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176 The art naturally received a great impetus from this demand upon its resources; it rapidly advanced; and being encouraged farther by the popularity of the new and beautifully illustrated gift-books of the Boston and New York publishers, it has taken the leading place in the artistic interests of the country.

The scope of this volume does not allow any detailed account of the works of American engravers individually; but while the increased productiveness and improved technique of the art during the third quarter of the century are being noticed, it would be unjust to make no mention of the quiet, careful, and refined woodcuts of Mr. Anthony, or of the long and unflinching fidelity of Mr. Linton, with its reward in admirable work, or of the exquisite skill of Mr. Henry Marsh, the best of American engravers of that period. The latter’s marvellous rendering of insect life in the illustrations to Harris’s Insects Injurious-to Vegetation, published in 1862, can never be forgotten by any who have been fortunate enough to see the artist-proofs. His work is in the manner of copperplate-engraving, and affords one of the few instances in which wood-engraving has equalled the rival art in fineness, delicacy, softness, and gradation of tone. Whatever the critic’s theory may be, he must remember that genius has a higher validity than reason, and must acknowledge such work as this to be its own justification. Unfortunately, the cuts in the published volume were not—perhaps at that time could not be—printed with the success they deserved. The work of these three engravers illustrates what advance had already been made in skilful line-arrangement and in technique before 1870, about which time the indications of an approaching change in the art