progressive style. Many of the scarcer
examples of Bartolozzi have been imitated. To the collector who limits
his interest to artists in book-shape, the first editions on large or
largest paper of the _Birds_, _Quadrupeds_, and _Select Fables_ of
Bewick are most familiar and most desirable. Stothard is seen to
advantage in the engravings to Ritson's _English Songs_, 1783. Much of
his work lies outside the mere library. For a general view of that
branch of the subject, Jackson and Chatto's _Treatise on Wood
Engraving_, 1839, may be recommended, so far as the printed book is
concerned.

We do not dwell on the modern illustrated literature, which demands
less study, and offers few features of interest, especially that
produced at home. Too large a proportion of it, however, whatever may
be the origin, is indifferent in quality and permanent worth.
Publications are at present, like other commodities, prepared with a
main eye to sale; the sense of pride and honour on the part of the
producer is dulled; he manufactures in gross. There are the showy
volumes of Yriate on Venice, Florence, and other subjects, with
letterpress written apparently to accompany blocks and plates in the
publisher's warehouse.

Perhaps, if we seek something more elevated and creditable, it will be
in certain periodicals conducted on higher lines than those to which
the ordinary publisher has from financial exigencies to be bound; and
of these there are several both in France and England--nay, in Italy,
in Australia.

The Illustrated Book, as we are familiar with it here, affords
innumerable examples of varied treatment, as the school of design and
the public taste differ or fluctuate from century to century, from age
to age, and even from season to season. We do not speak of the cheaper
literature in this class, accompanied by engravings so intolerably
poor as to disarm criticism, but to the higher efforts of the artist
to respond to the author, and to appeal more directly to the eye. In
this country, however, we have not so far been so fortunate, or
otherwise, as to attain the Continental ideal of what the graphic
portion of a literary performance should be; and the question is
intimately associated, particularly in France and among foreign buyers
of the French school, who are numerous in all parts of the world, with
that of binding, inasmuch as a volume possessing pictorial
embellishments of whatever kind must fulfil all requirements in that
r