The charm of this new and surprising beauty in fine-line woodcuts, however, has not at all deprived the old broad and bold line of its force and vigor, nor made less valuable the strong contrasts in which the art won its earlier success. On the contrary, it is in the old province and by the old methods that wood-engraving has worked out its most distinctive and peculiar effects of real value. [Illustration: FIG. 79.--Mount Lafayette (White Mountains). By J. Tinkey.] In what has been thus far said of the line-work proper to wood-engraving, black line-work only has been referred to. Wood-engraving is also an art of design in white line, and here a different set of considerations applies. There is not the same difficulty in cutting fine and delicate white lines, as is the case with black lines, nor the same unlikelihood of their effect being felt in the printed design. There is, too, no objection whatever to crossing white lines, as a mode of work, for it is as easy a process for the wood-engraver as crossing black lines is for the copperplate-engraver, and the result thus obtained is sometimes of great value, particularly in the moulding of the face. The art of design in white line, however, is but little developed; but, not to depreciate the older method of black line, which is extremely valuable, nevertheless it is clear that white line-work is the peculiar province of the wood-engraver, and that in developing its capacities the future of the art mainly lies, so far as it rests with him. The merit of all line-work, whether black or white, fine or broad, bold or subtle, depends upon the certainty with which the lines serve their purposes. If, as with Holbein, every line has its work to do, and does that work 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.