The Birds of Europe, Gould’s second major project (described by Hyman as his magnum opus), is dominated by the extraordinary contribution of Edward Lear. Arguably Gould's inspiration for the project was Lear's folio lithographed work on Parrots. Lear chose the large folio size which became general for later bird books, he was also among the first to draw from life where possible and he was the first to appreciate the full potential of the new process of lithography for ornithological illustration. Lear learned the process of lithography from Charles Hullmandel, author of 'The Art of Drawing on Stone' and the printer of the Birds of Europe. Hullmandel visited Germany to learn the technique directly from Senefelder, its inventor. Hundreds of faithful impressions could be taken from a lithographic stone, and drawing directly onto the stone preserved the style and sponteneity of the original drawing, rather than translating the original medium into the lines and dots necessary when etching onto copper or steel. It was perfect for showing strong flight feathers, or plumage ruffled by the wind. Lear's financial difficulties - he was forced to abandon his work on Parrots and sell the copyright to Gould - enabled Gould to employ him more fully in the Birds of Europe than he had in his work on Toucans. Lear supplied 67 plates, and chose to illustrate many of the largest and most charismatic birds. He also influenced the work of his fellow artist, Gould’s wife Elizabeth. The Birds of Europe received a rapturous welcome at the time, and is arguably among the most magnificent and important ornithological works ever produced.