prevailing obscurity admits; but the cut as a whole is much harmed by the lack of relief, which seems to be a recurring fault in fine-lined and crowded work. The cut (Fig. 81) by Mr. Juengling, whose engravings exhibit the tendencies of the new methods in the most pronounced way, shows, like the preceding illustration, an inattention to texture in the foliage, and an entire negligence of cloud-form in the sky, which is a fair example of the abandonment of line, or of meaningless line, as one chooses to call it. An effect is gained, a horizon light and shadowed masses, but the landscape is not faithfully rendered.
Of a different order are the two following cuts, simple, quiet, and refined. The mountain scene (page 183) is admirable for the disposition of its lights and shadows, the gradation and variation of its tints, and the subordination of every element to a truthful total effect. The cut by Mr. Hoskin (Fig. 82) is a good example of his always excellent work, showing his power of economy and his feeling for line and tone, while it evinces self-restraint in methods of work.
The change that has taken place in recent engraving has been less marked in cuts of landscape, however, than in cuts of figures. In the former line-arrangement has been affected somewhat, and usually for the worse, but in the latter the transformation has been greater, and the results already worked out of more striking novelty. The development, however, has been in the same directions, in refining or abandoning line, and examples exhibit the same or analogous variation in the engravers' regard for form and texture. The first group here given (Fig. 83) shows clearly, by the character and the direction of its lines, that it is a re-
