alone, is probably rather under than above the mark.
The book has, moreover, at the same time provided illustrations to writers and orators, and the richest and most ample material for illustrations to artists. The original rough woodcuts are anonymous, but the possibilities of the work were discovered as early as 1809, by 'Thomas Rowlandson, who illustrated the edition published in that year. The edition of 1859 owed embellishments to Crowquill, while Cruikshank supplied some characteristic woodcuts to that of 1869. Coloured designs for the travels were executed by a French artist Richard in 1878, and illustrations were undertaken independently for the German editions by Riepenhausen and Hosemann respectively. The German artist Adolph Schrödter has also painted a celebrated picture representing the Baron surrounded by his listeners. But of all the illustrations yet invented, the general verdict has hitherto declared in favour of those supplied to Théophile Gautier's French edition of 1862 by Gustave Doré, who fully maintained by them the reputation he had gained for work of a similar genre in his drawings for Balzac's Contes Drôlatiques. When, however, the public has had an opportunity of appreciating the admirably fan-
