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 reproduction of copperplate-engraving, and as a piece of imitative work it is remarkable; the figures are life-like, full of vivacity and force, and the faces are natural and very expressive. It is, however, in the style of copperplate, and in the qualities mentioned it does not excel the next cut (Fig. 84), in which the character and direction of the lines are those peculiar to wood-engraving. The former has an appearance of more finish, as also of more hardness, but it does not by its more difficult mode of engraving, accomplish what is aimed at in any higher degree than does the latter by its simpler, easier, and freer manner. The Tap-room (Fig. 85), by the same engraver, is less careful work, and its novel technical quality, while of the same general character as that of the last cut, is more pronounced and less pleasing. The figures as a whole are good, but the faces are poor; the use of the cross white line or stipple for fire, apron, rafter, table-cloth, and face indifferently cannot be commended, and the character of many of the lines (particularly in the lower part of the seated figure) is beyond criticism. It is the still bolder and more general use of the peculiar modes of engraving in this design that results in the most meaningless, negligent scratchiness of the new school. Mr. J. P. Davis’s “Going to Church” (Fig. 86) is a favorable example of another considerable class of cuts that is on first sight novel and pleasing. On examination one sees that the figures are certainly the best part of the cut; but why should the maiden’s dress be the same in texture as the cow’s breast, and the young man’s trousers the same as the cow’s back? and why should the child’s face be of a piece with its collar? Notice, too, beyond the wall the familiar flat and insubstantial trees, with their foliage that would serve as well for the ground at the foot of the steps. [Illustration: FIG. 85.--The Tap-room. Engraved by Frank French.] [Illustration: FIG. 86.--Going to Church. Engraved by J. P. Davis.]