known pupils include Mary Berridge, John R. Biggs, Cecily Englefield, Joan Pilsbury and Hilda M. Quick. His wood engravings and other illustrations In 1920 Rooke helped to found the Society of Wood Engravers and exhibited with the society from 1920 to 1933. In the same year he became an associate of the Royal Society of Painter-Etchers and Engravers. As a result of his teaching, his own production was comparatively small - wood engraved, line drawn and watercolour illustrations, individual prints, posters and paintings, many of which reflect his passion for mountains. He described himself as "one who draws mountains and also climbs them". Margaret Pilkington remembers classes where Rooke dwelt on the dramatic contrasts of dark rock and snow-covered sunlit slopes, on the angularity of line and on the possibilities of abstraction presented by such scenes. He produced a double-panel wood engraving for Rupert Brooke's The Old Vicarage, Grantchester (1916), one of the first books, in this case a slim booklet, illustrated with modern wood engravings. His only other book with wood engravings was for the Golden Cockerel Press, an edition of The Birth of Christ (1925). In 1922 he contributed two wood engravings to Contemporary English Woodcuts, an anthology of wood engravings produced by Thomas Balston, a director at Duckworth and an enthusiast for the new style of wood engravings. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, wrote about him in his introduction to the book: "Mr. Rooke himself, represented by examples of his earlier and later woodcuts, has discovered a vigorous treatment of mountain forms". He produced colour plates for two books by Robert Louis Stevenson, An Inland Voyage (1908) and Travels with a Donkey in the Cevennes (1909); and a King Penguin book on Flowers of Marsh and Stream (1946). His interest in mountains comes across in one of his posters for the London Underground, the Downs at Betchworth, and in many of his paintings. VADS (the Visual Arts Data Service) offers quick access to reproductions of Rooke's work, and the Central School has an extensive holding of his wood engravings. An overview of his life and work The final judgement on Rooke as a wood engraver goes to Douglas Percy Bliss, who wrote of Vivien Gribble and Rooke: If their work had more verve and vitality they would be among the best book -decorators of our time. Rooke did not quite make