penalty of fine detail, and loses in the delicacy and finish of the parts the beauty that should have characterized the whole. There is always in his cuts grace, poetic feeling, exquisite workmanship, but there is in some of them a lack of body, substance, distance, of skill in placing the objects in a natural relation to one another, that mars the total result.
Fig. 81.—The Old Orchard. Engraved by F. Juengling.
Mr. Marsh is one of the older men, and deserves the credit of first showing what wood-engraving is capable of in refinement of line; but younger men have joined him in developing these capacities of the art, and have made work in this style more common. The best of it is by Mr. F. S. King, being equal in every quality to Mr. Marsh's most admirable cuts. Such engraving is exceptional, of course; but the evenness and transition of tone, the care for line, the discrimination of both line and color values, shown in these butterflies (Fig. 77), are
