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 steel engraving at its high-water mark in popular illustration. (Opposite p. 228.)

The other two plates from the "Rivers of France" series we reproduce, Mantes and Amboise, are by W. Radclyffe and W. R. Smith. The former did several plates for the "England and Wales" series, including Carnarvon Castle, Salisbury, Louth, Keswick Lake, and Ashby-de-la-Zouch. The latter engraver executed among other plates for the same series Richmond (Surrey), Saltash, and Harlech Castle. The Amboise we illustrate from his graver exemplifies the mastery he had over his technique in his rendering of tone. (Opposite p. 224.)

In Turner's "Illustrations to the Works of Sir Walter Scott," 1834, there are forty plates illustrating the prose works and twenty-four illustrating the poems, and Campbell's "Poems" in 1837 has a set of twenty vignettes after Turner.

William Miller, of Edinburgh, the Quaker, was, according to Ruskin, Turner's best engraver. The great bulk of his work is after Turner. His large plates—The Grand Canal, Venice, and the Rhine at Falzen—are well known. In Rogers's "Poems" he did Loch Lomond and the Rialto. In Scott's prose works his best plates are Verona, Glencoe, Mayence, The Simplon, Stirling, and Inverness. In Scott's poetical works, Dryburgh, Berwick-on-Tweed, and Melrose are his finest. We reproduce this latter, which exhibits the extreme delicacy of Miller at his best in interpreting the atmospheric effects of Turner. The original from which the illustration here produced (opposite p. 226) is taken is only