keyblock to be engraved, and then returned a proof to Crane for colouring. In 1878 Crane and Evans collaborated on The Baby's Opera, a complex project with a dozen fully illustrated pages, and decorative borders on each of the 56 pages. Crane visited Evans at his home in Witley to design the book. Evans gave Crane a dummy book to design the layout of the entire volume. The first print run consisted of 10,000 copies, but Evans quickly added more as demand for the volume grew. Evans added more hues to the illustrations, with "light blues, yellows, and brick reds, delicately blended" replacing the brighter colours of earlier work. In 1880, Crane illustrated and Evans printed, The Baby's Bouquet: a Fresh Bunch of Old Rhymes and Tunes, which went on to sell hundreds of thousands of copies. The book shows influences ranging from the Pre-Raphaelites, Japanese art to the incipient arts and crafts movement. In 1889, Flora's Feast: A Masque of Flowers was published, featuring flowers represented as human figures, for which Evans used as many as eight colour blocks. Their later collaborations includes an edition of Alice in Wonderland with coloured versions of John Tenniel's 1890 illustrations, and the 1899 A Floral Fantasy in an Old English Garden. Randolph Caldecott The pressure of such steady production caused Crane to stop his work for a period, and Evans replaced him with Randolph Caldecott, whose magazine illustrations he had seen and liked. Initially Evans hired Caldecott to draw illustrations for nursery rhyme books, beginning with another printing of The House that Jack Built in 1877. Evans proposed to fill each page with an illustration, which were "often little more than outlines" to avoid the blank pages which were customary in toy books of the period. In 1878 The Diverting History of John Gilpin was published, illustrated by Caldecott and printed by Evans. Evans supplied Caldecott with materials for the illustrations and payment based on sales quantities. Evans explained the business arrangement: I agreed to run all the risks of engraving the key blocks which he drew on wood; after he finished colouring a proof I would furnish him, on drawing paper, I would engrave the blocks to be printed in as few colours as necessary ... the key block in dark brown, then a flesh tint for the faces, hands, and wherever it would bring the other colours as nearly as