitter end, and settles any disputes between engraver and artist, because the engraver works only upon a photograph from the original sketch, and has it all along beside him to work from as a copy as well as to confute him if he is a bungler, which is a right and proper state of things; for now the indifferent artist cannot flatter himself or steal the reputation of the skilful engraver, and the unqualified engraver cannot lay his faults on the shoulders of the artist; each tub must stand upon its own bottom. After Albert Dürer, with his delicacy and finish, as well as spirituality and suggestiveness, we come to Rembrandt as the most perfect master of chiaro-oscuro that the world has produced. At the present day we cannot hope to surpass him; we are satisfied if we approach somewhat near to his matchless gradations, depth of shadow, and lustre. There was considerably over a century between these two influences; but it was a progressive century, as the numerous book-plates throughout Europe can show. The school of Dürer gave the illustrator the first real hint about colour; Rembrandt showed how much power may be had out of a flat surface. From Rembrandt to Bewick the merits of the different book plates vary. Nature, however, did not occupy much room in their calculations. Bewick was, perhaps, our first great realist, for all his studies were drawn uncompromisingly from the object itself. Before his advent the illustrators, like the novelists, were content to interest their audience; but after Bewick it was found necessary to study accuracy as well as sentiment and effect, and this we continue and try to improve upon at the present day.