black as ink and balls can make it, without any farther labor at all; and it may easily be seen that the thinnest strokes cut upon the plain surface will throw some light on the subject or design; and if these strokes again are made still wider or of equal thickness to the black lines, the color these produce will be a gray; and the more the white strokes are thickened, the nearer will they in their varied shadings approach to white; and if quite taken away, then a perfect white is obtained.” The practical difference between the two methods is this: by the old method, after the simple work in outline of the early Italian engravers had been relinquished for the style of which Dürer was the great master, the block was treated as a white surface, on which the designer drew with pen and ink, and obtained grays and blacks by increasing the number of cross-strokes, as if he were drawing on paper; by the new method the block was treated as a black surface, and the color was lessened by increasing the number of white lines. The latter process was as easy for the engraver as the former was difficult, because whereas in the former he had to gouge out the diamond spaces between the crossing lines, now he obtained white color by single strokes of the graver. Bewick may have been led into the use of white line simply by this consideration of the economy of labor, because he engraved his own designs, and was directly sensible of the waste of labor involved in the old method. In both methods color depends, of course, upon the relative quantity of black and white in the prints; the new method merely arranges color differently, so that it can be obtained by an easy mechanical process instead of by a difficult one.
The use of white line not only affected the art by mak-
