attending to these two kinds of line-work, separately or together, can wood-engraving remain artistic; and even then its success will depend on the knowledge and skill of the designer, whether artist or engraver, in the use and arrangement of the special lines which are best adapted to the art. [Illustration: FIG. 88.--The Spanish Peasant. Engraved by F. Juengling.] [Illustration: FIG. 89.--James Russell Lowell. Engraved by Thomas Johnson.] [Illustration: FIG. 90.--Arthur Penrhyn Stanley. Engraved by G. Kruell.] The history of wood-engraving, as it is recorded in the chief monuments of the art, has now been told from its beginning down to the present moment. Its historic and artistic value has been mainly dwelt upon, with the view of showing its utility as a democratic art and its powers as a fine art. It has had an illustrious career. It has shared in the great social movements which transformed mediæval into modern civilization. It entered into the popular life, in its earliest days, by representing the saints whom the people worshipped. It contributed to the cause of popular civilization in the spread of literature. It assisted the introduction of realism into art, and gave powerful aid in the gradual secularization of art. It lent itself to the Italian genius, and was able to preserve something of the loveliness of the Italian Renaissance. It helped the Reformation. It gave enduring form to the imagination and thought of Dürer and Holbein. It fell into inevitable decline; but, when the development of democracy again began in the new age, it entered into the work of popular civilization with ever-increasing vigor and ever-widening influence. It seems still to possess unlimited capacities for usefulness in the future in both the intellectual and artistic education of the people. It may yet crown its career by making this country an art-loving as well as a book-reading Republic. A LIST OF THE PRINCIPAL WORKS UPON WOOD-ENGRAVING USEFUL TO STUDENTS. ARCHIV für die zeichnenden Künste, mit besonderer Beziehung auf Kupfer-stecher-und Holzschneidekunst. Herausg. von R. Naumann. 1ter-16ter Jahrgang. Leipzig, 1855-’70. 8vo. BARTSCH (ADAM). Le Peintre-Graveur. Vienne, 1803-’21. 21 T. 8vo; Atlas, 4to. BECKER (C.). Jobst Amman, Zeichner und Formschneider, etc., nebst Zusätzen von R. Weigel. Leipzig, 1854. 4to. BERJEAU (J. PH.). Biblia Pauperum. Reproduced in Facsimile from one of the copies in the British Museum, with an historical and bibliographical Introduction. London, 1859. Folio. Speculum Humanæ Salvationis. Le plus ancien Monument de la Xylographie et de la Typographic réunies. Reproduit en Facsimile, avec Introduction historique et bibliographique. Londres, 1861. Folio. BERNARD (AUGUSTE). De l’Origine de l’Imprimerie. Paris, 1853. 2T. 8vo. BIGMORE (E. C.) and WYMAN (C. W. H.). A Bibliography of Printing. With Notes and Illustrations. [Vol. 1.] A-L. London, 1880. 4to.