perfectly; if it fulfils its function of defining an outline, or marking the moulding of a muscle, or deepening the intensity of a shadow, or performing some similar service, then the designer has followed the method of high art, and has produced something of value. The work of all who practise the art—the draughtsmen who draw in black line, and the engravers who draw in white line—has worth just in proportion as they acquire the power to put intention into their lines and to express something by every stroke; and, other things being equal, he who conveys most meaning in the fewest lines, like Holbein and Bewick, is the greatest master. By means of such lines so arranged wood-engraving does represent form with great power, and also texture, which is only a finer form; it indicates positive hues, and, within limits, suggests the play of light and shadow on form and hue. It thus aims chiefly, in its bolder and more facile work, at force, spirit, and contrast, and, in its more rare and difficult efforts, at delicacy, finish, and nice gradation of harmonious tones.
If there is any value in the teaching of the past, either these principles must be shown to be no longer valid, or by them the engraving of the last ten years must be judged. A considerable portion of it consists of attempts to render original designs—for example, a washed drawing—not by interpreting its artistic qualities, its form, color, force, spirit, and manner, so far as these can be given by simple, defined, firm lines of the engraver's creation, but by imitating as closely as possible the original effect, and showing the character of the original process, whether it were water-color, charcoal-sketching, oil-painting, clay-modelling, or any other. However desirable it may be to make known the original process,
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