The superiority of wood-blocks to metallic-plates consists in their superior capacity for impressing broad, solid masses of pure black, as contrasted with pure white. An effect which cannot be readily or effectually given on metal. Since in intaglio engraving the nearest approach to absolute blackness, extending over spaces, is obtained by the continual crossing and recrossing of slender black lines, until the white interstices become infinitesimal, and their effect is more or less swallowed up and lost. The superiority of metal to wood, on the other hand, consists in the greater readiness and facility with which it transfers to paper the finest and most delicate hair-strokes, such as could hardly be left to sustain themselves in wood when all surrounding lights are cut away. This leads to a different mode of _handling_ in the two materials. Shadows in metallic engraving are produced, mainly, by what is called cross-hatching, or cutting lines, intersecting each other diagonally, with white, lozenge-shaped intersections between them. This method cannot be resorted to with any facility on wood, as any one may comprehend, who will consider, that in one case, on metal, the engraver has only to cut long, continuous lines intersecting each other, each line by a single stroke; leaving the interstices to take care of themselves; while in the other, on wood, every separate lozenge-shaped interstice has to be cut out in precise and regular form, and with such nicety as to leave the intersections, often no wider than a hair, in continuous and accurate lines. The labor and waste of time in this method is enormous; and, although it is adhered to by some artists, the better and, in our opinion, more effective way of giving shadow is by leaving greater _breadth_ to the prominent lines where the heavier shadows are required, and so diminishing the size of the light spaces left, though in a different direction, and by a different method. The finest cross-hatched wood-cut in existence, probably the finest ever executed, is a large cut of the death of Dentatus, engraved by Mr. Harvey from the design of Mr. R. B. Haydon. But, though it is unquestionably the most elaborately engraved large wood-cut that ever has appeared, and though parts of it are better than any thing earlier or later, in the same style, it cannot be regarded as a successful specimen of the art. It is, in fact, an attempt to rival a copperplate-engraving on wood; and, as such, has transcended the powers of the art, and the capabilities of the material. That Mr. Harvey has effected with wood all that could be effected on wood in this manner, is undeniable; but that he could have produced much more with wood, in a different manner, is equally certain. If the _ne plus ultra_ of wood-engraving were to produce imitations of metal-engraving of inferior effect, and with much greater labor, then Mr. Harvey’s Dentatus were the _ne plus ultra_ of wood-engraving.