From this Account it is evident that there was little encouragement to be hoped for in _England_ to a Person whose Genius led him to prosecute his Studies in the ancient Manner; which obliged Mr. _Jackson_ to go over to the Continent, and see what was used in the Parisian Printing-houses. At his arrival there he found the _French_ engravers on Wood all working in the old Manner; no Metal engravers, or any of the same performance on the end of the Wood, was ever used or countenanced by the Printers or Booksellers in that City. [Illustration: Figure 5.--Example of the Woodcut Style that Created Facsimile Drawings. Woodcut (actual size) by Hans Lutzelburger, after a drawing by Holbein for his "Dance of Death," 1538.] There were good reasons for the lack of development of a white-line style, even in England with its lower standards in printing and illustrative techniques. On the coarse paper of the period fine white lines could not be adapted to relief (typographical) presswork; they would be lost in printing because the ribbed paper received ink unevenly. Even the simple black lines of the traditional woodcut usually printed spottily when combined with type. The white lines, then, had to be broadly separated. This did not permit the engraving of delicate tones. If this could not be achieved, the effect was similar to woodcutting but with less crispness and accuracy in the drawing. A good woodcut in the old manner could do everything the wood engraving could do, before Bewick, with the added virtue that the black line was comparatively clear and unequivocal, as can be seen in figure 5. [13] _Ibid._, p. 27. [Illustration: Figure 6.--Woodcut Tailpiece by J. M. Papillon, from _Traité historique et pratique de la gravure en bois_, 1766. The cutting was done so minutely that some details were lost in printing. (Actual size.)] The woodcut, in the hands of a remarkable cutter, could produce miracles of delicacy. It could, in fact, have black lines so fine and so closely spaced as to take on the character of line engraving. It did not, of course, have the range of tones or the delicacy of modeling possible in the copper plate medium, where every little trench cut by the burin would hold ink BELOW the wiped-off surface, to be transferred to dampened paper under the heavy pressure of the cylinder press. In addition, the roughness of early paper, which was serious for the woodcut, created no difficulties for the line engraver or for other workers in the intaglio or gravure media.