the early years of the nineteenth century. We notice in them
the changes in the dress of children, who no longer were clothed exactly
in the semblance of their elders, but began to assume garments more
appropriate to their ages, sports, and occupations. Anderson also
sometimes introduced into his pictures a negro coachman or nurse in the
place of the footman or maid of the English tale he illustrated.

While the demand for the engraver's work was constant, his remuneration
was small, if we are to judge by Babcock's payment of only fifty
shillings for fifteen cuts.

For these toy-books Anderson made many reproductions from Bewick's cuts,
and although he did not equal the Englishman's work, he so far surpassed
his pupils and imitators of the early part of the century that his
engravings are generally to be recognized even when not signed. In
eighteen hundred and two Dr. Anderson began to reproduce for David
Longworth Bewick's "Quadrupeds," and these "cuts were afterwards made
use of, with the Bewick letter-press also, for a series of children's
books."[168-A]

In eighteen hundred and twelve, for Munroe & Francis of Boston, Dr.
Anderson made after J. Thompson a set of cuts, mainly remarkable "as
the chief of his few departures from the style of his favorite,
Bewick."[169-A]

The custom of not signing either text or engravings in the children's
books has made it difficult to identify writers and illustrators of
juvenile literature. But some of the best engravers undoubtedly
practised their art on these toy-books. Nathaniel Dearborn, who was a
stationer, printer, and engraver in Boston about eighteen hundred and
eleven, sometimes signed the full-page illustrations on both wood and
copper, and Abel Bowen, a copper-engraver, and possibly the first
wood-engraver in Boston, signed a very curious publication entitled "A
Metamorphosis"--a manifold paper which in its various possible
combinations transformed one figure into another in keeping with the
progress of the story.

C. Gilbert, a pupil of Mason, who had introduced the art of
wood-engraving in Philadelphia from Boston, engraved on wood certainly
the two full-page illustrations for "A Present for a Little Girl,"
printed in eighteen hundred and sixteen for a Baltimore firm, Warner &
Hanna.

Adams and his pupils, Lansing and Morgan, also did work on children's
books. Adams seems to have worked under Anderson's instruction, and
after eighteen hundred and twenty-five di