548 Strutt’s Sylva Britannica. 
Park ; the Creeping Oak in Savernake Forest, of which a 
portrait is given in the Delicie Sylvdrum ; the Gospel Oak 
near Stoneleigh; the Great Beech in Windsor Forest, and 
the Burnham Beeches, both also figured in the same work ; 
the Fallen Chestnut at Cobham Park; the Great Cedar at 
Hammersmith House; and the old Cedars in Chelsea Gar- 
den. In the present edition, as the entire work has been 
brought out at once, and submitted to the public in the form 
of a complete volume, some alteration has been adopted in 
the arrangement of the subjects, by placing all the specimens 
of each species of tree in juxtaposition. ‘This certainly is an 
improvement; as it throws an air of regularity around the 
book, and gives it a more methodical and systematic charac- 
ter. It should be mentioned, too, that no inconsiderable 
additions have been made to the letter-press, or descriptive 
portions of the work. 
Such, then, are among the particulars in which the two 
editions differ from each other. But, as regards the plates, a 
more important point of discrepance remains to be noticed: 
we do not allude to their inferiority in size, to their compara- 
tive merits, nor to the circumstance of the prints in the new 
edition being (unlike those of the former one) in the style of 
sketches or vignettes, but to the peculiar kind of engraving of 
which they consist. On this subject considerable difference 
of opinion has been found to exist even among those who are 
not unskilled in the arts. By most persons, we believe, they 
are taken for etchings executed on copper or on steel plates ; 
and some few of them at least we have heard pronounced 
by others to have been cut on wood. ‘The fact is, they have 
neither been cut on wood, nor etched on copper nor on steel, 
but—on stone! ‘They are pure lithography, and nothing 
else! Such of our readers as have inspected the plates in 
question may, perhaps, be a little startled at this assertion, as 
we certainly should have been ourselves had we heard it made 
without knowing, as we do, the fact to be as already stated. 
We are free to confess, that hitherto we have for the most 
part entertained rather a mean opinion of lithographic prints, 
and have been accustomed to refer them to the very fag end 
of the fine arts. The practitioners in this craft we have been 
in the habit of hearing sometimes called in contempt by the 
opprobrious appellation of ‘ stone-masons,” and have our- 
selves been almost ready to join in the general outcry 
against them. In truth, the superior quickness and facility 
with which lithographic prints are executed, as compared 
with those engraved on metal or on wood, sib the far more 
agreeable kind of work which is alone requisite to produce 
