From γράφω is derived the Latin _scribo_,[I-2] “I write;” and it is worthy of observation, that “_to scrive_,”--most probably from _scribo_,--signifies, in our own language, to cut numerals or other characters on timber with a tool called a _scrive_: the word thus passing, as it were, through a circle of various meanings and in different languages, and at last returning to its original signification. [Footnote I-2: If this etymology be correct, the English Scrivener and French _Greffier_ may be related by descent as well as professionally; both words being thus referable to the same origin, the Greek γράφω. The modern _Writer_ in the Scottish courts of law performs the duties both of Scrivener and Greffier, with whose name his own is synonymous.] Under the general term SCULPTURE--the root of which is to be found in the Latin verb _sculpo_, “I cut”--have been classed copper-plate engraving, wood engraving, gem engraving, and carving, as well as the art of the statuary or figure-cutter in marble, to which art the word _sculpture_ is now more strictly applied, each of those arts requiring in its process the act of _cutting_ of one kind or other. In the German language, which seldom borrows its terms of art from other languages, the various modes of cutting in sculpture, in copper-plate engraving, and in engraving on wood, are indicated in the name expressive of the operator or artist. The sculptor is named a _Bildhauer_, from _Bild_, a statue, and _hauen_, to hew, indicating the operation of cutting with a mallet and chisel; the copper-plate engraver is called a _Kupfer-stecher_, from _Kupfer_, copper, and _stechen_, to dig or cut with the point; and the wood engraver is a _Holzschneider_, from _Holz_, wood, and _schneiden_, to cut with the edge. It is to be observed, that though both the copper-plate engraver and the wood engraver may be said to _cut_ in a certain sense, as well as the sculptor and the carver, they have to execute their work _reversed_,--that is, contrary to the manner in which impressions from their plates or blocks are seen; and that in copying a painting or a drawing, it requires to be reversely transferred,--a disadvantage under which the sculptor and the carver do not labour, as they copy their models or subjects _direct_. ENGRAVING, as the word is at the present time popularly used, and considered in its relation to the pictorial art, may be defined to be--“The art of representing objects on metallic substances, or on wood, expressed by lines and points produced by means of corrosion, incision, or excision, for the purpose of their being impressed on paper by means of ink or other colouring matter.”