within its province, different masters make a choice, and aim principally at reproducing color, or chiaroscuro, or form, as their talents direct them, for a genius seldom arises with the power to combine all these with the truth and harmony of nature. Wood-engraving, there is no need to say, cannot reproduce the real hues of objects, nor the play of light upon hue and form, nor the more marvellously transforming touch of shadow; it can represent the form of a peach, but it cannot paint its delicate tints, nor adequately and accurately show how the beauty of its bloom in sun difers from the beauty of its bloom in shade. More broadly, a landscape shot with the evanescent shadows that hover in rapidly moving mists, or the intermingling light and gloom of a wind-swept moonlit sky half overcast with clouds, wood-engraving has no power to mirror in true likeness. The most it can do in this direction is to indicate, it cannot express; it can exhibit strong contrasts and delicate gradations of light and shadow, and it can suggest varying intensity of hues, by the greater or less depth of its blacks and grays; but real color and perfect chiaroscuro it relinquishes to painting.
Form, therefore, is left as the main object of the wood-engraver’s craft, and the representation of form is effected by delineation, drawing, line-work. This is why the great draughtsmen, such as Dürer and Holbein, succeeded in designing for wood -engraving. They knew how to express form by lines, and they did not attempt to do more even when suggesting color-values by the convention of black and gray. Line-work is thus the main business of the engraver, because form must be expressed by lines. Line-work, however, is of different kinds, and all kinds are not equally
