It must be evident that within the limits of an article, such as this, it must be impossible to enter fully into the merits and peculiarities of all the wood-engravers of four centuries; when at the present day alone there are living more than twenty, to each of whom more than an equal space were fairly due, if we but had the space to bestow in proportion to their deserts. As it is, even on Bewick, greatest, in our opinion, most original, most truthful to nature, and least a mannerist of all who have succeeded or preceded him, we can dwell long enough only to speak of him generally as the founder of the modern school, superior in delineation of texture, in force, in spirit, and in the true feeling and genius of the art of wood-cutting, to all the world beside. To those who are acquainted with his “British Birds,” we need only refer to his “woodcock” and his “partridge,” more especially, in justification of our unqualified praise and admiration; to those who are not, we can only give our earnest advice to become acquainted with them as soon as may be. Bewick had many scholars and pupils, who have brought down his reputation and much of his skill to the present day. Mr. Harvey, one of his most eminent successors, long considered his best pupil, has given up engraving for designing, still maintaining high character for ability; but, though a man of unquestioned talent, he is rather too much of a mannerist greatly to delight ourselves. The delicious foliage of Linton, king of all modern artists, is known to all our readers from the fine wood-cuts in the illustrated London papers; as are the traits and characteristics of Thompson, Foster, and half a dozen others, although their names may not be so familiar as their works. Beyond all doubt, the English school of wood-cutting, whether for loose, sketchy, landscape, or elaborate portraiture, is now the finest, freest, simplest, and most natural in the world; the French excel in a sort of bold pen and inky style of character and caste delineation--but it is national, not universal--tricky, not artistical, and lacking the “touch of nature which makes the whole world kin.” No country has, however, made such wonderful strides in this art as America; for twenty years ago scarce twenty wood-engravings were published annually in America; now we should be afraid to say how many times twenty thousand.