In the middle of the century, inartistic mixture of styles, mechanical means replacing true work, exigencies of copyright, and above all the complete severance of the engraver not only from the painter but also from his only rightful patron the public, had worked its sure result. Some good men survived, such as Lewis, Atkinson, Doo, Robinson, J. H. Watt, R. Graves, J. Posselwhite, Lumb Stocks, Henry Cousins,[69] W. Giller, J. R. Jackson, and a few others; but no young school had been forming to replace those dying out, and everything presaged the gradual extinction of engraving as one of the great arts. Has this lowest point been reached? Perhaps, as with the beautiful art of miniature painting, which for a time on the advent of photography seemed gone for ever, yet still like some stream was only running on in hidden course underground to appear again and reach daylight, so may it happen with engraving. Within the last few years two engravers have produced prints worthy of any period of the art, the late C. H. Jeens and the present Mr. W. H. Sherborne. Some of the stipple miniature book illustrations which Jeens executed for Messrs. Macmillan and others, such as the gem medallions of Plato and Socrates, "Love and Death," Woolner's "Beautiful Lady," the portraits of Allan Ramsay, Charles Young, Mr. Ruskin's two Aunts, and above all William Blake, are engraved with the tender feeling and fine touch of the true artist. Mr. Sherborne, born in 1832, probably little known except by the few, originally a chaser and designer for jewellers and pupil of Pietro Gerometti, the Roman cameo engraver and medallist, in 1872, fired by hope and love of the art, forsook his own branch to follow that of engraving. Like all true artists, his mode of execution is his own. Apollo, exhibited at the Royal Academy, 1881, the head of Mr. Seymour Haden, the portraits of Phelps the Chelsea Waterman or Mrs. James Builth, and the interiors of Westminster Abbey, seen at the Painter-Etchers' Exhibition in the summer of 1885, are works that will last, and are good examples of the engraver's powers, causing regret that Mr. Sherborne had not earlier turned his attention to an art the beauty of which he so truly feels. While engraving as a whole was decaying, one branch, that of etching, has been undergoing a revival, and the names of Mr. Seymour Haden, Mr. Philip Hamerton, and Mr. Whistler are world-known. They and their school have confined themselves to producing their own designs, while others, like Mr. David Law, Mr. Macbeth, and the Messrs. Slocombe, also translate the works of painters. But, whether as a vehicle for conveying an original design or translating that of another artist, etching is strictly limited in its powers; it bears the same relation to the full art of engraving as sketching or drawing does to that of perfect painting; suggestive, capable of exhibiting broad effects of light and shade, or indicative