s, "killed not only
the artists themselves, but the process. In its stead arose a better,
truer method, a more artistic method, which we are even now only
developing."

But there is another side to this question. Illustration has lost
something by the uniformity of style which the modern method encourages.
Keene, whose style was supposed to suffer most at the hands of the
engraver, found it more difficult than anyone to accommodate his free
methods to the rules that govern the results of the modern process.

It may be noted that it was about the time of the transition from
working on wood to work on paper that that slavery to the model began,
which, as we have pointed out, has not in the end been without an
unhappy effect in the loss of spontaneity to English Illustration.

[Illustration: Initial Letter from _The Cornhill_]

As for the art of wood engraving itself, we hope it will now have a
future like that which the arts of lithography and etching are enjoying.
Reproduction by process serves commercial and journalistic purposes far
better. The demands of commerce formed for this art, as it once formed
for lithography, a chrysalis in which it perfected itself.
Reproduction by process serves commercial purposes much better than
ever wood-engraving could, but while the commercial demand for it
lasted, as in the case of the arts of lithography and etching, it
continued to improve; like them, let us hope, destined to find beautiful
wings upon its release from the cramping demands of modern printing
machines, in its practice by artists for sheer love of the peculiar
qualities which are its own. It has been said that wood-engravers killed
their own art so far as journalism was concerned by their surrender to
commerciality with its frequent demand for the ready-to-hand rather than
the superior thing. But his surrender was not the fault of the
engravers, but was rendered inevitable by the advent of the middleman,
to whom application was made by the Press for blocks, and whose
employees all engravers were practically forced into becoming, instead
of being able to retain their independence and make their own terms with
the Press.

Section 7

In the British Museum some of the originals of du Maurier's _Punch_
pictures may be seen. On the margins of these are the pencilled
instructions of the Editor as to the scale of the reproduction, and
very often pencil notes from Artist to Editor. This sort of thing--"If
they have u