hand of a man used to copper; and is not that the best calculated for producing effects on wood.

"There are about two hundred subjects, engraved on wood," we quote, as before, from Jackson's History of Wood-Engraving, "which are marked with the initials of Albert Durer's name, and the greater part of them, though evidently designed by the hand of a master, are engraved in a manner which certainly denotes no very great excellence. Of the remainder, which are better engraved, it would be difficult to point out one which displays execution so decidedly superior as to enable any person to say positively that it must have been cut by Durer. The earliest engravings on wood with Durer's mark are sixteen cuts illustrative of the Apocalypse, first published in 1498; and between that and 1528, the year of his death, it is likely that nearly all the others were executed. The cuts of the Apocalypse generally are much superior to all wood-engravings that had previously appeared, both in design and execution; but if they be examined by any person conversant with the practice of the art, it will be perceived that their superiority is not owing to any delicacy in the lines, which would render them difficult to engrave, but from the ability of the person by whom they were drawn, and from his knowledge of the capabilities of the art. Looking at the state of wood-engraving at the period when those cuts were published, I cannot think that the artist who made the drawings would experience any difficulty in finding persons capable of engraving them."

It matters not, however, to the history of the art, whether Durer engraved, or did not engrave, with his own hand; it is sufficient for us to know, that it was he, and his friends and successors, who raised it to the position which it in their time occupied, and which, after a dark interregnum, it now occupies again, how high to soar hereafter we know not.

The works of Durer," The Triumphal Procession of Maximilian," in which he was a collaborateur with Hans Burgmair, The "Dance Macaber," ascribed improperly to Hans Holbein, all executed nearly at this period, if they did not attain the highest attainable pitch of perfection, fell not at least far short of it. If, in after days, the skill of the manual workman has increased, the excellence of the designer is less marked—or, what amounts to the same thing, the best designers have not, until within the last half century, applied their talents to this art. At all events, and all things considered, we may assume with Mr. Jackson, that "at no time does the art appear to have been more flourishing, or more highly esteemed, than in the reign of its great patron the Emperor Maximilian."

Italian school yet for awhile clung to existence, distinguished by inferior vigor, but by superior finish and neatness both of drawing and workmanship, and then perished, effete before mature, and never, we believe, has again revived.

How low the art of wood-engraving sunk after the commencement of the seventeenth century, and how small appeared the chance of its ever rising again from its ashes, may be seen at a glance; by comparing the specimens above, none of them pretending to be exemplars of the finest work of their several epochs, with the following miserable abortion, than which, it needs not now to say, no tolerable apprentice, of one year's standing in a respectable office, could, unless he tried to do so, produce any thing worse either in design or execution.

And yet this is a very fair example of the style of wood-engraving from the reign of Charles II. to that of George III., with few exceptions. In a word, for some unaccountable reason, this noble art, as an art, had fallen every where-though nowhere, as some persons have fancied, either disused or forgotten-into desuetude, neglect, and contempt, from about the year 1700, until near the close of the eighteenth century. This, too, occurred at a period when, in many other sister branches, art stood as high, perhaps higher than ever, when Antony Vandyke, and Peter Joly, and Godfrey Kneller, and Joshua Reynolds painted, and copperengraving had shown no decadence, but the reverse, either on the Continent or in England.

On the 10th of August, 1753, at Cherryburn, near Newcastle on Tyne, in Northumberland, was born, the son of a poor owner of a small landsale colliery, Thomas Bewick, who, by his own almost unassisted talents, raised this art, singlehanded, from utter disgrace, and all but oblivion, to its very highest pitch of excellence-for in generic drawing and engraving especially, he never has

found, and probably never will find, an equal. Designer, draughtsman, engraver, three in one, he has produced wood-cuts which never have been approached, and of which it has been said by It is said that as a boy this great man was employed as a laborer at his father's coal-pit; but this may be dismissed as improbable at least, since he was early sent to school by his father at the Parsonage House of Ovingham, in an adjoining parish, and was subsequently, in compliance with his own desire, apprenticed to Mr. Beilly, an engraver at Newcastle, where, having by a mere accident of the office been employed to cut some mathematical diagrams on wood, he acquired a taste for the art sufficient to urge him on, without much encouragement, to its prosecution. Shortly after the expiration of his apprenticeship, he returned to his father's house, and there applied himself earnestly to the study of the art in which he was ultimately to gain so much renown.

In 1775, when he was twenty-two years old, he received a premium from

the Society for the En

competent authority, that "every line that is to be perceived in this, is the best that could have been desired to express the engraver's perfect idea of his subject.

only degraded from its high estate and abused to base purposes.

Although this juvenile engraving of the great

master in no respect approaches the greatest, or even the average, of his mature works, it yet exhibits great talent and greater promise. The whole later tendency of woodengraving, such as it was, had been toward conventional method, not toward the study and imitation of nature; and here at once, in his earliest success, we find the learner leaving all rules and precepts behind him, and dashing at once into the bold, free, and irregular imitations of nature, by which he was thereafter to achieve a reputation, create a school, and redeem a noble art from the disrepute into which it had fallen; not-as some foolishly have asserted-to revive a lost or forgotten art; for wood-cutting never had been, even in the worst times, disused, but 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.

Then, there were, to the best of our memory, but two wood-cutters of any great note or merit-certainly in New York, we believe in America. Dr. Alex'r. Anderson, supposed to be the first who produced any thing worthy of note in this profession, commenced the business, which he still pursues, in 1798 or 1799. Mr. J. A. Adams was the next, who applied himself to the art in 1826. He has now retired, it is understood, on a handsome competency earned by his talent and industry; chiefly, it is said, through his engagement on Harper's illustrated Bible, a work which owes its celebrity to its prestige, as being the first thing of the kind issued in the United States, and by no means to its merits as a work of art. When issued, in the opinions of those who knew, it was barely tolerable for this country, in which the art was nearly unknown; were it to appear now, it would be merely contemptible.

Not to be over boastful of our own columns, we do not fear to challenge comparison between the generic cuts of game, which have appeared in Graham, within the last two years, from the gravers of Devereux and Brightly, against any thing of their character since the days of Bewick. The cuts of Orr-to whom we had intended to allude more fully-in this paper, as well as those of Devereux generally, prove what we shall do hereafter. But want of space, in this number, circumscribes much complimentary mention of these and many other artists.

MANY rivers are subject to a considerable elevation of the level of their waters. This is periodical or irregular in its occurrence, according to the nature of the producing cause. Casual temporary floodings, as the effect of extraordinary rains, are common to the streams of most countries, and sometimes occasion great changes of the surface, and destruction of life and property. One of the most remarkable instances of this kind in modern times, occurred on the 4th of August, 1829, in Scotland, when the Nairn, Spey, and Findhorn rose above their natural boundaries, and spread a devastating deluge over the surrounding country. The rain which produced this flood fell chiefly on the Monadhleadh Mountains, where the rivers in question have their feeders, situated between the south of Loch Ness and the group of the Cairngorums. Sir Thomas Dick Lauder, in his interesting account of this inundation, considers the westerly winds, which prevailed for some time previously, after a season of unusual heat, to have produced a gradual accumulation of vapor, somewhere north of our island; and the column being suddenly impelled by a strong north-easterly blast, it was driven toward the south-west, till arrested in its course by the lofty mountains upon which it discharged itself in torrents perfectly unexampled. The rain fell occasionally in heavy drops, but was for the most part broken by the blast into extremely minute particles, so thick that the very air itself seemed to be descending in one mass of water upon the earth. It deluged every house whose windows were exposed to the south-east. The lesser animals, the birds, and especially game of all kinds, were destroyed in great numbers, by the rain alone; and the mother partridge, with her progeny and mate, were found chilled to death amidst the drenching wet. At Huntly Lodge, according to an accurate observation, between five o'clock of the morning of the 3d of August and the same hour of the succeeding day there fell 3 inches of rain, or about one-sixth of our annual allowance of rain descended there in twenty-four hours. This was at a considerable distance from the mountains-the central scene of the rain-where its quantity must have been prodigiously greater, sufficient to account for the tremendous flood that followed, far exceeding in its rise, duration, and havoc, any other that ever affected the same locality. The Findhorn and Spey assumed the appearance of inland seas; and, when the former began to ebb, a fine salmon was driven ashore and captured at an elevation of fifty feet above its ordinary level. Most of the rivers of the temperate

zones are subject to these irregular floodings from the same cause, especially those which take their rise in high mountain regions, the St. Lawrence being the most remarkable exception, the level of which is not affected by either rains or drought. The vast lakes from which this river issues furnish its channel with an inexhaustible supply of water, and present a surface too extensive to be sensibly elevated by any extraordinary rains. A strong westerly wind, however, will affect the level of the St. Lawrence, and occasion a rise of six feet in the waters to the eastern extremity of Lake Erie. An easterly wind also upon the Orinoco will check its current, elevate the upper part of the stream, and force its waters into the channels of its tributaries, giving them a backward flow, and causing them to be flooded; and a northerly wind will drive the Baltic up the mouths of the Oder, and raise its level for a considerable distance. In a similar manner, the Neva rises when a strong wind blows from the Gulf of Finland; and that occurrence-taking place coincidently with high water and the breaking up of the ice, would create an inundation sufficient to drown the whole population of St. Petersburg, and convert that brilliant capital, with all its sumptuous palaces, into a chaotic mass of ruins. We have the materials of this statement from M. Kohl. The Gulf of Finland runs to a point as it approaches the mouth of the Neva, where the most violent gales are always those from the west; so that the mass of waters on such occasions is always forcibly impelled toward the city. The islands forming the delta of the Neva, on which St. Petersburg stands, are extremely low and flat; and the highest point in the city is probably not more than twelve or fourteen feet above the average level of the sea. A rise of fifteen feet is therefore enough to place all St. Petersburg under water, and a rise of thirty feet is enough to drown almost every human being in the place. Hence the inhabitants of the capital are in constant danger of destruction at the period referred to, and can never be certain that the 500,000 of them may not, within the next twenty-four hours, be driven out of their houses to find, in multitudes of instances, a watery grave. This is not a chimerical danger; for, during its short continuance, the city of the Czar has experienced some formidable inundations. The only hope of this apparently doomed city is that the three circumstances may never be coincident, namely, high water, the breaking up of the ice, and a gale of wind from the west. It is nevertheless true, that the wind is very often westerly during spring, and