This translation of 'Les Merveilles de la Gravure' will doubtless, in the words of the editor, be 'acceptable to all lovers of this important and deeply interesting branch of art. It traces from its different origins in wood engraving and _nielli_, this effort of one high art to become the handmaid and herald of another, until the genius of the engraver has developed a comprehensive department of original design and elaborate artistic work of his own. Our author has told the story of this development as it unfolds itself in the different schools of Italian art in Spain, in Flanders, in Holland, in Germany, England, and France. This necessitates brief sketches of distinguished engravers in wood or copper, belonging to all these countries, with some account of their works. As many of these engravers are far better known to fame by their paintings, we have fresh interesting details concerning the life-work of Leonardo da Vinci, Marc Antonio Raimondi, Albrecht Dürer, Rembrandt, Ruysdael, Lucas v. Leyden, Paul Potter, Hogarth, Gillray, Nicolas Poussin, and Claude Lorraine, with very many others. The author rather glories in a clever reference which he made of some anonymous engraving of the early Italian school to the hand of Leonardo himself, and in some interesting and independent confirmation of his guess, which he afterwards derived from other quarters. To those who have not made the art of engraving a practical and prolonged study, many of these chapters may have the appearance of a catalogue of strange names, and of partially comprehended work, rather than of a dissertation to make one wise. The transition is rapid from one great name to another, and the volume will be used as a book of reference rather that as a continuous treatise. The autotype copies of several old engravings, as well as numerous woodcuts, greatly enliven and enrich the pages. It is very interesting to see in this department of human endeavour, how great results have followed accidental discovery. The Italian goldsmiths, who, before running their enamel (_nigellum_) into the ornamented and engraved gold, tried the effect of their work by staining paper or linen, and by the impressions (_nielli_) which the engraved surface when first washed with colouring matter would produce, no more anticipated the extraordinary development which their chance trials would receive, than could the early printers have prophesied the marvels of the modern printing-press. M. Duplessis has briefly and clearly enumerated and described all, or nearly all, of the processes of engraving. We are surprised that he has not given some place to the wonderful process of lithography. The volume is a marvel of finish and beauty. _Art in the Mountains._ By HENRY BLACKBURN. London: Sampson Low, Son, and Marston.