poet, whose verse is here put into picture, thought of trees as “senators” of the woods? In the disposition of the light of the atmosphere, in the management of the gray tints, particularly in the lower portion of the cut, the eye takes more pleasure: there is some discrimination between the sheep, the old man, and the fold--as much, perhaps, as the 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. [Illustration: FIG. 83.--The Travelling Musicians. Engraved by R. A. Muller.] 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. [Illustration: FIG. 84.--Shipwrecked. Engraved by Frank French.]