Shakespeare, Chaucer or a lyric poet could contribute little except ornament, relative or not. The illustrator to a modern edition of the gospels might attempt a translation of the spirit into plastic form, presenting the Absolute, the timeless essence of what inspired the author, taking care that it is the book and not his own personality, that he illustrates. The “gossipy” kind of book permits the illustrator to embroider the author's ideas or execute variations on his theme in the way that Heath Robinson provides a running commentary to Rabelais. The bold and confident illustrator may regard the book as a springboard and jump off into free imaginative drawing.

For the modern book the woodcut or wood engraving is most suitable, but type is refined and finished and the block must approximate in texture, having the same relationship of thick and thin as the type used. The letters of print are rigid and exact, with slow and precise movement. The strong, clean sculptural character of the wood block can be made to match the type. How much modern illustration is spoilt by being too crude or too black?

The dictionary tells us that “illustration” is to make clear, explain; elucidate by drawings; ornament with designs. The artist finds the matter not quite so simple.