such knowledge does not enhance the artistic value of the cut; and however pleasing it may be to the public to obtain copies even successfully, indicating the general effects, without the charm, of originals in other arts with which wood-engraving has little affinity, such work will rather satisfy curiosity than delight the eye. The public may thus derive information; they will not obtain works of artistic value at all equal to those which wood-engraving might give them, did it not abdicate its own peculiar power of expressing nature in a true, accurate, and beautiful way and descend to mechanical imitation. The application of the art to such purposes, as little more than another mode of photography, is a debasement of it; it ceases to be a fine art when it ceases to be practised for the sake of its own powers of beautiful expression. Such work, therefore, has only a secondary interest, as being one more process for the defective reproduction of beautiful things, and requires only a passing mention.
Aside from these imitative cuts, the most striking portion of recent engraving, that which has been hailed as opening a new career to the art, is characterized either by a great refinement of line or by a practical abandonment of line. Of the former tendency Mr. Henry Marsh affords the most prominent examples by his engravings in illustration of insect life, or similarly delicate work. The skill of his hand and the charm of the style he has adopted are beyond question; there is as little doubt of the truthfulness and beauty of the effects secured in the rendering of individual objects, the butterfly wing, the pond-lily, or the spray of the winter forest; the only deduction to be made from his praise is, that when he binds these several objects into one picture, as in a landscape, he suffers the too frequent
