,libraries7 ,this e-text includes a few characters that require ,,utf-#h 7,unicode7 file encoding4 ,except for 1 they occur only in quoted material4 ,all are rare3 7oe ligature7 7long s7 7,greek7 7letters with overlines and similar diacritics7 ,if any of these characters do not display properly--in particular1 if a diacritic does not appear directly above its letter--or if the apostrophes and quotation marks in this paragraph appear as garbage1 make sure your text reader's 8character set0 or 8file encoding0 is set to ,unicode 7,,utf-#h74 ,you may also need to change the default font4 ,as a last resort1 use the ,latin-#a version of the file instead4 ,footnotes have been numbered continuously within each chapter4 ,monograms and similar symbols are shown in the text with double brackets4 ,there is no table of contents1 but the ,list of ,illustrations gives the same information4 ,illustration3 ,,william ,,blake4 ,w4 ,j4 ,,linton4 ,,death',s ,,door4 ,a ,,treatise on ,,wood ,,engraving ,historical and ,practical with ,upwards of ,three ,hundred ,illustrations ,engraved on ,wood ,,by ,,john ,,jackson4 ,,the ,,historical ,,portion ,,by ,w4 ,a4 ,,chatto4 ,second ,edition with a ,new ,chapter on the ,artists of the ,present ,day ,,by ,,henry ,g4 ,,bohn ,and #ade ,additional ,wood ,engravings4 ,,london ,henry ,g4 ,bohn1 ,york ,street1 ,covent ,garden4 ,m4,,dccc4,,lxi4 ,illustration3 ,richard ,clay _/ ,breads ,hill _/ ,sola ,lux ,mihi ,laus _/ ,london ,,notice ,,to ,,the ,,second ,,edition4 ,the former edition of this ,history of ,wood ,engraving having become extremely scarce and commercially valuable1 the publisher was glad to obtain the copyright and wood-blocks from ,mr4 ,mason ,jackson1 son of the late ,mr4 ,jackson1 original proprietor of the work1 with the view of reprinting it4 ,it will be seen by the two distinct prefaces which accompanied the former edition1 and are here reprinted1 that there was some existing schism between the joint producers at the time of first publication4 ,mr4 ,jackson1 the engraver1 paymaster1 and proprietor1 conceived that he had a right to do what he liked with his own2 while ,mr4 ,chatto1 his literary coadjutor1 very naturally felt that he was entitled to some recognition on the title-page of what he had so successfully performed4 ,on the book making its appearance without ,mr4 ,chatto's name on the title-page1 and with certain suppressions in his preface to which he had not given consent1 a virulent controversy ensued1 which was embodied in a pamphlet termed 8a third preface10 and afterwards carried on in the ,athenum of ,august and ,september1 #ahci4 ,as this preface has nothing in it but the outpourings of a quarrel which can now interest no one1 ,i do not republish any part of it2 and looking back on the controversy after the lapse of twenty years1 ,i cannot help feeling that ,mr4 ,chatto had reasonable ground for complaining that his name was omitted1 although ,i think ,mr4 ,jackson had full right to determine what the book should be called1 seeing that it was his own exclusive speculation4 ,it is not for me to change a title now so firmly established1 but ,i will do ,mr4 ,chatto the civility to introduce his name on it1 without concerning myself with the question of what he did or did not do1 or what ,mr4 ,jackson contributed beyond his practical remarks and anxious superintendence4 ,although ,i have the pleasure of a personal acquaintance with ,mr4 ,chatto1 and communicated to him my intention of republishing the work1 ,i declined letting him see it through the press2 resolving to stand wholly responsible for any alterations or improvements ,i might choose to make4 ,on the other hand1 ,i have been quite as chary of letting even the shade of ,mr4 ,jackson raise a new commotion--,i say the shade1 because1 having his own copy full of manuscript remarks1 it was at my option to use them2 but ,i have adopted nothing from this source save a few palpable amendments4 ,what additions have been made are entirely my own1 and have arisen from a desire to increase the number of illustrations where ,i thought them previously deficient and had the means of supplying them4 ,with the insertion of these additional illustrations1 which it appears amount to seventy-five1 it became necessary to describe them1 and this has occasioned the introduction of perhaps a hundred or two lines1 which are distributed in the form of notes or paragraphs throughout the volume4 ,for the chief of these additions the critical examiner is referred to the following pages3 #cba1 #cbb1 #cdj1 #ceb1 #cgd1 #dbh1 #dfh1 #dgg1 #dhj1 #dic1 #ecj1 #eca1 #ecb1 #eci1 #edj1 #eda1 #edb1 #edc1 #ede1 #edf1 #edg1 #edh1 #fag1 #fci4 ,the chapter on the artists of the present day is entirely new1 and was not contemplated1 as may be gathered from the remarks at pages #edi and #eig1 until the book was on the eve of publication4 ,it contains upwards of seventy high class wood engravings1 and gives a fair specimen of the talents of some of our most distinguished artists4 ,getting that supplementary matter together and into shape1 was not so light and sudden a task as ,i meant it to be2 but now it is done ,i feel that it was right to do it1 and ,i can only hope that my unpretending labours will be deemed a step in the right direction4 ,should ,i retain my health1 strength1 and means1 ,i purpose1 at no very distant period1 to follow up the present volume with one perhaps as large1 giving a more complete series of ,examples of the artists of the day1 as well those of ,france and ,germany as of ,england4 ,in conclusion1 ,i think it due to ,mr4 ,clay to acknowledge the attention and skill which he has exercised in 8bringing up0 the numerous and somewhat difficult cuts to the agreeable face they now present4 ,a good engraving without good printing is like a diamond without its polish4 ,,henry ,g4 ,,bohn4 ,january #dth1 #ahfa4 ,,mr4 ,,jackson',s ,,preface4 ,i feel it my duty to submit to the public a few remarks1 introductory to the ,preface1 which bears the signature of ,mr4 ,chatto4 ,as my attention has been more readily directed to matters connected with my own profession than any other1 it is not surprising that ,i should find almost a total absence of practical knowledge in all ,english authors who have written the early history of wood engraving4 ,from the first occasion on which my attention was directed to the subject1 to the present time1 ,i have had frequent occasion to regret1 that the early history and practice of the art were not to be found in any book in the ,english language4 ,in the most expensive works of this description the process itself is not even correctly described1 so that the reader--supposing him to be unacquainted with the subject--is obliged to follow the author in comparative darkness4 ,it has not been without reason ,i have come to the conclusion1 that1 if the practice1 as well as the history of wood engraving1 were better understood1 we should not have so many speculative opinions put forth by almost all writers on the subject1 taking on trust what has been previously written1 without giving themselves the trouble to examine and form an opinion of their own4 ,both with a view to amuse and improve myself as a wood engraver1 ,i had long been in the habit of studying such productions of the old masters as came within my reach1 and could not help noting the simple mistakes that many authors made in consequence of their knowing nothing of the practice4 ,the farther ,i prosecuted the inquiry1 the more interesting it became2 every additional piece of information strengthening my first opinion1 that1 8if the practice1 as well as the history of wood engraving1 were better understood10 we should not have so many erroneous statements respecting both the history and capabilities of the art4 ,at length1 ,i determined upon engraving at my leisure hours a fac-simile of anything ,i thought worth preserving4 ,for some time ,i continued to pursue this course1 reading such ,english authors as have written on the origin and early history of wood engraving1 and making memoranda1 without proposing to myself any particular plan4 ,it was not until ,i had proceeded thus far that ,i stopped to consider whether the information ,i had gleaned could not be applied to some specific purpose4 ,my plan1 at this time1 was to give a short introductory history to precede the practice of the art1 which ,i proposed should form the principal feature in the ,work4 ,at this period1 ,i was fortunate in procuring the able assistance of ,mr4 ,w4 ,a4 ,chatto1 with whom ,i have examined every work that called for the exercise of practical knowledge4 ,this naturally anticipated much that had been reserved for the practice1 and has1 in some degree1 extended the historical portion beyond what ,i had originally contemplated2 although1 ,i trust1 the reader will have no occasion to regret such a deviation from the original plan1 or that it has not been written by myself4 ,the number and variety of the subjects it has been found necessary to introduce1 rendered it a task of some difficulty to preserve the characteristics of each individual master1 varying as they do in the style of execution4 ,it only remains for me to add1 that1 although ,i had the hardihood to venture upon such an undertaking1 it was not without a hope that the history of the art1 with an account of the practice1 illustrated with numerous wood engravings1 would be looked upon with indulgence from one who only professed to give a fac-simile of whatever appeared worthy of notice1 with opinions founded on a practical knowledge of the art4 ,,john ,,jackson4 ,,london1 ,december #aeth1 #ahch4 ,,mr4 ,,chatto',s ,,preface4 ,though several ,english authors have1 in modern times1 written on the origin and early history of wood engraving1 yet no one has hitherto given1 in a distinct work1 a connected account of its progress from the earliest period to the present time2 and no one1 however confidently he may have expressed his opinion on the subject1 appears to have thought it necessary to make himself acquainted with the practice of the art4 ,the antiquity and early history of wood engraving appear to have been considered as themes which allowed of great scope for speculation1 and required no practical knowledge of the art4 ,it is from this cause that we find so many erroneous statements in almost every modern dissertation on wood engraving4 ,had the writers ever thought of appealing to a person practically acquainted with the art1 whose early productions they professed to give some account of1 their conjectures might1 in many instances1 have been spared2 and had they1 in matters requiring research1 taken the pains to examine and judge for themselves1 instead of adopting the opinions of others1 they would have discovered that a considerable portion of what they thus took on trust1 was not in accordance with facts4 ,as the antiquity and early history of wood engraving form a considerable portion of two expensive works which profess to give some account of the art1 it has been thought that such a work as the present1 combining the history with the practice of the art1 and with numerous cuts illustrative of its progress1 decline1 and revival1 might not be unfavourably received4 ,in the first chapter an attempt is made to trace the principle of wood engraving from the earliest authentic period2 and to prove1 by a continuous series of facts1 that the art1 when first applied to the impression of pictorial subjects on paper1 about the beginning of the fifteenth century1 was not so much an original invention1 as the extension of a principle which had long been known and practically applied4 ,the second chapter contains an account of the progress of the art as exemplified in the earliest known single cuts1 and in the block-books which preceded the invention of typography4 ,in this chapter there is also an account of the ,speculum ,salvationis1 which has been ascribed to ,laurence ,coster by ,hadrian ,junius1 ,scriverius1 ,meerman1 and others1 and which has frequently been described as an early block-book executed previous to #addj4 ,a close examination of two ,latin editions of the book has1 however1 convinced me1 that in the earliest the text is entirely printed from movable types1 and that in the other--supposed by ,meerman to be the earliest1 and to afford proofs of the progress of ,coster's invention--those portions of the text which are printed from wood-blocks have been copied from the corresponding portions of the earlier edition with the text printed entirely from movable types4 ,fournier was the first who discovered that one of the ,latin editions was printed partly from types1 and partly from wood-blocks2 and the credit of showing1 from certain imperfections in the cuts1 that this edition was subsequent to the other with the text printed entirely from types1 is due to the late ,mr4 ,ottley4 ,as typography1 or printing from movable types1 was unquestionably suggested by the earliest block-books with the text engraved on wood1 the third chapter is devoted to an examination of the claims of ,gutemberg and ,coster to the honour of this invention4 ,in the investigation of the evidence which has been produced in the behalf of each1 the writer has endeavoured to divest his mind of all bias1 and to decide according to facts1 without reference to the opinions of either party4 ,he has had no theory to support2 and has neither a partiality for ,mentz1 nor a dislike to ,harlem4 ,it perhaps may not be unnecessary to mention here1 that the cuts of arms from the ,history of the ,virgin1 given at pages #ge1 #gf1 and #gg1 were engraved before the writer had seen ,koning's work on the ,invention of ,printing1 ,harlem1 #ahaf1 where they are also copied1 and several of them assigned to ,hannau1 ,burgundy1 ,brabant1 ,utrecht1 and ,leyden1 and to certain ,flemish noblemen1 whose names are not mentioned4 ,it is not improbable that1 like the two rash ,knights in the fable1 we may have seen the shields on opposite sides2--the bearings may be common to states and families1 both of ,germany and the ,netherlands4 ,the fourth chapter contains an account of wood engraving in connexion with the press1 from the establishment of typography to the latter end of the fifteenth century4 ,the fifth chapter comprehends the period in which ,albert ,durer flourished1--that is1 from about #adih to #aebh4 ,the sixth contains a notice of the principal wood-cuts designed by ,holbein1 with an account of the extension and improvement of the art in the sixteenth century1 and of its subsequent decline4 ,in the seventh chapter the history of the art is brought down from the commencement of the eighteenth century to the present time4 ,the eighth chapter contains an account of the practice of the art1 with remarks on metallic relief engraving1 and the best mode of printing wood-cuts4 ,as no detailed account of the practice of wood engraving has hitherto been published in ,england1 it is presumed that the information afforded by this part of the ,work will not only be interesting to amateurs of the art1 but useful to those who are professionally connected with it4 ,it is but justice to ,mr4 ,jackson to add1 that the ,work was commenced by him at his sole risk2 that most of the subjects are of his selection2 and that nearly all of them were engraved1 and that a great part of the ,work was written1 before he thought of applying to a publisher4 ,the credit of commencing the ,work1 and of illustrating it so profusely1 regardless of expense1 is unquestionably due to him4 ,w4 ,a4 ,,chatto4 ,,london1 ,december #eth1 #ahch4 ,,list ,,of ,,illustrations4 ,transcriber's ,note3 ,the word 8ditto0--written out--was printed as shown4 ,,chapter ,i4 ,,antiquity ,,of ,,engraving1 #a-ci4 ,page ,initial letter ,a1-- an ancient ,greek scriving on a tablet of wood1 drawn by ,w4 ,harvey #a ,view of a rolling-press1 on wood and on copper1 showing the difference between a woodcut and a copper-plate engraving when both are printed in the same manner #d ,back and front view of an ancient ,egyptian brick-stamp #f ,copy of an impression on a ,babylonian brick #g ,roman stamp1 in relief #h ,roman stamps1 in intaglio #aj ,monogram of ,theodoric1 king of the ,ostrogoths #ac ,monogram of ,charlemagne #ad ,gothic marks and monograms #ae ,characters on ,gothic coins #af ,mark of an ,italian notary1 #abcf #af ,marks of ,german notaries1 #acde-aeba #ag ,english ,merchants'-marks of the fourteenth and fifteenth centuries #ah ,tail-piece1 illustrative of the antiquity of engraving1-- ,babylonian brick1 ,roman earthenware1 ,roman stamp1 and a roll with the mark of the ,german ,emperor ,otho in the corner #ci ,,chapter ,,ii4 ,,progress ,,of ,,wood ,,engraving1 #dj-aag4 ,initial letter ,f1 from an old book containing an alphabet of similar letters1 engraved on wood1 formerly belonging to ,sir ,george ,beaumont #dj ,st4 ,christopher1 with the date #adbc1 from a cut in the possession of ,earl ,spencer #df ,the ,annunciation1 from a cut probably of the same period1 in the possession of ,earl ,spencer #ej ,st4 ,bridget1 from an old cut in the possession of ,earl ,spencer #eb ,shields from the ,apocalypse1 or ,history of ,st4 ,john1 an old block-book #fe ,st4 ,john preaching to the infidels1 and baptizing ,drusiana1 from the same book #ff ,the death of the ,two ,witnesses1 and the miracles of ,antichrist1 from the same book #fg ,group from the ,history of the ,virgin1 an old block-book #ga ,copy of a page of the same book #gb ,figures and a shield of arms1 from the same book #ge ,shields of arms1 from the same book #gf-gh ,copy of the first page of the ,poor ,preachers' ,bible1 an old block-book #hf ,heads from the same book #hh ,christ tempted1 a fac-simile of one of the compartments in the first page of the same book #hi ,adam and ,eve eating of the forbidden fruit1 from the same book #ij ,esau selling his birthright1 ditto #ia ,heads ditto #ib ,first cut in the ,speculum ,salvationis1 which has generally1 but erroneously1 been described as a block-book1 as the text in the first edition is printed with types #if ,fall of ,lucifer1 a fac-simile of one of the compartments of the preceding #ig ,the ,creation of ,eve1 a fac-simile of the second compartment of the same #ih ,paper-mark in the ,alphabet of large letters composed of figures1 formerly belonging to ,sir ,george ,beaumont #ajg ,letter ,k1 from the same book #aji ,letter ,l1 ditto #aaj ,letter ,z1 ditto #aaa ,flowered ornament1 ditto #aab ,cuts from the ,ars ,memorandi1 an old block-book #aae ,,chapter ,,iii4 ,,the ,,invention ,,of ,,typography1 #aah-afc4 ,initial letter ,b1 from a manuscript life of ,st4 ,birinus1 of the twelfth century #aah ,tail piece-portraits of ,gutemberg1 ,faust1 and ,scheffer #afc ,,chapter ,,iv4 ,,wood ,,engraving ,,in ,,connexion ,,with ,,the ,,press1 #afd-bbi4 ,initial letter ,c1 from ,faust and ,scheffer's ,psalter #afd ,apes1 from a book of ,fables printed at ,bamberg by ,albert ,pfister1 #adfa #aga ,heads1 from an edition of the ,poor ,preachers' ,bible1 printed by ,pfister #agg ,christ and his ,disciples1 from the same #agg ,joseph making himself known to his ,brethren1 from the same #agh ,the ,prodigal ,son's return1 from the same #agh ,the ,creation of ,animals1 from ,meditationes ,joannis de ,turrecremata1 printed at ,rome1 #adfg #ahe ,a bomb-shell and a man shooting from a kind of hand-gun1 from ,valturius de ,re ,militari1 printed at ,verona1 #adgb #ahh ,a man shooting from a cross-bow1 from the same #ahi ,the ,knight1 from ,caxton's ,book of ,chess1 about #adgf #aic ,the ,bishop's pawn1 from the same #aid ,two figures-- ,music1 from ,caxton's ,mirrour of the ,world1 #adhj #aif ,frontispiece to ,breydenbach's ,travels1 printed at ,mentz1 #adhf #bjg ,syrian ,christians1 from the same #bji ,old ,woman with a basket of eggs on her head1 from the ,hortus ,sanitatis1 printed at ,mentz1 #adia #baa ,head of ,paris1 from the book usually called the ,nuremberg ,chronicle1 printed at ,nuremberg1 #adic #bab ,creation of ,eve1 from the same #bae ,the same subject from the ,poor ,preachers' ,bible #baf ,the difficult ,labour of ,alcmena1 from an ,italian translation of ,ovid's ,metamorphoses1 #adig #bag ,mars1 ,venus1 and ,mercury1 from ,poliphili ,hypnerotomachia1 printed at ,venice1 #adii #bba ,cupid brought by ,mercury before ,jove1 from the same #bbb ,cupid and his ,victims1 from the same #bbb ,bacchus1 from the same #bbc ,cupid1 from the same #bbd ,a ,vase1 from the same #bbd ,cat and ,mouse1 from a supposed old wood-cut printed in ,derschau's ,collection1 #ahjh-ahaf #bbf ,man in armour on horseback1 from a wood-cut1 formerly used by ,mr4 ,george ,angus of ,newcastle #bbh ,tail-piece-- the press of ,jodocus ,badius ,ascensianus1 from the title-page of a book printed by him about #adih #bbi ,,chapter ,v4 ,,wood ,,engraving ,,in ,,the ,,time ,,of ,,albert ,,durer1 #bcj-cbc4 ,initial letter ,m1 from an edition of ,ovid's ,tristia1 printed at ,venice by ,j4 de ,cireto1 #adii #bcj ,peasants dancing and regaling1 from ,heures a l',usaige de ,chartres1 printed at ,paris by ,simon ,vostre about #aejb4 ,the first of these cuts occurs in a similar work-- ,heures a l',usaige de ,rome-- printed by ,simon ,vostre in #adig #bcc ,the woman clothed with the sun1 from ,albert ,durer's illustrations of the ,apocalypse1 #adih #bdj ,the ,virgin and ,infant ,christ1 from ,albert ,durer's illustrations of the ,history of the ,virgin1 #aeaa #bdc ,the ,birth of the ,virgin1 from the same work #bdd ,st4 ,joseph at work as a carpenter1 with the ,virgin rocking the ,infant ,christ in a cradle1 from the same #bdf ,christ mocked1 from ,durer's illustrations of ,christ's ,passion1 about #aeaa #bdg ,the ,last ,supper1 from the same #bdh ,christ bearing his ,cross1 from the same #bdi ,the ,descent to ,hades1 from the same #bej ,caricature1 probably of ,luther #bfh ,albert ,durer's ,coat-of-arms #bga ,his portrait1 from a cut drawn by himself1 #aebg1 the year preceding that of his death #bgb ,holy ,family1 from a cut designed by ,lucas ,cranach #bgg ,samson and ,delilah1 from a cut designed by ,hans ,burgmair #bgi ,aristotle and his wife1 from a cut designed by ,hans ,burgmair #bhj ,sir ,theurdank killing a bear1 from the ,adventures of ,sir ,theurdank1 #aeag #bhd ,the punishment of ,sir ,theurdank's enemies1 from the same work #bhe ,a figure on horseback1 from the ,triumphs of ,maximilian #bid ,another1 from the same work #bie ,ditto1 ditto #bif ,ditto1 ditto #big ,ditto1 ditto #bih ,ditto1 ditto #bii ,three knights with banners1 from the same work #cja ,elephant and ,indians1 from the same #cjb ,camp followers1 probably designed by ,albert ,durer1 from the same #cjc ,horses and ,car1 from the same #cje ,jael and ,sisera1 from a cut designed by ,lucas van ,leyden #cji ,cut printed at ,antwerp by ,willem de ,figursnider1 probably copied from a cut designed by ,urse ,graff #cab ,three small cuts from ,sigismund ,fanti's ,triompho di ,fortuna1 printed at ,venice1 #aebg #caf ,fortuna di ,africo1 an emblem of the ,south wind1 from the same work #caf ,michael ,angelo at work on a piece of sculpture1 from the same #cag ,head of ,nero1 from a work on ,medals1 printed at ,strasburg1 #aebe #cbj ,cut of ,saint ,bridget1 about #aejj1 from ,dr4 ,dibdin's ,bibliomania #cba ,ditto of her ,revelations #cbb ,tail-piece-- a full length of ,maximilian ,i4 ,emperor of ,germany1 from his ,triumphs #cbc ,,chapter ,,vi4 ,,further ,,progress ,,and ,,decline ,,of ,,wood ,,engraving1 #cbd-dde4 ,initial letter ,t1 from a book printed at ,paris by ,robert ,stephens1 #aecg #cbd ,adam and ,eve eating the forbidden fruit1 from a cut designed by ,hans ,holbein in the ,dance of ,death1 first printed at ,lyons in #aech #cci ,death's ,coat of ,arms1 from the same work #cdj ,the ,old ,man1 from the same #cda ,the ,duchess1 from the same #cdb ,the ,child1 from the same #cdc ,the ,waggoner1 from ,holbein's ,dance of ,death #cdd ,child with a shield and dart1 from the same #cde ,children with the emblems of a triumph1 from the same #cdf ,holbein's ,alphabet of the ,dance of ,death #ceb ,abraham about to sacrifice ,isaac1 from a cut designed by ,holbein in his ,bible-prints1 ,lyons1 #aeci #cfh ,the ,fool1 from the same work #cfi ,the sheath of a dagger1 intended as a design for a chaser #cgd ,portrait of ,sir ,thomas ,wyatt from a cut designed by ,holbein in ,leland's ,nni1 #aedb #cgi ,prayer1 from a cut designed by ,holbein in ,archbishop ,cranmer's ,catechism1 #aedh #chj ,christ casting out ,devils1 from another cut by ,holbein1 in the same work #cha ,the ,creation1 from the same work #chb ,the ,crucifixion1 from the same #chb ,christ's ,agony1 from the same #chb ,genealogical ,tree1 from an edition of the ,new ,testament1 printed at ,zurich by ,froschover1 #aeed #chc ,st4 ,luke1 from ,tindale's ,translation of the ,new ,testament1 #aecd #chd ,st ,james1 from the same #chd ,death on the ,pale ,horse1 from the same #chd ,cain killing ,abel1 from ,coverdale's ,translation of the ,old and ,new ,testament1 #aece #chf ,abraham about to sacrifice ,isaac1 from the same #chg ,the ,two ,spies1 from the same #chg ,st4 ,matthew1 from the same #chh ,st4 ,john the ,baptist1 from the same #chh ,st4 ,paul writing1 from the same #chh ,frontispiece to ,marcolini's ,sorti1 ,venice1 #aedj1 by ,joseph ,porta ,garfagninus1 after a ,study by ,raffaele for the ,school of ,athens #cij ,punitione1 from the same work #cib ,matrimony1 from the same #cib ,cards1 from the same #cic ,truth saved by ,time1 from the same #cic ,the ,labour of ,alcmena1 from ,dolce's ,transformationi1 ,venice1 #aeec #cid ,monogram1 from ,palatino's ,treatise on ,writing1 ,rome1 #aefa #cif ,hieroglyphic ,sonnet1 from the same work #cif ,portraits of ,petrarch and ,laura1 from ,petrarch's ,sonetti1 ,lyons1 #aedg #djj ,adam and ,eve driven out of ,paradise1 from ,quadrins ,historiques de la ,bible1 ,lyons1 #aeej-aefj #dja ,christ tempted by ,satan1 from ,figures du ,nouveau ,testament1 ,lyons1 #aeec-aegj #djb ,briefmaler1 from a book of ,trades and ,professions1 ,frankfort1 #aefd-aegd #daj ,formschneider1 from the same #daa ,the ,goose ,tree1 from ,sebastian ,munster's ,cosmography1 ,basle1 #aeej-aeed #dad ,william ,tell about to shoot at the apple on his son's head1 from the same #daf ,portrait of ,dr4 ,william ,cuningham1 from his ,cosmographical ,glass1 ,london1 #aeei #dbd ,four initial letters1 from the same work #dbe1 #dbf1 #dbg ,portrait of ,queen ,elizabeth1 from the ,books of ,christian ,prayers printed by ,john ,daye1 #aefi #dbh ,large initial letter1 from ,fox's ,acts and ,monuments1 #aegf #dbi ,initial letter1 from a work printed by ,giolito at ,venice1 about #aeej #dcj ,two ,cats1 from an edition of ,dante1 printed at ,venice1 #aegh #dca ,emblem of ,water1 from a chiaro-scuro by ,henry ,goltzius1 about #aeij #dcc ,caricature of the ,laocoon1 after a cut designed by ,titian #dce ,the ,good ,householder1 from a cut printed at ,london1 #afjg #dcg ,virgin and ,christ1 from a cut designed by ,rubens1 and engraved by ,christopher ,jegher #dch ,the ,infant ,christ and ,john the ,baptist1 from a cut designed by ,rubens1 and engraved by ,christopher ,jegher #dci ,jael and ,sisera1 from a cut designed by ,henry ,goltzius1 and engraved by ,c4 ,van ,sichem #ddj ,tail-piece1 from an old cut on the title-page of the first known edition of ,robin ,hood's ,garland1 #afgj #dde ,,chapter ,,vii4 ,,revival ,,of ,,wood ,,engraving1 #ddf-edh4 ,initial letter ,a1 from a ,french book1 #afih #ddf ,fox and ,goat1 from a copper-plate by ,s4 ,le ,clerc1 about #afid #dej ,the same subject from ,croxall's sop's ,fables1 #agbb #dej ,the same subject from ,bewick's ,fables1 #ahah-ahbc #dea ,english wood-cut with the mark ,f4 ,h41 ,london1 #agbd #dec ,adam naming the animals1 copy of a cut by ,papillon1 #agcd #dfj ,the ,pedagogue1 from the ,ship of ,fools1 ,pynson1 #aeji #dfh ,the ,poet's ,fall1 from ,two ,odes in ridicule of ,gray and ,mason1 ,london1 #agfj #dgj ,initial letters1 ,t4 and ,b41 composed by ,j4 ,jackson from tail-pieces in ,bewick's ,history of ,british ,birds #dga ,the house in which ,bewick was born1 drawn by ,j4 ,jackson #dgb ,the ,parsonage at ,ovingham1 drawn by ,george ,balmer #dgc ,fac-simile of a diagram engraved by ,bewick in ,hutton's ,mensuration1 #agfh-aggj #dge ,the ,old ,hound1 a fac-simile of a cut by ,bewick1 #agge #dgf ,original cut of the ,old ,hound #dgg ,cuts copied by ,bewick from ,der ,weiss ,kunig1 and illustrations of ,ovid's ,metamorphoses by ,virgilium ,solis #dhc ,boys and ,ass1 after ,bewick #dhe ,old ,man and ,horse1 ditto #dhf ,child and young ,horse1 ditto #dhg ,ewe and ,lamb #dhh ,old ,man and young ,wife1 ditto #dhh ,common ,duck1 ditto #dic ,partridge1 ditto #die ,woodcock1 ditto #dif ,the drunken ,miller1 ditto #dii ,the ,snow ,man1 ditto #dii ,old ,man and ,cat1 ditto #ejj ,crow and ,lamb1 ,bewick's original cut to the ,fable of the ,eagle #ejc ,the ,world turned upside down1 after ,bewick #ejd ,cuts commemorative of the decease of ,bewick's father and mother1 from his ,fables1 #ahah-ahbc #ejf ,bewick's ,workshop1 drawn by ,george ,balmer #ejh ,portrait of ,bewick #eaj ,view of ,bewick's ,burial-place #eaa ,funeral1 ,view of ,ovingham ,church1 drawn by ,j4 ,jackson #eab ,the sad ,historian1 from a cut by ,john ,bewick1 in ,poems by ,goldsmith and ,parnell1 #agie #eae ,fac-simile of a cut by ,john ,bewick1 from ,blossoms of ,morality #eaf ,copy of a cut engraved by ,c4 ,nesbit1 from a drawing by ,r4 ,johnson #eah ,view of a monument erected to the memory of ,r4 ,johnson1 against the south wall of ,ovingham ,church #eah ,copy of a view of ,st4 ,nicholas ,church1 engraved by ,c4 ,nesbit1 from a drawing by ,r4 ,johnson #eai ,copy of the cut for the ,diploma of the ,highland ,society1 engraved by ,l4 ,clennell1 from a drawing by ,benjamin ,west #ebc ,bird and ,flowers1 engraved by ,l4 ,clennell1 when insane #ebf ,seven ,engravings by ,william ,harvey1 from ,dr4 ,henderson's ,history of ,wines #ecj ,milton1 designed by ,w4 ,harvey1 engraved by ,john ,thompson #eca ,three ,illustrations by ,w4 ,harvey1 engraved by ,s4 ,williams1 ,orrin ,smith1 and ,c4 ,gray #ecb ,cut from the ,children in the ,wood1 drawn by ,w4 ,harvey1 and engraved by ,j4 ,thompson #ecc ,cut from the ,blind ,beggar of ,bethnal ,green1 drawn by ,w4 ,harvey1 and engraved by ,c4 ,nesbit #ecd ,copy of a part of the ,cave of ,despair1 engraved by ,r4 ,branston1 from a drawing by ,j4 ,thurston #ece ,three cuts engraved by ,robert ,branston1 after designs by ,thurston1 for an edition of ,select ,fables1 in rivalry of ,bewick #ecg ,bird1 engraved by ,robert ,branston #ech ,pistill ,cain1 in ,north ,wales1 drawn and engraved by ,hugh ,hughes #eci ,moel ,famau1 ditto1 ditto #eci ,wrexham ,church1 ditto1 ditto #edj ,pwll ,carodoc1 ditto1 ditto #edj ,salmon1 ,group of ,fish1 and ,chub1 engraved by ,john ,thompson #eda ,pike1 by ,robert ,branston #edb ,eel1 by ,h4 ,white #edb ,illustration from ,hudibras1 engraved by ,john ,thompson #edc ,hogarth's ,rake's ,progress1 engraved by ,john ,thompson #edd ,the ,temptation1 engraved by ,john ,jackson1 after ,john ,martin #ede ,the ,judgment of ,adam and ,eve1 engraved by ,f4 ,w4 ,branston1 after ditto #ede ,the ,assuaging of the ,waters1 engraved by ,e4 ,landells1 after ditto #edf ,the ,deluge1 engraved by ,w4 ,h4 ,powis1 after ditto #edf ,the ,tower of ,babel engraved by ,thomas ,williams1 after ditto #edg ,the ,angel announcing the ,nativity1 engraved by ,w4 ,t4 ,green1 after ditto #edg ,tail piece-- ,vignette1 engraved by ,w4 ,t4 ,green1 after ,w4 ,harvey #edh ,,chapter ,,viii4 ,,artists ,,and ,,engravers ,,on ,,wood ,,of ,,the ,,present ,,day1 #edi-efj4 ,the ,sierra ,morena1 engraved by ,james ,cooper1 after ,percival ,skelton #eej ,the ,banks the ,nith1 engraved by ditto1 after ,birket ,foster #eea ,the ,twa ,dogs1 engraved by ditto1 after ,harrison ,weir #eea ,to ,auld ,mare ,maggie1 engraved by ditto1 after ditto #eeb ,the ,poetry of ,nature1 engraved by ,j4 ,greenaway1 after ,harrison ,weir #eec ,from ,bloomfield's ,farmer's ,boy1 engraved by ,w4 ,wright1 after ditto #eed ,from ,campbell's ,pleasures of ,hope1 engraved by ,j4 ,greenaway1 after ditto #eed ,from the same1 by the same #eee ,wild ,flowers1 engraved by ,e4 ,evans1 after ,birket ,foster #eef ,from ,lays of the ,holy ,land1 engraved by ,w4 ,j4 ,palmer1 after ,birket ,foster #eeg ,from ,longfellow's ,evangeline1 engraved by ,h4 ,vizetelly1 after ditto #eeh ,from ,moore's ,lalla ,rookh1 engraved by ,dalziel1 after ,john ,tenniel #eei ,death of ,sforza1 from ,barry ,cornwall1 engraved by ,dalziel1 after ditto #efj ,sforza1 ditto1 ditto #efj ,antony and ,cleopatra1 engraved by ,dalziel ,brothers1 after ,john ,gilbert #efa99 ,the ,florentine ,party1 from ,barry ,cornwall1 engraved by ,dalziel ,brothers1 after ,thomas ,dalziel #efb99 ,prince ,arthur and ,hubert de ,bourg1 engraved by ,kirchner1 after ,john ,gilbert #efc99 ,from ,maxwell's ,life of the ,duke of ,wellington1 designed by ,john ,gilbert #efc99 ,the ,demon ,lover1 designed by ,john ,gilbert1 engraved by ,w4 ,a4 ,folkard #efd99 ,from ,longfellow's ,hiawatha1 engraved by ,w4 ,l4 ,thomas1 after ,g4 ,h4 ,thomas #efe99 ,from the same1 engraved by ,horace ,harral1 after ,g4 ,h4 ,thomas #eff99 ,from the same1 engraved by ,dalziel ,brothers1 after ditto #eff99 ,john ,anderson my ,jo1 from ,burns' ,poems1 engraved by ,e4 ,evans1 after ditto #efg99 ,vignette from ,hiawatha1 engraved by ,e4 ,evans1 after ditto #efg99 ,from ,tennyson's ,princess1 engraved by ,w4 ,thomas1 after ,d4 ,maclise #efh99 ,from ,brger's ,leonora1 engraved by ,j4 ,thompson1 after ,maclise #efi99 ,from ,childe ,harold1 engraved by ,j4 ,w4 ,whimper1 after ,percival ,skelton #efi99 ,from ,marryat's ,poor ,jack1 engraved by ,h4 ,vizetelly1 after ,clarkson ,stanfield #egj99 ,christmas in the olden time1 engraved by ,h4 ,vizetelly1 after ,birket ,foster #ega99 ,two illustrations from ,thomson's ,seasons1 designed and engraved by ,sam ,williams4 #egb99 ,eagles1 ,stags1 and ,wolves1 engraved by ,george ,pearson1 after ,john ,wolf #egc99 ,hare ,hawking1 engraved by ,george ,pearson1 after ,john ,wolf #egd99 ,falls of ,niagara1 engraved by ,george ,pearson #egd99 ,from ,sandford and ,merton1 engraved by ,measom1 after ,h4 ,anelay #ege99 ,from ,longfellow's ,miles ,standish1 engraved by ,thomas ,bolton1 after ,john ,absolon #egf99 ,flaxman's #8,deliver us from ,evil1' a specimen of ,mr4 ,thomas ,bolton's new process of photographing on wood #egg99 ,from ,montalva's ,fairy ,tales1 engraved by ,john ,swain1 after ,r4 ,doyle #egh99 ,from #8,brown1 ,jones1 and ,robinson1' engraved by ,john ,swain1 after ,doyle #egi99 ,from ,uncle ,tom's ,cabin1 engraved by ,orrin ,smith1 after ,john ,leech #ehj99 ,from ,mr4 ,leech's ,tour in ,ireland1 engraved by ,john ,swain1 after ,john ,leech #eha99 ,from #8,moral ,emblems of all ,ages1' engraved by ,h4 ,leighton1 after ,john ,leighton #ehb99 ,two subjects from the ,illustrated ,southey's ,life of ,nelson1 engraved by ,h4 ,harral1 after ,e4 ,duncan #ehc99 ,north porch of ,st4 ,maria ,maggiore1 drawn and engraved by ,orlando ,jewitt #ehd99 ,shrine in ,bayeux ,cathedral1 by ,orlando ,jewitt #ehe99 ,hearse of ,margaret ,countess of ,warwick and other specimens from ,regius ,glossary of ,ecclesiastical ,ornament1 by ,orlando ,jewitt #ehf99 ,brick ,tracery1 ,st4 ,stephen's ,church1 ,tangermunde1 ,prussia1 by ditto #ehg99 ,the ,nut ,brown ,maid1 engraved by ,j4 ,williams1 after ,t4 ,creswick #ehh99 ,vignette from ,bohn's ,illustrated ,edition of ,walton's ,angler1 by ,m4 ,jackson1 after ,t4 ,creswick #ehi99 ,paul preaching at ,athens1 engraved by ,w4 ,j4 ,linton1 after ,john ,martin #eij99 ,vignette from the ,book of ,british ,ballads1 engraved by ditto1 after ,r4 ,mc,ian #eij99 ,from ,milton's ,l',allegro1 engraved by ditto1 after ,stonehouse #eia99 ,from the same1 engraved by ditto1 after ,j4 ,c4 ,horsley #eia99 ,ancient ,gambols1 drawn and engraved by ,f4 ,w4 ,fairholt #eib99 ,vignette from the ,illustrated ,edition of ,robin ,hood1 by ditto #eib99 ,two illustrations from ,dr4 ,mantell's ,works1 engraved by ,james ,lee1 after ,joseph ,dinkel #eic99 ,from ,coleridge's ,ancient ,mariner1 engraved by ,h4 ,harral1 after ,e4 ,h4 ,wehnert #eid99 ,three illustrations drawn and engraved by ,george ,cruikshank1 from #8,three ,courses and a ,dessert' #eie99 ,two illustrations by ditto from the ,universal ,songster #eif99 ,three illustrations from the ,pictorial ,grammar1 by ,crowquill #eig99 ,vignette from the ,book of ,british ,ballads by ,kenny ,meadows #eig99 ,,chapter ,,ix4 ,,the ,,practice ,,of ,,wood ,,engraving1 #efa-feb4 ,initial letter ,p1 showing a wood engraver at work1 with his lamp and globe1 drawn by ,r4 ,w4 ,buss #efa ,diagram1 showing a block warped #eff ,cut showing the appearance of a plug-hole in the engraving1 drawn by ,j4 ,jackson #egj ,diagrams illustrative of the mode of repairing a block by plugging #egj ,cut showing a plug re-engraved #ega ,diagram showing the mode of pulling the string over the corner of the block #egb ,the shade for the eyes1 and screen for the mouth and nose #egd ,engraver's lamp1 glass1 globe1 and sand-bag #ege ,graver #egf ,diagram of gravers #egf ,diagrams of tint-tools1 c4 #egg ,diagrams of gouges1 chisels1 c4 #egh ,gravers #egi ,cuts showing the manner of holding the graver #egi1 #ehj ,examples of tints #eha1 #ehb1 #ehc1 #ehd ,examples of curved lines and tints #ehe1 #ehf ,cuts illustrative of the mode of cutting a white outline #ehh ,outline engraving previous to its being blocked out-- the monument to the memory of two children in ,lichfield ,cathedral by ,sir ,f4 ,chantrey #ehi ,the same subject finished #eij ,outline engraving1 after a design by ,flaxman for a snuff-box for ,george ,,iv4 #eij ,cut after a pen-and-ink sketch by ,sir ,david ,wilkie for his picture of the ,rabbit on the ,wall #eia ,figures from a sketch by ,george ,morland #eib ,group from ,sir ,david ,wilkie's ,rent ,day #eic ,figure of a boy from ,hogarth's ,noon1 one of the engravings of his ,four ,parts of the ,day #eid ,a ,hog1 after an etching by ,rembrandt #eie ,dray-horse1 drawn by ,james ,ward1 ,r4,a4 #eif ,jacob blessing the ,children of ,joseph1 after ,rembrandt #eig ,two cuts-- ,view of a ,road-side ,inn-- showing the advantage of cutting the tint before the other parts of a subject are engraved #eih ,head1 from an etching by ,rembrandt #eii ,impression from a cast of part of the ,death of ,dentatus1 engraved by ,w4 ,harvey #fja ,christ and the ,woman at the ,well1 from an etching by ,rembrandt #fjb ,the ,flight into ,egypt1 from an etching by ,rembrandt #fje ,sea-piece1 drawn by ,george ,balmer #fjf ,sea-piece1 moonlight1 drawn by ,george ,balmer #fjf ,landscape1 evening1 drawn by ,george ,balmer #fjg ,impression from a cast of part of the ,death of ,dentatus1 engraved by ,w4 ,harvey #fji ,view of ,rouen ,cathedral1 drawn by ,william ,prior #faa ,map of ,england and ,wales1 with the part of the names engraved on wood1 and part inserted in type #fab ,group from ,sir ,david ,wilkie's ,village ,festival #fad ,natural ,vignette1 and an old ornamented capital from a manuscript of the thirteenth century #faf ,specimens of ornamental capitals1 chiefly taken from ,shaw's ,alphabets #fag ,impressions from a surface with the figures in relief-- subject1 the ,crown-piece of ,george ,,iv4 #fah ,impressions from a surface with the figures in intaglio-- same subject #fai ,shepherd's ,dog1 drawn by ,w4 ,harvey #fbj ,egret1 drawn by ,w4 ,harvey #fba ,winter-piece1 with an ass and her foal1 drawn by ,j4 ,jackson #fbb ,salmon-,trout1 with a view of ,bywell-,lock1 drawn by ,j4 ,jackson #fbc ,boy and ,pony1 drawn by ,j4 ,jackson #fbd ,heifer1 drawn by ,w4 ,harvey #fbd ,descent from the ,cross1 after an etching by ,rembrandt-- impression when the block is merely lowered previous to engraving the subject #fbf ,descent from the ,cross-- impression from the finished cut #fbg ,copies of an ancient bust in the ,british ,museum-- ,no4 #a printed from a wood-cut1 and ,no4 #b from a cast #fcg ,block reduced from a ,lithograph by the new ,electro-printing ,block process #fci ,horse and ,ass1 drawn by ,j4 ,jackson-- improperly printed #fda ,same subject1 properly printed #fdb ,landscape1 drawn by ,george ,balmer-- improperly printed #fdd ,same subject1 properly printed #fdd ,tail-piece1 drawn by ,c4 ,jacques #feb ,,on ,,wood ,,engraving4 ,,chapter ,i4 ,,antiquity ,,of ,,engraving4 ,engraving -- ,the ,word ,explained -- ,the ,art ,defined -- ,distinction ,between ,engraving on ,copper and on ,wood -- ,early ,practice of the ,art of ,impressing ,characters by ,means of ,stamps ,instanced in ,babylonian ,bricks2 ,fragments of ,egyptian and ,etruscan ,earthenware2 ,roman ,lamps1 ,tiles1 and ,amphor -- ,the ,cauterium or ,brand -- ,principle of ,stencilling ,known to the ,romans -- ,royal ,signatures thus ,affixed -- ,practice of ,stamping ,monograms on ,documents in the ,middle ,ages -- ,notarial ,stamps -- ,merchants'-,marks -- ,coins1 ,seals1 and ,sepulchral ,brasses -- ,examination of ,mr4 ,ottley's ,opinions ,concerning the ,origin of the ,art of ,wood ,engraving in ,europe1 and its ,early ,practice by ,two ,wonderful ,children1 the ,cunio4 ,as few persons know1 even amongst those who profess to be admirers of the art of ,wood ,engraving1 by what means its effects1 as seen in books and single impressions1 are produced1 and as a yet smaller number understand in what manner it specifically differs in its procedure from the art of engraving on copper or steel1 it appears necessary1 before entering into any historic detail of its progress1 to premise a few observations explanatory of the word ,,engraving in its general acceptation1 and more particularly descriptive of that branch of the art which several persons call ,xylography2 but which is as clearly expressed1 and much more generally understood1 by the term ,,wood ,,engraving4 ,the primary meaning of the verb 8to engrave0 is defined by ,dr4 ,johnson1 8to picture by incisions in any matter20 and he derives it from the ,french 8engraver40 ,the great lexicographer is not1 however1 quite correct in his derivation2 for the ,french do not use the verb 8engraver0 in the sense of 8to engrave10 but to signify a ship or a boat being embedded in sand or mud so that she cannot float4 ,the ,french synonym of the ,english verb 8to engrave10 is 8graver20 and its root is to be found in the ,greek 7grapho1 ,i cut71 which1 with its compound 1 according to ,martorelli1 as cited by ,von ,murr1,i-#a is always used by ,homer to express cutting1 incision1 or wounding2 but never to express writing by the superficial tracing of characters with a reed or pen4 ,from the circumstance of laws1 in the early ages of ,grecian history1 being cut or engraved on wood1 the word came to be used in the sense of1 8,i sanction1 or ,i pass a law20 and when1 in the progress of society and the improvement of art1 letters1 instead of being cut on wood1 were indented by means of a skewer-shaped instrument 7stylus7 on wax spread on tablets of wood or ivory1 or written by means of a pen or reed on papyrus or on parchment1 the word 1 which in its primitive meaning signified 8to cut10 became expressive of writing generally4 ,footnote ,i-#a3 ,c4 ,g4 ,von ,murr1 in his ,journal zur ,kunstgeschichte1 #b ,theil1 ,s4 #bec1 referring to ,martorelli1 ,de ,regia ,theca ,calamaria4 ,from is derived the ,latin scribo1,i-#b 8,i write20 and it is worthy of observation1 that 8to scrive10--most probably from scribo1--signifies1 in our own language1 to cut numerals or other characters on timber with a tool called a scrive3 the word thus passing1 as it were1 through a circle of various meanings and in different languages1 and at last returning to its original signification4 ,footnote ,i-#b3 ,if this etymology be correct1 the ,english ,scrivener and ,french ,greffier may be related by descent as well as professionally2 both words being thus referable to the same origin1 the ,greek 4 ,the modern ,writer in the ,scottish courts of law performs the duties both of ,scrivener and ,greffier1 with whose name his own is synonymous4 ,under the general term ,,sculpture--the root of which is to be found in the ,latin verb sculpo1 8,i cut0--have been classed copper-plate engraving1 wood engraving1 gem engraving1 and carving1 as well as the art of the statuary or figure-cutter in marble1 to which art the word sculpture is now more strictly applied1 each of those arts requiring in its process the act of cutting of one kind or other4 ,in the ,german language1 which seldom borrows its terms of art from other languages1 the various modes of cutting in sculpture1 in copper-plate engraving1 and in engraving on wood1 are indicated in the name expressive of the operator or artist4 ,the sculptor is named a ,bildhauer1 from ,bild1 a statue1 and hauen1 to hew1 indicating the operation of cutting with a mallet and chisel2 the copper-plate engraver is called a ,kupfer-stecher1 from ,kupfer1 copper1 and stechen1 to dig or cut with the point2 and the wood engraver is a ,holzschneider1 from ,holz1 wood1 and schneiden1 to cut with the edge4 ,it is to be observed1 that though both the copper-plate engraver and the wood engraver may be said to cut in a certain sense1 as well as the sculptor and the carver1 they have to execute their work reversed1--that is1 contrary to the manner in which impressions from their plates or blocks are seen2 and that in copying a painting or a drawing1 it requires to be reversely transferred1--a disadvantage under which the sculptor and the carver do not labour1 as they copy their models or subjects direct4 ,,engraving1 as the word is at the present time popularly used1 and considered in its relation to the pictorial art1 may be defined to be--8,the art of representing objects on metallic substances1 or on wood1 expressed by lines and points produced by means of corrosion1 incision1 or excision1 for the purpose of their being impressed on paper by means of ink or other colouring matter40 ,the impressions obtained from engraved plates of metal or from blocks of wood are commonly called engravings1 and sometimes prints4 ,formerly the word cuts,i-#c was applied indiscriminately to impressions1 either from metal or wood2 but at present it is more strictly confined to the productions of the wood engraver4 ,impressions from copper-plates only are properly called plates2 though it is not unusual for persons who profess to review productions of art1 to speak of a book containing1 perhaps1 a number of indifferent woodcuts1 as 8a work embellished with a profusion of the most charming plates on wood20 thus affording to every one who is in the least acquainted with the art at once a specimen of their taste and their knowledge4 ,footnote ,i-#c3 ,towards the close of the seventeenth century we find books 8adorned with sculptures by a curious hand20 about #agcj we find them 8ornamented with cuts20 at present they are 8illustrated with engravings40 ,independent of the difference of the material on which copper-plate engraving and wood engraving are executed1 the grand distinction between the two arts is1 that the engraver on copper corrodes by means of aqua-fortis1 or cuts out with the burin or dry-point1 the lines1 stipplings1 and hatchings from which his impression is to be produced2 while1 on the contrary1 the wood engraver effects his purpose by cutting away those parts which are to appear white or colourless1 thus leaving the lines which produce the impression prominent4 ,in printing from a copper or steel plate1 which is previously warmed by being placed above a charcoal fire1 the ink or colouring matter is rubbed into the lines or incisions by means of a kind of ball formed of woollen cloth2 and when the lines are thus sufficiently charged with ink1 the surface of the plate is first wiped with a piece of rag1 and is then further cleaned and smoothed by the fleshy part of the palm of the hand1 slightly touched with whitening1 being once or twice passed rather quickly and lightly over it4 ,the plate thus prepared is covered with the paper intended to receive the engraving1 and is subjected to the action of the rolling or copper-plate printer's press2 and the impression is obtained by the paper being pressed into the inked incisions4 ,as the lines of an engraved block of wood are prominent or in relief1 while those of a copper-plate are1 as has been previously explained1 intagliate or hollowed1 the mode of taking an impression from the former is precisely the reverse of that which has just been described4 ,the usual mode of taking impressions from an engraved block of wood is by means of the printing-press1 either from the block separately1 or wedged up in a chase with types4 ,the block is inked by being beat with a roller on the surface1 in the same manner as type2 and the paper being turned over upon it from the tympan1 it is then run in under the platen2 which being acted on by the lever1 presses the paper on to the raised lines of the block1 and thus produces the impression4 ,impressions from wood are thus obtained by the on-pression of the paper against the raised or prominent lines2 while impressions from copper-plates are obtained by the in-pression of the paper into hollowed ones4 ,in consequence of this difference in the process1 the inked lines impressed on paper from a copper-plate appear prominent when viewed direct2 while the lines communicated from an engraved wood-block are indented in the front of the impression1 and appear raised at the back4 ,illustration3 ,,printed ,,from ,a ,,wood-,,block4 ,illustration3 ,,printed ,,from ,a ,,copper-,,plate4 ,the above impressions--the one from a wood-block1 and the other from an etched copper-plate--will perhaps render what has been already said1 explanatory of the difference between copper-plate printing from hollowed lines1 and surface printing by means of the common press from prominent lines1 still more intelligible4 ,the subject is a representation of the copper-plate or rolling press4 ,both the preceding impressions are produced in the same manner by means of the common printing-press4 ,one is from wood2 the other1 where the white lines are seen on a black ground1 is from copper2--the hollowed lines1 which in copper-plate printing yield the impression1 receiving no ink from the printer's balls or rollers2 while the surface1 which in copper-plate printing is wiped clean after the lines are filled with ink1 is perfectly covered with it4 ,it is1 therefore1 evident1 that if this etching were printed in the same manner as other copper-plates1 the impression would be a fac-simile of the one from wood4 ,it has been judged necessary to be thus minute in explaining the difference between copper-plate and wood engraving1 as the difference in the mode of obtaining impressions does not appear to have been previously pointed out with sufficient precision4 ,as it does not come within the scope of the present work to inquire into the origin of sculpture generally1 ,i shall not here venture to give an opinion whether the art was invented by ,,adam or his good angel ,,raziel1 or whether it was introduced at a subsequent period by ,,tubal-,,cain1 ,,noah1 ,,trismegistus1 ,,zoroaster1 or ,,moses4 ,those who feel interested in such remote speculations will find the 8authorities0 in the second chapter of ,evelyn's 8,sculptura40 ,without1 therefore1 inquiring when or by whom the art of engraving for the purpose of producing impressions was invented1 ,i shall endeavour to show that such an art1 however rude1 was known at a very early period2 and that it continued to be practised in ,europe1 though to a very limited extent1 from an age anterior to the birth of ,christ1 to the year #adjj4 ,in the fifteenth century1 its principles appear to have been more generally applied2--first1 to the simple cutting of figures on wood for the purpose of being impressed on paper2 next1 to cutting figures and explanatory text on the same block1 and then entire pages of text without figures1 till the 8,,ars ,,graphica ,,et ,,impressoria0 attained its perfection in the discovery of ,,printing by means of movable fusile types4,i-#d ,footnote ,i-#d3 ,astle on the ,origin and ,progress of ,writing1 p4 #bae1 #bnd edit4 ,at a very early period stamps of wood1 having hieroglyphic characters engraved on them1 were used in ,egypt for the purpose of producing impressions on bricks1 and on other articles made of clay4 ,this fact1 which might have been inferred from the ancient bricks and fragments of earthenware containing characters evidently communicated by means of a stamp1 has been established by the discovery of several of those wooden stamps1 of undoubted antiquity1 in the tombs at ,thebes1 ,meroe1 and other places4 ,the following cuts represent the face and the back of one of the most perfect of those stamps1 which was found in a tomb at ,thebes1 and has recently been brought to this country by ,edward ,william ,lane1 ,esq4,i-#e ,footnote ,i-#e3 ,author of 8,an ,account of the ,manners and ,customs of the ,modern ,egyptians1 written in ,egypt during the years #ahcc1 '#cd1 and '#ce40 ,illustration ,the original stamp is made of the same kind of wood as the mummy chests1 and has an arched handle at the back1 cut out of the same piece of wood as the face4 ,it is of an oblong figure1 with the ends rounded off2 five inches long1 two inches and a quarter broad1 and half an inch thick4 ,the hieroglyphic characters on its face are rudely cut in intaglio1 so that their impression on clay would be in relief2 and if printed in the same manner as the preceding copy1 would present the same appearance1--that is1 the characters which are cut into the wood1 would appear white on a black ground4 ,the phonetic power of the hieroglyphics on the face of the stamp may be represented respectively by the letters1 ,a1 ,m1 ,n1 ,f1 ,t1 ,p1 ,t1 ,h1 ,m2 and the vowels being supplied1 as in reading ,hebrew without points1 we have the words1 8,amonophtep1 ,thmei-mai10--8,amonoph1 beloved of truth40,i-#f ,the name is supposed to be that of ,amonoph or ,amenoph the ,first1 the second king of the eighteenth dynasty1 who1 according to the best authorities1 was contemporary with ,moses1 and reigned in ,egypt previous to the departure of the ,israelites4 ,there are two ancient ,egyptian bricks in the ,british ,museum on which the impression of a similar stamp is quite distinct2 and there are also several articles of burnt clay1 of an elongated conical figure1 and about nine inches long1 which have their broader extremities impressed with hieroglyphics in a similar manner4 ,there is also in the same collection a wooden stamp1 of a larger size than that belonging to ,mr4 ,lane1 but not in so perfect a condition4 ,several ancient ,etruscan terra-cottas and fragments of earthenware have been discovered1 on which there are alphabetic characters1 evidently impressed from a stamp1 which was probably of wood4 ,in the time of ,pliny terra-cottas thus impressed were called ,typi4 ,footnote ,i-#f3 ,on a mummy in the royal collection at ,paris1 the six first characters of this stamp occur4 ,champollion reads them1 8,amenoftep10 or 8,amonaftep40 ,he supposes the name to be that of ,amonoph the ,first2 and says that it signifies 8approuv par ,ammon40--,prcis du ,systme ,hiroglyphique4 ,planches et ,explication1 p4 #bj1 ,no4 #afa4 ,illustration ,in the ,british ,museum are several bricks which have been found on the site of ancient ,babylon4 ,they are larger than our bricks1 and somewhat different in form1 being about twelve inches square and three inches thick4 ,they appear to have been made of a kind of muddy clay with which portions of chopped straw have been mixed to cause it to bind2 and their general appearance and colour1 which is like that of a common brick before it is burnt1 plainly enough indicate that they have not been hardened by fire1 but by exposure to the sun4 ,about the middle of their broadest surface1 they are impressed with certain characters which have evidently been indented when the brick was in a soft state4 ,the characters are indented1--that is1 they are such as would be produced by pressing a wood-block with raised lines upon a mass of soft clay2 and were such a block printed on paper in the usual manner of wood-cuts1 the impression would be similar to the preceding one1 which has been copied1 on a reduced scale1 from one of the bricks above noticed4 ,the characters have been variously described as cuneiform or wedge-shaped1 arrow-headed1 javelin-headed1 or nail-headed2 but their meaning has not hitherto been deciphered4 ,amphor1 lamps1 tiles1 and various domestic utensils1 formed of clay1 and of ,roman workmanship1 are found impressed with letters1 which in some cases are supposed to denote the potter's name1 and in others the contents of the vessel1 or the name of the owner4 ,on the tiles1--of which there are specimens in the ,british ,museum1--the letters are commonly inscribed in a circle1 and appear raised2 thus showing that the stamp had been hollowed1 or engraved in intaglio1 in a manner similar to a wooden butter-print4 ,in a book entitled 8lia ,llia ,crispis non nata resurgens10 by ,c4 ,c4 ,malvasia1 #dto4 ,bologna1 #afhc1 are several engravings on wood of such tiles1 found in the neighbourhood of ,rome1 and communicated to the author by ,fabretti1 who1 in the seventh chapter of his own work1,i-#g has given some account of the 8figlinarum signa10--the stamps of the ancient potters and tile-makers4 ,footnote ,i-#g3 ,inscriptionum ,explicatio1 fol4 ,rom1 #afii4 ,the stamp from which the following cut has been copied is preserved in the ,british ,museum4 ,it is of brass1 and the letters are in relief and reversed2 so that if it were inked from a printer's ball and stamped on paper1 an impression would be produced precisely the same as that which is here given4 ,illustration3 ,,lar ,it would be difficult now to ascertain why this stamp should be marked with the word ,,lar1 which signifies a household god1 or the image of the supposed tutelary genius of a house2 but1 without much stretch of imagination1 we may easily conceive how appropriate such an inscription would be impressed on an amphora or large wine-vessel1 sealed and set apart on the birth of an heir1 and to be kept sacred--inviolate as the household gods--till the young ,roman assumed the 8toga virilis10 or arrived at years of maturity4 ,that vessels containing wine were kept for many years1 we learn from ,horace and ,petronius2,i-#h ,footnote ,i-#h3 8,o nata mecum consule ,manlio60 says ,horace1 addressing an amphora of wine as old as himself2 and ,petronius mentions some choice ,falernian which had attained the ripe age of a hundred3 8,statim allat sunt amphor vitre diligenter gypsat1 quarum in cervicibus pittacia erant affixa1 cum hoc titulo3 ,falernum ,opimianum annorum centum40 ,pittacia were small labels--schedul breves--attached to the necks of wine-vessels1 and on which were marked the name and age of the wine4 ----,prome reconditum1 ,lyde1 strenua1 ,ccubum1 ,munitque adhibe vim sapienti4 ,inclinare meridiem ,sentis3 ac veluti stet volucris dies1 ,parcis deripere horreo ,cessantem ,bibuli ,consulis amphoram4 ,carmin4 lib4 ,,iii4 xxviii4 8,quickly produce1 ,lyde1 the hoarded ,ccuban1 and make an attack upon wisdom1 ever on her guard4 ,you perceive the noontide is on its decline2 and yet1 as if the fleeting day stood still1 you delay to bring out of the store-house the loitering cask1 7that bears its date7 from the ,consul ,bibulus40--,smart's ,translation4 ,mr4 ,ottley1 in his 8,inquiry into the ,origin and ,early ,history of ,engraving10 pages #eg and #eh1 makes a distinction between impression where the characters impressed are produced by 8a change of form0--meaning where they are either indented in the substance impressed1 or raised upon it in relief--and impression where the characters are produced by colour2 and requires evidence that the ancients ever used stamps 8charged with ink or some other tint1 for the purpose of stamping paper1 parchment1 or other substances1 little or not at all capable of indentation40 ,it certainly would be very difficult1 if not impossible1 to produce a piece of paper1 parchment1 or cloth of the age of the ,romans impressed with letters in ink or other colouring matter2 but the existence of such stamps as the preceding1--and there are others in the ,british ,museum of the same kind1 containing more letters and of a smaller size1--renders it very probable that they were used for the purpose of marking cloth1 paper1 and similar substances1 with ink1 as well as for being impressed in wax or clay4 ,von ,murr1 in an article in his ,journal1 on the ,art of ,wood ,engraving1 gives a copy from a similar bronze stamp1 in ,praun's ,museum1 with the inscription 8,,galliani10 which he considers as most distinctly proving that the ,romans had nearly arrived at the arts of wood engraving and book printing4 ,he adds3 8,letters cut on wood they certainly had1 and very likely grotesques and figures also1 the hint of which their artists might readily obtain from the coloured stuffs which were frequently presented by ,indian ambassadors to the emperors40,i-#i ,footnote ,i-#i3 ,journal zur ,kunstgeschichte1 #b ,theil1 ,s4 #ha4 ,by grotesque--8,laubwerk0--ornamental foliage is here meant2--grot-esque1 bower-work1--not caricatures4 ,at page #ij of ,singer's 8,researches into the ,history of ,playing-,cards0 are impressions copied from stamps similar to the preceding2 which stamps the author considers as affording 8examples of such a near approach to the art of printing as first practised1 that it is truly extraordinary there is no remaining evidence of its having been exercised by them2--unless we suppose that they were acquainted with it1 and did not choose to adopt it from reasons of state policy40 ,it is just as extraordinary that the ,greek who employed the expansive force of steam in the lopile to blow the fire did not invent ,newcomen's engine2--unless1 indeed1 we suppose that the construction of such an engine was perfectly known at ,syracuse1 but that the government there did not choose to adopt it from motives of 8state policy40 ,it was not1 however1 a reason of 8state policy0 which caused the ,roman cavalry to ride without stirrups1 or the windows of the palace of ,augustus to remain unglazed4 ,the following impressions are also copied from two other brass stamps1 preserved in the collection of ,roman antiquities in the ,british ,museum4 ,illustration3 ,,ovirillio ,illustration3 ,,flscladiou ,as the letters in the originals are hollowed or cut into the metal1 they would1 if impressed on clay or soft wax1 appear raised or in relief2 and if inked and impressed on paper or on white cloth1 they would present the same appearance that they do here--white on a black ground4 ,not being able to explain the letters on these stamps1 further than that the first may be the dative case of a proper name ,ovirillius1 and indicate that property so marked belonged to such a person1 ,i leave them1 as ,francis ,moore1 physician1 leaves the hieroglyphic in his ,almanack1--8to time and the curious to construe40 ,lambinet1 in his 8,recherches sur l',origine de l',imprimerie10 gives an account of two stone stamps of the form of small tablets1 the letters of which were cut in intaglio and reverse1 similar to the two of which impressions are above given4 ,they were found in #ahjh1 near the village of ,nais1 in the department of the ,meuse2 and as the letters1 being in reverse1 could not be made out1 the owner of the tablets sent them to the ,celtic ,society of ,paris1 where ,m4 ,dulaure1 to whose examination they were submitted1 was of opinion that they were a kind of matrices or hollow stamps1 intended to be applied to soft substances or such as were in a state of fusion4 ,he thought they were stamps for vessels containing medical compositions2 and if his reading of one of the inscriptions be correct1 the practice of stamping the name of a quack and the nature of his remedy1 in relief on the side of an ointment-pot or a bottle1 is of high antiquity4 ,the letters ,q4 ,,jun4 ,,tauri4 ,,anody4 ,,num4 ,,ad ,,omn4 ,,lipp4 ,m4 ,dulaure explains thus3 ,quinti ,junii ,tauridi anodynum ad omnes lippas2,i-#aj an inscription which is almost literally rendered by the title of a specific still known in the neighbourhood of ,newcastle-on-,tyne1 8,dr4 ,dud's lotion1 good for sore eyes40 ,footnote ,i-#aj3 ,m4 ,dulaure's latinity is bad4 8,lippas0 certainly is not the word4 ,his translation is1 8,remde anodin de ,quintus ,junius ,tauridus1 pour tous les maux d'yeux40 ,other stone stamps1 supposed to have been used by oculists to mark the vessels containing their medicaments1 were discovered and explained long before ,m4 ,dulaure published his interpretation4 ,see 8,,walchii ,antiquitates ,medic ,select1 ,jen1 #aggb10 ,num4 #a and #b1 referred to by ,von ,murr4 ,besides such stamps as have already been described1 the ancients used brands1 both figured and lettered1 with which1 when heated1 they marked their horses1 sheep1 and cattle1 as well as criminals1 captives1 and refractory or runaway slaves4 ,the ,athenians1 according to ,suidas1 marked their ,samian captives with the figure of an owl2 while ,athenians captured by the ,samians were marked with the figure of a galley1 and by the ,syracusans with the figure of a horse4 ,the husbandman at his leisure time1 as we are informed by ,virgil1 in the first book of the ,georgics1 8,aut pecori signa1 aut numeros impressit acervis20 and from the third book we learn that the operation was performed by branding3 8,continuoque notas et nomina gentis inurunt40,i-#aa ,footnote ,i-#aa3 ,,hermannus ,,hugo1 ,de prima ,origine ,scribendi1 cap4 xix4 ,de ,notis ,servilibus1 et cap4 xx4 ,de ,notis pecudum4 ,a further account of the ancient stigmata1 and of the manner in which slaves were marked1 is to be found in ,,pignorius1 ,de ,servis4 99 99 99 ,such brands as those above noticed1 commonly known by the name of cauteria or stigmata1 were also used for similar purposes during the middle ages2 and the practice1 which has not been very long obsolete1 of burning homicides in the hand1 and vagabonds and 8sturdy beggars0 on the breast1 face1 or shoulder1 affords an example of the employment of the brand in the criminal jurisprudence of our own country4 ,by the #ast ,edward ,,vi4 cap4 #c1 it was enacted1 that whosoever1 man or woman1 not being lame or impotent1 nor so aged or diseased that he or she could not work1 should be convicted of loitering or idle wandering by the highway-side1 or in the streets1 like a servant wanting a master1 or a beggar1 he or she was to be marked with a hot iron on the breast with the letter ,v for ,vagabond1 and adjudged to the person bringing him or her before a justice to be his slave for two years2 and if such adjudged slave should run away1 he or she1 upon being taken and convicted1 was to be marked on the forehead1 or on the ball of the cheek1 with the letter ,s for ,slave1 and adjudged to be the said master's slave for ever4 ,by the #ast of ,james ,i4 cap4 #g1 it was also enacted1 that such as were to be deemed 8rogues1 vagabonds1 and sturdy beggars0 by the #cith of ,elizabeth1 cap4 #d1 being convicted at the sessions and found to be incorrigible1 were to be branded in the left shoulder with a hot iron1 of the breadth of an ,english shilling1 marked with a great ,roman ,r for ,rogue2 such branding upon the shoulder to be so thoroughly burned and set upon the skin and flesh1 that the said letter ,r should be seen and remain for a perpetual mark upon such rogue during the remainder of his life4,i-#ab ,footnote ,i-#ab3 ,history of the ,poor ,laws1 #hvo4 #agfd1 by ,richard ,burn1 ,,ll4,d41 who in his observations on such punishments says3 8,it is affecting to humanity to observe the various methods that have been invented for the punishment of vagrants2 none of all which wrought the desired effect 4 4 4 4 4 4 ,this part of our history looks like the history of the savages in ,america4 ,almost all severities have been exercised against vagrants1 except scalping40 ,from a passage in ,quintilian we learn that the ,romans were acquainted with the method of tracing letters1 by means of a piece of thin wood in which the characters were pierced or cut through1 on a principle similar to that on which the present art of stencilling is founded4 ,he is speaking of teaching boys to write1 and the passage referred to may be thus translated3 8,when the boy shall have entered upon joining-hand1 it will be useful for him to have a copy-head of wood in which the letters are well cut1 that through its furrows1 as it were1 he may trace the characters with his style4 ,he will not thus be liable to make slips as on the wax alone1 for he will be confined by the boundary of the letters1 and neither will he be able to deviate from his text4 ,by thus more rapidly and frequently following a definite outline1 his hand will become set1 without his requiring any assistance from the master to guide it40,i-#ac ,footnote ,i-#ac3 8,quum puer jam ductus sequi cperit1 non inutile erit1 litteras tabell quam optime insculpi1 ut per illos1 velut sulcos1 ducatur stylus4 ,nam neque errabit1 quemadmodum in ceris1 continebitur enim utrimque marginibus1 neque extra prscriptum poterit egredi2 et celerius ac spius sequendo certa vestigia firmabit articulos1 neque egebit adjutorio manum suam1 manu superimposita1 regentis40 ,quintiliani ,instit4 ,orator41 lib4 i4 cap4 ,i4 ,a thin stencil-plate of copper1 having the following letters cut out of it1 ,,dn ,,constan ,,tio ,,avg ,,sem ,,per ,,victori was received1 together with some rare coins1 from ,italy by ,tristan1 author of 8,commentaires ,historiques1 ,paris1 #afeg10 who gave a copy of it at page #fh of the third volume of that work4 ,the letters thus formed1 8ex nulla materia10,i-#ad might be traced on paper by means of a pen1 or with a small brush1 charged with body-colour1 as stencillers slap-dash rooms through their pasteboard patterns1 or dipped in ink in the same manner as many shopkeepers now1 through similar thin copper-plates1 mark the prices of their wares1 or their own name and address on the paper in which such wares are wrapped4 ,footnote ,i-#ad3 ,prosper ,marchand1 at page #i of his 8,histoire de l',imprimerie10 gives the following title of a book in #hvo4 which was wholly1 both text and figures1 executed in this manner1 perc au jour1 in vellum3 8,liber ,passionis ,domini ,nostri ,jesu ,christi1 cum figuris et characteribus ex nulla materia compositis40 ,he states that in #afdj it was in the collection of ,albert ,henry1 ,prince de ,ligne1 and quotes a description of it from ,anton4 ,sanderi ,bibliotheca ,belgica ,manuscripta1 parte ii4 p4 #a4 ,illustration ,in the sixth century it appears1 from ,procopius1 that the ,emperor ,justin ,i4 made use of a tablet of wood pierced or cut in a similar manner1 through which he traced in red ink1 the imperial colour1 his signature1 consisting of the first four letters of his name4 ,it is also stated that ,theodoric1 ,king of the ,ostrogoths1 the contemporary of ,justin1 used after the same manner to sign the first four letters of his name through a plate of gold2,i-#ae and in ,peringskiold's edition of the ,life of ,theodoric1 the annexed is given as the monogram,i-#af of that monarch4 ,the authenticity of this account has1 however1 been questioned1 as ,cochlus1 who died in #aeeb1 cites no ancient authority for the fact4 ,footnote ,i-#ae3 8,rex ,theodoricus inliteratus erat1 et sic obruto sensu ut in decem annos regni sui quatuor literas subscriptionis edicti sui discere nullatenus potuisset4 ,de qua re laminam auream jussit interrasilem tieri quatuor literas regis habentem1 unde ut si subscribere voluisset1 posita lamina super chartam1 per eam pennam duceret et subscriptio ejus tantum videretur40--,vita ,theodorici ,regis ,ostrogothorum et ,itali1 autore ,joanne ,cochlo2 cum additamentis ,joannis ,peringskiold1 #dto4 ,stockholmi1 #afii1 p4 #aii4 ,footnote ,i-#af3 ,a monogram1 properly1 consists of all1 or the principal letters of a name1 combined in such a manner that the whole appear but as one character2 a portion of one letter being understood to represent another1 two being united to form a third1 and so on4 ,illustration ,it has been asserted by ,mabillon1 7,diplom4 lib4 ii4 cap4 #aj17 that ,charlemagne first introduced the practice of signing documents with a monogram1 either traced with a pen by means of a thin tablet of gold1 ivory1 or wood1 or impressed with an inked stamp1 having the characters in relief1 in a manner similar to that in which letters are stamped at the ,post-office4,i-#ag ,ducange1 however1 states that this mode of signing documents is of greater antiquity1 and he gives a copy of the monogram of the ,pope ,adrian ,i4 who was elected to the see of ,rome in #ggd1 and died in #gie4 ,the annexed monogram of ,charlemagne has been copied from ,peringskiold1 8,annotationes in ,vitam ,theodorici10 p4 #ehd2 it is also given in ,ducange's ,glossary1 and in the 8,nouveau ,trait de ,diplomatique40 ,footnote ,i-#ag3 ,mabillon's opinion is founded on the following passage in the ,life of ,charlemagne1 by his secretary ,eginhard3 8,ut scilicet imperitiam hanc scribendi honesto ritu suppleret1 monogrammatis usum loco proprii signi invexit40 ,the monogram1 either stencilled or stamped1 consisted of a combination of the letters of the person's name1 a fanciful character1 or the figure of a cross1,i-#ah accompanied with a peculiar kind of flourish1 called by ,french writers on diplomatics parafe or ruche4 ,this mode of signing appears to have been common in most nations of ,europe during the ninth1 tenth1 and eleventh centuries2 and it was practised by nobles and the higher orders of the clergy1 as well as by kings4 ,it continued to be used by the kings of ,france to the time of ,philip ,,iii4 and by the ,spanish monarchs to a much later period4 ,it also appears to have been adopted by some of the ,saxon kings of ,england2 and the authors of the 8,nouveau ,trait de ,diplomatique0 say that they had seen similar marks produced by a stamp of ,william the ,conqueror1 when ,duke of ,normandy4 ,we have had a recent instance of the use of the stampilla1 as it is called by diplomatists1 in affixing the royal signature4 ,during the illness of ,george ,,iv4 in #ahcj1 a silver stamp1 containing a fac-simile of the king's sign-manual1 was executed by ,wyon1 which was stamped on documents requiring the royal signature1 by commissioners1 in his ,majesty's presence4 ,a similar stamp was used during the last illness of ,henry ,,viii4 for the purpose of affixing the royal signature4 ,the king's warrant empowering commissioners to use the stamp may be seen in ,rymer's ,fdera1 vol4 xv4 p4 #aja1 anno #aedf4 ,it is believed that the warrant which sent the poet ,surrey to the scaffold was signed with this stamp1 and not with ,henry's own hand4 ,footnote ,i-#ah3 8,triplex cruces exarandi modus3 #a4 penna sive calamo2 #b4 lamina interrasili2 #c4 stampilla sive typo anaglyptico4 ,lamin interrasiles ex auro aliove metallo1 vel ex ebore etiam confect sunt1 atque ita perforat1 ut hiatus1 pro re nata1 crucium cet4 speciem pr se ferrent1 per quos velut sulcos1 calamus sive penna ducebatur4 ,stampill vero ita sculpt sunt1 ut figur superficiem eminerent1 qu deinde atramento tinct sunt1 chartque impress40--,gatterer1 ,elementa ,artis ,diplomatic1 #bfd1 ,de ,staurologia4 ,in ,sempre's 8,history of the ,cortes of ,spain10 several examples are given of the use of fanciful monograms in that country at an early period1 and which were probably introduced by its ,gothic invaders4 ,that such marks were stamped is almost certain2 for the first1 which is that of ,gundisalvo ,tellez1 affixed to a charter of the date of #hdj1 is the same as the 8sign0 which was affixed by his widow1 ,flamula1 when she granted certain property to the abbot and monks of ,cardea for the good of her deceased husband's soul4 ,the second1 which is of the date of #hhf1 was used both by the abbot ,ovecus1 and ,peter his nephew2 and the third was used by all the four children of one ,ordoo1 as their 8sign0 to a charter of donation executed in #ajah4 ,the fourth mark is a ,runic cypher1 copied from an ancient ,icelandic manuscript1 and given by ,peringskiold in his 8,annotations on the ,life of ,theodoric30 it is not given here as being from a stencil or a stamp1 but that it may be compared with the apparently ,gothic monograms used in ,spain4 ,illustration 8,in their inscriptions1 and in the rubrics of their books10 says a writer in the ,edinburgh ,review,i-#ai 8the ,spanish ,goths1 like the ,romans of the ,lower ,empire1 were fond of using combined capitals--of monogrammatising4 ,this mode of writing is now common in ,spain1 on the sign-boards and on the shop-fronts1 where it has retained its place in defiance of the canons of the council of ,leon1 ,the ,goths1 however1 retained a truly ,gothic custom in their writings4 ,the ,spanish ,goth sometimes subscribed his name2 or he drew a monogram like the ,roman emperors1 or the sign of the cross like the ,saxon2 but not unfrequently he affixed strange and fanciful marks to the deed or charter1 bearing a close resemblance to the ,runic or magical knots of which so many have been engraved by ,peringskiold1 and other northern antiquaries40 ,footnote ,i-#ai3 ,no4 lxi4 p4 #ajh1 where the preceding ,gothic marks1 with the explanation of them1 are given4 ,to the tenth or the eleventh century are also to be referred certain small silver coins--8something between counters and money10 as is observed by ,pinkerton--which are impressed1 on one side only1 with a kind of ,runic monogram4 ,they are formed of very thin pieces of silver2 and it has been supposed that the impression was produced from wooden dies4 ,they are known to collectors as 8nummi bracteati0--tinsel money2 and ,pinkerton1 mistaking the ,runic character for the ,christian cross1 says that 8most of them are ecclesiastic40 ,he is perhaps nearer the truth when he adds that they 8belong to the tenth century1 and are commonly found in ,germany1 and the northern kingdoms of ,sweden and ,denmark40,i-#bj ,the four following copies from the original coins in the ,brennerian collection are given by ,peringskiold1 in his 8,annotations on the ,life of ,theodoric10 previously referred to4 ,the characters on the three first he reads as the letters ,,eir1 ,,oir1 and ,,air1 respectively1 and considers them to be intended to represent the name of ,eric the ,victorious4 ,the characters on the fourth he reads as ,,eim1 and applies them to ,emund ,annosus1 the nephew of ,eric the ,victorious1 who succeeded to the ,sueo-,gothic throne in #ajea2 about which time1 through the influence of the monks1 the ancient ,runic characters were exchanged for ,roman4 ,footnote ,i-#bj3 ,essay on ,medals1 pp4 #add1 #ade4 ,edit4 #aghd4 ,illustration ,illustration3 ,,nicolaus ,,ferenterius1 #abcf ,the notaries of succeeding times1 who on their admission were required to use a distinctive sign or notarial mark in witnessing an instrument1 continued occasionally to employ the stencil in affixing their 8sign20 although their use of the stamp for that purpose appears to have been more general4 ,in some of those marks or stamps the name of the notary does not appear1 and in others a small space is left in order that it might afterwards be inserted with a pen4 ,the annexed monogram was the official mark of an ,italian notary1 ,nicolaus ,ferenterius1 who lived in #abcf4;,i-#ba ,footnote ,i-#ba3 ,it it given by ,gatterer in his 8,elementa ,artis ,diplomatic10 p4 #aff2 #dto4 ,gotting1 #agfe2 who refers to ,muratori1 ,antiquit4 ,itali ,medii vi1 t4 vi4 p4 #i4 ,the three following cuts represent impressions of ,german notarial stamps4 ,the first is that of ,jacobus ,arnaldus1 #acde2 the second that of ,johannes ,meynersen1 #adce2 and the third that of ,johannes ,calvis1 #aeba4;,i-#bb ,footnote ,i-#bb3 ,these stamps are copied from 8,d4 ,e4 ,baringii ,clavis ,diplomatica10 #dto4 ,hanover1 #aged4 ,there is a work expressly treating of the use of the ,diplomatic ,stamp--,j4 ,c4 ,c4 ,oelrichs de ,stampilla ,diplomatica1 folio1 ,wismari1 #agfb1 which ,i have not been able to obtain a sight of4 ,illustration3 ,,jacobus ,,arnaldus1 #acde4 ,illustration3 ,,johannes ,,meynersen1 #adce4 ,illustration3 ,,johannes ,,calvis1 #aeba4 ,many of the merchants'-marks of our own country1 which so frequently appear on stained glass windows1 monumental brasses1 and tombstones in the fourteenth1 fifteenth1 and sixteenth centuries1 bear a considerable likeness to the ancient ,runic monograms1 from which it is not unlikely that they were originally derived4 ,the ,english trader was accustomed to place his mark as his 8sign0 in his shop-front in the same manner as the ,spaniard did his monogram3 if he was a wool-stapler1 he stamped it on his packs2 or if a fish-curer1 it was branded on the end of his casks4 ,if he built himself a new house1 his mark was frequently placed between his initials over the principal door-way1 or over the fireplace of the hall2 if he made a gift to a church or a chapel1 his mark was emblazoned on the windows beside the knight's or the nobleman's shield of arms2 and when he died1 his mark was cut upon his tomb4 ,of the following merchants'-marks1 the first is that of ,adam de ,walsokne1 who died in #acdi2 the second that of ,edmund ,pepyr1 who died in #adhc2 those two marks are from their tombs in ,st4 ,margaret's1 ,lynn2 and the third is from a window in the same church4,i-#bc ,footnote ,i-#bc3 ,the marks here given are copied from ,mackarel's ,history of ,king's ,lynn1 #hvo4 #agcg4 ,in the same book there are upwards of thirty more of a similar kind1 from the middle of the fourteenth century to the latter end of the seventeenth4 ,perhaps no two counties in the kingdom afford so many examples of merchants'-marks and monumental brasses as ,norfolk and ,suffolk4 ,illustration ,in ,pierce ,ploughman's ,creed1 written after the death of ,wickliffe1 which happened in #achd1 and consequently more modern than many of ,chaucer's poems1 merchants'-marks are thus mentioned in the description of a window of a ,dominican convent3 8,wide windows y-wrought1 y-written full thick1 ,shining with shapen shields1 to shewen about1 ,with marks of merchants1 y-meddled between1 ,mo than twenty and two1 twice y-numbered4,i-#bd0 ,footnote ,i-#bd3 8,y-meddled is mixed2 the marks of merchants are put in opposition to the #8shapen shields1' because merchants had no coats of arms40--,specimens of the ,early ,english ,poets1 by ,george ,ellis1 ,esq4 vol4 i4 p4 #afc4 ,edit4 #ahaa4 ,having thus endeavoured to prove by a continuous chain of evidence that the principle of producing impressions from raised lines was known1 and practised1 at a very early period2 and that it was applied for the purpose of impressing letters and other characters on paper1 though perhaps confined to signatures only1 long previous to #adbc1--which is the earliest date that has been discovered on a wood-cut1 in the modern sense of the word1 impressed on paper1 and accompanied with explanatory words cut on the same block2,i-#be and having shown that the principle of stencilling--the manner in which the above-named cut is coloured,i-#bf--was also known in the middle ages2 it appears requisite1 next to briefly notice the contemporary existence of the cognate arts of die-sinking1 seal-cutting1 and engraving on brass1 and afterwards to examine the grounds of certain speculations on the introduction and early practice of wood-engraving and block-printing in ,europe4 ,footnote ,i-#be3 8,till lately this was the earliest dated evidence of block printing known2 but there has just been discovered at ,malines1 and now deposited at ,brussels1 a woodcut of similar character1 but assumed to be ,dutch or ,flemish1 dated ,,mccccxviii42 and though there seems no reason to doubt the genuineness of the cut1 it is currently asserted that the date bears evidence of having been tampered with40--,extract from ,bohn's ,lecture on ,printing4 ,footnote ,i-#bf3 ,the woodcut referred to is that of ,st4 ,christopher1 discovered by ,heineken1 pasted within the cover of a book in the ,monastery of ,buxheim1 near ,memmingen1 in ,suabia4 ,it is of a folio size1 and is coloured by means of stencils2 a practice which appears to have been adopted at an early part of the fifteenth century by the ,german ,formschneiders and ,briefmalers1 literally1 figure-cutters and cardpainters1 to colour their cuts and their cards4 ,the ,st4 ,christopher is now in ,earl ,spencer's library4 7,see a reduced copy of it at p4 #df74 ,concerning the first invention of stamping letters and figures upon coins1 and the name of the inventor1 it is fruitless to inquire1 as the origin of the art is lost in the remoteness of antiquity4 8,leaving these uncertainties10 says ,pinkerton1 in his ,essay on ,medals1 8we know from respectable authorities that the first money coined in ,greece was that struck in the island of gina1 by ,phidon king of ,argos4 ,his reign is fixed by the ,arundelian marbles to an era correspondent to the #hheth year before ,christ2 but whether he derived this art from ,lydia or any other source we are not told40 ,about three hundred years before the birth of ,christ1 the art of coining1 so far as relates to the beauty of the heads impressed1 appears to have attained its perfection in ,greece2--we may indeed say its perfection generally1 for the specimens which were then produced in that country remain unsurpassed by modern art4 ,under the ,roman emperors the art never seems to have attained so high a degree of perfection as it did in ,greece2 though several of the coins of ,hadrian1 probably executed by ,greek artists1 display great beauty of design and execution4 ,the art of coining1 with the rest of the ornamental arts1 declined with the empire2 and1 on its final subversion in ,italy1 the coins of its rulers were scarcely superior to those which were subsequently minted in ,england1 ,germany1 and ,france1 during the darkest period of the middle ages4 ,the art of coining money1 however rude in design and imperfect in its mode of stamping the impression1 which was by repeated blows with a hammer1 was practised from the twelfth to the sixteenth century in a greater number of places than at present2 for many of the more powerful bishops and nobles assumed or extorted the right of coining money as well as the king2 and in our own country the archbishops of ,canterbury and ,york1 and the bishop of ,durham1 exercised the right of coinage till the ,reformation2 and local mints for coining the king's money were occasionally fixed at ,norwich1 ,chester1 ,york1 ,st4 ,edmundsbury1 ,newcastle-on-,tyne1 and other places4 ,independent of those establishments for the coining of money1 almost every abbey struck its own jettons or counters2 which were thin pieces of copper1 commonly impressed with a pious legend1 and used in casting up accounts1 but which the general introduction of the numerals now in use1 and an improved system of arithmetic1 have rendered unnecessary4 ,as such mints were at least as numerous in ,france and ,germany as in our own country1 ,scheffer1 the partner of ,faust1 when he conceived the idea of casting letters from matrices formed by punches1 would have little difficulty in finding a workman to assist him in carrying his plans into execution4 8,the art of impressing legends on coins10 says ,astle in his ,account of the ,origin and ,progress of writing1 8is nothing more than the art of printing on medals40 ,that the art of casting letters in relief1 though not separately1 and most likely from a mould of sand1 was known to the ,romans1 is evident from the names of the emperors ,domitian and ,hadrian on some pigs of lead in the ,british ,museum2 and that it was practised during the middle and succeeding ages1 we have ample testimony from the inscriptions on our ancient bells4,i-#bg ,footnote ,i-#bg3 ,the small and thick brass coins1 struck by ,grecian cities under the ,roman emperors1 and known to collectors as 8colonial ,greek10 appear to have been cast1 and moulds for such a purpose have been discovered in our own country4 ,in the century immediately preceding #adbc1 the date of the wood-cut of ,st4 ,christopher1 the use of seals1 for the purpose of authenticating documents by their impression on wax1 was general throughout ,europe2 kings1 nobles1 bishops1 abbots1 and all who 8came of gentle blood10 with corporations1 lay and clerical1 all had seals4 ,they were mostly of brass1 for the art of engraving on precious stones does not appear to have been at that time revived1 with the letters and device cut or cast in hollow--en creux--on the face of the seal1 in order that the impression might appear raised4 ,the workmanship of many of those seals1 and more especially of some of the conventional ones1 where figures of saints and a view of the abbey are introduced1 displays no mean degree of skill4 ,looking on such specimens of the graver's art1 and bearing in mind the character of many of the drawings which are to be seen in the missals and other manuscripts of the fourteenth century and of the early part of the fifteenth1 we need no longer be surprised that the cuts of the earliest block-books should be so well executed4 ,the art of engraving on copper and other metals1 though not with the intention of taking impressions on paper1 is of great antiquity4 ,in the late ,mr4 ,salt's collection of ,egyptian antiquities there was a small axe1 probably a model1 the head of which was formed of sheet-copper1 and was tied1 or rather bandaged1 to the helve with slips of cloth4 ,there were certain characters engraved upon the head in such a manner that if it were inked and submitted to the action of the rolling-press1 impressions would be obtained as from a modern copper-plate4 ,the axe1 with other models of a carpenter's tools1 also of copper1 was found in a tomb in ,egypt1 where it must have been deposited at a very early period4 ,that the ancient ,greeks and ,romans were accustomed to engrave on copper and other metals in a similar manner1 is evident from engraved pater and other ornamental works executed by people of those nations4 ,though no ancient writer makes mention of the art of engraving being employed for the purpose of producing impressions on paper1 yet it has been conjectured by ,de ,pauw1 from a passage in ,pliny1,i-#bh that such an art was invented by ,varro for the purpose of multiplying the portraits of eminent men4 8,no ,greek10 says ,de ,pauw1 speaking of engraving1 8has the least right to claim this invention1 which belongs exclusively to ,varro1 as is expressed by ,pliny in no equivocal terms1 when he calls this method inventum ,varronis4 ,engraved plates were employed which gave the profile and the principal traits of the figures1 to which the appropriate colours and the shadows were afterwards added with the pencil4 ,a woman1 originally of ,cyzica1 but then settled in ,italy1 excelled all others in the talent of illumining such kind of prints1 which were inserted by ,varro in a large work of his entitled #8,imagines' or #8,hebdomades1' which was enriched with seven hundred portraits of distinguished men1 copied from their statues and busts4 ,the necessity of exactly repeating each portrait or figure in every copy of the work suggested the idea of multiplying them without much cost1 and thus gave birth to an art till then unknown40,i-#bi ,the grounds1 however1 of this conjecture are extremely slight1 and will not without additional support sustain the superstructure which ,de ,pauw--an 8ingenious0 guesser1 but a superficial inquirer--has so plausibly raised4 ,a prop for this theory has been sought for by men of greater research than the original propounder1 but hitherto without success4 ,footnote ,i-#bh3 8,that a strong passion for portraits formerly existed1 is attested both by ,atticus1 the friend of ,cicero1 who wrote a work on this subject1 and by ,m4 ,varro1 who conceived the very liberal idea of inserting by some means or other1 in his numerous volumes1 the portraits of seven hundred individuals2 as he could not bear the idea that all traces of their features should be lost1 or that the lapse of centuries should get the better of mankind40--,pliny's ,natural ,history1 ,book ,,xxxv4 chap4 #b4--7;,bohn's ,ed4 vol4 vi4 p4 #bbf4 ,m4 ,deville is of opinion that these portraits were made in relief upon plates of metal1 perhaps bronze1 and coloured with minium1 a red tint much esteemed by the ,romans74 ,footnote ,i-#bi3 ,see ,de ,pauw1 ,recherches ,philosophiques sur les ,grecs1 t4 ii4 p4 #ajj4 ,the subject is discussed in ,meusel's 8,neue ,miscellaneen von artistischen ,inhalts10 part xii4 p4 #chj-chg1 in an article1 8,sind wirklich die ,rmer die ,erfinder der ,kupferstecherkunst8--,were the ,romans truly the inventors of copper-plate engraving80--by ,a4 ,rode4 ,bttiger1 one of the most learned and intelligent of all ,german writers on the fine arts1 and ,fea1 the editor of ,winkleman's ,history of ,art1 do not admit ,de ,pauw's conjecture1 but decide the question in the negative4 ,about the year #acjj we have evidence of monumental brasses1 with large figures engraved on them1 being fixed on tombs in this country2 and it is not unlikely that they were known both here and on the ,continent at an earlier period4 ,the best specimens known in this country are such as were in all probability executed previous to #adjj4 ,in the succeeding century the figures and ornamental work generally appear to be designed in a worse taste and more carelessly executed2 and in the age of ,queen ,elizabeth the art1 such as it was1 appears to have reached the lowest point of degradation1 the monumental brasses of that reign being generally the worst which are to be met with4 ,the figures on several of the more ancient brasses are well drawn1 and the folds of the drapery in the dresses of the females are1 as a painter would say1 8well cast20 and the faces occasionally display a considerable degree of correct and elevated expression4 ,many of the figures are of the size of life1 marked with a hold outline well ploughed into the brass1 and having the features1 armour1 and drapery indicated by single lines of greater or less strength as might be required4 ,attempts at shading are also occasionally to be met with2 the effect being produced by means of lines obliquely crossing each other in the manner of cross-hatchings4 ,whether impressions were ever taken or not from such early brasses by the artists who executed them1 it is perhaps now impossible to ascertain2 but that they might do so is beyond a doubt1 for it is now a common practice1 and two immense volumes of impressions taken from monumental brasses1 for the late ,craven ,ord1 ,esq41 are preserved in the print-room of the ,british ,museum4 ,one of the finest monumental brasses known in this country is that of ,robert ,braunche and his two wives1 in ,st4 ,margaret's ,church1 ,lynn1 where it appears to have been placed about the year #acfd4 ,braunche1 and his two wives1 one on each side of him1 are represented standing1 of the size of life4 ,above the figures are representations of five small niches surmounted by canopies in the florid ,gothic style4 ,in the centre niche is the figure of the ,deity holding apparently the infant ,christ in his arms4 ,in each of the niches adjoining the centre one is an angel swinging a censer2 and in the exterior niches are angels playing on musical instruments4 ,at the sides are figures of saints1 and at the foot there is a representation of a feast1 where persons are seen seated at table1 others playing on musical instruments1 while a figure kneeling presents a peacock4 ,the length of this brass is eight feet eleven inches1 and its breadth five feet two inches4 ,it is supposed to have been executed in ,flanders1 with which country at that period the town of ,lynn was closely connected in the way of trade4,i-#cj ,footnote ,i-#cj3 ,an excellent representation of this celebrated monument is given in ,cotman's 8,engravings from the most remarkable ,sepulchral ,brasses in ,norfolk10 folio1 #ahai 7republished with considerable additions in #b vols4 folio1 #ahci74 ,it has frequently been asserted that the art of wood engraving in ,europe was derived from the ,chinese2 by whom1 it is also said1 that the art was practised in the reign of the renowned emperor ,wu-,wang1 who flourished #aabj years before the birth of ,christ4 ,as both these statements seem to rest on equal authorities1 ,i attach to each an equal degree of credibility2 that is1 by believing neither4 ,as ,mr4 ,ottley has expressed an opinion in favour of the ,chinese origin of the art1--though without adopting the tale of its being practised in the reign of ,wu-,wang1 which he shows has been taken by the wrong end1--,i shall here take the liberty of examining the tenability of his arguments4 ,at page #h1 in the first chapter of his work1 ,mr4 ,ottley cautiously says that the 8art of printing from engraved blocks of wood appears to be of very high antiquity amongst the ,chinese20 and at page #i1 after citing ,du ,halde1 as informing us that the art of printing was not discovered until about fifty years before the ,christian era1 he rather inconsistently observes3 8,so says ,father ,du ,halde1 whose authority ,i give without any comment1 as the defence of ,chinese chronology makes no part of the present undertaking40 ,unless ,mr4 ,ottley is satisfied of the correctness of the chronology1 he can by no means cite ,du ,halde's account as evidence of the very high antiquity of printing in ,china2 which in every other part of his book he speaks of as a well-established fact1 and yet refers to no other authority than ,du ,halde1 who relies on the correctness of that ,chinese chronology with the defence of which ,mr4 ,ottley will have nothing to do4 ,it is also worthy of remark1 that in the same chapter he corrects two writers1 ,papillon and ,jansen1 for erroneously applying a passage in ,du ,halde as proving that the art of printing was known in the reign of ,wu-,wang1--he who flourished ,ante ,christum #aabj2 whereas the said passage was not alleged 8by ,du ,halde to prove the antiquity of printing amongst the ,chinese1 but solely in reference to their ink40 ,the passage1 as translated by ,mr4 ,ottley1 is as follows3 8,as the stone ,me0 7a word signifying ink in the ,chinese language71 8which is used to blacken the engraved characters1 can never become white2 so a heart blackened by vices will always retain its blackness40 ,the engraved characters were not inked1 it appears1 for the purpose of taking impressions1 as ,messrs4 ,papillon and ,jansen have erroneously inferred4 8,it is possible10 according to ,mr4 ,ottley1 8that the ink might be used by the ,chinese at a very early period to blacken1 and thereby render more easily legible1 the characters of engraved inscriptions40,i-#ca ,the possibility of this may be granted certainly2 but at the same time we must admit that it is equally possible that the engraved characters were blackened with ink for the purpose of being printed1 if they were of wood2 or that1 if cut in copper or other metal1 they were filled with a black composition which would harden or set in the lines1--as an ingenious inquirer might infer from ink being represented by the stone ,,me2 and thus it is possible that something very like 8niello10 or the filling of letters on brass doorplates with black wax1 was known to the ,chinese in the reign of ,wu-,wang1 who flourished in the year before our ,lord1 #aabj4 ,the one conjecture is as good as the other1 and both good for nothing1 until we have better assurance than is afforded by ,du ,halde1 that engraved characters blackened with ink--for whatever purpose--were known by the ,chinese in the reign of ,wu-,wang4,i-#cb ,footnote ,i-#ca3 ,at page #g1 ,mr4 ,ottley1 borrowing from ,du ,halde1 has erroneously stated that the delicate nature of their paper would not permit the use of a press4 ,he must have forgot1 for he cannot but have known1 that impressions on the finest ,india paper had been frequently taken from wood-blocks by means of the common printing-press many years previous to #ahaf1 the date of the publication of his book4 ,i have never seen ,chinese paper that would bear printing by hand1 which would not also bear the action of the press1 if printed without being wet in the same manner as common paper4 ,footnote ,i-#cb3 ,it would appear that ,chinese annalists themselves were not agreed as to the period when printing by the hand from wood-blocks was first practised in that country4 8,nicholas ,trigaltius1 a member of our order10 writes ,herman ,hugo1 8who has recently returned from ,china1 gives the following information respecting printing1 which he professes to have carefully extracted from the annals of the ,chinese themselves4 #8,typography is of somewhat earlier date in ,china than in ,europe1 for it is certain that it was practised in that country about five centuries ago4 ,others assert that it was practised in ,china at a period prior to the ,christian era4'0--,hermannus ,hugo1 ,de ,prima ,origine ,scribendi1 p4 #baa4 ,antwerpi1 #afag4 ,although so little is positively known of the ancient history of 8the great out-lying empire of ,china10 as it is called by ,sir ,william ,jones1 yet it has been most confidently referred to as affording authentic evidence of the high degree of the civilization and knowledge of the ,chinese at a period when ,europe was dark with the gloom of barbarism and ignorance4 ,their early history has been generally found1 when opportunity has been afforded of impartially examining it1 to be a mere tissue of absurd legends2 compared to which1 the history of the settlement of ,king ,brute in ,britain is authentic4 ,with astronomy as a science they are scarcely acquainted2 and their specimens of the fine arts display little more than representations of objects executed not unfrequently with minute accuracy1 but without a knowledge of the most simple elements of correct design1 and without the slightest pretensions to art1 according to our standard4 ,one of the two ,mahometan travellers who visited ,china in the ninth century1 expressly states that the ,chinese were unacquainted with the sciences2 and as neither of them takes any notice of printing1 the mariner's compass1 or gunpowder1 it seems but reasonable to conclude that the ,chinese were unacquainted with those inventions at that period4,i-#cc ,footnote ,i-#cc3 ,the pretensions of the ,chinese to excellence in science are ably exposed by the learned ,abb ,renaudot in a disquisition 8,sur les sciences des ,chinois10 appended to his translation1 from the ,arabic1 entitled 8,anciennes ,relations des ,indes et de la ,chine1 de deux ,voyageurs ,mahomtans1 qui y allrent dans le neuvime sicle40--#hvo4 ,paris1 #agah4 ,mr4 ,ottley1 at pages #ea and #eb of his work1 gives a brief account of the early commerce of ,venice with the ,east1 for the purpose of showing in what manner a knowledge of the art of printing in ,china might be obtained by the ,venetians4 ,he says3 8,they succeeded1 likewise1 in establishing a direct traffic with ,persia1 ,tartary1 ,china1 and ,japan2 sending1 for that purpose1 several of their most respectable citizens1 and largely providing them with every requisite40 ,he cites an ,italian author for this account1 but he observes a prudent silence as to the period when the ,venetians first established a direct traffic with ,china and ,japan2 though there is little doubt that ,bettinelli1 the authority referred to1 alludes to the expedition of the two brothers ,niccolo and ,maffeo ,polo1 and of ,marco ,polo1 the son of ,niccolo1 who in #abga or #abgb left ,venice on an expedition to the court of the ,tartar emperor ,kublai-,khan1 which had been previously visited by the two brothers at some period between #abed and #abfi4;,i-#cd ,after having visited ,tartary and ,china1 the two brothers and ,marco returned to ,venice in #abie4 ,mr4 ,ottley1 however1 does not refer to the travels of the ,polos for the purpose of showing that ,marco1 who at a subsequent period wrote an account of his travels1 might introduce a knowledge of the ,chinese art of printing into ,europe3 he cites them that his readers may suppose that a direct intercourse between ,venice and ,china had been established long before2 and that the art of engraving wood-blocks1 and taking impressions from them1 had been thus derived from the latter country1 and had been practised in ,venice long before the return of the travellers in #abie4 ,footnote ,i-#cd3 ,see the ,travels of ,marco ,polo4 7,in ,bohn's ,antiq4 ,library74 ,it is necessary here to observe that the invention of the mariner's compass1 and of gunpowder and cannon1 have been ascribed to the ,chinese as well as the invention of wood engraving and block-printing2 and it has been conjectured that very probably ,marco ,polo communicated to his countrymen1 and through them to the rest of ,europe1 a knowledge of those arts4 ,marco ,polo1 however1 does not in the account which he wrote of his travels once allude to gunpowder1 cannon1 or to the art of printing as being known in ,china2,i-#ce nor does he once mention the compass as being used on board of the ,chinese vessel in which he sailed from the coast of ,china to the ,persian ,gulf4 8,nothing is more common10 says a writer in the ,quarterly ,review1 8than to find it repeated from book to book1 that gunpowder and the mariner's compass were first brought from ,china by ,marco ,polo1 though there can be very little doubt that both were known in ,europe some time before his return40--8,that ,marco ,polo10 says the same writer1 8would have mentioned the mariner's compass1 if it had been in use in ,china1 we think highly probable2 and his silence respecting gunpowder may be considered as at least a negative proof that this also was unknown to the ,chinese in the time of ,kublai-,khan40,i-#cf ,in a manner widely different from this does ,mr4 ,ottley reason1 respecting the cause of ,marco ,polo not having mentioned printing as an art practised by the ,chinese4 ,he accounts for the traveller's silence as follows3 8,marco ,polo1 it may be said1 did not notice this art of engraving on wood and block-printing in the account which he left us of the marvels he had witnessed in ,china4 ,the answer to this objection is obvious3 it was no marvel2 it had no novelty to recommend it2 it was practised1 as we have seen1 at ,ravenna1 in #abhe1 and had perhaps been practised a century earlier in ,venice4 ,his mention of it1 therefore1 was not called for1 and he preferred instructing his countrymen in matters with which they were not hitherto acquainted40 ,this 8obvious0 answer1 rather unfortunately1 will equally apply to the question1 8,why did not ,marco ,polo mention cannon as being used by the ,chinese1 who1 as we are informed1 had discovered such formidable engines of war long before the period of his visit80 ,footnote ,i-#ce3 ,it has been conjectured that the following passages in the travels of ,marco ,polo might suggest the idea of block-printing1 and consequently wood engraving3 8,gradatim reliquos belli duces in digniorem ponit statum1 donatque illis aurea et argentea vasa1 tabulas1 privilegia atque immunitatem4 ,et hc quidem privilegia tabulis vel bracteis per sculpturas imprimuntur40 8,moneta magni ,cham non fit de auro vel argento1 aut alio metallo1 sed corticem accipiunt medium ab arbore mori1 et hunc consolidant1 atque in particular varias et rotundas1 magnas et parvas1 scindunt1 atque regale imprimunt signum40--,m4 ,pauli ,veneti ,itiner4 lib4 ii4 capp4 vii4 xxi4 ,the mention of paper money impressed with the royal stamp also occurs in the ,eastern ,history of ,haython1 an ,armenian1 whose work was written in #acjg1 in ,latin1 and has been printed several times1 of which the last edition is by ,and4 ,mller1 ,colon4 #afga1 #dto4 ,footnote ,i-#cf3 ,an article on ,marsden's 8,translation of the ,travels of ,marco ,polo10 in the ,quarterly ,review1 ,no4 xli4 ,may1 #ahai1 from p4 #aia to #aie1 contains some curious particulars respecting the early use of the mariner's compass1 and of gunpowder and cannon in ,europe4 ,that the art of engraving wood-blocks and of taking impressions from them was introduced into ,europe from ,china1 ,i can see no sufficient reason to believe4 ,looking at the frequent practice in ,europe1 from the twelfth to the fifteenth century1 of impressing inked stamps on paper1 ,i can perceive nothing in the earliest specimens of wood engraving but the same principles applied on a larger scale4 ,when ,i am once satisfied that a man had built a small boat1 ,i feel no surprise on learning that his grandson had built a larger2 and made in it a longer voyage than his ancestor ever ventured on1 who merely used his slight skiff to ferry himself across a river4 ,in the first volume of ,papillon's 8,trait de la ,gravure en ,bois10 there is an account of certain old wood engravings which he professes to have seen1 and which1 according to their engraved explanatory title1 were executed by two notable young people1 ,alexander ,alberic ,cunio1 knight1 and ,isabella ,cunio1 his twin sister1 and finished by them when they were only sixteen years old1 at the time when ,honorius ,,iv4 was pope2 that is1 at some period between the years #abhe and #abhg4 ,this story has been adopted by ,mr4 ,ottley1 and by ,zani1 an ,italian1 who give it the benefit of their support4 ,mr4 ,singer1 in his 8,researches into the ,history of ,playing ,cards10 grants the truth-like appearance of ,papillon's tale2 and the writer of the article 8,wood-engraving0 in the ,encyclopedia ,metropolitana considers it as authentic4 ,it is1 however1 treated with contempt by ,heineken1 ,huber1 and ,bartsch1 whose knowledge of the origin and progress of engraving is at least equal to that of the four writers previously named4 ,the manner in which ,papillon recovered his memoranda of the works of the ,cunio is remarkable4 ,in consequence of those curious notes being mislaid for upwards of thirty-five years1 the sole record of the productions of those 8ingenious and amiable twins0 was very nearly lost to the world4 ,the three sheets of letter-paper on which he had written an account of certain old volumes of wood engravings1--that containing the cuts executed by the ,cunio being one of the number1--he had lost for upwards of thirty-five years4 ,for long he had only a confused idea of those sheets1 though he had often searched for them in vain1 when he was writing his first essay on wood engraving1 which was printed about #agcg1 but never published4 ,at length he accidentally found them1 on ,all-,saints' ,day1 #ageh1 rolled up in a bundle of specimens of paper-hangings which had been executed by his father4 ,the finding of those three sheets afforded him the greater pleasure1 as from them he discovered1 by means of a pope's name1 an epoch of engraving figures and letters on wood for the purpose of being printed1 which was certainly much earlier than any at that period known in ,europe1 and at the same time a history relative to this subject equally curious and interesting4 ,he says that he had so completely forgotten all this1--though he had so often recollected to search for his memoranda1--that he did not deign to take the least notice of it in his previously printed history of the art4 ,the following is a faithful abstract of ,papillon's account of his discovery of those early specimens of wood engraving4 ,the title-page1 as given by him in ,french from ,monsieur ,de ,greder's viv voce translation of the original1--which was 8en mauvais ,latin ou ancien ,italien ,gothique1 avec beaucoup d'abrviations10--is translated without abridgment1 as are also his own descriptions of the cuts4 8,when young1 being engaged with my father in going almost every day to hang rooms with our papers1 ,i was1 some time in #agai or #agbj1 at the village of ,bagneux1 near ,mont ,rouge1 at a ,monsieur ,de ,greder's1 a ,swiss captain1 who had a pretty house there4 ,after ,i had papered a small room for him1 he ordered me to cover the shelves of his library with paper in imitation of mosaic4 ,one day after dinner he surprised me reading a book1 which occasioned him to show me some very old ones which he had borrowed of one of his friends1 a ,swiss officer1,i-#cg that he might examine them at his leisure4 ,we talked about the figures which they contained1 and of the antiquity of wood engraving2 and what follows is a description of those ancient books as ,i wrote it before him1 and as he was so kind as to explain and dictate to me4 ,footnote ,i-#cg3 ,a ,monsieur ,spirchtvel1 as ,papillon informs us4 ,tom4 i4 p4 #ib4 8,in a cartouch,i-#ch or frontispiece1--of fanciful and ,gothic ornaments1 though pleasing enough1--nine inches wide1 and six inches high1 having at the top the arms1 doubtless1 of ,cunio1 the following words are coarsely engraved on the same block1 in bad ,latin1 or ancient ,gothic ,italian with many abbreviations4 ,footnote ,i-#ch3 ,cartouch4 8,this word is used to denote those fantastic ornaments which were formerly introduced in decorating the wainscots of rooms2 and frequently served the purpose of frames1 surrounding inscriptions1 small paintings1 or other devices4 ,these cartouches were much in vogue in the sixteenth and seventeenth centuries for the frontispieces of books of prints2 and indeed ,callot and ,della ,bella etched many entire sets of small subjects surrounded by similar ornaments4 ,from the irregularity of their forms1 the terms tablet shield1 or panel1 would be but ill expressive of their character40--,ottley's ,inquiry1 vol4 i4 p4 #ab4 8#8,,the ,,chivalrous ,,deeds1 in figures1 of the great and magnanimous ,macedonian king1 the courageous and valiant ,alexander1 dedicated1 presented1 and humbly offered to the most holy father1 ,pope ,honorius ,,iv4 the glory and stay of the ,church1 and to our illustrious and generous father and mother1 by us ,alexander ,alberic ,cunio1 knight1 and ,isabella ,cunio1 twin brother and sister2 first reduced1 imagined1 and attempted to be executed in relief with a little knife1 on blocks of wood1 joined and smoothed by this learned and beloved sister1 continued and finished together at ,ravenna1 after eight pictures of our designing1 painted six times the size here represented2 cut1 explained in verse1 and thus marked on paper to multiply the number1 and to enable us to present them as a token of friendship and affection to our relations and friends4 ,this was done and finished1 the age of each being only sixteen years complete4'0 ,after having given the translation of the title-page1 ,papillon thus continues the narrative in his own person3 8,this cartouch or ornamented title-page is surrounded by a coarse line1 the tenth of an inch broad1 forming a square4 ,a few slight lines1 which are irregularly executed and without precision1 form the shading of the ornaments4 ,the impression1 in the same manner as the rest of the cuts1 has been taken in ,indian blue1 rather pale1 and in distemper1 apparently by the hand being passed frequently over the paper laid upon the block1 as card-makers are accustomed to impress their addresses and the envelopes of their cards4 ,the hollow parts of the block1 not being sufficiently cut away in several places1 and having received the ink1 have smeared the paper1 which is rather brown2 a circumstance which has caused the following words to be written in the margin underneath1 that the fault might be remedied4 ,they are in ,gothic ,italian1 which ,m4 de ,greder had considerable difficulty in making out1 and certainly written by the hand either of the ,chevalier ,cunio or his sister1 on this first proof--evidently from a block--such as are here translated40 8#8,it is necessary to cut away the ground of the blocks more1 that the paper may not touch it in taking impressions4'0 8,following this frontispiece1 and of the same size1 are the subjects of the eight pictures1 engraved on wood1 surrounded by a similar line forming a square1 and also with the shadows formed of slight lines4 ,at the foot of each of those engravings1 between the border-line and another1 about a finger's breadth distant1 are four ,latin verses engraved on the block1 poetically explaining the subject1 the title of which is placed at the head4 ,in all1 the impression is similar to that of the frontispiece1 and rather grey or cloudy1 as if the paper had not been moistened4 ,the figures1 tolerably designed1 though in a semi-gothic taste1 are well enough characterized and draped2 and we may perceive from them that the arts of design were then beginning gradually to resume their vigour in ,italy4 ,at the feet of the principal figures their names are engraved1 such as ,alexander1 ,philip1 ,darius1 ,campaspe1 and others40 8,,subject #a4--;,alexander mounted on ,bucephalus1 which he has tamed4 ,on a stone are these words3 ,isabel4 ,cunio pinx4 scalp40 8,,subject #b4--,passage of the ,granicus4 ,near the trunk of a tree these words are engraved3 ,alex4 ,alb4 ,cunio ,equ4 pinx4 ,isabel ,cunio scalp40 8,,subject #c4--;,alexander cutting the ,gordian knot4 ,on the pedestal of a column are these words3 ,alexan4 ,albe4 ,cunio ,equ4 pinx4 scalp4 ,this block is not so well engraved as the two preceding40 8,,subject #d4--;,alexander in the tent of ,darius4 ,this subject is one of the best composed and engraved of the whole set4 ,upon the end of a piece of cloth are these words3 ,isabel4 ,cunio pinxit scalp40 8,,subject #e4--;,alexander generously presents his mistress ,campaspe to ,apelles who was painting her4 ,the figure of this beauty is very agreeable4 ,the painter seems transported with joy at his good fortune4 ,on the floor1 on a kind of antique tablet1 are these words3 ,alex4 ,alb4 ,cunio ,eques1 pinx4 scalp40 8,,subject #f4--,the famous battle of ,arbela4 ,upon a small hillock are these words3 ,alex4 ,alb4 ,equ4 ,isabel4 pictor4 and scalp4 ,for composition1 design1 and engraving1 this subject is also one of the best40 8,,subject #g4--,porus1 vanquished1 is brought before ,alexander4 ,this subject is so much the more beautiful and remarkable1 as it is composed nearly in the same manner as that of the famous ,le ,brun2 it would seem that he had copied this print4 ,both ,alexander and ,porus have a grand and magnanimous air4 ,on a stone near a bush are engraved these words3 ,isabel4 ,cunio pinx4 scalp40 8,,subject #h ,,and ,,last4--,the glory and grand triumph of ,alexander on entering ,babylon4 ,this piece1 which is well enough composed1 has been executed1 as well as the sixth1 by the brother and sister conjointly1 as is testified by these characters engraved at the bottom of a wall3 ,alex4 ,alb4 ,equ4 et ,isabel4 ,cunio1 pictor4 scalp4 ,at the top of this impression1 a piece about three inches long and one inch broad has been torn off40 ,however singular the above account of the works of those 8amiable twins0 may seem1 no less surprising is the history of their birth1 parentage1 and education2 which1 taken in conjunction with the early development of their talents as displayed in such an art1 in the choice of such a subject1 and at such a period1 is scarcely to be surpassed in interest by any narrative which gives piquancy to the pages of the ,wonderful ,magazine4 ,upon the blank leaf adjoining the last engraving were the following words1 badly written in old ,swiss characters1 and scarcely legible in consequence of their having been written with pale ink4 8,of course ,papillon could not read ,swiss10 says ,mr4 ,ottley1 8,m4 de ,greder1 therefore1 translated them for him into ,french40--8,this precious volume was given to my grandfather ,jan4 ,jacq4 ,turine1 a native of ,berne1 by the illustrious ,count ,cunio1 chief magistrate of ,imola1 who honoured him with his generous friendship4 ,above all my books ,i prize this the highest on account of the quarter from whence it came into our family1 and on account of the knowledge1 the valour1 the beauty1 and the noble and generous desire which those amiable twins ,cunio had to gratify their relations and friends4 ,here ensues their singular and curious history as ,i have heard it many a time from my venerable father1 and which ,i have caused to be more correctly written than ,i could do it myself40 ,though ,papillon's long-lost manuscript1 containing the whole account of the works of the ,cunio and notices of other old books of engravings1 consisted of only three sheets of letter-paper1 yet the history alone of the learned1 beautiful1 and amiable twins1 which ,turine the grandson caused to be written out as he had heard it from his father1 occupies in ,papillon's book four long octavo pages of thirty-eight lines each4 ,to assume that his long-lost manuscript consisted of brief notes which he afterwards wrote out at length from memory1 would at once destroy any validity that his account might be supposed to possess2 for he states that he had lost those papers for upwards of thirty five years1 and had entirely forgotten their contents4 ,without troubling myself to transcribe the whole of this choice morsel of ,french ,romance concerning the history of the 8amiable twins0 ,cunio1--the surprising beauty1 talents1 and accomplishments of the maiden1--the early death of herself and her lover1--the heroism of the youthful knight1 ,alexander ,alberic ,cunio1 displayed when only fourteen years old1--,i shall give a brief abstract of some of the passages which seem most important to the present inquiry4,i-#ci ,footnote ,i-#ci3 ,readers of ,french romances will find the tale of the ,cunio at p4 #hi1 tom4 i4 of ,papillon's 8,trait de la ,gravure en ,bois10 or at p4 #ag1 vol4 i4 of ,mr4 ,ottley's 8,history of ,engraving40 ,from this narrative1--which ,papillon informs us was written in a much better hand1 though also in ,swiss characters1 and with much blacker ink than ,turine the grandson's own memorandum1--we obtain the following particulars3 ,the ,count de ,cunio1 father of the twins1 was married to their mother1 a noble maiden of ,verona and a relation of ,pope ,honorius ,,iv4 without the knowledge of their parents1 who1 on discovering what had happened1 caused the marriage to be annulled1 and the priest by whom it was celebrated to be banished4 ,the divorced wife1 dreading the anger of her own father1 sought an asylum with one of her aunts1 under whose roof she was brought to bed of twins4 ,though the elder ,cunio had compelled his son to espouse another wife1 he yet allowed him to educate the twins1 who were most affectionately received and cherished by their father's new wife4 ,the children made astonishing progress in the sciences1 more especially the girl ,isabella1 who at thirteen years of age was regarded as a prodigy2 for she understood1 and wrote with correctness1 the ,latin language2 she composed excellent verses1 understood geometry1 was acquainted with music1 could play on several instruments1 and had begun to design and to paint with correctness1 taste1 and delicacy4 ,her brother ,alberic1 of a beauty as ravishing as his sister's1 and one of the most charming youths in ,italy1 at the age of fourteen could manage the great horse1 and understood the practice of arms and all other exercises befitting a young man of quality4 ,he also understood ,latin1 and could paint well4 ,the troubles in ,italy having caused the ,count ,cunio to take up arms1 his son1 young ,alexander ,alberic1 accompanied him to the field to make his first campaign4 ,though not more than fourteen years old1 he was entrusted with the command of a squadron of twenty-five horse1 with which1 as his first essay in war1 he attacked and put to flight near two hundred of the enemy4 ,his courage having carried him too far1 he was surrounded by the fugitives1 from whom1 however1 he fought himself clear without any further injury than a wound in his left arm4 ,his father1 who had hastened to his succour1 found him returning with the enemy's banner1 which he had wrapped about his wound4 ,delighted at the valour displayed by his son1 the ,count ,cunio knighted him on the spot4 ,the young man then asked permission to visit his mother1 which was readily granted by the count1 who was pleased to have this opportunity of testifying the love and esteem he still retained towards that noble and afflicted lady1 who continued to reside with her aunt2 of which he certainly would have given her more convincing proofs1 now that his father was dead1 by re-establishing their marriage and publicly espousing her1 if he had not been in duty bound to cherish the wife whom he had been compelled to marry1 and who had now borne him a large family4 ,after ,alexander ,alberic had visited his mother1 he returned home1 and shortly after began1 together with his sister ,isabella1 to design and work upon the pictures of the achievements of ,alexander4 ,he then made a second campaign with his father1 after which he continued to employ himself on the pictures in conjunction with ,isabella1 who attempted in reduce them and engrave them on wood4 ,after the engravings were finished1 and copies had been printed and given to ,pope ,honorius1 and their relations and friends1 ,alexander ,alberic proceeded again to join the army1 accompanied by ,pandulphio1 a young nobleman1 who was in love with the charming ,isabella4 ,this was his last campaign1 for he was killed in the presence of his friend1 who was dangerously wounded in defending him4 ,he was slain when not more than nineteen2 and his sister was so affected by his death that she resolved never to marry1 and died when she was scarcely twenty4 ,the death of this lovely and learned young lady was followed by that of her lover1 who had fondly hoped that she would make him happy4 ,the mother of those amiable twins was not long in following them to the grave1 being unable to survive the loss of her children4 ,the ,countess de ,cunio took seriously ill at the loss of ,isabella1 but fortunately recovered2 and it was only the count's grandeur of soul that saved him from falling sick also4 ,some years after this1 ,count ,cunio gave the copy of the achievements of ,alexander1 in its present binding1 to the grandfather of the person who caused this account to be written4 ,the binding1 according to ,papillon's description of it1 was1 for the period1 little less remarkable than the contents4 8,this ancient and ,gothic binding10 as ,papillon's note is translated by ,mr4 ,ottley4 8is made of thin tablets of wood1 covered with leather1 and ornamented with flowered compartments1 which appear simply stamped and marked with an iron a little warmed1 without any gilding40 ,it is remarkable that this singular volume should afford not only specimens of wood engraving1 earlier by upwards of a hundred and thirty years than any which are hitherto known1 but that the binding1 of the same period as the engravings1 should also be such as is rarely1 if ever1 to be met with till upwards of one hundred and fifty years after the wonderful twins were dead4 ,as this volume is no longer to be found1 as no mention is made of such a work by any old writer1 and as another copy has not been discovered in any of the libraries of ,italy1 nor the least trace of one ever having been there1 the evidence of its ever having existed rests solely on the account given of it by ,papillon4 ,before saying a word respecting the credit to be attached to this witness1 or the props with which ,zani and ,ottley endeavour to support his testimony1 ,i shall attempt to show that the account affords internal evidence of its own falsehood4 ,before noticing the description of the subjects1 ,i shall state a few objections to the account of the twins as written out by order of the youngest ,turine1 the grandson of ,jan4 ,jacq4 ,turine1 who received the volume from ,count ,cunio himself1 the father of the twins1 a few years after their death1 which could not well happen later than #abia2 as ,pope ,honorius1 to whom their work was dedicated when they were sixteen years old1 died in #abhg1 and ,isabella ,cunio1 who survived her brother1 died when she was not more than twenty4 ,supposing that ,count ,cunio gave the volume to his friend1 ,j4 ,j4 ,turine1 a native of ,berne1 in #acjj1 and that the grandson of the latter caused the history of the twins to be written out eighty years afterwards1--and we cannot fairly assume that it was written later1 if indeed so late1--we have thus #achj as the date of the account written 8in old ,swiss characters1 in a better hand1 and with much blacker ink10 than the owner's own memorandum of the manner in which the volume came into his family1 and his reasons for prizing it so highly4 ,the probable date of the pretended ,swiss history of the ,cunio1 ,papillon's advocates carefully keep out of sight2 for what impartial person could believe that a ,swiss of the fourteenth century could give utterance to the sentimental fustian which forms so considerable a portion of the account8 ,of the young knight ,cunio he knows every movement2 he is acquainted with his visit to his repudiated mother2 he knows in which arm he was wounded2 the number of men that he lost1 when with only five-and-twenty he routed two hundred2 the name of ,isabella's lover2 the illness and happy recovery of ,count ,cunio's wife1 and can tell the cause why the count himself did not fall sick4 ,to any person who reflects on the doctrine of the church of ,rome in the article of marriage1 it certainly must appear strange that the parents of the ,count ,cunio and his first wife1 the mother of the twins1 should have had the power of dissolving the marriage and of banishing the priest by whom it was solemnized2 and still more singular it is that the ,count ,cunio1 whom we must suppose to have been a good ,catholic1 should speak1 after his father's death1 of re-establishing his marriage with his first wife and of publicly espousing her2 and that he should make such a communication to her through the medium of her son1 who1 as well as his sister1 must have been declared illegitimate by the very fact of their mother's divorce4 ,it is also strange that this piece of family history should come to the knowledge of the grandson of ,jan4 ,jacq4 ,turine4 ,the ,count ,cunio's second marriage surely must have been canonically legal1 if the first were not2 and if so1 it would not be a sense of duty alone to his second wife that would prevent him divorcing her and re-marrying the first4 ,on such subjects the church was to be consulted2 and to such playing fast-and-loose with the sacrament of marriage the church said 8,,no40 ,taking these circumstances into consideration1 ,i can come to no other conclusion than that1 on this point1 the writer of the history of the ,cunio did not speak truth2 and that the paper containing such history1 even if it could be produced1 is not genuine1 as every other part of it which has the slightest bearing on the point at issue1 is equally1 if not more1 improbable4 ,with respect to the cuts pretended to be executed by the twins themselves1 ,i shall waive any objections which might be urged on the ground of it being unlikely that they should be executed by a boy and a girl so young4 ,supposing that the twins were as learned and accomplished as they are represented1 still it would be a very surprising circumstance that1 in the thirteenth century1 they should have executed a series of wood engravings of the actions of ,alexander the ,great as an appropriate present to the pope2 and that the composition of one of those subjects1 ,no4 #g1 should so closely resemble one of ,le ,brun's--an artist remarkable for the complication of his designs--that it would seem he had copied this very print4 ,something like the reverse of this is more probable2 that the description of the pretended work of the ,cunio was suggested by the designs of ,le ,brun4,i-#dj ,the execution of a set of designs1 in the thirteenth century1 illustrating the actions of ,alexander in the manner described by ,papillon1 would be a rarity indeed even if not engraved on wood2 but that a series of wood engravings1 and not a saint in one of them1 should be executed by a boy and a girl1 and presented to a pope1 in #abhf1 is scarcely short of miraculous4 ,the twins must have been well read in ,quintus ,curtius4 ,though we are informed that both were skilled in the ,latin language1 yet it plainly appears on two occasions1 when we might suppose that they would be least liable to trip1 that their ,latinity is questionable4 ,the sixth and the eighth subjects1 which were accomplished by their joint efforts1 are described as being marked3 ,alex4 ,alb4 ,equ4 et ,isabel1 ,cunio pictor4 et scalp4 8,thus painters did not write their names at ,co40 ,footnote ,i-#dj3 ,of ,le ,brun's five subjects illustrative of the actions of ,alexander the ,great1 four of them are precisely the same as four of those said to be executed by the ,cunio3 #a4 ,alexander passing the ,granicus2 #b4 the battle of ,arbela2 #c4 the reception of ,porus by ,alexander2 #d4 ,alexander's triumphant entry into ,babylon4 ,there certainly has been some copying here2 but it is more likely that ,papillon or his informant had seen ,le ,brun's paintings1 than that ,le ,brun had seen the original wood engravings executed by the ,cunio4 ,why do not the advocates of those early specimens of wood engraving in ,italy point out to their readers that these two children were the first who ever affixed the words pinx4 et scalp4 to a woodcut8 ,i challenge any believer in ,papillon to point out a wood engraving on which the words pinxit and scalpsit1 the first after the painter's name1 and the second after the engraver's1 appear previous to #aehj4 ,this apparent copying--and by a person ignorant of ,latin too--of the formula of a later period1 is of itself sufficient to excite a suspicion of forgery2 and1 coupled with the improbable circumstances above related1 it irresistibly compels me to conclude that the whole account is a mere fiction4 ,with respect to the credibility of ,papillon1 the sole evidence upon which the history of the wonderful twins rests1 ,i shall have occasion to say very few words4 ,that he was credulous1 and excessively vain of what he considered his discoveries in the history of wood engraving1 is admitted by those who profess to believe him4 ,he appears also from an early age to have been subject to mental hallucination2 and in #agei1 the year after he found his papers containing the account of the ,cunio1 he had a fit of decided insanity which rendered it necessary to convey him to a mad-house1 where by copious bleeding he soon recovered his senses4,i-#da ,to those interested in the controversy ,i leave to decide how far the unsupported testimony of such a person1 and in such a case1 ought to be relied on4 ,how easily he might be deceived on a subject relating to the early history of his art1 it is not difficult to comprehend2 and even allowing him to be sincere in the belief of what he related1 he was a person very likely to occasionally deceive both himself and others4,i-#db ,footnote ,i-#da3 ,from the age of sixteen1 cruel and secret annoyances interrupted his studies2 shortly after his marriage1 in #agbc1 his absent manner was a source of uneasiness to his wife2 and in #agei he fairly lost his senses4 ,see ,papillon1 ,trait de la ,gravure en ,bois1 #hvo4 #agff1 ,preface1 p4 xi42 p4 #cce1 tom4 i4 et ,supplement1 p4 #ci4 ,footnote ,i-#db3 ,it is worthy of remark that ,papillon1 when questioned by ,heineken1 who called on him in ,paris after the publication of his work1 respecting the account of the ,cunio1 did not produce his three sheets of original memoranda4 ,he might thus have afforded a proof of his own good faith1 by producing the manuscript written by him in #agbj from the dictation of ,captain de ,greder4 ,papillon's insanity had been previously adverted to by ,heineken2 and this writer's remarks have produced the following correction from ,mr4 ,ottley3 8,heineken takes some pains to show that poor ,papillon was not in his right mind2 and1 amongst his other arguments1 quotes a passage from his book1 t4 i4 p4 #cce1 in which he says1 #8,par un accident et une fatalit commune plusieurs graveurs1 aussi bien qu' moi1 ,le ,fevre est devenu alin d'esprit3' as if a little pleasantry of expression1 such as the ,french writers1 especially1 have ever felt themselves at full liberty to indulge in1 could really constitute fit grounds for a statute of lunacy40,i-#dc ,had ,mr4 ,ottley1 instead of confidently correcting ,heineken when the latter had stated nothing but the fact1 turned to the cited page of ,papillon's volume1 he would there have found that ,papillon was indulging in no 8little pleasantry of expression10 but was seriously relating a melancholy fact of two brother artists losing their senses about the same time as himself2 and had he ever read the supplement1 or third volume1 of ,papillon's work1 he would have seen1 at p4 #ci1 the account which ,papillon himself gives of his own insanity4 ,footnote ,i-#dc3 ,inquiry into the ,early ,history of ,engraving1 vol4 i4 p4 #bc4 ,having disposed of the story as told by ,papillon1 it remains now to notice 8the learning and deep research0 with which it has been supported by ,zani1 and some of the arguments which have been alleged in its favour by ,mr4 ,ottley4 ,in the first place1 ,zani has discovered that a family of the name of ,cunio1 in which the name of ,alberico more than once occurs1 actually resided in the neighbourhood of ,ravenna at the very period mentioned in the title-page to the cuts by the ,cunio1 and in the history written in old ,swiss characters4 ,upon this1 and other similar pieces of evidence1 ,mr4 ,ottley remarks as follows3 8,now both these cities ,ravenna and ,imola are in the vicinity of ,faenza1 where the family1 or a branch of it1 is spoken of by writers of undoubted credit in the twelfth1 the thirteenth1 and the fourteenth centuries4 ,these circumstances1 therefore1 far from furnishing any just motive of additional doubt1 form together such a phalanx of corroborative evidence in support of the story1 as1 in my opinion1 those who would impeach the truth of ,papillon's statement can never break through40 8,argal10 ,rowley's poems are genuine1 because such a person as 8,maistre ,william ,canynge0 lived at ,bristol at the period when he is mentioned by the pseudo ,rowley4 ,zani1 however1 unfortunately for his own argument1 let us know that the names and residence of the family of the ,cunio might be obtained from 8,tonduzzi's ,history of ,faenza10 printed in #afge4 ,whether this book appeared in ,french1 or not1 previous to the publication of ,papillon's works1 ,i have not been able to learn2 but a ,swiss captain1 who could read 8old ,gothic ,italian10 would certainly find little difficulty in picking a couple of names out of a modern ,italian volume4 ,the reasoning faculties of ,signor ,zani appear to have been very imperfectly developed1 for he cites the following as a case in point2 and ,mr4 ,ottley1 who gives it in his text1 seems to concur in its applicability4 ,he is noticing the objections which have been made to ,papillon's account1 on the ground of no previous author mentioning the existence of such a work1 and that no person subsequently had ever seen a copy4 ,zani's argument1 as given by ,mr4 ,ottley1,i-#dd is as follows3 8,he1 however1 who should reason in this manner1 might1 upon the same grounds1 deny the loss of many manuscripts1 and even of printed books1 which1 according to the testimony of credible authors1 have become a prey to the flames1 or have perished during the anarchy of revolutions1 or the distresses occasioned by wars4 ,the learned part of my readers will not require examples4 ,nevertheless1 let him who wants such conviction search throughout all the libraries of ,europe for the work entitled #8,meditationes ,reverendissimi patris ,domini ,johannis de ,turre-cremata1' printed at ,rome by ,ulrich ,hahn1 in #adfg1 and he will presently be informed by the learned librarians1 that of that edition there exists but one copy1 which is preserved in the library of ,nuremberg4 ,this book is1 therefore1 unique4,i-#de ,now let us suppose that1 by some accident1 this book should perish2 could our descendants on that account deny that it ever had existed80 ,and this is a corroborative argument in support of the truth of ,papillon's tale6 ,the comment1 however1 is worthy of the text4 ,it is to be observed that ,ulrich ,hahn's edition of ,turre-cremata appeared ten years after ,faust and ,scheffer's ,psalter1 of the date #adeg1 was printed2 and that the existence of several hundred volumes printed before #adfg proves that the art of printing was then practised to a considerable extent4 ,that ,ulrich ,hahn was a printer at ,rome in #adfh and subsequent years is proved by many copies of works which proceeded from his press2 and the existence of the identical 8unique0 copy1 referred to by ,zani1 is vouched for by upwards of fifty learned men who have seen it2 and1 what is more1 mentioned the place where it was preserved1 so that1 if a person were sceptical1 he might satisfy himself by the evidence of his own senses4 ,but who1 except ,papillon1 has ever seen the engravings of the ,cunio1 executed upwards of a hundred and thirty years prior to the earliest authentic specimen of the art1 and who has ever mentioned the place where they were to be seen8 ,had any person of equal credibility with ,papillon described a volume printed at ,rome in #abhe1 the date of the pretended wood-cuts of the ,cunio1 the case would then have been in point1 and the decision of every person in the slightest degree acquainted with the subject1 and not rendered blind to simple truth by the vivid brightness of his own speculations1 would be inevitably the same2 that is1 the evidence in both cases would not be relied on4 ,footnote ,i-#dd3 ,history of ,engraving1 vol4 i4 p4 #bh4 ,footnote ,i-#de3 ,three copies of this supposed unique book have long been known to bibliographers2 one in the public library of ,nuremberg1 another in the ,imperial library of ,vienna1 and the third in ,lord ,spenser's library4 8,it is possible10 says ,zani1 8that at this moment ,i may be blinded by partiality to my own nation2 but ,i would almost assert1 that to deny the testimony of the ,french writer1 would be like denying the existence of light on a fine sun-shiny day40 ,his mental optics must have been of a peculiar character1 and it can be no longer doubtful that he 8,had lights where better eyes are blind1 ,as pigs are said to see the wind40 ,mr4 ,ottley's own arguments in support of ,papillon's story are scarcely of a higher character than those which he has adopted from ,zani4 ,at page #dj1 in answer to an objection founded on the silence of all authorities1 not merely respecting the particular work of the ,cunio1 but of the frequent practice of such an art1 and the fact of no contemporary specimens being known1 he writes as follows3 8,we cannot safely argue from the silence of contemporaneous authorities1 that the art of engraving on wood was not practised in ,europe in those early times2 however1 such silence may be an argument that it was not an art in high repute4 ,nor is our ignorance of such records a sufficient proof of their non-existence40 ,the proof of such a negative would be certainly difficult2 but1 according to this mode of argument1 there is no modern invention which might not also be mentioned in 8certain ancient undiscovered records40 ,in the general business of life1 that rule of evidence is a good one which declares 8de non-apparentibus et non-existentibus eadem est ratio20 and until it shall be a maxim in logic that 8we ought readily to believe that to be true which we cannot prove to have been impossible10 ,mr4 ,ottley's solution of the difficulty does not seem likely to obtain general credence4 ,at page #da1 speaking of the probability of wood-engraving1 for the purpose of taking impressions1 being practised at an earlier period than has been generally supposed1 ,mr4 ,ottley expresses himself as follows3 8,nor is it any proof or strong argument against the antiquity of such a practice1 that authentic specimens of wood-engraving of those early times are not now to be found4 ,they were1 it may be supposed1 for the most part1 detached pieces1 whose merits1 as works of art1 were not such as to render their preservation at all probable4 ,they were the toys of the day2 and1 after having served the temporary purpose for which they were manufactured1 were1 no doubt1 swept away to make room for others of newer fashion40 ,he thus requires those who entertain an opinion contrary to his own to prove a negative2 while he assumes the point in dispute as most clearly established in his own favour4 ,if such wood engravings--8the toys of the day0--had been known in the thirteenth1 or even the fourteenth century1 is it not likely that some mention would be made of them in the writings of some one of the minstrels of the period to whom we are indebted for so many minute particulars illustrative of the state of society at the period referred to8 ,not the slightest allusion to anything of the kind has hitherto been noticed in their writings4 ,respecting such 8toys0 ,boccaccio is silent1 and our countryman ,chaucer says not a word4 ,of wood-cuts not the least mention is made in ,petrarch2 and ,richard de ,bury1 bishop of ,durham1 who lived in the reign of ,edward ,,iii41 in his curious ,essay on the ,love of ,books1 says not a syllable of wood-cuts1 either as toys1 or as illustrations of devotional or historical subjects4 ,upon this question1 affirmed by ,papillon1 and maintained as true by ,zani and ,ottley1 contemporary authorities are silent2 and not one solitary fact bearing distinctly upon the point has been alleged in support of ,papillon's narrative4 ,illustration ,,chapter ,,ii4 ,,progress ,,of ,,wood ,,engraving4 ,playing-,cards ,printed from ,wood-,blocks -- ,early ,german ,wood-,engravers at ,augsburg1 ,nuremberg1 and ,ulm -- ,card-,makers and ,wood-,engravers in ,venice in #adda -- ,figures of ,saints ,engraved on ,wood -- ,the ,st4 ,christopher1 the ,annunciation1 and the ,st4 ,bridget in the ,collection of ,earl ,spencer1 with ,other ,old ,wood-,cuts ,described -- ,block-,books -- ,the ,apocalypse1 the ,history of the ,virgin1 and the ,work ,called ,biblia ,pauperum -- ,speculum ,salvationis -- ,figured ,alphabet ,formerly ,belonging to ,sir ,george ,beaumont -- ,ars ,memorandi1 and ,other ,smaller ,block-,books4 ,from the facts which have been produced in the preceding chapter1 there cannot be a doubt that the principle on which wood engraving is founded1--that of taking impressions on paper or parchment1 with ink1 from prominent lines1--was known and practised in attesting documents in the thirteenth and fourteenth centuries4 ,towards the end of the fourteenth1 or about the beginning of the fifteenth century1 there is reason to believe that this principle was adopted by the ,german card-makers for the purpose of marking the outlines of the figures on their cards1 which they afterwards coloured by means of a stencil4,,ii-#a ,footnote ,,ii-#a3 ,a stencil is a piece of pasteboard1 or a thin plate of metal1 pierced with lines and figures1 which are communicated to paper1 parchment1 or linen1 by passing a brush charged with ink or colour over the stencil4 ,the period at which the game of cards was first known in ,europe1 as well as the people by whom they were invented1 has been very learnedly1 though not very satisfactorily discussed4 ,bullet has claimed the invention for the ,french1 and ,heineken for the ,germans2 while other writers have maintained that the game was known in ,italy earlier than in any other part of ,europe1 and that it was introduced from the ,east4 ,from a passage discovered by ,m4 ,van ,praet1 in an old manuscript copy of the romance of ,renard le ,contrefait1 it appears that cards were known in ,france about #acdj1 although ,bullet was of opinion that they were invented in that country about #acgf4 ,at whatever period the game was introduced1 it appears to have been commonly known in ,france and ,spain towards the latter part of the fourteenth century4 ,john ,i41 ,king of ,castile1 by an edict issued in #achg1 prohibited the game of cards2 and in #acig1 the ,provost of ,paris1 by an ordonnance1 forbid all working people to play at tennis1 bowls1 dice1 cards1 or nine-pins1 on working days4 ,from a passage in the ,chronicle of ,petit-,jehan de ,saintr1 written previous to #achj1 it would appear that the game of cards at that period was in disrepute4 ,saintr had been one of the pages of ,charles ,v4 of ,france2 and on his being appointed1 on account of his good conduct1 to the situation of carver to the king1 the squire who had charge of the pages1 lectured some of them on the impropriety of their behaviour2 such as playing at dice and cards1 keeping bad company1 and haunting taverns and cabarets1 those not being the courses by which they might hope to arrive at the honourable post of 8ecuyer tranchant10 to which their companion1 ,saintr1 had been raised4 ,in an account-book of ,charles ,poupart1 treasurer to ,charles ,,vi4 of ,france1 there is an entry1 made about #acic1 of 8fifty-six sols of ,paris1 given to ,jacquemin ,gringonneur1 painter1 for three packs of cards1 gilt and coloured1 and of different sorts1 for the diversion of his majesty40 ,from this passage the learned ,jesuit ,menestrier1 who was not aware of cards being mentioned by any earlier writer1 concluded that they were then invented by ,gringonneur to amuse the king1 who1 in consequence of a coup de soleil1 had been attacked with delirium1 which had subsided into an almost continual depression of spirits4 ,there1 however1 can be no doubt that cards were known in ,france at least fifty years before2 though1 from their being so seldom noticed previous to #achj1 it appears likely that the game was but little played until after that period4 ,whether the figures on the cards supplied for the king's amusement were drawn and coloured by the hand1 or whether the outlines were impressed from wood-blocks1 and coloured by means of a stencil1 it is impossible to ascertain2 though it has been conjectured that1 from the smallness of the sum paid for them1 they were of the latter description4 ,that cards were cheap in #acig1 however they might be manufactured1 may be presumed from the fact of their being then in the hands of the working people4 ,to whatever nation the invention of cards is owing1 it appears that the ,germans were the first who practised card-making as a trade4 ,in #adah the name of a 8,kartenmacher0--card-maker--occurs in the burgess-book of the city of ,augsburg2 and in an old rate-book of the city of ,nuremburg1 under the year #adcc1 we find 8,ell4 ,kartenmacherin20 that is1 ,ell4--probably for ,elizabeth--the card-maker4 ,in the same book1 under the year #adce1 the name of 8,eliz4 ,kartenmacherin10 probably the same person1 is to be found2 and in #adch there occurs the name 8,margret ,kartenmalerin0--,margaret the card-painter4 ,it thus appears that the earliest card-makers who are mentioned as living at ,nuremberg were females2 and it is worthy of note that the ,germans seem to have called cards 8,karten0 before they gave them the name of 8,briefe40 ,heineken1 however1 considers that they were first known in ,germany by the latter name2 for1 as he claimed the invention for his countrymen1 he was unwilling to admit that the name should be borrowed either from ,italy or ,france4 ,he has not1 however1 produced anything like proof in support of his opinion1 which is contradicted by the negative evidence of history4,,ii-#b ,footnote ,,ii-#b3 ,cards--,carten--are mentioned in a book of bye-laws of ,nuremberg1 between #achj and #achd4 ,they are included in a list of games at which the burghers might indulge themselves1 provided they ventured only small sums4 8,awzgenommen rennen mit ,pferder1 ,schiessen mit ,armbrusten1 ,carten1 ,schofzagel1 ,pretspil1 und ,kugeln1 umb einen pfenink zwen zu vier poten40 ,that is3 8always excepting horse-racing1 shooting with cross-bows1 cards1 shovel-board1 tric-trac1 and bowls1 at which a man may bet from twopence to a groat40--,c4 ,g4 ,von ,murr1 ,journal zur ,kunstsgesch4 #b ,theil1 ,s4 #ii4 ,the name ,briefe1 which the ,germans give to cards1 also signifies letters epistol4 ,the meaning of the word1 however1 is rather more general than the ,french term lettres1 or the ,latin epistol which he gives as its synonyms1 for it is also applied in the sense in which we sometimes use the word 8paper40 ,for instance1 8ein ,brief ,stecknadeln1 ein ,brief ,tabak10 are literally translated by the words 8a paper of pins1 a paper of tobacco20 in which sense the word 8,brief0 would1 in ,latin1 be more correctly rendered by the term charta than epistola4 ,as it is in a similar sense--cognate with 8paper10 as used in the two preceding examples--that 8,briefe0 is applied to cards1 ,i am inclined to consider it as a translation of the ,latin charta1 the ,italian carte1 or the ,french cartes1 and hence to conclude that the invention of cards does not belong to the people of ,germany1 who appear to have received cards1 both 8name and thing10 from another nation1 and after some time to have given them a name in their own language4 ,in the town-books of ,nuremberg1 the term ,formschneider-- figure-cutter1--the name appropriated to engravers on wood1 first occurs in #addi2;,,ii-#c and as it is found in subsequent years mentioned in the same page with 8,kartenmaler10 it seems reasonable to conclude that in #addi1 and probably earlier1 the business of the wood-engraver proper1 and that of the card-maker1 were distinct4 ,the primary meaning of the word form or forma is almost precisely the same in most of the ,european languages4 ,it has erroneously been explained1 in its relation to wood engraving1 as signifying a mould1 whereas it simply means a shape or figure4 ,the model of wood which the carpenter makes for the metal-founder is properly a form1 and from it the latter prepares his mould in the sand4 ,the word form1 however1 in course of time declined from its primary signification1 and came to be used as expressive both of a model and a mould4 ,the term ,formschneider1 which was originally used to distinguish the professed engraver of figures from the mere engraver and colourer of cards1 is still used in ,germany to denote what we term a wood-engraver4 ,footnote ,,ii-#c3 ,in the town-books of ,nuremberg a ,hans ,formansneider occurs so early as #acig1 which ,de ,murr says is not meant for 8wood engraver10 but is to be read thus3 ,hans ,forman1 ,schneider2 that is1 8,ihon ,forman1 maister-fashionere10 or1 in modern phrase1 8tailor40 ,the word 8,karter0 also occurs in the same year1 but it is meant for a carder1 or wool-comber1 and not for a card-maker4--,c4 ,g4 ,von ,murr1 ,journal1 #b ,theil1 ,s4 #ii4 ,about the time that the term ,formschneider first occurs we find ,briefmalers mentioned1 and at a later period ,briefdruckers-- card-printers2 and1 though there evidently was a distinction between the two professions1 yet we find that between #adgj and #aejj the ,briefmalers not only engraved figures occasionally1 but also printed books4 ,the ,formschneiders and the ,briefmalers1 however1 continued to form but one guild or fellowship till long after the art of wood-engraving had made rapid strides towards perfection1 under the superintendence of such masters as ,durer1 ,burgmair1 and ,holbein1 in the same manner as the barbers and surgeons in our own country continued to form but one company1 though the 8chirurgeon had long ceased to trim beards and cut hair1 and the barber had given up bleeding and purging to devote himself more exclusively to the ornamental branch of his original profession40 8,kartenmacher and ,kartenmaler0 says ,von ,murr1 8or ,briefmaler1 as they were afterwards called #adgc1 were known in ,germany eighty years previous to the invention of book-printing4 ,the ,kartenmacher was originally a ,formschneider1 though1 after the practice of cutting figures of saints and of sacred subjects was introduced1 a distinction began to be established between the two professions40 ,the ,german card-makers of ,augsburg1 ,nuremberg1 and ,ulm1 it is stated1 sent large quantities of cards into ,italy2 and it was probably against those foreign manufacturers that the fellowship of painters at ,venice obtained an order in #adda from the magistracy1 declaring that no foreign manufactured cards1 or printed coloured figures1 should be brought into the city1 under the penalty of forfeiting such articles1 and of being fined xxx liv4 xii soldi4 ,this order was made in consequence of a petition presented by the ,venetian painters1 wherein they set forth that 8the art and mystery of card-making and of printing figures1 which were practised in ,venice1 had fallen into total decay through the great quantity of foreign playing-cards and coloured printed figures1 which were brought into the city40,,ii-#d ,it is hence evident that the art both of the ,german ,kartenmacher and of the ,formschneider was practised in ,venice in #adda2 and1 as it is then mentioned as being in decay1 it no doubt was practised there some time previously4 ,footnote ,,ii-#d3 8,conscioscia che l'arte e mestier delle carte figure stampide1 che se fano in ,venesia vegnudo a total deffaction1 e questo sia per la gran quantit de carte a zugar1 e fegure depente stampide1 le qual vien fate de fuora de ,venezia40 ,the curious document in which the above passage occurs was discovered by ,temanza1 an ,italian architect1 in an old book of rules and orders belonging to the company of ,venetian painters4 ,his discovery1 communicated in a letter to ,count ,algarotti1 appeared in the ,lettere ,pittoriche1 tom4 v4 p4 #cbj1 et sequent4 and has since been quoted by every writer who has written upon the subject4 ,heineken1 in his 8,neue ,nachrichten10 gives an extract from a ,,ms4 chronicle of the city of ,ulm1 completed in #adgd1 to the following effect3 8,playing-cards were sent barrelwise that is1 in small casks into ,italy1 ,sicily1 and also over sea1 and exchanged for spices and other wares4 ,from this we may judge of the number of card-makers who resided here40 ,the preceding passage occurs in the index1 under the head1 8,business of card-making40 ,heineken also gives the passage in his 8,ide ,gnrale10 p4 #bde2 but from the ,french translation1 which he there gives1 it appears that he had misunderstood the word 8leglenweiss0-- barrelwise--which he renders 8en ballots40 ,in his 8,neue ,nachrichten10 however1 he inserts the explanation between parentheses1 78das ist1 in kleinen ,fssern07--i4 e4 in small casks2 which ,mr4 ,singer renders 8hogsheads10 and ,mr4 ,ottley1 though he gives the original in a note1 8large bales40 ,the word 8lgel10 a barrel1 is obsolete in ,germany1 but its diminutive1 8leglin10--as if 8lgelen0--is still used in ,scotland for the name of the ewe-milker's kit4 ,some writers have been of opinion that the art of wood-engraving was derived from the practice of the ancient caligraphists and illuminators of manuscripts1 who sometimes formed their large capital letters by means of a stencil or of a wooden stamp4 ,that large capitals were formed in such a manner previous to the year #adjj there can be little doubt2 and it has been thought that stencils and stamps were used not only for the formation of capital letters1 but also for the impression of a whole volume4 ,ihre1 in a dissertation on the ,gospels of ,ulphilas1,,ii-#e which are supposed to be as old as the fifth century1 has asserted that the silver letters of the text on a purple ground were impressed by means of heated iron stamps4 ,this1 however1 is denied by the learned compilers of the 8,nouveau ,trait de ,diplomatique10 who had seen other volumes of a similar kind1 the silver letters of which were evidently formed with a pen4 ,a modern ,italian author1 ,d4 ,vincenzo ,requeno1 has published a tract,,ii-#f to prove that many supposed manuscripts from the tenth to the fourteenth century1 instead of being written with a pen1 were actually impressed by means of stamps4 ,it is1 however1 extremely probable that he is mistaken2 for if his pretended discoveries were true1 this art of stamping must have been very generally practised2 and if so1 it surely would have been mentioned by some contemporary writers4 ,signor ,requeno's examination1 ,i am inclined to suspect1 has not been sufficiently precise2 for he seems to have been too willing to find what he sought4 ,in almost every collection that he examined1 a pair of fine compasses being the test which he employed1 he discovered voluminous works on vellum1 hitherto supposed to be manuscript1 but which according to his measurement were certainly executed by means of a stamp4 ,footnote ,,ii-#e3 ,this celebrated version1 in the ,mso-,gothic language1 is preserved in the library of ,upsal in ,sweden4 ,footnote ,,ii-#f3 ,osservazioni sulla ,chirotipografia1 ossia ,antica ,arte di ,stampare a mano4 ,opera di ,d4 ,vincenzo ,requeno4 ,roma #ahaj1 #hvo4 ,it has been conjectured that the art of wood-engraving was employed on sacred subjects1 such as the figures of saints and holy persons1 before it was applied to the multiplication of those 8books of ,satan10 playing-cards4 ,it however is not unlikely that it was first employed in the manufacture of cards2 and that the monks1 availing themselves of the same principle1 shortly afterwards employed the art of wood-engraving for the purpose of circulating the figures of saints2 thus endeavouring to supply a remedy for the evil1 and extracting from the serpent a cure for his bite4 ,wood-cuts of sacred subjects were known to the common people of ,suabia1 and the adjacent districts1 by the name of ,helgen or ,helglein1 a corruption of ,heiligen1 saints2--a word which in course of time they used to signify prints--estampes--generally4,,ii-#g ,in ,france the same kind of cuts1 probably stencil-coloured1 were called 8dominos10--the affinity of which name with the ,german ,helgen is obvious4 ,the word 8domino0 was subsequently used as a name for coloured or marbled paper generally1 and the makers of such paper1 as well as the engravers and colourers of wood-cuts1 were called 8dominotiers40,,ii-#h ,footnote ,,ii-#g3 ,fuseli1 at p4 #he of ,ottley's ,inquiry2 and ,breitkopf1 ,versuch d4 ,ursprungs der ,spielkarten ,zu erforschen1 #b ,theil1 ,s4 #age4 ,footnote ,,ii-#h3 ,fournier1 ,dissertation sur l',origine et les ,progrs de l',art de ,graver en ,bois1 p4 #gi2 and ,papillon1 ,trait de la ,gravure en ,bois1 tom4 i4 p4 #bj1 and ,supplement1 p4 #hj4 ,as might1 priori1 be concluded1 supposing the ,germans to have been the first who applied wood-engraving to card-making1 the earliest wood-cuts have been discovered1 and in the greatest abundance1 in that district where we first hear of the business of a card-maker and a wood-engraver4 ,from a convent1 situated within fifty miles of the city of ,augsberg1 where1 in #adah1 the first mention of a ,kartenmacher occurs1 has been obtained the earliest wood-cut known1--the ,st4 ,christopher1 now in the possession of ,earl ,spencer1 with the date #adbc4 ,that this was the first cut of the kind we have no reason to suppose2 but though others executed in a similar manner are known1 to not one of them1 upon anything like probable grounds1 can a higher degree of antiquity be assigned4 ,from #adbc1 therefore1 as from a known epoch1 the practice of wood engraving1 as applied to pictorial representations1 may be dated4 ,illustration ,the first person who published an account of this most interesting wood-cut was ,heineken1 who had inspected a greater number of old wood-cuts and block-books than any other person1 and whose unwearied perseverance in searching after1 and general accuracy in describing such early specimens of the art of wood-engraving1 are beyond all praise4 ,he found it pasted on the inside of the right-hand cover of a manuscript volume in the library of the convent of ,buxheim1 near ,memmingen in ,suabia4 ,the manuscript1 entitled ,,laus ,,virginis,,ii-#i and finished in #adag1 was left to the convent by ,anna1 canoness of ,buchaw1 who was living in #adbg2 but who probably died previous to #adce4 ,the above reduced copy conveys a pretty good idea of the composition and style of engraving of the original cut1 which is of a folio size1 being eleven and a quarter inches high1 and eight inches and one-eighth wide4,,ii-#aj ,footnote ,,ii-#i3 8,liber iste1 ,laus ,virginis intitulatus1 continet ,lectiones ,matutinales accommodatas ,officio ,b4 ,v4 ,mari per singulos anni dies10 c4 ,at the beginning of the volume is the following memorandum3 8,istum librum legavit domna ,anna filia domni ,stephani baronis de ,gundelfingen1 canonica in ,bchow ,aule bte4 ,marie v'ginis in ,buchshaim ord'is ,cartusie prope ,memingen ,augusten4 dyoc40--,von ,murr1 ,journal1 #b ,theil1 ,s4 #ajd-aje4 ,footnote ,,ii-#aj3 ,a fac-simile1 of the size of the original1 is given in ,von ,murr's ,journal1 vol4 ii4 p4 #ajd1 and in ,ottley's ,inquiry1 vol4 i4 p4 #ij1 both engraved on wood4 ,there is an imitation engraved on copper1 in ,jansen's ,essai sur l',origine de la ,gravure1 tom4 i4 ,the original affords a specimen of the combined talents of the ,formschneider or wood-engraver1 and the ,briefmaler or card-colourer4 ,the engraved portions1 such as are here represented1 have been taken off in dark colouring matter similar to printers' ink1 after which the impression appears to have been coloured by means of a stencil4 ,as the back of the cut cannot be seen1 in consequence of its being pasted on the cover of the volume1 it cannot be ascertained with any degree of certainty whether the impression has been taken by means of a press1 or rubbed off from the block by means of a burnisher or rubber1 in a manner similar to that in which wood-engravers of the present day take their proofs4 ,this cut is much better designed than the generality of those which we find in books typographically executed from #adfb1 the date of the ,bamberg ,fables1 to #adic1 when the often-cited ,nuremberg ,chronicle was printed4 ,amongst the many coarse cuts which 8illustrate0 the latter1 and which are announced in the book itself,,ii-#aa as having been 8got up0 under the superintendence of ,michael ,wolgemuth1 ,albert ,durer's master1 and ,william ,pleydenwurff1 both 8most skilful in the art of painting10 ,i cannot find a single subject which either for spirit or feeling can be compared to the ,st4 ,christopher4 ,in fact1 the figure of the saint1 and that of the youthful ,christ whom he bears on his shoulders1 are1 with the exception of the extremities1 designed in such a style1 that they would scarcely discredit ,albert ,durer himself4 ,footnote ,,ii-#aa3 ,the following announcement appears in the colophon of the ,nuremberg ,chronicle4 8,ad intuitum autem et preces providorum civium ,sebaldi ,schreyer et ,sebastiani ,romermaister hunc librum ,anthonius ,koberger ,nurembergi impressit4 ,adhibitis tamen viris mathematicis pingendique arte peritissimis1 ,michaele ,wolgemut et ,wilhelmo ,pleydenwurff1 quorum solerti accuratissimaque animadversione tum civitatum tum illustrium virorum figur insert sunt4 ,consummatum autem duodecima mensis ,julii4 ,anno ,salutis re #adic40 ,to the left of the engraving the artist has introduced1 with a noble disregard of perspective1,,ii-#ab what ,bewick would have called a 8bit of ,nature40 ,in the foreground a figure is seen driving an ass loaded with a sack towards a water-mill2 while by a steep path a figure1 perhaps intended for the miller1 is seen carrying a full sack from the back-door of the mill towards a cottage4 ,to the right is seen a hermit--known by the bell over the entrance of his dwelling--holding a large lantern to direct ,st4 ,christopher as he crosses the stream4 ,the two verses at the foot of the cut1 ,cristofori faciem die quacunque tueris1 ,illa nempe die morte mala non morieris1 may be translated as follows3 ,each day that thou the likeness of ,st4 ,christopher shalt see1 ,that day no frightful form of death shall make an end of thee4 ,footnote ,,ii-#ab3 ,as great a neglect of the rules of perspective may be seen in several of the cuts in the famed edition of ,theurdanck1 ,nuremberg1 #aeag1 which are supposed to have been designed by ,hans ,burgmair1 and engraved by ,hans ,schaufflein4 ,they allude to a popular superstition1 common at that period in all ,catholic countries1 which induced people to believe that the day on which they should see a figure or image of ,st4 ,christopher1 they should not meet with a violent death1 nor die without confession4,,ii-#ac ,to this popular superstition ,erasmus alludes in his 8,praise of ,folly20 and it is not unlikely1 that to his faith in this article of belief1 the squire1 in ,chaucer's 8,canterbury ,tales10 wore 8,a ,christofre on his brest1 of silver shene40 ,footnote ,,ii-#ac3 ,see ,brand's ,popular ,antiquities1 vol4 i4 pp4 #cei-cfd4--;,bohn's edition4 ,the date 8,millesimo cccco xxo tercio0--#adbc--which is seen at the right-hand corner1 at the foot of the impression1 most undoubtedly designates the year in which the engraving was made4 ,the engraving1 though coarse1 is executed in a bold and free manner2 and the folds of the drapery are marked in a style which would do credit to a proficient4 ,the whole subject1 though expressed by means of few lines1 is not executed in the very simplest style of art4 ,in the draperies a diminution and a thickening of the lines1 where necessary to the effect1 may be observed2 and the shades are indicated by means of parallel lines both perpendicular1 oblique1 and curved1 as may be seen in the saint's robe and mantle4 ,in many of the wood-cuts executed between #adfb and #aejj1 the figures are expressed1 and the drapery indicated1 by simple lines of one undeviating degree of thickness1 without the slightest attempt at shading by means of parallel lines running in a direction different to those marking the folds of the drapery or the outlines of the figure4 ,if mere rudeness of design1 and simplicity in the mode of execution1 were to be considered as the sole tests of antiquity in wood-engravings1 upwards of a hundred1 positively known to have been executed between #adgj and #aejj1 might be produced as affording intrinsic evidence of their having been executed at a period antecedent to the date of the ,st4 ,christopher4 ,in the ,royal ,library at ,paris there is an impression of ,st4 ,christopher with the youthful ,christ1 which was supposed to be a duplicate of that in the possession of ,earl ,spencer4 ,on comparing them1 however1 8it was quite evident10 says ,dr4 ,dibdin1 8at the first glance1 as ,m4 ,du ,chesne admitted1 that they were impressions taken from different blocks4 ,the question therefore was1 after a good deal of pertinacious argument on both sides--which of the two impressions was the more ancient8 ,undoubtedly it was that of ,lord ,spencer40 ,at first ,dr4 ,dibdin thought that the ,french impression was a copy of ,earl ,spencer's1 and that it might be as old as the year #adfj2 but1 from a note added in the second edition of his tour1 he seems to have received a new light4 ,he there says3 8,the reasons upon which this conclusion that the ,french cut was a copy of a later date was founded1 are stated at length in the preceding edition of this work3 since which1 ,i very strongly incline to the supposition that the ,paris impression is a proof--of one of the cheats of ,,de ,,murr40,,ii-#ad ,footnote ,,ii-#ad3 ,bibliographical and ,picturesque ,tour1 by the ,rev4 ,t4 ,f4 ,dibdin1 ,d4,d4 p4 #eh1 vol4 ii4 second edition1 #ahbi4 ,the ,de ,murr to whom ,dr4 ,dibdin alludes1 is ,c4 ,g4 ,von ,murr1 editor of the ,journal of ,arts and ,general ,literature1 published at ,nuremberg in #agge and subsequent years4 ,von ,murr was the first who published1 in the second volume of his journal1 a fac-simile1 engraved on wood by ,sebast4 ,roland1 of the ,buxheim ,st4 ,christopher1 from a tracing sent to him by ,p4 ,krismer1 the librarian of the convent4 ,von ,murr1 in his ,memorabilia of the ,city of ,nuremberg1 mentions that ,breitkopf had seen a duplicate impression of the ,buxheim ,st4 ,christopher in the possession of ,m4 ,de ,birkenstock at ,vienna4 ,on the inside of the first cover or 8board0 of the ,laus ,virginis1 the volume which contains the ,st4 ,christopher1 there is also pasted a wood engraving of the ,annunciation1 of a similar size to the above-named cut1 and impressed on the same kind of paper4 ,as they are both worked off in the same kind of dark-coloured ink1 and as they evidently have been coloured in the same manner1 by means of a stencil1 there can be little doubt of their being executed about the same time4 ,from the left-hand corner of the ,annunciation the figure of the ,almighty has been torn out4 ,the ,holy ,ghost1 who appears descending from the ,father upon the ,virgin in the material form of a dove1 could not well be torn out without greatly disfiguring the cut4 ,an idea may be formed of the original from the following reduced copy4 ,illustration ,respecting these cuts1 which in all probability were engraved by some one of the ,formschneiders of ,augsburg1 ,ulm1 or ,nuremberg1,,ii-#ae ,p4 ,krismer1 who was librarian of the convent of ,buxheim1 and who showed the volume in which they are pasted to ,heineken1 writes to ,von ,murr to the following effect3 8,it will not be superfluous if ,i here point out a mark1 by which1 in my opinion1 old wood engravings may with certainty be distinguished from those of a later period4 ,it is this3 ,in the oldest wood-cuts only do we perceive that the engraver ,formschneider has frequently omitted certain parts1 leaving them to be afterwards filled up by the card-colourer ,briefmaler4 ,in the ,st4 ,christopher there is no such deficiency1 although there is in the other cut which is pasted on the inside of the fore covering of the same volume1 and which1 ,i doubt not1 was executed at the same time as the former4 ,it represents the salutation of the ,virgin by the angel ,gabriel1 or1 as it is also called1 the ,annunciation2 and1 from the omission of the colours1 the upper part of the body of the kneeling ,virgin appears naked1 except where it is covered with her mantle4 ,her inner dress had been left to be added by the pencil of the card-colourer4 ,in another wood-cut of the same kind1 representing ,st4 ,jerome doing penance before a small crucifix placed on a hill1 we see with surprise that the saint1 together with the instruments of penance1 which are lying near him1 and a whole forest beside1 are suspended in the air without anything to support them1 as the whole of the ground had been left to be inserted with the pencil4 ,nothing of this kind is to be seen in more recent wood-cuts1 when the art had made greater progress4 ,what the early wood-engravers could not readily effect with the graver1 they performed with the pencil1--for the most part in a very coarse and careless manner1--as they were at the same time both wood-engravers and card-colourers40,,ii-#af ,footnote ,,ii-#ae3 ,there is every reason in the world to suppose that this wood-cut was executed either in ,nuremberg or ,augsburg4 ,buxheim is situated almost in the very heart of ,suabia1 the circle in which we find the earliest wood engravers established4 ,buxheim is about thirty ,english miles from ,ulm1 forty-four from ,augsburg1 and one hundred and fifteen from ,nuremberg4 ,von ,murr does not notice the pretensions of ,ulm1 which on his own grounds are stronger than those of his native city1 ,nuremberg4 ,footnote ,,ii-#af3 ,von ,murr1 ,journal1 #b ,theil1 ,s4 #aje1 #ajf4 ,besides the ,st4 ,christopher and the ,annunciation1 there is another old wood-cut in the collection of ,earl ,spencer which appears to belong to the same period1 and which has in all probability been engraved by a ,german artist1 as all who can read the ,german inscription above the figure would reasonably infer4 ,before making any remarks on this engraving1 ,i shall first lay before the reader a reduced copy4 ,the figure writing is that of ,st4 ,bridget of ,sweden1 who was born in #acjb and died in #acgc4 ,from the representation of the ,virgin with the infant ,christ in her arms we may suppose that the artist intended to show the pious widow writing an account of her visions or revelations1 in which she was often favoured with the blessed ,virgin's appearance4 ,the pilgrim's hat1 staff1 and scrip may allude to her pilgrimage to ,jerusalem1 which she was induced to make in consequence of a vision4 ,the letters ,s4 ,p4 ,q4 ,r4 in a shield1 are no doubt intended to denote the place1 ,rome1 where she saw the vision1 and where she died4 ,the lion1 the arms of ,sweden1 and the crown at her feet1 are most likely intended to denote that she was a princess of the blood royal of that kingdom4 ,the words above the figure of the saint are a brief invocation in the ,german language1 8,o ,brigita bit ,got fr uns60 8,o ,bridget1 pray to ,god for us60 ,at the foot of the desk at which ,st4 ,bridget is writing are the letters ,m4 ,i4 ,,chrs41 an abbreviation probably of ,mater ,jesu ,christi1 or if ,german1 ,mutter ,iesus ,christus4,,ii-#ag ,footnote ,,ii-#ag3 ,st4 ,bridget was a favourite saint in ,germany1 where many religious establishments of the rule of ,st4 ,saviour1 introduced by her1 were founded4 ,a folio volume1 containing the life1 revelations1 and legends of ,st4 ,bridget1 was published by ,a4 ,koberger1 ,nuremberg1 #aejb1 with the following title3 8,das puch der ,himlischen offenbarung der ,heiligen wittiben ,birgitte von dem ,kunigreich ,schweden40 ,illustration ,from the appearance of the back of this cut1 as if it had been rubbed smooth with a burnisher or rubber1 there can be little doubt of the impression having been taken by means of friction4 ,the colouring matter of the engraving is much lighter than in the ,st4 ,christopher and the ,annunciation1 and is like distemper or water-colour2 while that of the latter cuts appears1 as has been already observed1 more like printer's ink4 ,it is coarsely coloured1 and apparently by the hand1 unassisted with the stencil4 ,the face and hands are of a flesh colour4 ,her gown1 as well as the pilgrim's hat and scrip1 are of a dark grey2 her veil1 which she wears hoodwise1 is partly black and partly white2 and the wimple which she wears round her neck is also white4 ,the bench and desk1 the pilgrim's staff1 the letters ,s4 ,p4 ,q4 ,r41 the lion1 the crown1 and the nimbus surrounding the head of ,st4 ,bridget and that of the ,virgin1 are yellow4 ,the ground is green1 and the whole cut is surrounded with a border of a shining mulberry or lake colour4 ,mr4 ,ottley1 having at the very outset of his ,inquiry adopted ,papillon's story of the ,cunio1 is compelled1 for consistency's sake1 in the subsequent portion of his work1 when speaking of early wood engravings such as the above1 to consider them1 not as the earliest known specimens of the art1 but merely as wood engravings such as were produced upwards of a hundred and thirty years after the amiable and accomplished ,cunio1 a mere boy and a girl1 had in ,italy produced a set of wood engravings1 one of which was so well composed that ,le ,brun might be suspected of having borrowed from it the design of one of his most complicated pictures4 ,in his desire1 in support of his theory1 to refer the oldest wood-cuts to ,italy1 ,mr4 ,ottley asks3 8,what if these two prints the ,st4 ,christopher and the ,annunciation should prove to be1 not the productions of ,germany1 but rather of ,venice1 or of some district of the territory then under the dominion of that republic80 ,his principal reasons for the preceding conjecture1 are the ancient use of the word stampide--8printed0--in the ,venetian decree against the introduction of foreign playing-cards in #adda2 and the resemblance which the ,annunciation bears to the style of the early ,italian schools4 ,now1 with respect to the first of these reasons1 it is founded on the assumption that both those impressions have been obtained by means of a press of some kind or other1--a fact which remains yet to be proved2 for until the backs of both shall have been examined1 and the mark of the burnisher or rubber found wanting1 no person's mere opinion1 however confidently declared1 can be decisive of the question4 ,it also remains to be proved that the word stampide1 which occurs in the ,venetian decree1 was employed there to signify 8printed with a press40 ,for it is certain that the low ,latin word stampare1 with its cognates in the different languages of ,europe1 was used at that period to denote impression generally4 ,but even supposing that 8stampide0 signifies 8printed0 in the modern acceptation of the word1 and that the two impressions in question were obtained by means of a press2 the argument in favour of their being ,italian would gain nothing1 unless we assume that the foreign printed cards and figures1 which were forbid to be imported into ,venice1 were produced either within the territory of that state or in ,italy2 for the word stampide--8printed10 is applied to them as well as those manufactured within the city4 ,now we know that the ,german card-makers used to send great quantities of cards to ,venice about the period when the decree was made1 while we have no evidence of any ,italian cities manufacturing cards for exportation in #adda2 it is therefore most likely that if the ,venetians were acquainted with the use of the press in taking impressions from wood-blocks1 the ,germans were so too1 and for these more probable reasons1 admitting the cuts in question to have been printed by means of a press3--,first1 the fact of those wood-cuts being discovered in ,germany in the very district where we first hear of wood-engravers2 and secondly1 that if the ,venetian wood-engravers were acquainted with the use of the press in taking impressions while the ,germans were not1 it is very unlikely that the latter would be able to undersell the ,venetians in their own city4 ,until something like a probable reason shall be given for supposing the cuts in question to be productions 8of ,venice1 or some other district of the territory then under the dominion of that republic10 ,i shall continue to believe that they were executed in the district in which they were discovered1 and which has supplied to the collections of amateurs so many old wood engravings of a similar kind4 ,no wood engravings executed in ,italy1 are known of a date earlier than those contained in the 8,meditationes ,johannis de ,turre-cremata10 printed at ,rome #adfg1--;and printed1 be it observed1 by a ,german1 ,ulrick ,hahn4 ,the circular wood engravings in the ,british ,museum1,,ii-#ah which ,mr4 ,ottley says are indisputably ,italian1 and of the old dry taste of the fifteenth century1 can scarcely be referred to an earlier period than #aejj1 and my own opinion is that they are not older than #aeaj4 ,the manner in which they are engraved is that which we find prevalent in ,italian wood-cuts executed between #aejj and #aebj4 ,footnote ,,ii-#ah3 ,those cuts consist of illustrations of the ,new ,testament4 ,there are ten of them1 apparently a portion of a larger series1 in the ,british ,museum2 and they are marked in small letters1 a4 b4 c4 d4 e4 f4 g4 h4 i4 k4 n4 ,that which is marked g4 also contains the words 8,opus ,jacobi40 ,in this cut a specimen of cross-hatching may be observed1 which was certainly very little practised--if at all--in ,italy1 before #aejj4 ,with respect to the resemblance which the ,annunciation bears to the style of the early ,italian school1--,i beg to observe that it equally resembles many of the productions of contemporary 8schools0 of ,england and ,france1 as displayed in many of the drawings contained in old illuminated manuscripts4 ,it would be no difficult matter to point out in many old ,german engravings attitudes at least as graceful as the ,virgin's2 and as to her drapery1 which is said to be 8wholly unlike the angular sharpness1 the stiffness and the flutter of the ancient ,german school10 ,i beg to observe that those peculiarities are not of so frequent occurrence in the works of ,german artists1 whether sculptors1 painters1 or wood-engravers1 who lived before #adej1 as in the works of those who lived after that period4 ,angular sharpness and flutter in the draperies are not so characteristic of early ,german art generally1 as of ,german art towards the end of the fifteenth1 and in the early part of the sixteenth century4 ,even the ,st4 ,bridget1 which he considers to be of a date not later than the close of the fourteenth century1,,ii-#ai ,mr4 ,ottley1 with a ,german inscription before his eyes1 is inclined to give to an artist of the ,low ,countries2 and he kindly directs the attention of ,coster's partisans to the shield of arms--probably intended for those of ,sweden--at the right-hand corner of the cut4 ,meerman had discovered a seal1 having in the centre a shield charged with a lion rampant--the bearing of the noble family of ,brederode--a label of three points1 and the mark of illegitimacy--a bend sinister1 and surrounded by the inscription1 8,sigillum ,lowrens ,janssoen10 which with him was sufficient evidence of its being the identical seal of ,laurence1 the ,coster or churchwarden of ,harlem4,,ii-#bj ,footnote ,,ii-#ai3 ,mr4 ,ottley's reason for considering this cut to be so old is1 that 8after that period #adjj an artist1 who was capable of designing so good a figure1 could scarcely have been so grossly ignorant of every effect of linear perspective1 as was evidently the case with the author of the performance before us40--,inquiry1 p4 #hg4 ,offences1 however1 scarcely less gross against the rules of linear perspective1 are to be found in the wood-cuts in the ,adventures of ,sir ,theurdank1 #aeag1 many of which contain figures superior to that of ,st4 ,bridget4 ,errors in perspective are indeed frequent in the designs of many of the most eminent of ,albert ,durer's contemporaries1 although in other respects the figures may be correctly drawn1 and the general composition good4 ,footnote ,,ii-#bj3 ,an engraving of this seal is given in the first volume of ,meerman's ,origines ,typographic4 ,we thus perceive on what grounds the right of ,germany to three of the oldest wood-cuts known is questioned2 and upon what traits of resemblance they are ascribed to ,italy and the ,low ,countries4 ,by adopting ,mr4 ,ottley's mode of reasoning1 it might be shown with equal probability that a very considerable number of early wood engravings--whether printed in books or separately--hitherto believed to be ,german1 were really executed in ,italy4 ,an old wood engraving of the martyrdom of ,st4 ,sebastian1 of a quarto size1 with a short prayer underneath1 and the date #adcg1 apparently from the same block1 was preserved in the monastery of ,st4 ,blaze1 in the ,black ,forest on the confines of ,suabia2,,ii-#ba and another1 with the date #addc inserted in manuscript1 was pasted in a volume belonging to the library of the monastery of ,buxheim4 ,the latter is thus described by ,von ,murr3 8,through the kindness of the celebrated librarian1 ,krismer1 whom ,i have so often mentioned1 ,i am enabled to give an account of an illuminated wood-cut1 which at the latest must have been engraved in #addc4 ,it is pasted on the inside of the cover of a volume which contains #8,nicolai ,dunkelspl,,ii-#bb ,sermonum ,partem ,hyemalem4' ,it is of quarto size1 being seven and a half inches high1 and five and a quarter wide1 and is inclosed within a border of a single line4 ,it is much soiled1 as we perceive in the figures on cards which have been impressed by means of a rubber4 ,the style in which it is executed is like that of no other wood-cut which ,i have ever seen4 ,the cut itself represents three different subjects1 the upper part of it being divided into two compartments1 each three inches square1 and separated from each other by means of a broad perpendicular line4 ,in that to the right is seen ,st4 ,dorothy sitting in a garden1 with the youthful ,christ presenting flowers to her1 of which she has her lap full4 ,before her stands a small hand-basket1--also full of flowers1--such as the ladies of ,franconia and ,suabia were accustomed to carry in former times4 ,in the left compartment is seen ,st4 ,alexius1 lying at the foot of a flight of steps1 upon which a man is standing and emptying the contents of a pot upon the saint4,,ii-#bc ,between these compartments there appears in manuscript the date #8anno d'ni #addc4' ,both the ink and the characters correspond with those of the volume4 ,this date indicates the time when the writer had finished the book and got it bound1 as is more clearly proved by a memorandum at the conclusion4 ,in the year #adhc1 before it came into the possession of the monastery of ,buxheim1 it belonged to ,brother ,jacobus ,matzenberger1 of the order of the ,holy ,ghost1 and curate of the church of the ,virgin ,mary in ,memmingen4 ,the whole of the lower part of the cut is occupied with ,christ bearing his cross1 at the moment that he meets with his mother1 whom one of the executioners appears to be driving away4 ,simon of ,cyrene is seen assisting ,christ to carry the cross4 ,the engraving is executed in a very coarse manner40,,ii-#bd ,footnote ,,ii-#ba3 ,heineken1 ,neue ,nachrichten von ,knstlern und ,kunstsachen4 ,dresden und ,leipzig1 #aghf1 ,s4 #adc4 ,footnote ,,ii-#bb3 ,in the ,table des ,matires to ,jansen's ,essai sur l',origine de la ,gravure1 ,paris1 #ahjh1 we find 8,dnkelspl 7,nicolas7 graveur ,allemand en #addc40 ,after this specimen of accuracy1 it is rather surprising that we do not find ,st4 ,alexius referred to also as 8un graveur ,allemand40 ,footnote ,,ii-#bc3 ,st4 ,alexius returning unknown to his father's house1 as a poor pilgrim1 was treated with great indignity by the servants4 ,footnote ,,ii-#bd3 ,von ,murr1 ,journal1 #b ,theil1 ,s4 #aac-aae4 ,in the ,royal ,library at ,paris there is an ancient wood-cut of ,st4 ,bernardin1 who is represented on a terrace1 the pavement of which consists of alternate squares of yellow1 red1 and green4 ,in his right hand the saint holds something resembling the consecrated wafer or host1 in the midst of which is inscribed the name of ,christ2 and in his left a kind of oblong casket1 on which are the words 8,vide1 lege1 dulce nomen40 ,upon a scroll above the head of the saint is engraved the sentence1 8,ihesus semper sit in ore meo10 and behind him1 on a black label1 is his name in yellow letters1 8,sanct' ,bernard'40 ,the cut is surrounded by a border of foliage1 with the emblems of the four ,evangelists at the four corners1 and at the foot are the five following lines1 with the date1 impressed from prominent lines3-- ,o 4 splendor 4 pudicitie 4 zelator 4 paupertatis 4 a mator4 innocentie 4 cultor 4 virginitatis 4 lustra cors 4 apientie 4 protector 4 veritatis 4 thro num 4 fulgidum 4 eterne 4 majestatis 4 para nobis 4 additum 4 divine 4 pietatis 4 amen4 7#aded7 ,this rare cut was communicated to ,jansen by ,m4 ,vanpraet1 the well-known bibliographer and keeper of the ,royal ,library4,,ii-#be ,footnote ,,ii-#be3 ,jansen1 ,essai sur l',origine de la ,gravure1 tom4 i4 p4 #bcg4 ,jansen's own authority on subjects connected with wood engraving is undeserving of attention4 ,he is a mere compiler1 who scarcely appears to have been able to distinguish a wood-cut from a copper-plate engraving4 8,having visited in my last tour10 says ,heineken1 after describing the ,st4 ,christopher1 8a great many convents in ,franconia1 ,suabia1 ,bavaria1 and in the ,austrian states1 ,i everywhere discovered in their libraries many of those kinds of figures1 engraved on wood1 and pasted either at the beginning or the end of old volumes of the fifteenth century4 ,i have indeed obtained several of them4 ,these facts1 taken altogether1 have confirmed me in my opinion that the next step of the engraver in wood1 after playing-cards1 was to engrave figures of saints1 which1 being distributed and lost among the laity1 were in part preserved by the monks1 who pasted them in the earliest printed books with which they furnished their libraries40,,ii-#bf ,footnote ,,ii-#bf3 ,ide ,gnrale1 p4 #bea4 ,hartman ,schedel1 the compiler of the ,nuremberg ,chronicle1 was accustomed to paste both old wood-cuts and copper-plate engravings within the covers of his books1 many of which were preserved in the ,library of the ,elector of ,bavaria at ,munich4--,ide ,gn4 p4 #bhg2 and ,von ,murr1 ,journal1 #b ,theil1 ,s4 #aae4 ,a great many wood-cuts of devotional subjects1 of a period probably anterior to the invention of book-printing by ,gutenberg1 have been discovered in ,germany4 ,they are all executed in a rude style1 and many of them are coloured4 ,it is not unlikely that the most of these woodcuts were executed at the instance of the monks for distribution among the common people as helps to devotion2 and that each monastery1 which might thus avail itself of the aid of wood engraving in the work of piety1 would cause to be engraved the figure of its patron saint4 ,the practice1 in fact1 of distributing such figures at monasteries and shrines to those who visit them1 is not yet extinct on the ,continent4 ,in ,belgium it is still continued1 and1 ,i believe1 also in ,germany1 ,france1 and ,italy4 ,the figures1 however1 are not generally impressions from wood-blocks1 but are for the most part wholly executed by means of stencils4 ,one of the latter class1 representing the shrine of 8,notre ,dame de ,hal10--coloured in the most wretched taste with brick-dust red and shining green1--is now lying before me4 ,it was given to a gentleman who visited ,halle1 near ,brussels1 in #ahbi4 ,it is nearly of the same size as many of the old devotional wood-cuts of ,germany1 being about four inches high1 by two and three-quarters wide4,,ii-#bg ,footnote ,,ii-#bg3 ,heineken thus speaks of those old devotional cuts3 8,on trouve dans la ,bibliothque de ,wolfenbttel de ces sortes d'estampes1 qui reprsentent diffrens sujets de l'histoire sainte et de dvotion1 avec du texte vis vis de la figure1 tout grav en bois4 ,ces pices sont de la mme grandeur que nos cartes jouer3 elles portent #c pouces de hauteur sur #b pouces #f lignes de largeur40--,ide ,gnrale1 p4 #bdi4 ,the next step in the progress of wood engraving1 subsequent to the production of single cuts1 such as the ,st4 ,christopher1 the ,annunciation1 and the ,st4 ,bridget1 in each of which letters are sparingly introduced1 was the application of the art to the production of those works which are known to bibliographers by the name of ,,block-,,books3 the most celebrated of which are the ,apocalypsis1 seu ,historia ,sancti ,johannis2 the ,historia ,virginis ex ,cantico ,canticorum2 and the ,biblia ,pauperum4 ,the first is a history1 pictorial and literal1 of the life and revelations of ,st4 ,john the ,evangelist1 derived in part from the traditions of the church1 but chiefly from the book of ,revelations4 ,the second is a similar history of the ,virgin1 as it is supposed to be typified in the ,songs of ,solomon2 and the third consists of subjects representing some of the most important passages in the ,old and ,new ,testament1 with texts either explaining the subject1 or enforcing the example of duty which it may afford4 ,with the above1 the ,speculum ,human ,salvationis is usually1 though improperly1 classed1 as the whole of the text1 in that which is most certainly the first edition1 is printed from movable metal types4 ,in the others the explanatory matter is engraved on wood1 on the same block with the subject to which it refers4 ,all the above books have been claimed by ,meerman and other ,dutch writers for their countryman1 ,laurence ,coster3 and although no date1 either impressed or manuscript1 has been discovered in any one copy from which the period of its execution might be ascertained1,,ii-#bh yet such appears to have been the clearness of the intuitive light which guided those authors1 that they have assigned to each work the precise year in which it appeared4 ,according to ,seiz1 the ,history of the ,old and ,new ,testament1 otherwise called the ,biblia ,pauperum1 appeared in #adcb2 the ,history of the ,virgin in #adcc2 the ,apocalypse in #adcd2 and the ,speculum in #adci4 ,for such assertions1 however1 he has not the slightest ground4 ,that the three first might appear at some period between #adcj and #adej1 is not unlikely2,,ii-#bi but that the ,speculum--the text of which in the first edition was printed from metal types--should be printed before #adfj1 is in the highest degree improbable4 ,footnote ,,ii-#bh3 ,a copy of the ,speculum belonging to the city of ,harlem had at the commencement1 8,ex ,officina ,laurentii ,joannis ,costeri4 ,anno #addj40 ,but this inscription had been inserted by a modern hand--,ide ,gnrale1 p4 #ddi4 ,footnote ,,ii-#bi3 ,in the catalogue of ,dr4 ,kloss's ,library1 ,no4 #bjbd1 is a 8,historia et ,apocalypsis ,johannis ,evangelist10 imperfect1 printed from wooden blocks4 ,the following are the observations of the editor or compiler of the catalogue3 8,at the end of the volume is a short note1 written by ,pope ,martin ,v41 who occupied the papal chair from #adag to #adca4 ,this appears to accord with the edition described by ,heineken at page #cfj1 excepting in the double a1 ,no4 #c and #d40 ,if the note referred to were genuine1 and actually written in the book1 a certain date would be at once established4 ,the information1 however1 comes in a questionable shape1 as the ,english rdacteur's power of ascertaining who were the writers of ancient ,,ms4 notes appears little short of miraculous4 ,upon extremely slight grounds it has been conjectured that the ,biblia ,pauperum1 the ,apocalypse1 and the ,ars ,moriendi1--another block-book1--were engraved before the year #adcj4 ,the ,rev4 ,t4 ,h4 ,horne1 8a gentleman long and well known for his familiar acquaintance with books printed abroad10 says ,dr4 ,dibdin1 8had a copy of each of the three books above mentioned1 bound in one volume1 upon the cover of which the following words were stamped3 ,hic liber relegatus fuit per ,plebanum4 ecclesie0--with the date1 according to the best of the ,rev4 ,mr4 ,horne's recollection1 #adb7h74 ,as he had broken up the volume1 and had parted with the contents1 he gave the above information on the strength of his memory alone4 ,he was1 however1 confident that 8the binding was the ancient legitimate one1 and that the treatises had not been subsequently introduced into it1 and that the date was #adb odd2 but positively anterior to #adcj40;,,ii-#cj ,footnote ,,ii-#cj3 ,bibliotheca ,spenceriana1 vol4 i4 p4 #d1 cited in ,ottley's ,inquiry1 vol4 i4 p4 #ii4 ,in such a case as this1 however1 mere recollection cannot be admitted as decisive of the fact1 more especially when we know the many instances in which mistakes have been committed in reading the numerals in ancient dates4 ,at page #hh of his ,inquiry1 ,mr4 ,ottley1 catching at every straw that may help to support his theory of wood engraving having been practised by the ,cunio and others in the fourteenth century1 refers to a print which a ,monsieur ,thierry professed to have seen at ,lyons1 inscribed 8,,schoting ,,of ,,nuremberg10 with the date #achd2 and at p4 #bef he alludes to it again in the following words3 8,the date #achd on the wood-cut preserved at ,lyons1 said to have been executed at ,nuremberg1 appears1 ,i know not why1 to have been suspected40 ,it has been more than suspected2 for1 on examination1 it has been found to be #aehd4 ,paul ,von ,stettin published an account of a ,biblia ,pauperum1 the date of which he supposed to be #adad2 but which1 when closely examined1 was found to be #adgd3 and ,baron ,von ,hupsch1 of ,cologne1 published in #aghg an account of some wood-cuts which he supposed to have been executed in #adbj2 but which1 in the opinion of ,breitkopf1 were part of the cuts of a ,biblia ,pauperum1 in which it was probably intended to give the explanations in moveable types underneath the cuts1 and probably of a later date than #adgj4;,,ii-#ca ,footnote ,,ii-#ca3 ,singer's ,researches into the ,history of ,playing-cards1 p4 #ajg4 ,it is surprising that the ,rev4 ,mr4 ,horne1 who is no incurious observer of books1 but an author who has written largely on ,bibliography1 should not have carefully copied so remarkable a date1 or communicated it to a friend1 when it might have been confirmed by a careful examination of the binding2 and still more surprising is it that such binding should have been destroyed4 ,from the very fact of his not having paid more particular attention to this most important date1 and from his having permitted the evidence of it to be destroyed1 the ,rev4 ,mr4 ,horne seems to be an incompetent witness4 ,who would think of calling a person to prove from recollection the date of an old and important deed1 who1 when he had it in his possession1 was so little aware of its value as to throw it away8 ,the three books in question1 when covered by such a binding1 would surely be much greater than when bound in any other manner4 ,such a volume must have been unique2 and1 if the date on the binding were correct1 it must have been admitted as decisive of a fact interesting to every bibliographer in ,europe4 ,it is not even mentioned in what kind of numerals the date was expressed1 whether in ,roman or ,arabic4 ,if the numerals had been ,arabic1 we might very reasonably suppose that the ,rev4 ,mr4 ,horne had mistaken a seven for a two1 and that1 instead of 8#adb odd10 the correct date was 8#adg odd40 ,in ,arabic numerals1 such as were used about the middle of the fifteenth century1 the seven may very easily be mistaken for a two4 ,the earliest ancient binding known1 on which a date is impressed1 is1 ,i believe1 that described by ,laire4,,ii-#cb ,it is that of a copy of 8,sancti ,hieronymi ,epistol20 and the words1 in the same manner as that of the binding of which the ,rev4 ,mr4 ,horne had so accurate a recollection1 were 8stamped at the extremity of the binding1 towards the edge of the squares40 ,it is only necessary to cite the words impressed on one of the boards1 which were as follows3 8,illigatus est ,anno ,domini #adfi ,per me ,johannem ,richenbach ,capellanum ,in ,gyslingen40,,ii-#cc ,footnote ,,ii-#cb3 ,index ,librorum ab inventa ,typographia ad annum #aejj1 ,no4 #cg4 ,footnote ,,ii-#cc3 ,mr4 ,bohn is in possession of a similarly bound volume1 namely1 8,astexani de ,ast1 ,scrutinium ,scripturarum10 printed by ,mentelin1 without date1 but about #adfh1 on the pig-skin covers of which is printed in bold black letter1 ,per me ,rich-en-bach illigatus in ,gysslingen #adgj4 ,the numerals of the date it is to be observed were ,arabic4 ,in the library of ,dr4 ,kloss of ,frankfort1 sold in ,london by ,sotheby and ,son in #ahce1 were two volumes1 8,st4 ,augustini de ,civitat4 ,dei1 ,libri xxii4 #adfi10 and 8,st4 ,augustini ,confessiones0 of the same date2 both of which were bound by 8,johannes ,capellanus in ,gyslingen10 and who in the same manner had impressed his name on the covers with the date #adgj4 ,both volumes had belonged to 8,dominus ,georgius ,ruch de ,gamundia40,,ii-#cd ,that the volume formerly in the ,rev4 ,mr4 ,horne's possession was bound by the curate of ,geisslingen ,i by no means pretend to say1 though ,i am firmly of opinion that it was bound subsequent to #adgj1 and that the character which he supposed to be a two was in reality a different figure4 ,it is worthy of remark that it appears to have been bound by the 8,plebanus0 of some church1 a word which is nearly synonymous with 8,capellanus40,,ii-#ce ,footnote ,,ii-#cd3 8,catalogue of the ,library of ,dr4 ,kloss of ,frankfort10 ,nos4 #dfj and #dfh4 ,geisslingen is about fifteen miles north-west of ,ulm in ,suabia1 and ,gemund about twelve miles northward of ,geisslingen4 ,footnote ,,ii-#ce3 ,mr4 ,singer1 at page #aja of his ,researches into the ,history of ,playing-cards1 speaks of 8one ,plebanus of ,augsburg10 as if ,plebanus were a proper name4 ,it has nearly the same meaning as our own word 8,curate40 8,,plebanus1 ,parcus1 ,curio1 ,sacerdos1 qui plebi prest2 ,italis1 ,piovano2 ,gallo-,belgis1 ,pleban4 ,balbus in ,catholico3 #8,plebanus1 dominus plebis1 ,presbyter1 qui plebem regit4'--,plebanum vero maxime vocant in ecclesiis cathedralibus seu collegiatis canonicum1 cui plebis earum jurisdictioni subdit cura committitur40--,du ,cange1 ,glossarium1 in verbo 8,plebanus40 ,as it does not come within the plan of the present volume to give a catalogue of all the subjects contained in the block-books to which it may be necessary to refer as illustrating the progress of wood engraving1 ,i shall confine myself to a general notice of the manner in which the cuts are executed1 with occasional observations on the designs1 and such remarks as may be likely to explain any peculiarity of appearance1 or to enable the reader to form a distinct idea of the subject referred to4 ,at whatever period the ,apocalypse1 the ,history of the ,virgin1 and the ,biblia ,pauperum may have been executed1 the former has the appearance of being the earliest2 and in the absence of everything like proof upon the point1 and as the style in which it is engraved is certainly more simple than that of the other two1 it seems entitled to be first noticed in tracing the progress of the art4 ,of the ,apocalypse1--or 8,historia ,sancti ,johannis ,evangelist ejusque ,visiones ,apocalyptic10 as it is mostly termed by bibliographers1 for the book itself has no title1--,heineken mentions no less than six editions1 the earliest of which he considers to be that described by him at page #cfg of his 8,ide ,gnrale d'une ,collection complte d',estampes40 ,he1 however1 declares that the marks by which he has assigned to each edition its comparative antiquity are not infallible4 ,it is indeed very evident that the marks which he assumed as characteristic of the relative order of the different editions were merely arbitrary1 and could by no means be admitted as of the slightest consequence in enabling any person to form a correct opinion on the subject4 ,he notices two editions as the first and second1 and immediately after he mentions a circumstance which might almost entitle the third to take precedence of them both2 and that which he saw last he thinks the oldest of all4 ,the designs of the second edition described by him1 he says1 are by another master than those of the first1 although the artist has adhered to the same subjects and the same ideas4 ,the third1 according to his observations1 differs from the first and second1 both in the subjects and the descriptive text4 ,the fourth edition is from the same blocks as the third2 the only difference between them being1 that the fourth is without the letters in alphabetical order which indicate the succession of the cuts4 ,the fifth differed from the third or fourth only in the text and the directing letters1 as the designs were the same2 the only variations that could be observed being extremely trifling4 ,after having described five editions of the book1 he decides that a sixth1 which he saw after the others1 ought to be considered the earliest of all4,,ii-#cf ,in all the copies which he had seen1 the impressions had been taken by means of a rubber1 in such a manner that each leaf contained only one engraving2 the other side1 which commonly bore the marks of the rubber1 being without a cut4 ,the impressions when collected into a volume faced each other1 so that the first and last pages were blank4 ,footnote ,,ii-#cf3 ,ide ,gnrale1 pp4 #ccd-cgj4 ,the edition of the ,apocalypse to which ,i shall now refer is that described by ,heineken1 at page #cfd1 as the fifth2 and the copy is that mentioned by him1 at page #cfg1 as then being in the collection of ,m4 de ,gaignat1 and as wanting two cuts1 ,nos4 #cf and #cg4 ,it is at present in the ,king's ,library at the ,british ,museum4 ,illustration ,it is a thin folio in modern red morocco binding1 and has1 when perfect1 consisted of fifty wood engravings1 with their explanatory text also cut in wood1 generally within an oblong border of a single line1 within the field of the engraving1 and not added underneath1 as in the ,speculum ,salvationis1 nor in detached compartments1 both above and below1 as in the ,biblia ,pauperum4 ,the paper1 which is somewhat of a cream colour1 is stout1 with rather a coarse surface1 and such as we find the most ancient books printed on4 ,as each leaf has been pasted down on another of modern paper1 in order to preserve it1 the marks of the rubber at the back of each impression1 as described by ,heineken1 cannot be seen4 ,the annexed outline is a reduced copy of a paper-mark1 which may be perceived on some of the leaves4 ,it is very like that numbered 8vii40 at p4 #bbd1 vol4 i4 of ,mr4 ,ottley's ,inquiry1 and which he says occurs in the edition called the first ,latin of the ,speculum ,salvationis4 ,it is nearly the same as that which is to be seen in ,earl ,spencer's 8,historia ,virginis20 and ,santander states that he has noticed a similar mark in books printed at ,cologne by ,ulric ,zell1 and ,bart4 de ,unkel2 at ,louvain by ,john ,veldener and ,conrad ,braen2 and in books printed at ,utrecht by ,nic4 ,ketelaer and ,gerard de ,leempt4 ,the size of the largest cuts1 as defined by the plain lines which form the border1 is about ten and five-eighths inches high1 by seven and six-eighths inches wide2 of the smallest1 ten and two-eighths inches high1 by seven and three-eighths wide4,,ii-#cg ,the order in which they are to be placed in binding is indicated by a letter of the alphabet1 which serves the same purpose as our modern signatures1--engraved in a conspicuous part of the cut4 ,for instance1 the first two1 which1 as well as the others1 might either face each other or be pasted back to back1 are each marked with the letter a2 the two next with the letter b1 and so on through the alphabet4 ,as the alphabet--which has the i the same as the j1 the v the same as the u1 and has not the w--became exhausted at the forty-sixth cut1 the forty-seventh and forty-eighth are marked with a character which was used to represent the words 8et cetera20 and the forty-ninth and fiftieth with the terminal abbreviation of the letters 8us40 ,in the copy described by ,heineken1 he observed that the directing letters m and n were wanting in the twenty-fourth and twenty-sixth cuts1 and in the copy under consideration they are also omitted4 ,the m1 however1 appears to have been engraved1 though for some reason or other not to have been inked in taking an impression2 for on a careful examination of this cut1--without being aware at the time of ,heineken having noticed the omission1--,i thought that ,i could very plainly discern the indention of the letter above one of the angels in the upper compartment of the print4 ,footnote ,,ii-#cg3 ,in the copy of the ,biblia ,pauperum in the ,british ,museum1 ,inches4 ,inches4 ,the largest cut is #aj-d_/h high1 and #g-e_/h wide4 ,the smallest -- #aj-a_/h -- -- #g-e_/h -- ,in the ,historia ,virginis1 also in the ,british ,museum1 ,the largest cut is #aj-c_/h high1 and #g-b_/h wide4 ,the smallest -- #i-g_/h -- -- #f-g_/h -- ,of the forty-eight cuts,,ii-#ch contained in the ,museum copy1 the greater number are divided by a horizontal line1 nearly in the middle1 and thus each consists of two compartments2 of the remainder1 each is occupied by a single subject1 which fills the whole page4 ,in some1 the explanatory text consists only of two or three lines2 and in others it occupies so large a space1 that if it were set up in moderately sized type1 it would be sufficient to fill a duodecimo page4 ,the characters are different from those in the ,history of the ,virgin and the ,biblia ,pauperum1 and are smaller than those of the former1 and generally larger and more distinctly cut than those of the latter2 and although1 as well as in the two last-named books1 the words are much abbreviated1 yet they are more easy to be made out than the text of either of the others4 ,the impressions on the whole are better taken than those of the ,biblia ,pauperum1 though in lighter-coloured ink1 something like a greyish sepia1 and apparently of a thinner body4 ,it does not appear to have contained any oil1 and is more like distemper or water-colour than printer's ink4 ,from the manner in which the lines are indented in the paper1 in several of the cuts1 it is evident that they must either have been subjected to a considerable degree of pressure or have been very hard rubbed4 ,footnote ,,ii-#ch3 ,the two which are wanting are those numbered #cf and #cg--that is1 the second s1 and the first t--in ,heineken's collation4 ,although there is a memorandum at the commencement of the book that those cuts are wanting1 yet the person who has put in the numbers1 in manuscript1 at the foot of each1 has not noticed the omission1 but has continued the numbers consecutively1 marking that #cf which in a perfect copy is #ch1 and so on to the rest4 ,a reference to ,heineken from those manuscript numbers subsequent to the thirty-fifth cut would lead to error4 ,although some of the figures bear a considerable degree of likeness to others of the same kind in the ,biblia ,pauperum1 ,i cannot think that the designs for both books were made by the same person4 ,the figures in the different works which most resemble each other are those of saints and angels1 whose form and expression have been represented according to a conventional standard1 to which most of the artists of the period conformed1 in the same manner as in representing the ,almighty and ,christ1 whether they were painters1 glass-stainers1 carvers1 or wood-engravers4 ,in many of the figures the drapery is broken into easy and natural folds by means of single lines2 and if this were admitted as a ground for assigning the cut of the ,annunciation to ,italy1 with much greater reason might the ,apocalypse be ascribed to the same country4 ,without venturing to give an opinion whether the cuts were engraved in ,germany1 ,holland1 or in the ,low ,countries1 the drawing of many of the figures appears to correspond with the idea that ,i have formed of the style of ,greek art1 such as it was in the early part of the fifteenth century4 ,st4 ,john was the favourite apostle of the ,greeks1 as ,st4 ,peter was of the church of ,rome2 and as the ,revelations were more especially addressed to the churches of ,greece1 they were more generally read in that country than in ,western ,europe4 ,artists mostly copy1 in the heads which they draw1 the general expression of the country,,ii-#ci to which they belong1 and where they have received their first impressions2 and in the ,apocalypse the character of several of the heads appears to be decidedly ,grecian4 ,the general representation1 too1 of several visions would seem to have been suggested by a ,greek who was familiar with that portion of the ,new ,testament which was so generally perused in his native land1 and whose annunciations and figurative prophecies were1 in the early part of the fifteenth century1 commonly supposed by his countrymen to relate to the ,turks1 who at that time were triumphing over the cross4 ,with them ,mahomet was the ,antichrist of the ,revelations1 and his followers the people bearing the mark of the beast1 who were to persecute1 and for a time to hold in bondage1 the members of the church of ,christ4 ,as many ,greeks1 both artists and scholars1 were driven from their country by the oppression of the ,turks several years before the taking of ,constantinople in #adec1 ,i am induced to think that to a ,greek we owe the designs of this edition of the ,apocalypse4 ,in the lower division of the twenty-third cut1 m1 representing the fight of ,michael and his angels with the dragon1 the following shields are borne by two of the heavenly host4 ,footnote ,,ii-#ci3 ,witness ,rembrandt1 who never gets rid of the ,dutch character1 no matter how elevated his subject may be4 ,illustration ,illustration ,the crescent1 as is well known1 was one of the badges of ,constantinople long previous to its capture by the ,turks4 ,the sort of cross in the other shield is very like that in the arms of the knights of ,st4 ,constantine1 a military order which is said to have been founded at ,constantinople by the ,emperor ,isaac ,angelus ,comnenus1 in #aaij4 ,the above coincidences1 though trifling1 tend to support the opinion that the designs were made by a ,greek artist4 ,it is1 however1 possible1 that the badges on the shields may have been suggested by the mere fancy of the designer1 and that they may equally resemble the heraldic bearings of some order or of some individuals of ,western ,europe4 ,though some of the designs are very indifferent1 yet there are others which display considerable ability1 and several of the single figures are decidedly superior to any that are contained in the other block-books4 ,they are drawn with greater vigour and feeling2 and though the designs of the ,biblia ,pauperum show a greater knowledge of the mechanism of art1 yet the best of them1 in point of expression and emphatic marking of character1 are inferior to the best in the ,apocalypse4 ,with respect to the engraving1 the cuts are executed in the simplest manner1 as there is not the least attempt at shading1 by means of cross lines or hatchings1 to be perceived in any one of the designs4 ,the most difficult part of the engraver's task1 supposing the drawings to have been made by another person1 would be the cutting of the letters1 which in several of the subjects must have occupied a considerable portion of time1 and have required no small degree of care4 ,the following is a reduced copy of the first cut4 ,illustration ,in the upper portion of the subject1 ,st4 ,john is seen addressing four persons1 three men and a woman2 and the text at the top informs us of the success of his ministry3 8,conversi ab idolis1 per predicationem beati ,johannis1 ,drusiana et ceteri40--8,by the preaching of ,st4 ,john1 ,drusiana and others are withdrawn from their idols40 ,the letter a1 a little above the saint's outstretched hand1 indicates that the cut is the first of the series4 ,in the lower compartment ,st4 ,john is seen baptizing ,drusiana1 who1 as she stands naked in the font1 is of very small size compared with the saint4 ,the situation in which ,drusiana is placed might be alleged in support of their peculiar tenets1 either by the ,baptists1 who advocate immersion as the proper mode of administering the rite1 or by those who consider sprinkling as sufficient2 but in each case with a difficulty which it would not be easy to explain3 for if ,drusiana were to be baptized by immersion1 the font is too small to allow her to be dipped overhead2 and if the rite were to be administered by mere sprinkling1 why is she standing naked in the font8 ,to the right of the cut are several figures1 two of whom are provided with axes1 who seem wishful to break open the door of the chapel in which ,st4 ,john and his proselyte are seen4 ,the inscription above their heads lets us know that they are--8,cultores ydolorum explorantes facta ejus20-- 8,worshippers of idols watching the saint's proceedings40 ,the following cut is a copy of the eighteenth of the ,apocalypse1 which is illustrative of the ,x,ith and ,x,i,i,ith chapters of ,revelations4 ,the upper portion represents the execution of the two witnesses of the ,lord1 who are in the tablet named ,enoch and ,helyas1 by the command of the beast which ascendeth out of the bottomless pit1 and which is ,antichrist4 ,he is seen issuing his commands for the execution of the witnesses2 and the face of the executioner who has just used his sword1 and who is looking towards him with an expression of brutal exultation1 might have served ,albert ,durer for that of the mocker in his cut of ,christ crowned with thorns4 ,illustration ,the inscription to the right1 is the #gth verse of the ,x,ith chapter1 with the names of ,enoch and ,helyas inserted as those of the two witnesses3 8,cum finierunt ,enoch et ,helyas testimonium suum1 bestia qu ascendit de abisso faciet contra eos bellum1 et vincet eos et occidet illos40 ,in our translation the verse is rendered thus3 8,and when they shall have finished their testimony1 the beast that ascendeth out of the bottomless pit shall make war against them1 and shall overcome them and kill them40 ,the tablet to the left contains the following inscription3 8,et jacebunt corpora eorum in plateis1 et non sinent poni in monumentis40 ,it is formed of two passages1 in the #hth and #ith verses of the ,x,ith chapter of ,revelations1 which are thus rendered in our version of the ,bible3 8,and their dead bodies shall lie in the street1 4 4 4 and they of the people 4 4 4 shall not suffer their dead bodies to be put in graves40 ,in the lower compartment ,antichrist is seen working his miracles1 uprooting the two olive trees1 typical of the two witnesses whom he had caused to be slain4,,ii-#dj ,two of his followers are seen kneeling as if worshipping him1 while more to the left are the supporters of the true faith delivered into the hands of executioners4 ,the design is illustrative of the ,x,i,i,ith chapter of ,revelations4 ,the following is the inscription above the figure of ,antichrist3--8,hic facit ,antichristus miracula sua1 et credentes in ipsum honorat1 et incredentes variis interficit pnis40--8,here ,antichrist is performing his miracles1 honouring those who believe in him1 and putting the incredulous to death by various punishments40 ,the leaves of the trees which ,antichrist has miraculously uprooted are extremely like those of the tree of life engraved in one of the cuts of the ,biblia ,pauperum1 and of which a copy will be found in a subsequent page4 ,footnote ,,ii-#dj3 ,revelations1 chap4 xi4 verses #c;d and #dth4 ,in several of the cuts1 the typical expressions which occur in the texts are explained4 ,thus1 in cut eighth1 we are informed that 8,stol alb animarum gloriam designant40--8,the white vestments denote the glory of departed souls40 ,in the lower compartment of the same cut1 the 8cli recessio0--8the opening of the heavens0--is explained to be the communication of the ,bible to the ,gentiles4 ,in the lower compartment of the ninth cut1 8much incense0 is said to signify the precepts of the ,gospel2 the 8censers10 the hearts of the ,apostles2 and the 8golden altar10 the ,church4 ,the next block-book which demands notice is that named 8,historia seu ,providentia ,virginis ,mari1 ex ,cantico ,canticorum30 that is1 8,the ,history or ,prefiguration of the ,virgin ,mary1 from the ,song of ,songs40 ,it is of small-folio size1 and consists of sixteen leaves1 printed on one side only by means of friction2 and the ink is of a dark brown1 approaching nearly to black4 ,each impressed page contains two subjects1 one above the other2 the total number of subjects in the book is1 consequently1 thirty-two4 ,of this book1 according to the observations of ,heineken1 there are two editions2 which1 from variations noticed by him in the explanatory text1 are evidently from different blocks2 but1 as the designs are precisely the same1 it is certain that the one has been copied from the other4,,ii-#da ,that which he considers to be the first edition1 has1 in his opinion1 been engraved in ,germany2 the other1 he thinks1 was a copy of the original1 executed by some engraver in ,holland4 ,the principal ground on which he determines the priority of the editions is1 that in the one the text is much more correctly given than in the other2 and he thence concludes that the most correct would be the second4 ,in this opinion ,i concur2 not that his rule will universally hold good1 but that in this case the conclusion which he has drawn seems the most probable4 ,the designs1 it is admitted1 are precisely the same2 and as the cuts of the one would in all probability be engraved from tracings or transfers of the other1 it is not likely that we should find such a difference in the text of the two editions if that of the first were correct4 ,a wood-engraver--on this point ,i speak from experience--would be much more likely to commit literal errors in copying manuscript1 than to deviate in cutting a fac-simile from a correct impression4 ,had the text of the first edition been correct1--considering that the designs of the one edition are exact copies of those of the other1--it is probable that the text of both would have been more nearly alike4 ,but as there are several errors in the text of the first edition1 it is most likely that many of them would be discovered and corrected by the person at whose instance the designs were copied for the second4 ,diametrically opposite to this conclusion is that of ,mr4 ,ottley1 who argues as follows3,,ii-#db 8,heineken endeavours to draw another argument in favour of the originality of the edition possessed by ,pertusati1 ,verdussen1 and the ,bodleian library1 from the various errors1 in that edition1 in the ,latin inscriptions on the scrolls2 which1 he says1 are corrected in the other edition4 ,but it is evident that this circumstance makes in favour of an opposite conclusion4 ,the artist who originally invented the work must have been well acquainted with ,latin1 since it is1 in fact1 no other than an union of many of the most beautiful verses of the ,book of ,canticles1 with a series of designs illustrative of the divine mysteries supposed to be revealed in that sacred poem2 and1 consequently1 we have reason to consider that edition the original in which the inscriptions are given with the most correctness2 and to ascribe the gross blunders in the other to the ignorance of some ordinary wood-engraver by whom the work was copied40 ,even granting the assumption that the engraver of the edition1 supposed by ,mr4 ,ottley to be the first1 was well acquainted with ,latin1 and that he who engraved the presumed second did not understand a word of that language1 yet it by no means follows that the latter could not make a correct tracing of the engraved text lying before him4 ,because a draughtsman is unacquainted with a language1 it would certainly be most erroneous to infer that he would be incapable of copying the characters correctly4 ,besides1 though it does not benefit his argument a whit1 it is surely assuming too much to assert that the artist who made the designs also selected the texts1 and that he must have been well acquainted with ,latin2 and that he who executed ,mr4 ,ottley's presumed second edition was some ignorant ordinary wood-engraver4 ,did the artists who executed the fac-similes in ,mr4 ,ottley's work1 or in ,dr4 ,dibdin's 8,bibliotheca ,spenceriana10 understand the abbreviated ,latin which in many instances they had to engrave2 and did they in consequence of their ignorance of that language copy incorrectly the original texts and sentences which were before them8 ,footnote ,,ii-#da3 ,ide ,gnrale1 p4 #cgf4 ,footnote ,,ii-#db3 ,inquiry1 vol4 i4 p4 #adj4 ,in a copy which ,heineken considers to be of the second edition1 belonging to the city of ,harlem1 that writer observed the following inscription1 from a wood block1 impressed1 as ,i understand him1 at the top of the first cut4 8,dit is die voersinicheit va ,marie der mod 4 godes 4 en is gehete in lath 4 ,cti40 ,this inscription--which ,heineken says is 8en langue ,flamande1 ou pltt en ,plt-,alemand0--may be expressed in ,english as follows3 8,this is the prefiguration of ,mary the mother of ,god1 and is in ,latin named the ,canticles40 ,heineken expresses no doubt of this inscription being genuine1 though he makes use of it as an argument in support of his opinion1 that the copy in which it occurs was one of later edition2 8for it is well known10 he observes1 8that the earliest editions of printed books are without titles1 and more especially those of block-books40 ,as this inscription1 however1 has been found in the ,harlem copy only1 ,i am inclined to agree with ,mr4 ,ottley in considering it as a silly fraud devised by some of the compatriots of ,coster for the purpose of establishing a fact which it is1 in reality1 much better calculated to overthrow4,,ii-#dc ,footnote ,,ii-#dc3 ,inquiry1 p4 #adj4 ,heineken1 who appears to have had more knowledge than taste on the subject of art1 declares the ,history of the ,virgin to be 8the most ,gothic of all the block-books2 that it is different from them both in the style of the designs and of the engraving2 and that the figures are very like the ancient sculptures in the churches of ,germany40 ,if by the term 8,gothic0 he means rude and tasteless1 ,i differ with him entirely2 for1 though there be great sameness in the subjects1 yet the figures1 generally1 are more gracefully designed than those of any other block-book that ,i have seen4 ,compared with them1 those of the ,biblia ,pauperum and the ,speculum might be termed 8,gothic0 indeed4 ,illustration ,the above group1--from that which ,heineken considers the first edition1--in which the figures are of the size of the originals1 is taken from the seventh subject in ,mr4 ,ottley's enumeration2,,ii-#dd that is1 from the upper portion of the fourth cut4 ,footnote ,,ii-#dd3 ,inquiry1 p4 #add1 vol4 i4 ,the text is the #adth verse of the #ast chapter of the ,song of ,solomon3 8,botrus cipri dilectus meus inter vineas enngadi20 which in our ,bible is translated3 8,my beloved is unto me as a cluster of camphire in the vineyards of ,en-gedi40 ,in every cut the female figures are almost precisely the same1 and the drapery and the expression scarcely vary4 ,from the easy and graceful attitudes of his female figures1 as well as from the manner in which they are clothed1 the artist may be considered as the ,stothard of his day4 ,illustration ,illustration ,the two preceding subjects are impressed on the second leaf1 in the order in which they are here represented1 forming ,nos4 #c and #d in ,mr4 ,ottley's enumeration4 ,they are reduced copies from the originals in the first edition1 and afford a correct idea of a complete page4,,ii-#de ,footnote ,,ii-#de3 ,the copy from which the preceding specimens are given was formerly the property of the ,rev4 ,c4 ,m4 ,cracherode1 by whom it was left1 with the rest of his valuable collection of books1 to the ,british ,museum4 ,on the scroll to the left1 in the upper subject1 the words are intended for--8,trahe me1 post te curremus in odore unguentorum tuorum40 ,they are to be found in the #dth and #crd verses of the #ast chapter of the ,song of ,solomon4 ,in our ,bible the phrases are translated as follows3 8,draw me1 we will run after thee1 4 4 4 in the savour of thy good ointments40 ,in the scroll to the right1 the inscription is from the #adth verse of the ,i,ind chapter3 8,sonet vox tua in auribus meis1 vox enim tua dulcis et facies tua decora30 which is thus rendered in our ,bible3 8,let me hear thy voice1 for sweet is thy voice1 and thy countenance is comely40 ,on the scroll to the left1 in the lower compartment1 is the following inscription1 from verse #ajth1 chapter ,i,ind3 8,en dilectus meus loquitur mihi1 ,surge1 propera1 amica mea30 in our ,bible translated thus3 8,my beloved spake1 and said unto me1 ,rise up1 my love1 my fair one1 and come away40 ,the inscription on the scroll to the right is from #ast verse of chapter ,i,vth3 8,quam pulchra es amica mea1 quam pulchra es6 ,oculi tui columbarum1 absque eo quod intrinsecus latet40 ,the translation of this passage in our ,bible does not correspond with that of the ,vulgate in the last clause3 8,behold thou art fair1 my love2 behold thou art fair2 thou hast doves' eyes within thy locks40 ,the style in which the cuts of the ,history of the ,virgin are engraved indicates a more advanced state of art than those in the ,apocalypse4 ,the field of each cut is altogether better filled1 and the subjects contain more of what an engraver would term 8work20 and shadowing1 which is represented by courses of single lines1 is also introduced4 ,the back-grounds are better put in1 and throughout the whole book may be observed several indications of a perception of natural beauty2 such as the occasional introduction of trees1 flowers1 and animals4 ,a vine-stock1 with its trellis1 is happily and tastefully introduced at folio #d and folio #aj2 and at folio #ab a goat and two sheep1 drawn and engraved with considerable ability1 are perceived in the background4 ,several other instances of a similar kind might be pointed out as proofs that the artist1 whoever he might be1 was no unworthy precursor of ,albert ,durer4 ,from a fancied delicacy in the engraving of the cuts of the ,history of the ,virgin1 ,dr4 ,dibdin was led to conjecture that they were the 8production of some metallic substance1 and not struck off from wooden blocks40,,ii-#df ,this speculation is the result of a total ignorance of the practical part of wood engraving1 and of the capabilities of the art2 and the very process which is suggested involves a greater difficulty than that which is sought to be removed4 ,but1 in fact1 so far from the engravings being executed with a delicacy unattainable on wood1 there is nothing in them--so far as the mere cutting of fancied delicate lines is concerned--which a mere apprentice of the present day1 using very ordinary tools1 would not execute as well1 either on pear-tree1 apple-tree1 or beech1 the kinds of wood on which the earliest engravings are supposed to have been made4 ,working on box1 there is scarcely a line in all the series which a skilful wood-engraver could not split4 ,in a similar manner ,mr4 ,john ,landseer conjectured from the frequent occurrence of cross-hatching in the wood engravings of the sixteenth century1 that they1 instead of being cut on wood1 had in reality been executed on type-metal2 although1 as is known to every wood-engraver1 the execution of such hatchings on type-metal would be more difficult than on wood4 ,when1 in refutation of his opinion1 he was shown impressions from such presumed blocks or plates of type-metal1 which from certain marks in the impressions had been evidently worm-eaten1 he--in the genuine style of an 8ingenious disputant0 who could 8,confute the exciseman and puzzle the vicar1--0 abandoned type-metal1 and fortified his 8stubborn opinion behind vegetable putties or pastes that are capable of being hardened--or any substance that is capable of being worm-eaten40,,ii-#dg ,such 8commenta opinionum0--the mere figments of conjecture--only deserve notice in consequence of their extravagance4 ,footnote ,,ii-#df3 ,bibliotheca ,spenceriana1 vol4 i4 p4 #cf4 ,mr4 ,ottley cites the passage at p4 #aci1 vol i4 of his ,inquiry1 for the purpose of expressing his dissent from the theory4 ,footnote ,,ii-#dg3 ,landseer's ,lectures on the ,art of ,engraving1 pp4 #bja-bje1 #hvo4 ,london1 #ahjg4 ,the ,history of the ,virgin1 in the same manner as every other ancient block-book1 has been claimed for ,coster by those who ascribe to him the invention both of wood engraving and printing with moveable types2 but if even the churchwarden of ,st4 ,bavon's in ,harlem ever had handled a graver1 or made a design1 or if he was even the cause of wood-cuts being engraved by others1--every one of which assertions ,i very much doubt1--,i should yet feel strongly inclined to believe that the work in question was the production of an artist residing either in ,suabia or ,alsace4 ,scarcely any person who has had an opportunity of examining the works of ,martin ,schn1 or ,schngauer1--one of the earliest ,german copper-plate engravers1--who is said to have died in #adhf1 can fail1 on looking over the designs in the ,history of the ,virgin1 to notice the resemblance which many of his female figures bear to those in the above-named work4 ,the similarity is too striking to have been accidental4 ,i am inclined to believe that ,martin ,schn must have studied--and diligently too--the subjects contained in the ,history1 or that he had received his professional education in a school which might possibly be founded by the artist who designed and engraved the wood-cuts in question1 or under a master who had thoroughly adopted their style4 ,martin ,schn was a native of ,colmar in ,alsace1 where he was born about #adec1 but was a descendant of a family1 probably of artists1 which originally belonged to ,augsburg4 ,heineken and ,von ,murr both bear testimony1,,ii-#dh though indirectly1 to the resemblance which his works bear to the designs in the ,history of the ,virgin4 ,the former states that the figures in the ,history are very like the ancient sculptures in the churches of ,germany1 and ,von ,murr asserts that such sculptures were probably ,martin ,schn's models4 ,footnote ,,ii-#dh3 ,heineken1 ,ide ,gnrale1 p4 #cgd4 ,von ,murr1 ,journal1 #b ,theil1 ,s4 #dc4 ,in two or three of the designs in the ,history of the ,virgin several shields of arms are introduced1 either borne by figures1 or suspended from a wall4 ,as the heraldic emblems on such shields were not likely to be entirely suggested by the mere fancy of the artist1 ,i think that most of them will be found to belong to ,germany rather than to ,holland2 and the charge on one of them1--two fish back to back1 which is rather remarkable1 and by no means common1 is one of the quarterings of the former ,counts of ,wirtemberg1 the very district in which ,i am inclined to think the work was executed4 ,i moreover fancy that in one of the cuts ,i can perceive an allusion to the ,council of ,basle1 which in #adci elected ,amadeus of ,savoy as ,pope1 under the title of ,felix ,v1 in opposition to ,eugene ,,iv4 ,in order to afford those who are better acquainted with the subject an opportunity of judging for themselves1 and of making further discoveries which may support my opinions if well-founded1 or which may correct them if erroneous1 ,i shall give copies of all the shields of arms which occur in the book4 ,the following cut of four figures--a pope1 two cardinals1 and a bishop--occurs in the upper compartment of the nineteenth folio4 ,the shield charged with a black eagle also occurs in the same compartment4 ,illustration ,the preceding figures are seen looking over the battlements of a house in which the ,virgin1 typical of the ,church1 is seen in bed4 ,on a scroll is inscribed the following sentence1 from the ,song of ,solomon1 chap4 iii4 v4 #b3 8,surgam et circumibo civitatem2 per vicos et plateas queram quem diligit anima mea30 which is thus translated in our ,bible3 8,i will rise now1 and go about the city in the streets1 and in the broad ways ,i will seek him whom my soul loveth40 ,in the same design1 the ,virgin1 with her three attendants1 are seen in a street1 where two men on horseback appear taking away her mantle4 ,one of the men bears upon his shield the figure of a black eagle1 the same as that which appears underneath the wood-cut above given4 ,upon a scroll is this inscription1 from ,solomon's ,song1 chapter ,v4 verse #g3 8,percusserunt et vulneraverunt me1 tulerunt pallium meum custodes murorum40 ,in our ,bible the entire verse is thus translated3 8,the watchmen that went about the city found me2 they smote me1 they wounded me3 the keepers of the walls took away my veil from me40 ,as the incidents in the life of the ,virgin1 described in the ,canticles1 were assumed by commentators to be typical of the history of the ,church1 ,i am inclined to think that the above cut may contain an allusion to the disputes between ,pope ,eugene ,,iv4 and the ,council assembled at ,basle in #adci4 ,the passage in the first inscription1 8,i will seek him whom my soul loveth10 might be very appropriately applied to a council which professed to represent the ,church1 and which had chosen for itself a new head4 ,the second inscription would be equally descriptive of the treatment which1 in the opinion of the same council1 the ,church had received from ,eugene ,,iv1 whom they declared to be deposed1 because 8he was a disturber of the peace and union of the ,church2 a schismatic and a heretic2 guilty of simony2 perjured and incorrigible40 ,on the shield borne by the figure of a pope wearing a triple crown1 is a fleur-de-lis2 but whether or no this flower formed part of the armorial distinctions of ,amadeus ,duke of ,savoy1 whom the council chose for their new pope1 ,i have not been able to ascertain4 ,the lion borne by the second figure1 a cardinal1 is too general a cognizance to be assigned to any particular state or city4 ,the charge on the shield borne by the third figure1 also a cardinal1 ,i cannot make out4 ,the cross-keys on the bishop's shield are the arms of the city of ,ratisbon4 ,the following shields are borne by angels1 who appear above the battlements of a wall in the lower compartment of folio #d1 forming the eighth subject in ,mr4 ,ottley's enumeration4 ,illustration ,on these ,i have nothing to remark further than that the double-headed eagle is the arms of the ,german empire4 ,the other three ,i leave to be deciphered by others4 ,the second1 with an indented chief1 and something like a rose in the field1 will be found1 ,i am inclined to think1 to be the arms of some town or city in ,wirtemberg or ,alsace4 ,i give the three inscriptions here1 not that they are likely to throw any light on the subject1 but because the third has not hitherto been deciphered4 ,they are all from the ,i,vth chapter of the ,song of ,solomon4 ,the first is from verse #ab3 8,ortus conclusus est soror1 mea sposa2 ortus conclusus1 fons signatus30 in our translation of the ,bible3 8,a garden enclosed is my sister1 my spouse2 a spring shut up1 a fountain sealed40 ,the second is from verse #ae3 8,fons ortorum1 puteus aquarum vivencium qu fluunt impetu de ,lybano30 in our ,bible3 8,a fountain of gardens1 a well of living waters1 and streams from ,lebanon40 ,the third is from verse #af3 8,surge ,aquilo2 veni ,auster1 perfla ortum et fluant aromata illius30 in our ,bible3 8,awake1 ,o north wind2 and come1 thou south2 blow upon my garden1 that the spices thereof may flow out40 ,illustration ,in the upper division of folio #ae1 which is the twenty-ninth subject in ,mr4 ,ottley's enumeration1 the above shields occur4 ,they are suspended on the walls of a tower1 which is represented by an inscription as 8the armoury whereon hang a thousand bucklers1 all shields of mighty men40,,ii-#di ,footnote ,,ii-#di3 ,song of ,solomon1 chap4 iv4 verse #d4 ,on the first four ,i shall make no remark beyond calling the attention of those skilled in ,german heraldry to the remarkable charge in the first shield1 which appears something like a cray-fish4 ,the sixth1 8two trouts hauriant and addorsed10 is one of the quarterings of the house of ,wirtemberg as lords of ,mompelgard4 ,the seventh is charged with three crowns1 the arms of the city of ,cologne4 ,the charge of the eighth ,i take to be three cinquefoils1 which are one of the quarterings of the family of ,aremberg4 ,the cross-keys in the ninth are the arms of the city of ,ratisbon4 ,the four following shields occur in the lower division of folio #ae4 ,they are borne by men in armour standing by the side of a bed4 ,on a scroll is the following inscription1 from the #gth and #hth verses of the third chapter of ,solomon's ,song4 8,en lectulum ,salomonis sexaginta fortes ambiunt1 omnes tenentes gladios30 in our ,bible3 8,behold his bed1 which is ,solomon's2 three score valiant men are about it 4 4 4 4 4 they all hold swords40 ,the first three of the shields on the following page ,i shall leave to be assigned by others4 ,the fourth1 which is charged with a rose1 was the arms of ,hagenau1 a town in ,alsace4 ,illustration ,as so little is known respecting the country where1 and the precise time when1 the principal block-books appeared1--of which the ,history of the ,virgin is one1--,i think every particular1 however trifling1 which may be likely to afford even a gleam of light1 deserving of notice4 ,it is for this reason that ,i have given the different shields contained in this and the preceding pages2 not in the belief that ,i have made any important discovery1 or established any considerable facts2 but with the desire of directing to this subject the attention of others1 whose further inquiries and comparisons may perhaps establish such a perfect identity between the arms of a particular district1 and those contained in the volume1 as may determine the probable locality of the place where it was executed4 ,the coincidences which ,i have noticed were not sought for4 ,happening to be turning over ,sebastian ,munster's ,cosmography when a copy of the ,history of the ,virgin was before me1 ,i observed that the two fish in the arms of the ,counts of ,wirtemberg1,,ii-#ej and those in the #aeth folio of the ,history1 were the same4 ,the other instances of correspondence were also discovered without search1 from having occasionally1 in tracing the progress of wood engraving1 to refer to ,merian's ,topographia4 ,footnote ,,ii-#ej3 ,those arms are to be seen in ,sebastiana ,munsteri ,cosmographia1 cap4 ,de ,regione ,wirtenbergensi1 p4 #eib4 ,folio1 ,basili1 apud ,henrichum ,petri1 #aeed4 ,considering the thickness of the paper on which the block-books are printed1--if ,i may apply this term to them1--and the thin-bodied ink which has been used4 ,i am at a loss to conceive how the early wood-engravers have contrived to take off their impressions so correctly2 for in all the block-books which ,i have seen1 where friction has evidently been the means employed to obtain the impression1 ,i have only noticed two subjects in which the lines appeared double in consequence of the shifting of the paper4 ,from the want of body in the ink1 which appears in the ,apocalypse to have been little more than water-colour1 it is not likely the paper could be used in a damp state1 otherwise the ink would run or spread2 and1 even if this difficulty did not exist1 the paper in a damp state could not have borne the excessive rubbing which it appears to have received in order to obtain the impression4,,ii-#ea ,even with such printer's ink as is used in the present day1--which being tenacious1 renders the paper in taking an impression by means of friction much less liable to slip or shift1--it would be difficult to obtain clear impressions on thick paper from blocks the size of those which form each page of the ,apocalypse1 or the ,history of the ,virgin4 ,footnote ,,ii-#ea3 ,the backs of many of the old wood-cuts which have been taken by means of friction1 still appear bright in consequence of the rubbing which the paper has sustained in order to obtain the impression4 ,they would not have this appearance if the paper had been used in a damp state4 ,mr4 ,ottley1 however1 states that no less than two pages of the ,history of the ,virgin have been engraved on the same block4 ,his observations on this subject are as follows3 8,upon first viewing this work1 ,i was of opinion that each of the designs contained in it was engraved upon a separate block of wood3 but1 upon a more careful examination1 ,i have discovered that the contents of each two pages--that is1 four subjects--were engraved on the same block4 ,the number of wooden blocks1 therefore1 from which the whole was printed1 was only eight4 ,this is proved in the first two pages of the copy before me2,,ii-#eb where1 near the bottom of the two upper subjects1 the block appears to have been broken in two1 in a horizontal direction1--after it was engraved1--and joined together again2 although not with such exactness but that the traces of the operation clearly show themselves4 ,the traces of a similar accident are still more apparent in the last block1 containing the ,nos4 #bi1 #cj1 #ca1 #cb4 ,the whole work was1 therefore1 printed on eight sheets of paper from the same number of engraved blocks1 the first four subjects being printed from the same block upon the same sheet1--and so on with the rest2 and1 indeed1 in ,lord ,spencer's copy1 each sheet1 being mounted upon a guard1 distinctly shows itself entire40,,ii-#ec ,footnote ,,ii-#eb3 ,this must have been a copy of that which ,heineken calls the second edition2 no such appearances of a fracture or joining are to be seen in the first4 ,footnote ,,ii-#ec3 ,inquiry1 p4 #adb4 ,the appearance of a corresponding fracture in two adjacent pages would certainly render it likely that both were engraved on the same block2 though ,i should like to have an opportunity of satisfying myself by inspection whether such appearances are really occasioned by a fracture or not2 for it is rather singular that such appearances should be observable on the first and the last blocks only4 ,i always reluctantly speculate1 except on something like sufficient grounds2 but as ,i have not seen a copy of the edition to which ,mr4 ,ottley refers1 ,i beg to ask if the traces of supposed fracture in the last two pages do not correspond with those in the first two8 and if so1 would it not be equally reasonable to infer that eight subjects instead of four were engraved on the same block8 ,a block containing only two pages would be about seventeen inches by ten1 allowing for inner margins2 and to obtain clear impressions from it by means of friction1 on dry thick paper1 and with mere water-colour ink1 would be a task of such difficulty that ,i cannot conceive how it could be performed4 ,no traces of points by which the paper might be kept steady on the block are perceptible2 and ,i unhesitatingly assert that no wood-engraver of the present day could by means of friction take clear impressions from such a block on equally thick paper1 and using mere distemper instead of printer's ink4 ,as the impressions in the ,history of the ,virgin have unquestionably been taken by means of friction1 it is evident to me that if the blocks were of the size that ,mr4 ,ottley supposes1 the old wood-engravers1 who did not use a press1 must have resorted to some contrivance to keep the paper steady1 with which we are now unacquainted4 ,heineken describes an edition of the ,apocalypse consisting of forty-eight leaves1 with cuts on one side only1 which1 when bound1 form a volume of three 8gatherings10 or collections1 each containing sixteen leaves4 ,each of these gatherings is formed by eight folio sheets folded in the middle1 and placed one within the other1 so that the cuts are worked off in the following manner3 ,on the outer sheet of the gathering1 forming the first and the sixteenth leaf1 the first and the sixteenth cuts are impressed1 so that when the sheet is folded they face each other1 and the first and the last pages are left blank4 ,in a similar manner the #bnd and #aeth2 the #c;d and #adth2 the #dth and #acth2 the #eth and #abth2 the #fth and #aath2 the #gth and #ajth1 and the #hth and #ith1 are1 each pair respectively1 impressed on the same side of the same sheet4 ,these sheets when folded for binding are then placed in such a manner that the first is opposite the second2 the third opposite the fourth1 and so on throughout the whole sixteen4 ,being arranged in this manner1 two cuts and two blank pages occur alternately4 ,the reason for this mode of arrangement was1 that the blank pages might be pasted together1 and the cuts thus appear as if one were impressed on the back of another4 ,a familiar illustration of this mode of folding1 adopted by the early wood-engravers before they were accustomed to impress their cuts on both sides of a leaf1 is afforded by forming a sheet of paper into a little book of sixteen leaves1 and numbering the second and third pages #a and #b1 leaving two pages blank2 then numbering the fifth and sixth #c and #d1 and so to ,no4 #af1 which will stand opposite to ,no4 #ae1 and have its back1 forming the outer page of the gathering1 unimpressed4 ,of all the block-books1 that which is now commonly called 8,,biblia ,,pauperum10--the ,bible of the ,poor1--is most frequently referred to as a specimen of that kind of printing from wood-blocks which preceded typography1 or printing by means of moveable characters or types4 ,this title1 however1 has given rise to an error which certain learned bibliographers have without the least examination adopted1 and have afterwards given to the public considerably enlarged1 at least1 if not corrected4,,ii-#ed ,it has been gravely stated that this book1 whose text is in abbreviated ,latin1 was printed for the use of the poor in an age when even the rich could scarcely read their own language4 ,manuscripts of the ,bible were certainly at that period both scarce and costly1 and not many individuals even of high rank were possessed of a copy2 but to conclude that the first editions of the so-called 8,biblia ,pauperum0 were engraved and printed for the use of the poor1 appears to be about as legitimate an inference as to conclude that1 in the present day1 the reprints of the ,roxburghe club were published for the benefit of the poor who could not afford to purchase the original editions4 ,that a merchant or a wealthy trader might occasionally become the purchaser of 8,biblia ,pauperum10 ,i am willing to admit1--though ,i am of opinion that the book was never expressly intended for the laity2--but that it should be printed for the use of the poor1 ,i cannot bring myself to believe4 ,if the poor of ,germany in the fifteenth century had the means of purchasing such books1 and were capable of reading them1 ,i can only say that they must have had more money to spare than their descendants1 and have been more learned than most of the rich people throughout ,europe in the present day4 ,if the accounts which we have of the state of knowledge about #adej be correct1 the monk or friar who could read and expound such a work must have been esteemed as a person of considerable literary attainments4 ,footnote ,,ii-#ed3 8,it is a manual or kind of ,catechism of the ,bible10 says the ,rev4 ,t4 ,h4 ,horne1 8for the use of young persons and of the common people1 whence it derives its name ,biblia ,pauperum1--the ,bible of the ,poor1--who were thus enabled to acquire1 at a comparatively low price1 an imperfect knowledge of some of the events recorded in the ,scripture40--,introduction to the ,critical ,study of the ,scriptures1 vol4 ii4 p4 #bbd-e4 ,the young and the poor must have been comparatively learned at that period to be able to read cramped ,latin1 when many a priest could scarcely spell his breviary4 ,the name 8,biblia ,pauperum0 was unknown to ,schelhorn and ,schpflin1 and was not adopted by ,meerman4 ,schelhorn1 who was the first that published a fac-simile of one of the pages engraved on wood1 gives it no distinctive name2 but merely describes it as 8a book which contained in text and figures certain histories and prophecies of the ,old ,testament1 which1 in the author's judgment1 were figurative of ,christ1 and of the works performed by him for the salvation of mankind40,,ii-#ee ,schpflin calls it1 8,vaticinia ,veteris ,testamenti de ,christo20,,ii-#ef--8,prophecies of the ,old ,testament concerning ,christ20 but neither this title1 nor the description of ,schelhorn1 is sufficiently comprehensive2 for the book contains not only prophecies and typical figures from the ,old ,testament1 but also passages and subjects selected from the ,new4 ,the title which ,meerman gives to it is more accurately descriptive of the contents3 8,figur typic ,veteris atque antitypic ,novi ,testamenti1 seu ,historia ,jesu ,christi in figuris20 that is1 8,typical figures of the ,old ,testament and antitypical of the ,new1 or the ,history of ,jesus ,christ pictorially represented40,,ii-#eg ,footnote ,,ii-#ee3 ,j4 ,g4 ,schelhorn1 ,amnitates ,literari1 tom4 iv4 p4 #big4 #hvo4 ,francofurt4 ,lips4 #agcj4 ,lichtenberger1 ,initia ,typographica1 p4 #d1 says erroneously1 that ,schelhorn's fac-simile was engraved on copper4 ,it is on wood1 as ,schelhorn himself states at p4 #bif4 ,footnote ,,ii-#ef3 ,j4 ,d4 ,schpflin1 ,vindici ,typographic1 p4 #g1 #dto4 ,argentorati1 #agfj4 ,footnote ,,ii-#eg3 ,ger4 ,meerman1 ,origines ,typographic1 ,p4 #a1 p4 #bda4 #dto4 ,hag ,comit4 #agfe4 ,heineken appears to have been the first who gave to this book the name 8,biblia ,pauperum10 as it was in his opinion the most appropriate2 8the figures being executed for the purpose of giving a knowledge of the ,bible to those who could not afford to purchase a manuscript copy of the ,scriptures40,,ii-#eh ,this reason for the name is not1 however1 a good one3 for1 according to his own statement1 the only copy which he ever saw with the title or inscription 8,biblia ,pauperum10 was a manuscript on vellum of the fourteenth century1 in which the figures were drawn and coloured by hand4,,ii-#ei ,meerman1 however1 though without adopting the title1 had previously noticed the same manuscript1 which in his opinion was as old as the twelfth or thirteenth century4 ,as the word 8,pauperum0 formed part of the title of the book long before presumed cheap copies were printed from wood-blocks for the use of the poor1 it could not be peculiarly appropriate as the title of an illumined manuscript on vellum1 which the poor could as little afford to purchase as they could a manuscript copy of the ,bible4 ,in whatever manner the term 8poor0 became connected with the book1 it is clear that the name 8,biblia ,pauperum0 was not given to it in consequence of its being printed at a cheap rate for circulation among poor people4 ,it is not indeed likely that its ancient title ever was 8,biblia ,pauperum20 while1 on the contrary1 there seems every reason to believe that ,heineken had copied an abridged title and thus given currency to an error4 ,footnote ,,ii-#eh3 ,ide ,gnrale1 p4 #bib1 note4 ,footnote ,,ii-#ei3 ,camus1 speaking of one of those manuscripts compared with the block-book1 observes3 8,ce dernier abrg mritoit bien le nom de ,,biblia ,,pauperum1 par comparison aux tableaux complets de la ,bible que je viens d'indiquer4 ,des ouvrages tels que les tableaux complets ne pouvoient tre que ,,biblia ,,divitum40--,notice d'un ,livre imprim ,bamberg en #adfb1 p4 #ab1 note4 #dto4 ,paris1 #ahjj4 ,heineken says that he observed the inscription1 8,incipit ,biblia ,pauperum10 in a manuscript in the library at ,wolfenbuttel1 written on vellum in a ,gothic character1 which appeared to be of the fourteenth century4 ,the figures1 which were badly designed1 were coloured in distemper1 and the explanatory text was in ,latin rhyme4 ,it is surprising that neither ,heineken nor any other bibliographer should have suspected that a word was wanting in the above supposed title1 more especially as the word wanting might have been so readily suggested by another work so much resembling the pretended 8,biblia ,pauperum0 that the one has frequently been confounded with the other4,,ii-#fj ,in the proemium of this other work1 which is no other than the 8,speculum ,salvationis10 the writer expressly states that he has compiled it 8propter pauperes predicatores10--for poor preachers4 ,predictu' p'hemiu' hujus libri de conte'tis compilavi1 ,et p'pter paup'es p'dicatores hoc apponere curavi2 ,qui si forte nequieru't totum librum sibi co'p'are1 ,possu't ex ipso p'hemio1 si sciu't p'dicare4 ,this preface of contents1 stating what this book's about1 ,for the sake of all poor preachers ,i have fairly written out2 ,if the purchase of the book entire should be above their reach1 ,this preface yet may serve them1 if they know but how to preach4 ,footnote ,,ii-#fj3 8,entre ces abrgs de la ,bible on remarque le ,,speculum ,,human ,,salvationis et le ,,biblia ,,pauperum4 ,ces deux ouvrages ont beaucoup d'affinit entre eux pour le volume1 le choix des histoires1 les moralits1 la composition des tableaux4 ,ils existent en manuscrits dans plusieurs bibliothques40--,camus1 ,notice d'un ,livre1 c4 p4 #ab4 ,that the other book might be called 8,biblia ,pauperum ,predicatorum10 in consequence of its general use by mendicant preachers1 ,i can readily believe2 and no doubt the omission of the word 8predicatorum0 in the inscription copied by ,heineken has given rise to the popular error1 that the pretended 8,biblia ,pauperum0 was a kind of cheap pictorial ,bible1 especially intended for the use of the poor4 ,it is1 in fact1 a series of 8skeleton sermons0 ornamented with wood-cuts to warm the preacher's imagination1 and stored with texts to assist his memory4 ,in speaking of this book in future1 ,i shall always refer to it as the 8,biblia ,pauperum ,predicatorum10--8the ,poor ,preachers' ,bible20 for the continuance of its former title only tends1 in my opinion1 to disseminate an error4 ,nyerup1 who in #aghd published an 8,account of such books as were read in schools in ,denmark prior to the ,reformation10,,ii-#fa objected to the title 8,biblia ,pauperum10 as he had seen portions of a manuscript copy in which the drawings were richly coloured4 ,the title which he preferred was ,,biblia ,,typico-,,harmonica4 ,in this objection1 however1 ,camus does not concur3 8,it is not from the embellishments of a single copy10 he observes1 8that we ought to judge of the current price of a book2 and1 besides1 we must not forget to take into consideration the other motives which might suggest the title1 #8,bible of the ,poor1' for we have proofs that other abridgments of greater extent were called #8,poor men's books4' ,such is the #8,biblia ,pauperum' of ,st4 ,bonaventure1 consisting of extracts for the use of preachers1 and the #8,dictionarius ,pauperum4' ,of the last the title is explained in the book itself3 #8,incipit summula omnibus verbi divini seminatoribus pernecessaria4'0 ,it is surprising that ,camus did not perceive that the very titles which he cites militate against the opinion of the 8,biblia0 being intended for the use of poor men4 ,st4 ,bonaventure's work1 and the ,dictionary1 which he refers to as instances of 8,poor men's books10 both bear on the very face of them a refutation of his opinion1 for in the works themselves it is distinctly stated that they were compiled1 not 8ad usum pauperum hominum20 but 8ad usum pauperum predicatorum1 et verbi divini seminatorum30 not for the use of 8poor men10 but for 8poor preachers and teachers of the divine word40 ,camus has unwittingly supplied a club to batter his own argument to pieces4 ,footnote ,,ii-#fa3 8,librorum qui ante ,reformationem in scholis ,dani legebantur1 ,notitia4 ,hafni1 #aghd20 referred to by ,camus1 ,notice d'un ,livre1 c4 p4 #aj4 ,of the 8,biblia ,pauperum ,predicatorum10 there are1 according to ,heineken1 five different editions with the text in ,latin4 ,four of them contain each forty leaves1 printed on one side only from wood-blocks by means of friction1 and which differ from each other in so trifling a degree1 that it is not unlikely that three of them are from the same set of blocks4 ,the other edition1--the fifth described by ,heineken--contains fifty leaves1 printed in a similar manner1 but apparently with the figures designed by a different artist4 ,besides the above1 there are two different editions1 also from wood-blocks1 with the text in ,german3 one with the date #adgj2 and the other1 #adga or #adge1 for the last numeral appears as like a #a as a #e4 ,there are also two editions1 one ,latin1 and the other ,german1 with the text printed from moveable types by ,albert ,pfister1 at ,bamberg1 about #adfb4 ,without pretending to decide on the priority of the first five editions1--as ,i have not been able to perceive any sufficient marks from which the order in which they were published might be ascertained1--,i shall here give a brief account of a copy of that edition which ,heineken ranks as the third4 ,it is in the ,king's ,library at the ,british ,museum1 and was formerly in the collection of ,monsieur ,gaignat1 at whose sale it was bought for ,george ,,iii4 ,it is a small folio of forty leaves1 impressed on one side only1 in order that the blank pages might be pasted together1 so that two of the printed sides would thus form only one leaf4 ,the order of the first twenty pages is indicated by the letters of the alphabet1 from a to v1 and of the second twenty by the same letters1 having as a distinguishing mark a point both before and after them1 thus3 4 a 4 ,in that which ,heineken considers the first edition1 the letters n1 o1 r1 s1 of the second alphabet1 making pages #cc1 #cd1 #cg1 and #ch1 want those two distinguishing points1 which1 according to him1 are to be found in each of the other three ,latin editions of forty pages each4 ,mr4 ,ottley has1 however1 observed that ,earl ,spencer's copy wants the points1--on each side of the letters n1 o1 r1 s1 of the second alphabet1--thus agreeing with that which ,heineken calls the first edition1 while in all other respects it answers the description which that writer gives of the presumed second4 ,mr4 ,ottley says1 that ,heineken errs in asserting that the want of those points on each side of the said letters is a distinction exclusively belonging to the first edition1 since the edition called by him the second is likewise without them4,,ii-#fb ,in fact1 the variations noticed by ,heineken are not only insufficient to enable a person to judge of the priority of the editions1 but they are such as might with the greatest ease be introduced into a block after a certain number of copies had been taken off4 ,those which he considers as distinguishing marks might easily be broken away by the burnisher or rubber1 and replaced by the insertion of other pieces1 differing in a slight degree4 ,from the trifling variations noticed by ,heineken,,ii-#fc in the first three editions1 it is not unlikely that they were all taken from the same blocks4 ,each of the triangular ornaments in which he has observed a difference1 might easily be re-inserted in the event of its being injured in taking an impression4 ,the tiara of ,moses1 in page #ce1 letter 4 p 4 would be peculiarly liable to accident in taking an impression by friction1 and ,i am disposed to think that a part of it has been broken off1 and that in repairing it a trifling alteration has been made in the ornament on its top4 ,heineken1 noticing the alteration1 has considered it as a criterion of two different editions1 while in all probability it only marks a trifling variety in copies taken from the same blocks4 ,footnote ,,ii-#fb3 ,inquiry1 vol4 i4 p4 #abi4 ,footnote ,,ii-#fc3 ,ide ,gnrale1 p4 #cjg1 #cjh4 ,on each page are four portraits1--two at the top1 and two at the bottom1--intended for the prophets1 and other holy men1 whose writings are cited in the text4 ,the middle part of the page between each pair of portraits consists of three compartments1 each of which is occupied with a subject from the ,old or the ,new ,testament4 ,in the #adth page1 however1 letter o1 two of the compartments--that in the centre1 and the adjoining one to the right--are both occupied by the same subject1 ,christ's entry into ,jerusalem4 ,the greatest portion of the explanatory text is at the top on each side of the uppermost portraits2 and on each side of those below there is a ,leonine1 or rhyming ,latin1 verse4 ,a similar verse underneath those portraits forms the concluding line of each page4 ,texts of ,scripture1 and moral or explanatory sentences1 having reference to the subjects in the three compartments1 also appear on scrolls4 ,the following cut1 which is a reduced copy of the #adth page1 letter k1 will afford a better idea of the arrangement of the subjects1 and of the explanatory texts1 than any lengthened description4 ,the whole of this subject--both text and figures--appears intended to inculcate the necessity of restraining appetite4 ,the inscription to the right1 at the top1 contains a reference to the #crd chapter of ,genesis1 wherein there is to be found an account of the temptation and fall of ,adam and ,eve1 who were induced by the ,serpent to taste the forbidden fruit4 ,this temptation of our first parents through the medium of the palate1 was1 as may be gathered from the same inscription1 figurative of the temptation of ,christ after his fasting forty days in the wilderness1 when the ,devil came to him and said1 8,if thou be the ,son of ,god1 command that these stones be made bread40 ,illustration ,in the inscription to the left1 reference is made to the #beth chapter of ,genesis1 as containing an account of ,esau1 who1 in consequence of his unrestrained appetite1 sold his birth-right for a mess of pottage4 ,in the compartments in the middle of the page1 are three illustrations of the preceding text4 ,in the centre is seen the pattern to imitate1--,christ resisting the temptation of the ,devil2 and on each side the examples to deter1--,adam and ,eve with the forbidden fruit2 and hungry ,esau receiving the mess of pottage from ,jacob4 ,underneath the two half-length figures at the top1 is inscribed 8,david #cd10 and 8,ysaie xxix40,,ii-#fd ,the numerals are probably intended to indicate the chapters in the ,psalms1 and in the ,prophecies of ,isaiah1 where the inscriptions on the adjacent scrolls are to be found4 ,on similar scrolls1 towards the bottom of the page1 are references to the #gth chapter of the #bnd book of ,kings1 and to the #afth chapter of ,job4 ,the two half-length figures are most likely intended for the writers of those sacred books4 ,the likenesses of the prophets and holy persons1 thus introduced at the top and bottom of each page1 are1 as ,schelhorn has observed1,,ii-#fe purely imaginary2 for the same character is seldom seen twice with the same face4 ,as most of the supposed figurative descriptions of ,christ and his ministry are to be found in the ,psalms1 and in the ,prophecies of ,isaiah1 the portraits of ,david and the last-named prophet are those which most frequently occur2 and the designer seems to have been determined that neither the king nor the prophet should ever appear twice with the same likeness4 ,footnote ,,ii-#fd3 ,the passages referred to are probably the #hth1 #ith1 and #ajth verses of the xxxivth ,psalm2 and the #hth verse of the xxixth chapter of ,isaiah4 ,footnote ,,ii-#fe3 8,has autem icones ex sola sculptoris imaginatione et arbitrio fluxisse vel inde liquet1 quod idem scriptor sacer in diversis foliis diversa plerumque et alia facie delineatus sistatur1 sicuti1 v4 g4 ,esaias ac ,david1 spius obvii1 ,protei instar1 varias induerunt in hoc opere formas40--,amnitates ,literari1 tom4 iv4 p4 #big4 ,the rhyming verses are as follows4 ,that to the right1 underneath the subject of ,adam and ,eve3 ,serpens vicit1 ,adam vetitam sibi sugerat escam4 ,the other1 on the opposite side1 underneath ,jacob and ,esau3 ,lentis ob ardorem proprium male perdit honorem4 ,and the third1 at the bottom of the page1 underneath the two portraits3 ,christum temptavit ,sathanas ut eum superaret4 ,the following cuts are fac-similes1 the size of the originals1 of each of the compartments of the page referred to1 and of which a reduced copy has been already given4 ,the first contains the representation of ,david and ,isaiah1 and the characters which follow the name of the former ,i consider to be intended for #cd4 ,they are the only instances in the volume of the use of ,arabic1 or rather ,spanish numerals4 ,the letter k1 at the foot1 is the 8signature10 as a printer would term it1 indicating the order of the page4 ,on each side of it are portions of scrolls containing inscriptions1 of which some of the letters are seen4 ,the next cut represents ,satan tempting ,christ by offering him stones to be converted into bread4 ,in the distance are seen the high mountain1 to the top of which ,christ was taken up by the ,devil1 and the temple from whose pinnacle ,christ was tempted to cast himself down4 ,the figure of ,christ in this compartment is not devoid of sober dignity2 nor is ,satan deficient in diabolical ugliness2 but1 though clawed and horned proper1 he wants the usual appendage of a tail4 ,the deficiency is1 however1 in some degree compensated by giving to his hip the likeness of a fiendish face4 ,in two or three other old wood engravings ,i have noticed a repulsive face indicated in a similar manner on the hip of the ,devil4 ,a person well acquainted with the superstitions of the fourteenth and fifteenth centuries may perhaps be able to give a reason for this4 ,it may be intended to show that ,satan1 who is ever going about seeking whom he may devour1 can see both before and behind4 ,illustration ,illustration ,the cut on the following page 7#ij71 which forms the compartment to the right1 represents ,adam and ,eve1 each with an apple3 and the state in which ,eve appears to be1 is in accordance with an opinion maintained by several of the schoolmen of the twelfth and thirteenth centuries4 ,the tree of knowledge is without fruit1 and the serpent1 with a human face1 is seen twined round its stem4 ,the form of the tree and the shape of the leaves are almost precisely the same as those of the olive-trees in the ,apocalypse1 uprooted by ,antichrist4 ,the character of the designs1 however1 in the two books is almost as different as the manner of the engraving4 ,in the ,apocalypse there is no attempt at shading1 while in the book under consideration it is introduced in every page1 though merely by courses of single lines1 as may be perceived in the drapery of ,christ in the preceding cut1 and in the trunk of the tree and in the serpent in the cut subjoined4 ,in this cut the figure of ,adam cannot be considered as a specimen of manly beauty2 his face is that of a man who is past his prime1 and his attitude is very like that of one of the splay-footed boors of ,teniers4 ,in point of personal beauty ,eve appears to be a partner worthy of her husband2 and though from her action she seems conscious that she is naked1 yet her expression and figure are extremely unlike the graceful timidity and beautiful proportions of the ,medicean ,venus4 ,the face of the serpent displays neither malignity nor fiendish cunning2 but1 on the contrary1 is marked with an expression not unlike that of a ,bavarian broom-girl4 ,this manner of representing the temptation of our first parents appears to have been conventional among the early ,german ,formschneiders2 for ,i have seen several old wood-cuts of this subject1 in which the figures were almost precisely the same4 ,notwithstanding the bad drawing and the coarse engraving of the following cut1 many of the same subject1 executed in ,germany between #adgj and #aeaj1 are yet worse4 ,illustration ,in the opposite cut1 which forms the compartment to the left1 ,esau1 who is distinguished by his bow and quiver1 is seen receiving a bowl of pottage from his brother ,jacob4 ,at the far side of the apartment is seen a 8kail-pot10 suspended from a 8crook10 with something like a ham and a gammon of bacon hanging against the wall4 ,this subject is treated in a style which is thoroughly ,dutch4 ,isaac's family appear to have been lodged in a tolerably comfortable house1 with a stock of provisions near the chimney nook2 and his two sons are very like some of the figures in the pictures of ,teniers1 more especially about the legs4 ,illustration ,the following cut1 a copy of that which is the lowest in the page1 represents the two prophets or inspired penmen1 to whom reference is made on the two scrolls whose ends may be perceived towards the lower corners of each arch4 ,the words underneath the figures are a portion of the last rhyming verse quoted at page #hg4 ,it is from a difference in the triangular ornament1 above the pillar separating the two figures1 though not in this identical page1 that ,heineken chiefly decides on three of the editions of this book2 though nothing could be more easy than to introduce another ornament of a similar kind1 in the event of the original either being damaged in printing or intentionally effaced4 ,in some of the earliest wood-blocks which remain undestroyed by the rough handling of time there are evident traces of several letters having been broken away1 and of the injury being afterwards remedied by the introduction of a new piece of wood1 on which the letters wanting were re-engraved4 ,illustration ,the ink with which the cuts in the 8,poor ,preachers' ,bible0 have been printed1 is evidently a kind of distemper of the colour of bistre1 lighter than in the ,history of the ,virgin1 and darker than in the ,apocalypse4 ,in many of the cuts certain portions of the lines appear surcharged with ink1--sometimes giving to the whole page rather a blotched appearance1--while other portions seem scarcely to have received any4,,ii-#ff ,this appearance is undoubtedly in consequence of the light-bodied ink having1 from its want of tenacity1 accumulated on the block where the line was thickest1 or where two lines met1 leaving the thinner portions adjacent with scarce any colouring at all4 ,the block must1 in my opinion1 have been charged with such ink by means of something like a brush1 and not by means of a ball4 ,in some parts of the cuts--more especially where there is the greatest portion of text--small white spaces may be perceived1 as if a graver had been run through the lines4 ,on first noticing this appearance1 ,i was inclined to think that it was owing to the spreading of the hairs of the brush in inking1 whereby certain parts might have been left untouched4 ,the same kind of break in the lines may be observed1 however1 in some of the impressions of the old wood-cuts published by ,becker and ,derschau1,,ii-#fg and which are worked off by means of a press1 and with common printer's ink4 ,in these it is certainly owing to minute furrows in the grain of the wood2 and ,i am now of opinion that the same cause has occasioned a similar appearance in the cuts of the 8,biblia ,pauperum ,predicatorum40 ,mr4 ,ottley1 speaking of the impressions in ,earl ,spencer's copy1 makes the following remarks3 8,in many instances they have a sort of horizontally striped and confused appearance1 which leads me to suppose that they were taken from engravings executed on some kind of wood of a coarse grain40,,ii-#fh ,this correspondence between ,earl ,spencer's copy and that in the ,king's ,library at the ,british ,museum tends to confirm my opinion that there are not so many editions of the book as ,heineken1--from certain accidental variations1--has been induced to suppose4 ,footnote ,,ii-#ff3 ,schelhorn has noticed a similar appearance in the old block-book entitled 8,ars ,memorandi30 8,videas hic nonnunquam literas atramento confluenti deformatas1 ventremque illarum1 alias album et vacuum1 atramentaria macula repletum40 ,amnitat4 ,liter4 tom4 i4 p4 #g4 ,footnote ,,ii-#fg3 ,this collection of wood engravings from old blocks was published in three parts1 large folio1 at ,gotha in #ahjh1 #ahaj1 and #ahaf1 under the following title3 8,holzschnitte alter ,deutscher ,meister in den ,original-,platten gesammelt von ,hans ,albrecht ,von ,derschau3 ,als ein ,beytrag zur ,kunstgeschichte herausgegeben1 und mit einer ,abhandlung ber die ,holzschneidekunst und deren ,schicksale begleitet von ,rudolph ,zacharias ,becker40 ,the collector has frequently mistaken rudeness of design1 and coarseness of execution1 for proofs of antiquity4 ,footnote ,,ii-#fh3 ,inquiry1 vol4 i4 p4 #acj4 ,the manner in which the cuts are engraved1 and the attempts at something like effect in the shading and composition1 induce me to think that this book is not so old as either the ,apocalypse or the ,history of the ,virgin4 ,that it appeared before #adbh1 as has been inferred from the date which the ,rev4 ,mr4 ,horne fancied that he had seen on the ancient binding1 ,i cannot induce myself to believe4 ,it is more likely to have been executed at some time between #addj and #adfj2 and ,i am inclined to think that it is the production of a ,dutch or ,flemish1 rather than a ,german artist4 ,a work1 from which the engraved 8,biblia ,pauperum ,predicatorum0 is little more than an abstract1 appears to have been known in ,france and ,germany long before block-printing was introduced4 ,of such a work there were two manuscript copies in the ,national ,library at ,paris2 the one complete1 and the other--which1 with a few exceptions1 had been copied from the first--imperfect4 ,the work consisted of a brief summary of the ,bible1 arranged in the following manner4 ,one or two phrases in ,latin and in ,french formed1 as it were1 the text2 and each text was followed by a moral reflection1 also in ,latin and in ,french4 ,each article1 which thus consisted of two parts1 was illustrated by two drawings1 one of which related to the historical fact1 and the other to the moral deduced from it4 ,the perfect copy consisted of four hundred and twenty-two pages1 on each of which there were eight drawings1 so that the number contained in the whole volume was upwards of five thousand4 ,in some of the single drawings1 which were about two and one-third inches wide1 by three and one-third inches high1 ,camus counted not less than thirty heads4,,ii-#fi ,footnote ,,ii-#fi3 ,notice d'un ,livre1 c4 p4 #aa4 ,in a copy of the 8,biblia ,pauperum ,predicatorum0 from wood-blocks1 ,heineken observed written3 8,s4 ,,ansgarius est autor hujus libri10--,st4 ,ansgarius is the author of this book4 ,st4 ,ansgarius1 who was a native of ,france1 and a monk of the celebrated ,abbey of ,corbey1 was sent into ,lower ,saxony1 and other places in the north1 for the purpose of reclaiming the people from paganism4 ,he was appointed the first bishop of ,hamburg in #hca1 and in #hdd ,bishop of ,bremen1 where he died in #hfd4;,,ii-#gj ,from a passage cited by ,heineken from ,ornhielm's ,ecclesiastical ,history of ,sweden and ,gothland1 it appears that ,ansgarius was reputed to have compiled a similar book2,,ii-#ga and ,heineken observes that it might be from this passage that the 8,biblia ,pauperum ,predicatorum0 was ascribed to the ,bishop of ,hamburg4 ,footnote ,,ii-#gj3 ,heineken1 ,ide ,gnrale1 p4 #cai4 ,footnote ,,ii-#ga3 ,ornhielm's book was printed in #dto4 at ,stockholm1 #afhi4 ,the passage referred to is as follows3 8,quos per numeros et signa conscripsisse cum ,ansgarium libros ,rembertus memorat indigitatos pigmentorum vocabulo1 eos continuisse1 palam est1 quasdam aut e divinarum literarum1 aut pie doctorum patrum scriptis1 pericopas et sententias40 ,in the cloisters of the cathedral at ,bremen1 ,heineken saw two bas-reliefs sculptured on stone1 of which the figures1 of a moderate size1 were precisely the same as those in two of the pages--the first and eighth--of the ,german 8,biblia ,pauperum ,predicatorum40 ,the inscriptions1 which were in ,latin1 were the same as in block-book4 ,he thinks it very probable that the other arches of the cloisters were formerly ornamented in the same manner with the remainder of the subjects1 but that the sculptures had been destroyed in the disturbances which had occurred in ,bremen4 ,though he by no means pretends that the cuts were engraved in the time of ,ansgarius1 he thinks it not impossible that the sculptures might be executed at that period according to the bishop's directions4 ,this last passage is one of the most silly that occurs in ,heineken's book4,,ii-#gb ,it is just about as likely that the cuts in the 8,biblia ,pauperum ,predicatorum0 were engraved in the time of ,ansgarius1 as that the bas-reliefs in the cloisters of the cathedral of ,bremen should have been sculptured under his direction4 ,footnote ,,ii-#gb3 8,ces conjectures sont foibles2 elles ont t attaques par ,erasme ,nyerup dans un crit publi ,copenhague en #aghd4 4 4 4 4 ,nyerup donne penser que ,heinecke a reconnu lui-mme1 dans la suite1 la foiblesse de ses conjectures40--,camus1 ,notice d'un ,livre1 c4 p4 #i4 ,the book usually called the 8,speculum ,human ,salvationis10,,ii-#gc--the ,mirror of ,human ,salvation1--which is ascribed by ,hadrian ,junius to ,lawrence ,coster1 has been more frequently the subject of discussion among bibliographers and writers who have treated of the origin of printing1 than any other work4 ,a great proportion1 however1 of what has been written on the subject consists of groundless speculation2 and the facts elicited1 compared with the conjectures propounded1 are as 8two grains of wheat to a bushel of chaff40 ,it would be a waste of time to recite at length the various opinions that have been entertained with respect to the date of this book1 the manner in which the text was printed1 and the printer's name4 ,the statements and the theories put forth by ,junius and ,meerman in ,coster's favour1 so far as the execution of the ,speculum is concerned1 are decidedly contradicted by the book itself4 ,without1 therefore1 recapitulating arguments which are contradicted by established facts1 ,i shall endeavour to give a correct account of the work1 leaving those who choose to compare it1 and reconcile it if they can1 with the following assertions made by ,coster's advocates3 #a4 that the ,speculum was first printed by him in ,dutch with wooden types2 #b4 that while engraving a ,latin edition on blocks of wood he discovered the art of printing with moveable letters2 #c4 that the ,latin edition1 in which the text is partly from moveable types and partly from wood-blocks1 was printed by ,coster's heirs and successors1 their moveable types having been stolen by ,john ,gutemberg before the whole of the text was set up4 ,footnote ,,ii-#gc3 ,it is sometimes named 8,speculum ,figuratum20 and ,junius in his account of ,coster's invention calls it 8,speculum ,nostr ,salutis40 ,the ,speculum which has been the subject of so much discussion is of a small folio size1 and without date or printer's name4 ,there are four editions of it known to bibliographers1 all containing the same cuts2 two of those editions are in ,latin1 and two in ,dutch4 ,in the ,latin editions the work consists of sixty-three leaves1 five of which are occupied by an introduction or prologue1 and on the other fifty-eight are printed the cuts and explanatory text4 ,the ,dutch editions1 though containing the same number of cuts as the ,latin1 consist of only sixty-two leaves each1 as the preface occupies only four4 ,in all those editions the leaves are printed on one side only4 ,besides the four editions above noticed1 which have been ascribed to ,coster and have excited so much controversy1 there are two or three others in which the cuts are more coarsely engraved1 and probably executed1 at a later period1 in ,germany4 ,there is also a quarto edition of the ,speculum1 printed in #adhc1 at ,culemburg1 by ,john ,veldener1 and ornamented with the identical cuts of the folio editions ascribed to ,coster and his heirs4 ,the four controverted editions of the ,speculum may be considered as holding a middle place between block-books1--which are wholly executed1 both text and cuts1 by the wood-engraver1--and books printed with moveable types3 for in three of the editions the cuts are printed by means of friction with a rubber or burnisher1 in the manner of the ,history of the ,virgin1 and other block-books1 while the text1 set in moveable type1 has been worked off by means of a press2 and in a fourth edition1 in which the cuts are taken in the same manner as in the former1 twenty pages of the text are printed from wood-blocks by means of friction1 while the remainder are printed in the same manner as the whole of the text in the three other editions2 that is1 from moveable metal types1 and by means of a press4 ,there are fifty-eight cuts in the ,speculum1 each of which is divided into two compartments by a slender column in the middle4 ,in all the editions the cuts are placed as head-pieces at the top of each page1 having underneath them1 in two columns1 the explanatory text4 ,under each compartment the title of the subject1 in ,latin1 is engraved on the block4 ,the following reduced copy of the first cut will give an idea of their form1 as every subject has pillars at the side1 and is surmounted by an arch in the same style4 ,illustration ,the style of engraving in those cuts is similar to those of the ,poor ,preachers' ,bible4 ,the former are1 however1 on the whole executed with greater delicacy1 and contain more work4 ,the shadows and folds of the drapery in the first forty-eight cuts are indicated by short parallel lines1 which are mostly horizontal4 ,in the forty-ninth and subsequent cuts1 as has been noticed by ,mr4 ,ottley1 a change in the mode of indicating the shades and the folds in the draperies is perceptible2 for the short parallel lines1 instead of being horizontal as in the former1 are mostly slanting4 ,heineken observes1 that to the forty-eighth cut inclusive1 the chapters in the printed work are conformable with the old ,latin manuscripts2 and as a perceptible change in the execution commences with the forty-ninth1 it is not unlikely that the cuts were engraved by two different persons4 ,the two following cuts are fac-similes of the compartments of the first1 of which a reduced copy has been previously given4 ,illustration ,in the above cut1 its title1 8,casus ,luciferi10--the ,fall of ,lucifer1--is engraved at the bottom2 and the subject represented is ,satan and the rebellious angels driven out of heaven1 as typical of man's disobedience and fall4 ,the following are the first two lines of the column of text underneath the cut in the ,latin editions3 ,inchoatur speculum humanae salvacionis ,in quo patet casus hominis et modus repactionis4 ,which may be translated into ,english thus3 ,in the ,mirror of ,salvation here is represented plain ,the fall of man1 and by what means he made his peace again4 ,the following is the right-hand compartment of the same cut4 ,the title of this subject1 as in all the others1 is engraved at the bottom2 the contracted words when written in full are1 8,deus creavit hominem ad ymaginem et similitudinem suam10--,god created man after his own image and likeness4 ,illustration ,the first two lines of the text in the column underneath this cut are1 ,mulier autem in paradiso est formata ,de costis viri dormienti est parata4 ,that is1 in ,english rhyme of similar measure1 ,the woman was in ,paradise for man an help meet made1 ,from ,adam's rib created as he asleep was laid4 ,the cuts in all the editions are printed in light brown or sepia colour which has been mixed with water1 and readily yields to moisture4 ,the impressions have evidently been taken by means of friction1 as the back of the paper immediately behind is smooth and shining from the action of the rubber or burnisher1 while on the lower part of the page at the back of the text1 which has been printed with moveable types1 there is no such appearance4 ,in the second ,latin edition1 in which the explanatory text to twenty of the cuts,,ii-#gd has been printed from engraved wood-blocks by means of friction1 the reverse of those twenty pages presents the same smooth appearance as the reverse of the cuts4 ,in those twenty pages of text from engraved wood-blocks the ink is lighter-coloured than in the remainder of the book which is printed from moveable types1 though much darker than that of the cuts4 ,it is1 therefore1 evident that the two impressions1--the one from the block containing the cut1 and the other from the block containing the text1--have been taken separately4 ,in the pages printed from moveable types1 the ink1 which has evidently been compounded with oil1 is full-bodied1 and of a dark brown colour1 approaching nearly to black4 ,in the other three editions1 one ,latin and two ,dutch1 in which the text is entirely from moveable types1 the ink is also full-bodied and nearly jet black1 forming a strong contrast with the faint colour of the cuts4 ,footnote ,,ii-#gd3 ,the cuts which have the text printed from wood-blocks are ,nos4 #a1 #b1 #d1 #e1 #f1 #g1 #h1 #i1 #aj1 #aa1 #ac1 #ad1 #af1 #ag1 #ba1 #bb1 #bf1 #bg1 #df1 and #ee4--;,heineken1 ,ide ,gnrale1 p4 #ddd4 ,the plan of the ,speculum is almost the same as that of the ,poor ,preachers' ,bible1 and is equally as well entitled as the latter to be called 8,a ,history typical and anti-typical of the ,old and ,new ,testament40 ,several of the subjects in the two books are treated nearly in the same manner1 though in no single instance1 so far as my observation goes1 is the design precisely the same in both4 ,in several of the cuts of the ,speculum1 in the same manner as in the ,poor ,preachers' ,bible1 one compartment contains the supposed type or prefiguration1 and the other its fulfilment2 for instance3 at ,no4 #ag the appearance of the ,lord to ,moses in the burning bush is typical of the ,annunciation2 at ,no4 #bc the brazen bath in the temple of ,solomon is typical of baptism2 at ,no4 #ca the manna provided for the children of ,israel in the ,desert is typical of the ,lord's ,supper2 at ,no4 #de the ,crucifixion is represented in one compartment1 and in the other is ,tubal-,cain1 the inventor of iron-work1 and consequently of the nails with which ,christ was fixed to the cross2 and at ,no4 #ec the descent of ,christ to ,hades1 and the liberation of the patriarchs and fathers1 is typified by the escape of the children of ,israel from ,egypt4 ,though most of the subjects are from the ,bible or the ,apocrypha1 yet there are two or three which the designer has borrowed from profane history3 such as ,semiramis contemplating the hanging gardens of ,babylon2 the ,sibyl and ,augustus2 and ,codrus king of ,athens incurring death in order to secure victory to his people4 ,the ,speculum ,salvationis1 as printed in the editions previously noticed1 is only a portion of a larger work with the same title1 and ornamented with similar designs1 which had been known long before in manuscript4 ,heineken says1 at page #dgh of his ,ide ,gnrale1 that the oldest copy he ever saw was in the ,imperial ,library at ,vienna2 and1 at page #dfh1 he observes that it appeared to belong to the twelfth century4 ,the manuscript work1 when complete1 consisted of forty-five chapters in rhyming ,latin1 to which was prefixed an introduction containing a list of them4 ,each of the first forty-two chapters contained four subjects1 the first of which was the principal1 and the other three illustrative of it4 ,to each of these chapters were two drawings1 every one of which1 as in the printed copies of the work1 consisted of two compartments4 ,the last three chapters contained each eight subjects1 and each subject was ornamented with a design4,,ii-#ge ,the whole number of separate illustrations in the work was thus one hundred and ninety-two4 ,the printed folio editions contain only fifty-eight cuts1 or one hundred and sixteen separate illustrations4 ,footnote ,,ii-#ge3 ,heineken1 ,ide ,gnrale1 p4 #dgd4 ,though the ,speculum from the time of the publication of ,junius's work,,ii-#gf had been confidently claimed for ,coster1 yet no writer1 either for or against him1 appears to have particularly directed his attention to the manner in which the work was executed before ,fournier1 who in #ageh1 in a dissertation on the ,origin and ,progress of the ,art of ,wood-engraving1,,ii-#gg first published some particulars respecting the work in question1 which induced ,meerman and ,heineken to speculate on the priority of the different editions4 ,mr4 ,ottley1 however1 has proved1 in a manner which carries with it the certainty of mathematical demonstration1 that the conjectures of both the latter writers respecting the priority of the editions of the ,speculum are absolutely erroneous4 ,to elicit the truth does not1 with respect to this work1 seem to have been the object of those two writers4 ,both had espoused theories on its origin without much inquiry with respect to facts1 and each presumed that edition to be the first which seemed most likely to support his own speculations4 ,footnote ,,ii-#gf3 ,the 8,batavia0 or ,junius1 in which the name of ,lawrence ,coster first appears as a printer1 was published in #aehh4 ,footnote ,,ii-#gg3 ,dissertation sur l',origine et les ,progrs de l',art de ,graver en ,bois4 ,par ,m4 ,fournier le ,jeune1 #hvo4 ,paris1 #ageh4 ,heineken1 who assumed that the work was of ,german origin1 insisted that the first edition was that in which the text is printed partly from moveable types and partly from letters engraved on wood-blocks1 and that the ,dutch editions were executed subsequently in the ,low ,countries4 ,the ,latin edition with the text entirely printed from moveable types he is pleased to denominate the second1 and to assert1 contrary to the evidence which the work itself affords1 that the type resembles that of ,faust and ,scheffer1 and that the cuts in this second ,latin edition1 as he erroneously calls it1 are coarser and not so sharp as those in the ,latin edition which he supposes to be the first4 ,fournier's discoveries with respect to the execution of the ,speculum seem to have produced a complete change as to its origin in the opinions of ,meerman2 who1 in #ageg1 the year before ,fournier's dissertation was printed1 had expressed his belief1 in a letter to his friend ,wagenaar1 that what was alleged in favour of ,coster being the inventor of printing was mere gratuitous assertion2 that the text of the ,speculum was probably printed after the cuts1 and subsequent to #adgj2 that there was not a single document1 nor an iota of evidence1 to show that ,coster ever used moveable types2 and lastly1 that the ,latin was prior to the ,dutch edition of the ,speculum1 as was apparent from the ,latin names engraved at the foot of the cuts1 which certainly would have been in ,dutch had the cuts been originally destined for a ,dutch edition4,,ii-#gh ,in the teeth of his own previous opinions1 having apparently gained a new light from ,fournier's discoveries1 ,meerman1 in his ,origines ,typographic1 printed in #agfe1 endeavours to prove that the ,dutch edition was the first1 and that it was printed with moveable wooden types by ,coster4 ,the ,latin edition in which the text is printed partly from moveable types and partly from wood-blocks he supposes to have been printed by ,coster's heirs after his decease1 thus endeavouring to give credibility to the story of ,coster having died of grief on account of his types being stolen1 and to encourage the supposition that his heirs in this edition supplied the loss by having engraved on blocks of wood those pages which were not already printed4 ,footnote ,,ii-#gh3 ,a ,french translation of ,meerman's letter1 which was originally written in ,dutch1 is given by ,santander in his ,dictionnaire ,bibliographique1 tom4 i4 pp4 #ad-ah1 #hvo4 ,bruxelles1 #ahje4 ,fournier's discoveries relative to the manner in which the ,speculum was executed were3 #ast1 that the cuts and the text had been printed at separate times1 and that the former had been printed by means of friction2 #b;d1 that a portion of the text in one of the ,latin editions had been printed from engraved wood-blocks4,,ii-#gi ,fournier1 who was a type-founder and wood-engraver1 imagined that the moveable types with which the ,speculum was printed were of wood4 ,he also asserted that ,faust and ,scheffer's ,psalter and an early edition of the ,bible were printed with moveable wooden types4 ,such assertions are best answered by a simple negative1 leaving the person who puts them forth to make out a probable case4 ,footnote ,,ii-#gi3 ,dissertation1 pp4 #bi-cb4 ,the many mistakes which ,fournier commits in his ,dissertation1 excite a suspicion that he was either superficially acquainted with his subject1 or extremely careless4 ,he published two or three other small works on the subject of engraving and printing1--after the manner of 8,supplements to an ,appendix10--the principal of which is entitled 8,de l',origine et des ,productions de l',imprimerie primitive en taille de bois2 avec une refutation des prjugs plus ou moins accredits sur cet art2 pour servir de suite la ,dissertation sur l',origine de l',art de graver en bois4 ,paris1 #agei40 ,the fact having been established that in one of the editions of the ,speculum a part of the text was printed from wood-blocks1 while the whole of the text in the other three was printed from moveable types1 ,heineken1 without diligently comparing the editions with each other in order to obtain further evidence1 decides in favour of that edition being the first in which part of the text is printed from wood-blocks4 ,his reasons for supposing this to be the first edition1 though specious in appearance1 are at variance with the facts which have since been incontrovertibly established by ,mr4 ,ottley1 whose scrutinizing examination of the different editions has clearly shown the futility of all former speculations respecting their priority4 ,the argument of ,heineken is to this effect3 8,it is improbable that a printer who had printed an edition wholly with moveable types should afterwards have recourse to an engraver to cut for him on blocks of wood a portion of the text for a second edition2 and it is equally improbable that a wood-engraver who had discovered the art of printing with moveable types1 and had used them to print the entire text of the first edition1 should1 to a certain extent1 abandon his invention in a second by printing a portion of the text from engraved blocks of wood40 ,the following is the order in which he arranges the different editions3 #a4 ,the ,latin edition in which part of the text is printed from wood-blocks4 #b4 ,the ,latin edition in which the text is entirely printed from moveable types4 #c4 ,the ,dutch edition with the text printed wholly from moveable types1 supposed by ,meerman to be the first edition of all4,,ii-#hj #d4 ,the ,dutch edition with the text printed wholly from moveable types1 and which differs only from the preceding one in having the two pages of text under cuts ,no4 #de and #ef printed in a type different from the rest of the book4 ,footnote ,,ii-#hj3 ,heineken seems inclined to consider this as the second ,dutch edition2 and he only mentions it as the first ,dutch edition because it is called so by ,meerman4--,ide ,gn4 pp4 #dec1 #ded4 ,the preceding arrangement--including ,meerman's opinion respecting the priority of the ,dutch edition--rests entirely on conjecture1 and is almost diametrically contradicted in every instance by the evidence afforded by the books themselves2 for through the comparisons and investigations of ,mr4 ,ottley it is proved1 to an absolute certainty1 that the ,latin edition supposed by ,heineken to be the second is the earliest of all2 that the edition ,no4 #d1 called the second ,dutch1 is the next in order to the actual first ,latin2 and that the two editions1 ,no4 #a and ,no4 #c1 respectively proclaimed by ,heineken and ,meerman as the earliest1 have been printed subsequently to the other two4,,ii-#ha ,which of the pretended first editions was in reality the last1 has not been satisfactorily determined2 though there seems reason to believe that it was the ,latin one which has part of the text printed from wood-blocks4 ,footnote ,,ii-#ha3 ,inquiry into the ,origin and ,early ,history of ,engraving1 pp4 #bje-bag4 ,though differing from ,mr4 ,ottley in the conclusions which he draws from the facts elicited by him respecting the priority of the editions of the ,speculum1 ,i bear a willing testimony to the value of his discoveries on this subject1 which may rank among the most interesting that have resulted from bibliographical research4 ,it is well known to every person acquainted with the practice of wood-engraving1 that portions of single lines in such cuts as those of the ,speculum are often broken out of the block in the process of printing4 ,if two books1 therefore1 containing the same wood-cuts1 but evidently printed at different times1 though without a date1 should be submitted to the examination of a person acquainted with the above fact and bearing it in mind1 he would doubtless declare that the copy in which the cuts were most perfect was first printed1 and that the other in which parts of the cuts appeared broken away was of a later date4 ,if1 on comparing other copies of the same editions he should find the same variations1 the impression on his mind as to the priority of the editions would amount to absolute certainty4 ,the identity of the cuts in all the four editions of the ,speculum being unquestionable1 and as certain minute fractures in the lines of some of them1 as if small portions of the block had been broken out in printing1 had been previously noticed by ,fournier and ,heineken1 ,mr4 ,ottley conceived the idea of comparing the respective cuts in the different editions1 with a view of ascertaining the order in which they were printed4 ,he first compared two copies of the edition called the first ,latin with a copy of that called the second ,dutch1 and finding1 that1 in several of the cuts of the former1 parts of lines were wanting which in the latter were perfect1 he concluded that the miscalled second ,dutch edition was in fact of an earlier date than the pretended first ,latin edition of ,heineken4 ,in further comparing the above editions with the supposed second ,latin edition of ,heineken and the supposed first ,dutch edition of ,meerman1 he found that the cuts in the miscalled second ,latin edition were the most perfect of all2 and that the cuts in ,heineken's first ,latin and ,meerman's first ,dutch editions contained more broken lines than the edition named by those authors the second ,dutch4 ,the conclusion which he arrived at from those facts was irresistible1 namely1 that the earliest edition of all was that called by ,heineken the second ,latin2 and that the edition called the second ,dutch was the next in order4 ,as the cuts in the copies examined of the pretended first ,latin and ,dutch editions contained similar fractures1 it could not be determined with certainty which was actually the last4 ,as it is undoubted that the cuts of all the editions have been printed separately from the text1 it has been objected that ,mr4 ,ottley's examination has only ascertained the order in which the cuts have been printed1 but by no means decided the priority of the editions of the entire book4 ,all the cuts1 it has been objected1 might have been taken by the engraver before the text was printed in a single edition1 and it might thus happen that the book first printed with text might contain the last1 and consequently the most imperfect cuts4 ,this exception1 which is founded on a very improbable presumption1 will be best answered by the following facts established on a comparison of the two ,latin1 and which1 ,i believe1 have not been previously noticed3--,on closely comparing those pages which are printed with moveable types in the true second edition with the corresponding pages in that edition which is properly the first1 it was evident from the different spelling of many of the words1 and the different length of the lines1 that they had been printed at different times3 but on comparing1 however1 those pages which are printed in the second edition from engraved wood-blocks with the corresponding pages1 from moveable type1 in the first edition1 ,i found the spelling and the length of the lines to be the same4 ,the page printed from the wood-block was1 in short1 a fac-simile of the corresponding page printed from moveable types4 ,so completely did they correspond1 that ,i have no doubt that an impression of the page printed from moveable types had been 8transferred10,,ii-#hb as engravers say1 to the block4 ,in the last cut,,ii-#hc of the first edition ,i noticed a scroll which was quite black1 as if meant to contain an inscription which the artist had neglected to engrave2 and in the second edition ,i perceived that the black was cut away1 thus having the part intended for the inscription white4 ,another proof1 in addition to those adduced by ,mr4 ,ottley of that ,latin edition being truly the first in which the whole of the text is printed from moveable types4 ,footnote ,,ii-#hb3 ,wood-engravers of the present day are accustomed to transfer an old impression from a cut or a page of letter-press to a block in the following manner4 ,they first moisten the back of the paper on which the cut or letter-press is printed with a mixture of concentrated potash and essence of lavender in equal quantities1 which causes the ink to separate readily from the paper2 next1 when the paper is nearly dry1 the cut or page is placed above a prepared block1 and by moderate pressure the ink comes off from the paper1 and leaves an impression upon the wood4 ,footnote ,,ii-#hc3 ,the subject is ,daniel explaining to ,belshazzar the writing on the wall4 ,though there can no longer be a doubt in the mind of any impartial person of that ,latin edition1 in which part of the text is printed from engraved wood-blocks1 and the rest from moveable types1 being later than the other2 yet the establishment of this fact suggests a question1 as to the cause of part of the text of this second ,latin edition being printed from wood-blocks1 which cannot perhaps be very satisfactorily answered4 ,all writers previous to ,mr4 ,ottley1 who had noticed that the text was printed partly from moveable types and partly from wood-blocks1 decided1 without hesitation1 that this edition was the first2 and each1 accordingly as he espoused the cause of ,gutemberg or ,coster1 proceeded to theorise on this assumed fact4 ,as their arguments were founded in error1 it cannot be a matter of surprise that their conclusions should be inconsistent with truth4 ,the fact of this edition being subsequent to that in which the text is printed wholly from moveable types has been questioned on two grounds3 #ast4 ,the improbability that the person who had printed the text of a former edition entirely from moveable types should in a later edition have recourse to the more tedious operation of engraving part of the text on wood-blocks4 #b;d4 ,supposing that the owner of the cuts had determined in a later edition to engrave the text on blocks of wood1 it is difficult to conceive what could be his reason for abandoning his plan1 after twenty pages of the text were engraved1 and printing the remainder with moveable types4 ,before attempting to answer those objections1 ,i think it necessary to observe that the existence of a positive fact can never be affected by any arguments which are grounded on the difficulty of accounting for it4 ,objections1 however specious1 can never alter the immutable character of truth1 though they may affect opinions1 and excite doubts in the minds of persons who have not an opportunity of examining and judging for themselves4 ,with respect to the first objection1 it is to be remembered that in all the editions1 the text1 whether from wood-blocks or moveable types1 has been printed separately from the cuts2 consequently the cuts of the first edition might be printed by a wood-engraver1 and the text set up and printed by another person who possessed moveable types4 ,the engraver of the cuts might not be possessed of any moveable types when the text of the first edition was printed2 and1 as it is a well-known fact that wood-engravers continued to execute entire pages of text for upwards of thirty years after the establishment of printing with moveable types1 it is not unlikely that he might attempt to engrave the text of a second edition and print the book solely for his own advantage4 ,this supposition is to a certain extent corroborated by the fact of the twenty pages of engraved text in the second ,latin edition being fac-similes of the twenty corresponding pages of text from moveable types in the first4 ,to the second objection every day's experience suggests a ready answer2 for scarcely anything is more common than for a person to attempt a work which he finds it difficult to complete1 and1 after making some progress in it1 to require the aid of a kindred art1 and abandon his original plan4 ,as the first edition of the ,speculum was printed subsequent to the discovery of the art of printing with moveable types1 and as it was probably printed in the ,low ,countries1 where the typographic art was first introduced about #adgb1 ,i can discover no reason for believing that the work was executed before that period4 ,santander1 who was so well acquainted with the progress of typography in ,belgium and ,holland1 is of opinion that the ,speculum is not of an earlier date than #adhj4 ,in #adhc ,john ,veldener printed at ,culemburg a quarto edition of the ,speculum1 in which the cuts are the same as in the earlier folios4 ,in order to adapt the cuts to this smaller edition ,veldener had sawn each block in two1 through the centre pillar which forms a separation between the two compartments in each of the original engravings4 ,veldener's quarto edition1 which has the text printed on both sides of the paper from moveable types1 contains twelve more cuts than the older editions1 but designed and executed in the same style4,,ii-#hd ,if ,lawrence ,coster had been the inventor of printing with moveable types1 and if any one folio edition of the ,speculum had been executed by him1 we cannot suppose that ,veldener1 who was himself a wood-engraver1 as well as a printer1 would have been ignorant of those facts4 ,he1 however1 printed two editions of the ,fasciculus ,temporum1--one at ,louvain in #adgf1 and the other at ,utrecht in #adhj1--;a work which contains a short notice of the art of printing being discovered at ,mentz1 but not a syllable concerning its discovery at ,harlem by ,lawrence ,coster4 ,the researches of ,coster's advocates have clearly established one important fact1 though an unfortunate one for their argument2 namely1 that the ,custos or ,warden of ,st4 ,bavon's was not known as a printer to one of his contemporaries4 ,the citizens of ,harlem1 however1 have still something to console themselves with3 though ,coster may not be the inventor of printing1 there can be little doubt of ,junius1 or his editor1 being the discoverer of ,coster1-- 8,est quoddam prodire tenus1 si non datur ultra40 ,footnote ,,ii-#hd3 ,heineken gives an account of those twelve additional cuts at page #dfc of his ,ide ,gnrale4 ,it appears that ,veldener also published in the same year another edition of the ,speculum1 also in quarto1 containing the same cuts as the older folios1 but without the twelve above mentioned4 ,there is in the ,print ,room of the ,british ,museum a small volume of wood-cuts1 which has not hitherto been described by any bibliographer1 nor by any writer who has treated on the origin and progress of wood engraving4 ,it appears to have been unknown to ,heineken1 ,breitkopf1 ,von ,murr1 and ,meerman2 and it is not mentioned1 that ,i am aware of1 either by ,dr4 ,dibdin or ,mr4 ,douce1 although it certainly was submitted to the inspection of the latter4 ,it formerly belonged to the late ,sir ,george ,beaumont1 by whom it was bequeathed to the ,museum2 but where he obtained it ,i have not been able to learn4 ,it consists of an alphabet of large capital letters1 formed of figures arranged in various attitudes2 and from the general character of the designs1 the style of the engraving1 and the kind of paper on which the impressions have been taken1 it evidently belongs to the same period as the ,poor ,preachers' ,bible4 ,there is only one cut on each leaf1 the back being left blank as in most of the block-books1 and the impressions have been taken by means of friction4 ,the paper at the back of each cut has a shining appearance when held towards the light1 in consequence of the rubbing which it has received2 and in some it appears as if it had been blacked with charcoal1 in the same manner that some parts of the cartoons were blacked which have been pricked through by the tapestry worker4 ,the ink is merely a distemper or water-colour1 which will partly wash out by the application of hot water1 and its colour is a kind of sepia4 ,each leaf1 which is about six inches high1 by three and six-eighths wide1 consists of a separate piece of paper1 and is pasted1 at the inner margin1 on to a slip either of paper or parchment1 through which the stitching of the cover passes4 ,whether the paper has been cut in this manner before or after that the impressions were taken1 ,i am unable to determine4,,ii-#he ,footnote ,,ii-#he3 ,the following is a reduced copy of the paper-mark1 which appears to be a kind of anchor with a small cross springing from a ball or knob at the junction of the arms with the shank4 ,it bears a considerable degree of resemblance to the mark given at page #fb1 from an edition of the ,apocalypse4 ,an anchor is to be found as a paper-mark in editions of the ,apocalypse1 and of the ,poor ,preachers' ,bible4 ,according to ,santander1 a similar paper-mark is to be found in books printed at ,cologne1 ,louvain1 and ,utrecht1 from about #adgj to #adhj4 ,illustration ,the greater part of the letter ,a is torn out1 and in that which remains there are pin-marks1 as if it had been traced by being pricked through4 ,the letters ,s1 ,t1 and ,v are also wanting4 ,the following is a brief description of the letters which remain4 ,the letter ,b is composed of five figures1 one with a pipe and tabor1 another who supports him1 a dwarf1 an old man kneeling1 and an old woman with a staff4 ,c1 a youthful figure rending open the jaws of a lion1 with two grotesque heads like those of satyrs4 ,d1 a man on horseback1 and a monk astride on a fiendish-looking monster4 ,e1 two grotesque heads1 a figure holding the horn of one of them1 and another figure stretching out a piece of cloth4 ,f1 a tall figure blowing a trumpet1 and a youth beating a tabor1 with an animal like a dog at their feet4,,ii-#hf ,g1 ,david with ,goliath's head1 and a figure stooping1 who appears to kiss a flagellum4 ,h1 a figure opening the jaws of a dragon4 ,i1 a tall man embracing a woman4 ,k1 a female with a wreath1 a youth kneeling1 an old man on his knees1 and a young man with his heels uppermost4 ,engraved as a specimen at page #aji4 ,l1 a man with a long sword1 as if about to pierce a figure reclining4 ,engraved as a specimen at page #aaj4 ,m1 two figures1 each mounted on a kind of monster2 between them1 an old man4 ,n1 a man with a sword1 another mounted on the tail of a fish4 ,o1 formed of four grotesque heads4 ,p1 two figures with clubs4 ,q1 formed of three grotesque heads1 similar to those in ,o4 ,r1 a tall1 upright figure1 another with something like a club in his hand2 a third1 with his heels up1 blowing a horn4 ,x1 composed of four figures1 one of which has two bells1 and another has one2 on the shoulder of the upper figure to the right a squirrel may be perceived4 ,y1 a figure with something like a hairy skin on his shoulder2 another thrusting a sword through the head of an animal4 ,z1 three figures2 an old man about to draw a dagger1 a youth lying down1 and another who appears as if flying4 ,engraved as a specimen at page #aaa4 ,the last cut is the ornamental flower1 of which a copy is given at page #aac4 ,footnote ,,ii-#hf3 ,the initial ,f1 at the commencement of this chapter1 is a reduced copy of the letter here described4 ,in the same case with those interesting1 and probably unique specimens of early wood engraving1 there is a letter relating to them1 dated #bgth ,may1 #ahai1 from ,mr4 ,samuel ,lysons to ,sir ,george ,beaumont1 from which the following is an extract3 8,i return herewith your curious volume of ancient cuts4 ,i showed it yesterday to ,mr4 ,douce1 who agrees with me that it is a great curiosity4 ,he thinks that the blocks were executed at ,harlem1 and are some of the earliest productions of that place4 ,he has in his possession most of the letters executed in copper1 but very inferior to the original cuts4 ,before you return from the ,continent ,i shall probably be able to ascertain something further respecting them40 ,what might be ,mr4 ,douce's reasons for supposing that those cuts were executed at ,harlem ,i cannot tell2 though ,i am inclined to think that he had no better foundation for his opinion than his faith in ,junius1 ,meerman1 and other advocates of ,lawrence ,coster1 who unhesitatingly ascribe every early block-book to the spurious 8,officina ,laurentiana40 ,in the manuscript catalogue in the ,print ,room of the ,british ,museum the volume is thus described by ,mr4 ,ottley3 8,alphabet of initial letters composed of grotesque figures1 wood engravings of the middle of the fifteenth century1 apparently the work of a ,dutch or ,flemish artist2 the impressions taken off by friction in the manner of the early block-books4 4 4 4 ,i perceive the word #8,london' in small characters written upon the blade of a sword in one of the cuts1 the letter ,l1 and ,i suspect they were engraved in ,england40 ,illustration ,as to whether these cuts were engraved in ,england or no ,i shall not venture to give an opinion4 ,i am1 however1 satisfied that they were neither designed nor engraved by the artists who designed and engraved the cuts in the ,apocalypse1 the ,history of the ,virgin1 and the ,poor ,preachers' ,bible4 ,with respect to drawing1 expression1 and engraving1 the cuts of the ,alphabet are decidedly superior to those of every block-book1 and generally to all wood engravings executed previous to #aejj1 with the exception of such as are by ,albert ,durer1 and those contained in the ,hypnerotomachia1 an ,italian rhapsody1 with wood-cuts supposed to have been designed by ,raffaele or ,andrea ,mantegna1 and printed by ,aldus at ,venice1 #adii4 ,although the cuts of the ,alphabet may not have been engraved in ,england1 it is1 however1 certain that the volume had been at rather an early period in the possession of an ,englishman4 ,the cover consists of a double fold of thick parchment1 on the inside of which1 between the folds1 there is written in large old ,english characters what ,i take to be the name 8,edwardus ,lowes40 ,on the blank side of the last leaf there is a sketch of a letter commencing 8,right reverent and wershipfull masters and frynds2 ,in the moste loweliste maner that ,i canne or may1 ,i here recomende me1 duely glade to her of yor good prosperitye and welth40 ,the writing1 as ,i have been informed1 is of the period of ,henry ,,viii2 and on the slips of paper and parchment to which the inner margins of the leaves are pasted are portions of ,english manuscripts1 which are probably of the same date4 ,there can1 however1 be little doubt that the leaves have been mounted1 and the volume covered1 about a hundred years subsequent to the engraving of the cuts4 ,illustration ,i agree with ,mr4 ,ottley in thinking that those cuts were engraved about the middle of the fifteenth century1 but ,i can perceive nothing in them to induce me to suppose they were the work of a ,dutch artist2 and ,i am as little inclined to ascribe them to a ,german4 ,the style of the drawing is not unlike what we see in illuminated ,french manuscripts of the middle of the fifteenth century2 and as the only two engraved words which occur in the volume are ,french1 ,i am rather inclined to suppose that the artist who made the drawings was a native of ,france4 ,the costume of the female to whom the words are addressed appears to be ,french2 and the action of the lover kneeling seems almost characteristic of that nation4 ,no ,dutchman certainly ever addressed his mistress with such an air4 ,he holds what appears to be a ring as gracefully as a modern ,frenchman holds a snuff-box1 and upon the scroll before him are engraved a heart1 and the words which he may be supposed to utter1 8,mon ,ame40 ,at page #aji1 is a fac-simile of the cut referred to1 the letter ,k1 of the size of the original1 and printed in the same kind of colour4 ,illustration ,upon the sword-blade in the original cut of the following letter1 ,l1 there is written in small characters1 as ,mr4 ,ottley has observed1 the word 8,london20 and in the white space on the right1 or upper side1 of the figure lying down1 there appears written in the same hand the name 8,bethemsted40 ,in this name the letter ,b is not unlike a ,w2 and ,i have heard it conjectured that the name might be that of ,john ,wethamstede1 abbot of ,st4 ,alban's1 who was a great lover of books1 and who died in #addj4 ,this conjecture1 however1 will not hold good1 for the letter is certainly intended for a ,b2 and in the cut of the letter ,b there is written 8,r4 ,beths410 which is in all probability intended for an abbreviation of the name1 8,bethemsted10 which occurs in another part of the book4 ,the ink with which these names are written is nearly of the same colour as that of the cuts4 ,the characters appear to be of an earlier date than those on the reverse of the last leaf4 ,illustration ,the cut at page #aaa1 is that of the letter ,z1 which stands the wrong way in consequence of its not having been drawn reversed upon the block4 ,the subject might at first sight be supposed to represent the angel staying ,abraham when about to sacrifice ,isaac2 but on examining the cut more closely it will be perceived that the figure which might be mistaken for an angel is without wings1 and appears to be in the act of supplicating the old man1 who with his left hand holds him by the hair4 ,the opposite cut1 which is the last in the book1 is an ornamental flower designed with great freedom and spirit1 and surpassing everything of the kind executed on wood in the fifteenth century4 ,i speak not of the style of engraving1 which1 though effective1 is coarse2 but of the taste displayed in the drawing4 ,the colour of the cuts on pages #aji1 #aaj1 #aaa1 from the late ,sir ,george ,beaumont's book1 will give the reader1 who has not had an opportunity of examining the originals1 some idea of the colour in which the cuts of the ,apocalypse1 the ,history of the ,virgin1 the ,poor ,preachers' ,bible1 and the ,speculum1 are printed2 which in all of them is a kind of sepia1 in some inclining more to a yellow1 and in others more to a brown4 ,in the volume under consideration we may clearly perceive that the art of wood engraving had made considerable progress at the time the cuts were executed4 ,although there are no attempts at cross-hatching1 which was introduced about #adhf1 yet the shadows are generally well indicated1 either by thickening the line1 or by courses of short parallel lines1 marking the folds of the drapery1 or giving the appearance of rotundity to the figures4 ,the expression of the heads displays considerable talent1 and the wood-engraver who at the present time could design and execute such a series of figures1 would be entitled to no small degree of commendation4 ,comparing those cuts with such as are to be seen in books typographically executed between #adfa;,,ii-#hg and #adij1 it is surprising that the art of wood engraving should have so materially declined when employed by printers for the illustration of their books4 ,the best of the cuts printed with letter-press in the period referred to are decidedly inferior to the best of the early block-books4 ,footnote ,,ii-#hg3 ,the first book with moveable types and wood-cuts both printed by means of the press is the ,fables printed at ,bamberg1 by ,albert ,pfister1 8,am ,sant ,valentinus tag10 #adfa4 ,as it would occupy too much space1 and would be beyond the scope of the present treatise to enter into a detail of the contents of all the block-books noticed by ,heineken1 ,i shall give a brief description of that named 8,ars ,memorandi10 and conclude the chapter with a list of such others as are chiefly referred to by bibliographers4 ,the 8,,ars ,,memorandi0 is considered by ,schelhorn,,ii-#hh and by ,dr4 ,dibdin as one of the earliest block-books1 and in their opinion ,i concur4 ,heineken1 however1--who states that the style is almost the same as in the figures of the ,apocalypse1--thinks that it is of later date than the ,poor ,preachers' ,bible and the ,history of the ,virgin4 ,it is of a quarto size1 and consists of fifteen cuts1 with the same number of separate pages of text also cut on wood1 and printed on one side of each leaf only by means of friction4,,ii-#hi ,at the foot of each page of text is a letter of the alphabet1 commencing with a1 indicating the order in which they are to follow each other4 ,in every cut an animal is represented1--an eagle1 an angel1 an ox1 or a lion1--emblematic of the ,evangelist whose ,gospel is to be impressed on the memory4 ,each of the animals is represented standing upright1 and marked with various signs expressive of the contents of the different chapters4 ,to the ,gospel of ,st4 ,john1 with which the book commences1 three cuts with as many pages of text are allotted4 ,st4 ,matthew has five cuts1 and five pages of text4 ,st4 ,mark three cuts and three pages of text2 and ,st4 ,luke four cuts and four pages of text4,,ii-#ij ,footnote ,,ii-#hh3 8,nostrum vero libellum1 cujus gratia hc prfati sumus1 intrepide1 si non primum artis invent ftum1 certe inter primos fuisse asseveramus40--,amnitates ,literari1 tom4 i4 p4 #d4 ,footnote ,,ii-#hi3 ,heineken had seen two editions of this book1 and he gives fac-similes of their titles1 which are evidently from different blocks4 ,the title at full length is as follows3 8,ars memorandi notabilis per figuras ,ewangelistarum hic ex post descriptam quam diligens lector diligenter legat et practiset per signa localia ut in practica experitur40--8,en horridum et incomtum dicendi genus1 ,priscianumque misere vapulantem60 exclaims ,schelhorn4 ,footnote ,,ii-#ij3 ,heineken1 ,ide ,gnrale1 p4 #cid4 8,it is worthy of observation10 says ,j4 ,c4 ,von ,aretin1 in his ,essay on the earliest ,results of the ,invention of ,printing1 8that this book1 which the most intelligent bibliographers consider to be one of the earliest of its kind1 should be devoted to the improvement of the memory1 which1 though divested of much of its former importance by the invention of writing1 was to be rendered of still less consequence by the introduction of printing40,,ii-#ia ,footnote ,,ii-#ia3 ber die frhesten universal historischen ,folgen der ,erfindung der ,buchdruckerkunst1 von ,j4 ,christ4 ,freyherrn ,von ,aretin1 ,s4 #ah4 #dto4 ,munich1 #ahjh4 ,the first cut is intended to express figuratively the first six chapters of ,st4 ,john's ,gospel4 ,the upright eagle is the emblem of the saint1 and the numerals are the references to the chapters4 ,the contents of the first chapter are represented by the dove perched on the eagle's head1 and the two faces1--one of an old1 the other of a young man1--probably intended for those of ,moses and ,christ4,,ii-#ib ,the lute on the breast of the eagle1 with something like three bells,,ii-#ic suspended from it1 indicate the contents of the second chapter1 and are supposed by ,schelhorn to refer to the marriage of ,cana4 ,the numeral #c1 in ,schelhorn's opinion1 relates to 8nonnihil apertum et prosectum circa ventrem10 which he thinks may be intended as a reference to the words of ,nicodemus3 8,nunquid homo senex potest in ventrem matris su iterum introire et renasci80 ,between the feet of the eagle is a water-bucket surmounted by a sort of coronet or crown1 intended to represent the principal events narrated in the #dth chapter1 which are ,christ's talking with the woman of ,samaria at the well1 and his healing the son of a nobleman at ,capernaum4 ,the #eth chapter is indicated by a fish above the eagle's right wing1 which is intended to bring to mind the pool of ,bethesda4 ,the principal event related in the #fth chapter1 ,christ feeding the multitude1 is indicated by the two fishes and five small loaves above the eagle's left wing4 ,the cross within a circle1 above the fishes1 is emblematic of the consecrated wafer in the ,lord's supper1 as celebrated by the church of ,rome4,,ii-#id ,footnote ,,ii-#ib3 8,for the law was given by ,moses1 but grace and truth came by ,jesus ,christ40--,st4 ,john's ,gospel1 chap4 i4 v4 #ag4 ,footnote ,,ii-#ic3 8,forte tamen ea1 qu tintinnabulis haud videntur dissimilia1 nummulariorum loculos et pecuni receptacula referunt40--,schelhorn1 ,amnit4 ,liter4 tom4 i4 p4 #aj4 ,illustration ,the above reduced copy of the cut will afford some idea of the manner in which the memory is to be assisted in recollecting the first six chapters of ,st4 ,john4 ,those who wish to know more respecting this curious book are referred to ,schelhorn's ,amnitates ,literari1 tom4 i4 pp4 #a-ag2 ,heineken1 ,ide ,gnrale1 pp4 #cid1 #cie2 and to ,dr4 ,dibdin's ,bibliotheca ,spenceriana1 vol4 i4 p4 #d1 where a copy is given of the first cut relating to the ,gospel of ,st4 ,matthew4 ,footnote ,,ii-#id3 ,the following are the contents of the first page1 descriptive of the cut3 8,evangelium ,johannis habet viginti unum capittula4 ,primum4 ,in principio erat verbum de eternitate verbi et de trinitate4 ,secundum capittulum4 ,nupcie facte sunt in ,chana ,galilee et qualiter ,christus subvertit mensas nummulariorum4 ,tertium capittulum4 ,erat antem homo ex ,phariseis ,nycodemus nomine4 ,quartum capittulum4 ,qualiter ,ihesus peciit a muliere ,samaritana bibere circum puteum ,jacob et de regulo4 ,quintum capittulum4 ,de probatica piscina ubi dixit ,ihesus infirmo ,tolle grabatum tuum vade4 ,sextum capittulum4 ,de refectione ex quinque panibus duobus piscibus ,et de ewkaristia40--,schelhorn1 ,amnit4 ,lit4 tom4 i4 p4 #i4 ,block-books containing both text and figures were executed long after the introduction of typography1 or printing by means of moveable types2 but the cuts in such works are decidedly inferior to those executed at an earlier period4 ,the book entitled 8,die ,kunst ,cyromantia10,,ii-#ie which consists chiefly of text1 is printed from wood-blocks on both sides of each leaf by means of a press4 ,at the conclusion of the title is the date #addh2 but this is generally considered to refer to the period when the book was written1 and not the time when it was engraved4 ,on the last page is the name3 8jorg schapff zu augspurg40 ,if this ,george ,schapff was a wood-engraver of ,augsburg1 the style of the cuts in the book sufficiently declares that he must have been one of the very lowest class4 ,more wretched cuts were never chiselled out by a printer's apprentice as a head-piece to a half-penny ballad4 ,footnote ,,ii-#ie3 ,this work on ,palmistry was composed in ,german by a ,doctor ,hartlieb1 as is expressed at the beginning3 8,das nachgeschriben buch von der hand htt zu teutsch gemacht ,doctor ,hartlieb40 ,specimens of the first and the last pages1 and of one of the cuts1 are given in ,heineken's ,ide ,gnrale1 plates #bg and #bh4 ,of the block-book entitled 8,ars ,moriendi10 ,heineken enumerates no less than seven editions1 of which one is printed on both sides of the leaves1 and by means of a press4 ,besides these he mentions another edition1 impressed on one side of the paper only1 in which appear the following name and date3 8,hans eporer1 #adgc1 hat diss puch pruffmo er40,,ii-#if ,footnote ,,ii-#if3 ,i am of opinion that this is the same person who executed the cuts for a ,german edition of the ,poor ,preachers' ,bible in #adge4 ,his name does not appear2 but on a shield of arms there is a spur1 which may be intended as a rebus of the name2 in the same manner as ,albert ,durer's surname appears in his coat of arms1 a pair of doors1--,durer1 or1 as his father's name was sometimes spelled1 ,thurer4 ,of the book named in ,german 8,der ,entkrist0--,antichrist--printed from wood-blocks1 ,heineken mentions two editions4 ,in that which he considers the first1 containing thirty-nine cuts1 each leaf is printed on one side only by means of friction2 in the other1 which contains thirty-eight cuts1 is the 8brief-maler's0 or wood-engraver's name3 8,der jung hanss priffmaler hat das puch zu nurenberg1 #adgb40 ,at ,nuremberg1 in the collection of a physician of the name of ,treu1 ,heineken noticed a small volume in quarto1 consisting of thirty-two wood-cuts of ,bible subjects1 underneath each of which were fifteen verses in ,german1 engraved on the same block4 ,each leaf was printed on one side only1 and the impressions1 which were in pale ink1 had been taken by means of friction4 ,the early wood-engravers1 besides books of cuts1 executed others consisting of text only1 of which several portions are preserved in public libraries in ,germany1,,ii-#ig ,france1 and ,holland2 and although it is certain that block-books continued to be engraved and printed several years after the invention of typography1 there can be little doubt that editions of the grammatical primer called the 8,donatus10 from the name of its supposed compiler1 were printed from wood-blocks previous to the earliest essays of ,gutemberg to print with moveable types4 ,it is indeed asserted that ,gutemberg himself engraved1 or caused to be engraved on wood1 a 8,donatus0 before his grand invention was perfected4 ,footnote ,,ii-#ig3 ,aretin says that in the ,royal ,library at ,munich there are about forty books and about a hundred single leaves printed from engraved wood-blocks4--ber die ,folgen1 c4 ,s4 #f4 ,in the ,royal ,library at ,paris are preserved the two old blocks of a 8,donatus0 which are mentioned by ,heineken at page #beg of his ,ide ,gnrale4 ,they are both of a quarto form2 but as the one contains twenty lines and the other only sixteen1 and as there is a perceptible difference in the size of the letters1 it is probable that they were engraved for different editions4,,ii-#ih ,those blocks were purchased in ,germany by a ,monsieur ,faucault1 and after passing through the hands of three other book-collectors they came into the possession of the ,duke de la ,vallire1 at whose sale they were sold for two hundred and thirty livres4 ,in ,de ,bure's catalogue of the ,la ,vallire library1 impressions are given from the original blocks4 ,the letters in both those blocks1 though differing in size1 are of the same proportions and form2 and ,heineken and ,fischer consider that they bear a great resemblance to the characters of ,faust and ,scheffer's ,psalter1 printed with moveable types in #adeg1 although the latter are considerably larger4 ,footnote ,,ii-#ih3 ,meerman had an old block of a ,donatus1 which was obtained from the collection of a ,m4 ,hubert of ,basle1 and which appeared to belong to the same edition as that containing sixteen lines in the ,royal ,library at ,paris4--,heineken1 ,ide ,gnrale1 p4 #beh4 ,the art of wood engraving1 having advanced from a single figure with merely a name cut underneath it1 to the impression of entire pages of text1 was now to undergo a change4 ,moveable letters formed of metal1 and wedged together within an iron frame1 were to supersede the engraved page2 and impressions1 instead of being taken by the slow and tedious process of friction1 were now to be obtained by the speedy and powerful action of the press4 ,if the art of wood engraving suffered a temporary decline for a few years after the general introduction of typography1 it was only to revive again under the protecting influence of the ,,press2 by means of which its productions were to be multiplied a hundred fold1 and1 instead of being confined to a few towns1 were to be disseminated throughout every part of ,europe4 ,,chapter ,,iii4 ,,invention ,,of ,,typography4 ,the ,discovery of ,desroches4 -- ,the ,stamping of ,lodewyc ,van ,vaelbeke4 -- ,early 8,prenters0 of ,antwerp and ,bruges ,not ,typographers4 -- ,cologne ,chronicle4 -- ,donatuses ,printed in ,holland4 -- ,gutemberg's ,birth and ,family -- ,progress of his ,invention -- ,his ,law-,suit with the ,drytzehns at ,strasburg -- ,his ,return to ,mentz1 and ,partnership with ,faust -- ,partnership ,dissolved4 -- ,possibility of ,printing with ,wooden ,types ,examined4 -- ,supposed ,early ,productions of ,gutemberg and ,faust's ,press4 -- ,proofs of ,gutemberg ,having a ,press of his ,own4 -- ,the ,vocabulary ,printed at ,elfeld4 -- ,gutemberg's ,death and ,epitaphs4 -- ,invention of ,printing ,claimed for ,lawrence ,coster4 -- ,the ,account ,given by ,junius -- ,contradicted1 ,altered1 and ,amended at ,will by ,meerman1 ,koning1 and ,others4 -- ,works ,pretended to be ,printed with ,coster's ,types4 -- ,the ,horarium ,discovered by ,enschedius4 ,before proceeding to trace the progress of wood engraving in connexion with typography1 it appears necessary to give some account of the invention of the latter art4 ,in the following brief narrative of ,gutemberg's life1 ,i shall adhere to positive facts2 and until evidence equally good shall be produced in support of another's claim to the invention1 ,i shall consider him as the father of typography4 ,i shall also give ,hadrian ,junius's account of the invention of wood engraving1 block-printing1 and typography by ,lawrence ,coster1 with a few remarks on its credibility4 ,some of the conjectures and assertions of ,meerman1 ,koning1 and other advocates of ,coster1 will be briefly noticed1 and their inconsistency pointed out4 ,to attempt to refute at length the gratuitous assumptions of ,coster's advocates1 and to enter into a detail of all their groundless arguments1 would be like proving a medal to be a forgery by a long dissertation1 when the modern fabricator has plainly put his name in the legend4 ,the best proof of the fallacy of ,coster's claims to the honour of having discovered the art of printing with moveable types is to be found in the arguments of those by whom they have been supported4 ,meerman1 with all his research1 has not been able to produce a single fact to prove that ,lawrence ,coster1 or ,lawrence ,janszoon as he calls him1 ever printed a single book2 and it is by no means certain that his hero is the identical ,lawrence ,coster mentioned by ,junius4 ,in order to suit his own theory he has questioned the accuracy of the statements of ,junius1 and has thus weakened the very foundation of ,coster's claims4 ,the title of the custos of ,st4 ,bavon's to the honour of being the inventor of typography must rest upon the authenticity of the account given by ,junius2 and how far this corresponds with established facts in the history of wood engraving and typography ,i leave others to decide for themselves4 ,among the many fancied discoveries of the real inventor of the art of printing1 that of ,monsieur ,desroches1 a member of the ,imperial ,academy of ,sciences and ,belles ,lettres at ,brussels1 seems to require an especial notice4 ,in a paper printed in the transactions of that society1,,iii-#a he endeavoured to prove1 that the art of printing books was practised in ,flanders about the beginning of the fourteenth century2 and one of the principal grounds of his opinion was contained in an old chronicle of ,brabant1 written1 as is supposed1 by one ,nicholas le ,clerk1 ,clericus1 secretary to the city of ,antwerp4 ,the chronicler1 after having described several remarkable events which happened during the government of ,john ,,ii4 ,duke of ,brabant1 who died in #acab1 adds the following lines3 ,in dieser tyt sterf menschelyc ,die goede vedelare ,lodewyc2 ,die de beste was die voor dien ,in de werelt ye was ghesien ,van makene ende metter hant2 ,van ,vaelbeke in ,brabant ,alsoe was hy ghenant4 ,hy was d'erste die vant ,van ,stampien die manieren ,diemen noch hoert antieren4 ,footnote ,,iii-#a3 ,nouvelles ,recherches sur l'origine de l',imprimerie1 dans lesquelles on fait voir que la premire ide est due aux ,brabanons4 ,par ,m4 ,desroches4 ,lu la sance du #h ,janvier1 #aggg4--,mmoires de l',academie ,impriale des ,sciences et ,belles ,lettres1 tom4 i4 pp4 #ebc-edg4 ,edit #aghj4 ,this curious record1 which ,monsieur ,desroches considered as so plain a proof of 8die goede vedelare ,lodewyc0 being the inventor of printing1 may be translated in ,english as follows3 ,this year the way of all flesh went ,ludwig1 the fidler most excellent2 ,for handy-work a man of name2 ,from ,vaelbeke in ,brabant he came4 ,he was the first who did find out ,the art of beating time1 no doubt1 7,displaying thus his meikle skill17 ,and fidlers all practise it still4,,iii-#b ,footnote ,,iii-#b3 ,the following is the ,french translation of ,monsieur ,desroches3 8,en ces temps mourut de la mort commune tous les hommes1 ,louis cet excellent faiseur d'instrumens de musique1 le meilleur artist qu'on eut v jusques-l dans l'univers1 en fait d'ouvrages mechaniques4 ,il toit de ,vaelbeke en ,brabant1 et il en porta le nom4 ,il fut le premier qui inventa la manire d'imprimer1 qui est presentement en usage40 ,the reason of ,monsieur ,desroches for his periphrasis of the simple word 8vedelare0--fidler--is as follows3 8,j'ai rendu ,vedelare par #8faiseur d'instrumens de musique4' ,le mot radical est vedel1 violin3 par consequent1 ,vedelare doit signifier celui qui en joue1 ou qui en fait4 ,je me suis determin pour le dernier cause des vers suivans1 o il n'est point question de jouer mais de faire4 ,si l'on prfre le premier1 je ne m'y opposerai pas2 rien empche que ce habile homme n'ait t musicien40--,mem4 de l',acad4 de ,brux4 tom4 i4 p4 #ecf4 ,the laughable mistake of ,monsieur ,desroches in supposing that fidler ,ludwig's invention1 of beating time by stamping with the foot1 related to the discovery of printing by means of the press1 was pointed out in #aggi by ,monsieur ,ghesquiere in a letter printed in the ,esprit des ,journaux4,,iii-#c ,in this letter ,monsieur ,ghesquiere shows that the ,flemish word 8,stampien10 used by the chronicler in his account of the invention of the 8good fidler ,ludwig10 had not a meaning similar to that of the word 8stampus0 explained by ,ducange1 but that it properly signified 8met de voet kleppen10--to stamp or beat with the feet4 ,footnote ,,iii-#c3 ,lettre de ,m4 ,j4 ,ghesquiere ,m4 l',abb ,turberville ,needham1 directeur de l',academie ,impriale et ,royale de ,bruxelles4--,printed in l',esprit des ,journaux for ,june #aggi1 pp4 #bcb-bfj4 ,in support of his opinion of the antiquity of printing1 ,monsieur ,desroches refers to a manuscript in his possession1 consisting of lives of the saints and a chronicle written in the fourteenth century4 ,at the end of this manuscript was a catalogue of the books belonging to the monastery of ,wiblingen1 the writing of which was much abbreviated1 and which appeared to him to be of the following century4 ,among other entries in the catalogue was this3 87,it47 dicali pvo lbo tmpto bappiro n scrp40 ,on supplying the letters wanting ,monsieur ,desroches says that we shall have the following words3 8,item4 ,dominicalia in parvo libro stampato in bappiro papyro1 non scripto20 that is1 8,item4 ,dominicals a form of prayer or portion of church service in a small book printed or stamped on paper1 not written40 ,in the abbreviated word tmpto1 he says that the letter m could not very well be distinguished2 but the doubt which might thus arise he considers to be completely resolved by the words 8non scripto10 and by the following memorandum which occurs1 in the same hand-writing1 at the foot of the page3 8,anno ,di #acdj viguit q ft stp ,datos10-- 8,in #acdj he flourished who caused ,donatuses to be printed40 ,if the catalogue were really of the period supposed by ,monsieur ,desroches1 the preceding extracts would certainly prove that the art of printing or stamping books1 though not from moveable types1 was practised in the fourteenth century2 but1 as the date has not been ascertained1 its contents cannot be admitted as evidence on the point in dispute4 ,monsieur ,ghesquiere is inclined to think that the catalogue was not written before #adgj2 and1 as the compiler was evidently an ignorant person1 he thinks that in the note1 8,anno ,domini #acdj viguit qui fecit stampare ,donatos10 he might have written #acdj instead of #addj4 ,although it has been asserted that the wood-cut of ,st4 ,christopher with the date #adbc1 and the wood-cut of the ,annunciation--probably of the same period--were printed by means of a press1 yet ,i consider it exceedingly doubtful if the press were employed to take impressions from wood-blocks before ,gutemberg used it in his earliest recorded attempts to print with moveable types4 ,i believe that in every one of the early block-books1 where opportunity has been afforded of examining the back of each cut1 unquestionable evidence has been discovered of their having been printed1 if ,i may here use the term1 by means of friction4 ,although there is no mention of a press which might be used to take impressions before the process between ,gutemberg and the heirs of one of his partners1 in #adci1 yet 8,prenters0 were certainly known in ,antwerp before his invention of printing with moveable types was brought to perfection4 ,desroches in his ,essay on the ,invention of ,printing gives an extract from an order of the magistracy of ,antwerp1 in the year #addb1 in favour of the fellowship or guild of ,st4 ,luke1 called also the ,company of ,painters1 which consisted of ,painters1 ,statuaries1 ,stone-cutters1 ,glass-makers1 ,illuminators1 and 8,prenters04 ,this fellowship was doubtless similar to that of ,venice1 in whose favour a decree was made by the magistracy of that city in #adda1 and of which some account has been given1 at page #dc1 in the preceding chapter4 ,there is evidence of a similar fellowship existing at ,bruges in #aded2 and ,john ,mentelin1 who afterwards established himself at ,strasburg as a typographer or printer proper1 was admitted a member of the ,painters' ,company of that city as a 8,chrysographus0 or illuminator in #addg4;,,iii-#d ,footnote ,,iii-#d3 ,lichtenberger1 ,initia ,typographica1 ,de ,prenteris ante inventam ,typographiam1 p4 #adj4--,lambinet1 ,recherches sur l',origine de l',imprimerie1 p4 #aae4 ,whether the 8,prenters0 of ,antwerp in #addb were acquainted with the use of the press1 or not1 is uncertain2 but there can be little doubt of their not being ,printers1 as the word is now generally understood2 that is1 persons who printed books with moveable types4 ,they were most likely block-printers1 and such as engraved and printed cards and images of saints2 and it would seem that typographers were not admitted members of the society2 for of all the early typographers of ,antwerp the name of one only1 ,mathias ,van der ,goes1 appears in the books of the fellowship of ,st4 ,luke2 and he perhaps may have been admitted as a wood-engraver1 on account of the cuts in an herbal printed with his types1 without date1 but probably between #adhe and #adij4 ,ghesquiere1 who successfully refuted the opinion of ,desroches that typography was known at ,antwerp in #addb1 was himself induced to suppose that it was practised at ,bruges in #adde1 and that printed books were then neither very scarce nor very dear in that city4,,iii-#e ,in an old manuscript journal or memorandum book of ,jean-le-,robrt1 abbot of ,st4 ,aubert in the diocese of ,cambray1 he observed an entry stating that the said abbot had purchased at ,bruges1 in ,january #addf1 a 8,doctrinale gette en mole0 for the use of his nephew4 ,the words 8gette en mole0 he conceives to mean1 8printed in type20 and he thinks that the ,doctrinale mentioned was the work which was subsequently printed at ,geneva1 in #adgh1 under the title of ,le ,doctrinal de ,sapience1 and at ,westminster by ,caxton1 in #adhi1 under the title of ,the ,doctrinal of ,sapyence4 ,the ,abb ,mercier de ,st4 ,leger1 who wrote a reply to the observations of ,ghesquiere1 with greater probability supposes that the book was printed from engraved wood-blocks1 and that it was the 8,doctrinale ,alexandri ,galli10 a short grammatical treatise in monkish rhyme1 which at that period was almost as popular as the 8,donatus10 and of which odd leaves1 printed on both sides1 are still to be seen in libraries which are rich in early specimens of printing4 ,footnote ,,iii-#e3 ,reflexions sur deux pices relatives l',hist4 de l',imprimerie4 ,nivelles1 #aghj4--,lambinet1 ,recherches1 p4 #cid4 ,although there is every reason to believe that the early ,printers of ,antwerp and ,bruges were not acquainted with the use of moveable types1 yet the mention of such persons at so early a period1 and the notice of the makers 8of cards and printed figures0 at ,venice in #adda1 sufficiently declare that1 though wood engraving might be first established as a profession in ,suabia1 it was known1 and practised to a considerable extent1 in other countries previous to #adej4 ,the ,cologne ,chronicle1 which was printed in #adii1 has been most unfairly quoted by the advocates of ,coster in support of their assertions2 and the passage which appeared most to favour their argument they have ascribed to ,ulric ,zell1 the first person who established a press at ,cologne4 ,a shrewd ,german1,,iii-#f however1 has most clearly shown1 from the same chronicle1 that the actual testimony of ,ulric ,zell is directly in opposition to the claims advanced by the advocates of ,coster4 ,the passage on which they rely is to the following effect3 8,item3 although the art of printing as it is now commonly practised1 was discovered at ,mentz1 yet the first conception of it was discovered in ,holland from the ,donatuses1 which before that time were printed there40 ,this we are given to understand by ,meerman and ,koning is the statement of ,ulric ,zell4 ,a little further on1 however1 the ,chronicler1 who in the above passage appears to have been speaking in his own person from popular report1 thus proceeds3 8,but the first inventor of printing was a citizen of ,mentz1 though born at ,strasburg1,,iii-#g named ,john ,gutemberg3 ,item3 from ,mentz the above-named art first came to ,cologne1 afterwards to ,strasburg1 and then to ,venice4 ,this account of the commencement and progress of the said art was communicated to me by word of mouth by that worthy person ,master ,ulric ,zell of ,hanau1 at the present time #adii a printer in ,cologne1 through whom the said art was brought to ,cologne40 ,at this point the advocates of ,coster stop1 as the very next sentence deprives them of any advantage which they might hope to gain from the 8impartial testimony of the ,cologne ,chronicle10 the compiler of which proceeds as follows3 8,item3 there are certain fanciful people who say that books were printed before2 but this is not true2 for in no country are books to be found printed before that time40,,iii-#h ,footnote ,,iii-#f3 ,friedrich ,lehne1 ,einige ,bemerkungen ber das ,unternehmen der gelehrten ,gesellschaft zu ,harlem1 ihrer ,stadt die ,ehre der ,erfindung der ,buchdruckerkunst zu ertrotzen1 ,s4 #bd-bf4 ,zweite ,ausgabe1 ,mainz4 #ahbe4 ,footnote ,,iii-#g3 ,this is a mistake into which the compiler of the chronicle printed at ,rome1 #adgd1 by ,philippus de ,lignamine1 has also fallen4 ,gutemberg was not a native of ,strasburg1 but of ,mentz4 ,footnote ,,iii-#h3 ,mallinkrot appears to have been the first who gave a translation of the entire passage in the ,cologne ,chronicle which relates to the invention of printing4 ,his version of the last sentence is as follows3 8,reperiuntur ,scioli aliquot qui dicant1 dudum ante hc tempora typorum ope libros excusos esse1 qui tamen et se et alios decipiunt2 nullibi enim terrarum libri eo tempore impressi reperiuntur40--,de ,ortu et ,progressu ,artis ,typographic1 p4 #ch4 ,colon4 ,agrippin1 #afdj4 ,that 8,donatuses0 and other small elementary books for the use of schools were printed from wood-blocks previous to the invention of typography there can be little doubt2 and it is by no means unlikely that they might be first printed in ,holland or in ,flanders4 ,at any rate an opinion seems to have been prevalent at an early period that the idea of printing with moveable types was first derived from a 8,donatus10,,iii-#i printed from wood-blocks4 ,in the petition of ,conrad ,sweinheim and ,arnold ,pannartz1 two ,germans1 who first established a press at ,rome1 addressed to ,pope ,sixtus ,,iv4 in #adgb1 stating the expense which they had incurred in printing books1 and praying for assistance1 they mention amongst other works printed by them1 8,,donati pro puerulis1 unde ,,imprimendi ,,initium sumpsimus20 that is3 8,donatuses for boys1 whence we have taken the beginning of printing40 ,if this passage is to be understood as referring to the origin of typography1 and not to the first proofs of their own press1 it is the earliest and the best evidence on the point which has been adduced2 for it is very likely that both these printers had acquired a knowledge of their art at ,mentz in the very office where it was first brought to perfection4 ,footnote ,,iii-#i3 ,angelus ,rocca mentions having seen a 8,donatus0 on parchment1 at the commencement of which was written in the hand of ,mariangelus ,accursius1 who flourished about #aecj3 8,impressus est autem hic ,donatus et ,confessionalia primm omnium anno ,,mccccl4 ,admonitus cert fuit ex ,donato ,hollandi1 prius impresso in tabula incisa40--,bibliotheca ,vaticana commentario illustrata1 #aeia1 cited by ,prosper ,marchand in his ,hist4 de l',imprimerie1 #bnde ,partie1 p4 #ce4 ,it is likely that ,accursius derived his information about a ,donatus being printed in ,holland from the ,cologne ,chronicle4 ,about the year #adjj1 ,henne1 or ,john ,gnsfleisch de ,sulgeloch1 called also ,john ,gutemberg zum ,jungen1 appears to have been born at ,mentz4 ,he had two brothers2 ,conrad who died in #adbd1 and ,friele who was living in #adei4 ,he had also two sisters1 ,bertha and ,hebele1 who were both nuns of ,st4 ,claire at ,mentz4 ,gutemberg had an uncle by his father's side1 named ,friele1 who had three sons1 named ,john1 ,friele1 and ,pederman1 who were all living in #adei4 ,gutemberg was descended of an honourable family1 and he himself is said to have been by birth a knight4,,iii-#aj ,it would appear that the family had been possessed of considerable property4 ,they had one house in ,mentz called zum ,gnsfleisch1 and another called zum ,gudenberg1 or ,gutenberg1 which ,wimpheling translates1 8,domum boni montis40 ,the local name of ,sulgeloch1 or ,sorgenloch1 was derived from the name of a village where the family of ,gnsfleisch had resided previous to their removing to ,mentz4 ,it seems probable that the house zum ,jungen at ,mentz came into the ,gutembergs' possession by inheritance4 ,it was in this house1 according to the account of ,trithemius1 that the printing business was carried on during his partnership with ,faust4,,iii-#aa ,footnote ,,iii-#aj3 ,schwartz observes that in the instrument drawn up by the notary ,ulric ,helmasperger1 ,gutemberg is styled 8,juncker10 an honourable addition which was at that period expressive of nobility4--,primaria qudam ,documenta de ,origine ,typographi1 p4 #bj1 #dto4 ,altorfii1 #agdj4 ,footnote ,,iii-#aa3 8,morabatur autem prdictus ,joannes ,gutenberg ,mogunti in domo zum ,jungen1 qu domus usque in prsentem diem #aeac illius nov ,artis nomine noscitur insignita40--,trithemii ,chronicum ,spanhemiense1 ad annum #adej4 ,when ,gutemberg called himself der ,junge1 or junior1 it was doubtless to distinguish himself from ,gnsfleisch der ,elter1 or senior1 a name which frequently occurs in the documents printed by ,koehler4 ,meerman has fixed upon the latter name for the purpose of giving to ,gutemberg a brother of the same christian name1 and of making him the thief who stole ,coster's types4 ,he also avails himself of an error committed by ,wimpheling and others1 who had supposed ,john ,gutemberg and ,john ,gnsfleisch to be two different persons4 ,in two deeds of sale1 however1 of the date #adda and #addb1 entered in the ,salic book of the church of ,st4 ,thomas at ,strasburg1 he is thus expressly named3 8,joannes dictus ,gensfleisch alias nuncupatus ,gutenberg de ,moguncia1 ,argentin commorans20 that is1 8,john ,gnsfleisch1 otherwise named ,gutemberg1 of ,mentz1 residing at ,strasburg40,,iii-#ab ,anthony ,wood1 in his ,history of the ,university of ,oxford1 calls him ,tossanus2 and ,chevillier1 in his ,origine de l',imprimerie de ,paris1 ,toussaints4 ,seiz,,iii-#ac is within an ace of making him a knight of the ,golden ,fleece4 ,that he was a man of property is proved by various documents2 and those writers who have described him as a person of mean origin1 or as so poor as to be obliged to labour as a common workman1 are certainly wrong4 ,footnote ,,iii-#ab3 ,in the release which he grants to the town-clerk of ,mentz1 in #adcd1 he describes himself as1 8,johann ,gensefleisch der ,junge1 genant ,gutemberg40 ,footnote ,,iii-#ac3 ,in 8,het derde ,jubeljaer der uitgevondene ,boekdrukkonst door ,laurens ,jansz ,koster10 p4 #ga4 ,harlem1 #agdj4--,oberlin1 ,essai d',annales4 ,from a letter written by ,gutemberg in #adbd to his sister ,bertha it appears that he was then residing at ,strasburg2 and it is also certain that in #adcj he was not living at ,mentz2 for in an act of accommodation between the nobility and burghers of that city1 passed in that year with the authority of the archbishop ,conrad ,,iii41 ,gutemberg is mentioned among the nobles 8die ytzund nit inlendig sint0--8who are not at present in the country40 ,in #adcd there is positive evidence of his residing at ,strasburg2 for in that year he caused the town-clerk of ,mentz to be arrested for a sum of three hundred florins due to him from the latter city1 and he agreed to his release at the instance of the magistrates of ,strasburg within whose jurisdiction the arrest took place4,,iii-#ad ,in #adcf he entered into partnership with ,andrew ,drytzehn and others2 and there is every reason to believe that at this period he was engaged in making experiments on the practicability of printing with moveable types1 and that the chief object of his engaging with those persons was to obtain funds to enable him to perfect his invention4 ,footnote ,,iii-#ad3 ,the release is given in ,schpflin's ,vindici ,typographic1 ,documentum ,i4 ,from #adcf to #addd the name of ,gutemberg appears among the 8,constaflers0 or civic nobility of ,strasburg4 ,in #adcg he was summoned before the ecclesiastical judge of that city at the suit of ,anne of ,iron-,door1,,iii-#ae for breach of promise of marriage4 ,it would seem that he afterwards fulfilled his promise1 for in a tax-book of the city of ,strasburg1 ,anne ,gutemberg is mentioned1 after ,gutemberg had returned to ,mentz1 as paying the toll levied on wine4 ,footnote ,,iii-#ae3 8,ennelin zu der ,iserin ,thure40 ,she was then living at ,strasburg1 and was of an honourable family1 originally of ,alsace4--,schpflin4 ,vind4 ,typ4 p4 #ag4 ,andrew ,drytzehn1 one of ,gutemberg's partners1 having died in #adch1 his brothers ,george and ,nicholas instituted a process against ,gutemberg to compel him either to refund the money advanced by their brother1 or to admit them to take his place in the partnership4 ,from the depositions of the witnesses in this cause1 which1 together with the decision of the judges1 are given at length by ,schpflin1 there can be little doubt that one of the inventions which ,gutemberg agreed to communicate to his partners was an improvement in the art of printing1 such as it was at that period4 ,the following particulars concerning the partnership of ,gutemberg with ,andrew ,drytzehn and others are derived from the recital of the case contained in the decision of the judges4 ,some years before his death1 ,andrew ,drytzehn expressed a desire to learn one of ,gutemberg's arts1 for he appears to have been fond of trying new experiments1 and the latter acceding to his request taught him a method of polishing stones1 by which he gained considerable profit4 ,some time afterwards1 ,gutemberg1 in company with a person named ,john ,riff1 began to exercise a certain art whose productions were in demand at the fair of ,aix-la-,chapelle4 ,andrew ,drytzehn1 hearing of this1 begged that the new art might be explained to him1 promising at the same time to give whatever premium should be required4 ,anthony ,heilman also made a similar request for his brother ,andrew ,heilman4,,iii-#af ,to both these applications ,gutemberg assented1 agreeing to teach them the art2 it being stipulated that the two new partners were to receive a fourth part of the profits between them2 that ,riff was to have another fourth2 and that the remaining half should be received by the inventor4 ,it was also agreed that ,gutemberg should receive from each of the new partners the sum of eighty florins of gold payable by a certain day1 as a premium for communicating to them his art4 ,the great fair of ,aix-la-,chapelle being deferred to another year1 ,gutemberg's two new partners requested that he would communicate to them without reserve all his wonderful and rare inventions2 to which he assented on condition that to the former sum of one hundred and sixty florins they should jointly advance two hundred and fifty more1 of which one hundred were to be paid immediately1 and the then remaining seventy-five florins due by each were to be paid at three instalments4 ,of the hundred florins stipulated to be paid in ready money1 ,andrew ,heilman paid fifty1 according to his engagement1 while ,andrew ,drytzehn only paid forty1 leaving ten due4 ,the term of the partnership for carrying on the 8wonderful art0 was fixed at five years2 and it was also agreed that if any of the partners should die within that period1 his interest in the utensils and stock should become vested in the surviving partners1 who at the completion of the term were to pay to the heirs of the deceased the sum of one hundred florins4 ,andrew ,drytzehn having died within the period1 and when there remained a sum of eighty-five florins unpaid by him1 ,gutemberg met the claim of his brothers by referring to the articles of partnership1 and insisted that from the sum of one hundred florins which the surviving partners were bound to pay1 the eighty-five remaining unpaid by the deceased should be deducted4 ,the balance of fifteen florins thus remaining due from the partnership he expressed his willingness to pay1 although according to the terms of the agreement it was not payable until the five years were expired1 and would thus not be strictly due for some years to come4 ,the claim of ,george ,drytzehn to be admitted a partner1 as the heir of his brother1 he opposed1 on the ground of his being unacquainted with the obligations of the partnership2 and he also denied that ,andrew ,drytzehn had ever become security for the payment of any sum for lead or other things purchased on account of the business1 except to ,fridelin von ,seckingen1 and that this sum 7which was owing for lead7 ,gutemberg himself paid4 ,the judges having heard the allegations of both parties1 and having examined the agreement between ,gutemberg and ,andrew ,drytzehn1 decided that the eighty-five florins which remained unpaid by the latter should be deducted from the hundred which were to be repaid in the event of any one of the partners dying2 and that ,gutemberg should pay the balance of fifteen florins to ,george and ,nicholas ,drytzehn1 and that when this sum should be paid they should have no further claim on the partnership4,,iii-#ag ,footnote ,,iii-#af3 ,when ,andrew ,heilman was proposed as a partner1 ,gutemberg observed that his friends would perhaps treat the business into which he was about to embark as mere jugglery gckel werck1 and object to his having anything to do with it4--,schpflin1 ,vind4 ,typ4 ,document4 p4 #aj4 ,footnote ,,iii-#ag3 ,this decision is dated 8,on the ,eve of ,st4 ,lucia and ,st4 ,otilia1 #abth ,december1 #adci40 ,from the depositions of some of the witnesses in this process1 there can scarcely be a doubt that the 8wonderful art0 which ,gutemberg was attempting to perfect was typography or printing with moveable types4 ,fournier,,iii-#ah thinks that ,gutemberg's attempts at printing1 as may be gathered from the evidence in this cause1 were confined to printing from wood-blocks2 but such expressions of the witnesses as appear to relate to printing do not favour this opinion4 ,as ,gutemberg lived near the monastery of ,st4 ,arbogast1 which was without the walls of the city1 it appears that the attempts to perfect his invention were carried on in the house of his partner ,andrew ,drytzehn4 ,upon the death of the latter1 ,gutemberg appears to have been particularly anxious that 8four pieces0 which were in a 8press0 should be 8distributed10--making use of the very word which is yet used in ,germany to express the distribution or separation of a form of types---so that no person should know what they were4 ,footnote ,,iii-#ah3 ,trait de l'origine et des productions de l',imprimerie primitive en taille de bois1 ,paris1 #ageh2 et ,remarques sur un ,ouvrage1 c4 pour servir de suite au ,trait1 ,paris1 #agfb4 ,hans ,schultheis1 a dealer in wood1 and ,ann his wife1 depose to the following effect3 ,after the death of ,andrew ,drytzehn1 ,gutemberg's servant1 ,lawrence ,beildeck1 came to their house1 and thus addressed their relation ,nicholas ,drytzehn3 8,your deceased brother ,andrew had four 8pieces0 placed under a press1 and ,john ,gutemberg requests that you will take them out and lay them separately or apart from each other upon the press so that no one may see what it is40,,iii-#ai ,footnote ,,iii-#ai3 8,andres ,dritzehn uwer bruder selige hat iiij stcke undenan inn einer pressen ligen1 da hat uch ,hanns ,gutemberg gebetten das ir die darusz nement nd uff die presse legent von einander so kan man nit gesehen was das ist40--,schpflin1 ,vind4 ,typ4 ,document4 p4 #f4 ,conrad ,saspach states that one day ,andrew ,heilman1 a partner of ,gutemberg's1 came to him in the ,merchants' ,walk and said to him1 8,conrad1 as ,andrew ,drytzehn is dead1 and as you made the press and know all about it1 go and take the pieces,,iii-#bj out of the press and separate zerlege them so that no person may know what they are40 ,this witness intended to do as he was requested1 but on making inquiry the day after ,st4 ,stephen's ,day,,iii-#ba he found that the work was removed4 ,footnote ,,iii-#bj3 8,nym die stcke usz der pressen und zerlege s von einander so weis nyemand was es ist30 literally3 8,take the pieces out of the press and distribute or separate them1 so that no man may know what it is40--,schpflin1 ,vind4 ,typ4 ,document4 p4 #f4 8,the word zerlegen10 says ,lichtenberger1 ,initia ,typograph4 p4 #aa1 8is used at the present day by printers to denote the distribution of the types which the compositor has set up40 ,the original word 8stcke0--pieces--is always translated 8pagin0--pages--by ,schelhorn4 ,dr4 ,dibdin calls them 8forms kept together by two screws or press-spindles40--,life of ,caxton1 in his edition of ,ames's and ,herbert's ,typ4 ,antiq4 p4 lxxxvii4 note4 ,footnote ,,iii-#ba3 ,st4 ,stephen's ,day is on #bfth ,december4 ,andrew ,drytzehn1 being very ill1 confessed himself to ,peter ,eckhart on ,christmas-day1 #adch1 and it would seem that he died on the #bgth4 ,lawrence ,beildeck1 ,gutemberg's servant1 deposes that after ,andrew ,drytzehn's death he was sent by his master to ,nicholas ,drytzehn to tell him not to show the press which he had in his house to any person4 ,beildeck also adds that he was desired by ,gutemberg to go to the presses1 and to open or undo the press which was fastened with two screws1 so that the 8pieces0 which were in it should fall asunder4 ,the said 8pieces0 he was then to place in or upon the press1 so that no person might see or understand them4 ,anthony ,heilman1 the brother of one of ,gutemberg's partners1 states that he knew of ,gutemberg having sent his servant shortly before ,christmas both to ,andrew ,heilman and ,andrew ,drytzehn to bring away all the 8forms0 formen that they might be separated in his presence1 as he found several things in them of which he disapproved4,,iii-#bb ,the same witness also states that he was well aware of many people being wishful to see the press1 and that ,gutemberg had desired that they should send some person to prevent its being seen4 ,footnote ,,iii-#bb3 8,dirre gezuge hat ouch geseit das er wol wisse das ,gutenberg unlange vor ,wihnahten sinen kneht sante zu den beden ,andresen1 alle formen zu holen1 und wrdent zur lossen das er ess sehe1 un jn joch ettliche formen ruwete40--,schpflin1 ,vind4 ,typ4 ,document4 p4 #ab4 ,the separate letters1 which are now called 8types10 were frequently called 8form0 by the early printers and writers of the fifteenth century4 ,they are thus named by ,joh4 and ,vindelin de ,spire in #adfi2 by ,franciscus ,philelphus in #adgj2 by ,ludovicus ,carbo in #adga2 and by ,phil4 de ,lignamine in #adgd4--,lichtenberger1 ,init4 ,typ4 p4 #aa4 ,hans ,dnne1 a goldsmith1 deposed that about three years before1 he had done work for ,gutemberg on account of printing alone to the amount of a hundred florins4,,iii-#bc ,footnote ,,iii-#bc3 8,hanns ,dnne der goltsmyt hat gesait1 das er vor dryen jaren oder daby ,gutemberg by den hundert guldin verdienet habe1 alleine das zu dem trucken gehret0--,schpflin1 ,vind4 ,typ4 ,document4 p4 #ac4 ,as ,gutemberg evidently had kept his art as secret as possible1 it is not surprising that the notice of it by the preceding witnesses should not be more explicit4 ,though it may be a matter of doubt whether his invention was merely an improvement on block-printing1 or an attempt to print with moveable types1 yet1 bearing in mind that express mention is made of a press and of printing1 and taking into consideration his subsequent partnership with ,faust1 it is morally certain that ,gutemberg's attention had been occupied with some new discovery relative to printing at least three years previous to ,december #adci4 ,if ,gutemberg's attempts when in partnership with ,andrew ,drytzehn and others did not extend beyond block-printing1 and if the four 8pieces0 which were in the press are assumed to have been four engraved blocks1 it is evident that the mere unscrewing them from the 8chase0 or frame in which they might be enclosed1 would not in the least prevent persons from knowing what they were2 and it is difficult to conceive how the undoing of the two screws would cause 8the pieces0 to fall asunder4 ,if1 however1 we suppose the four 8pieces0 to have been so many pages of moveable types screwed together in a frame1 it is easy to conceive the effect of undoing the two screws which held it together4 ,on this hypothesis1 ,gutemberg's instructions to his servant1 and ,anthony ,heilman's request to ,conrad ,saspach1 the maker of the press1 that he would take out the 8pieces0 and distribute them1 are at once intelligible4 ,if ,gutemberg's attempts were confined to block-printing1 he could certainly have no claim to the discovery of a new art1 unless indeed we are to suppose that his invention consisted in the introduction of the press for the purpose of taking impressions2 but it is apparent that his anxiety was not so much to prevent people seeing the press as to keep them ignorant of the purpose for which it was employed1 and to conceal what was in it4 ,the evidence of ,hans ,dnne the goldsmith1 though very brief1 is in favour of the opinion that ,gutemberg's essays in printing were made with moveable types of metal2 and it also is corroborated by the fact of lead being one of the articles purchased on account of the partnership4 ,it is certain that goldsmiths were accustomed to engrave letters and figures upon silver and other metals long before the art of copper-plate printing was introduced2 and ,fournier not attending to the distinction between simple engraving on metal and engraving on a plate for the purpose of taking impressions on paper1 has made a futile objection to the argument of ,br1,,iii-#bd who very naturally supposes that the hundred florins which ,hans ,dnne received from ,gutemberg for work done on account of printing alone1 might be on account of his having cut the types1 the formation of which by means of punches and matrices was a subsequent improvement of ,peter ,scheffer4 ,it is indeed difficult to conceive in what manner a goldsmith could earn a hundred florins for work done on account of printing1 except in his capacity as an engraver2 and as ,i can see no reason to suppose that ,hans ,dnne was an engraver on wood1 ,i am inclined to think that he was employed by ,gutemberg to cut the letters on separate pieces of metal4 ,footnote ,,iii-#bd3 ,the words of ,br1 who was almoner of the ,swedish chapel at ,paris in #agfa1 are these3 8,tout le monde sait que dans ce temps les orfvres exeroient aussi l'art de la gravre2 et nous concluons de-l que ,guttemberg a commenc par des caractres de bois1 que de-l il a pass aux caractres de plomb40 ,on this passage ,fournier makes the following observations3 8,tout le monde sait au contraire que dans ce temps il n'y avoit pas un seul graveur dans le genre dont vous parlez1 et cela par une raison bien simple3 c'est que cet art de la gravre n'a t invent que vingt-trois ans aprs ce que vous citez1 c'est--dire en #adfj1 par ,masso ,piniguera40--,remarques1 c4 p4 #bj4 ,br mentioned no particular kind of engraving2 and the name of the ,italian goldsmith who is supposed to have been the first who discovered the art of taking impressions from a plate on paper1 was ,finiguerra1 not ,piniguera1 as ,fournier1 with his usual inaccuracy1 spells it4 ,there is no evidence to show that ,gutemberg succeeded in printing any books at ,strasburg with moveable types3 and the most likely conclusion seems to be that he did not4 ,as the process between him and the ,drytzehns must have given a certain degree of publicity to his invention1 it might be expected that some notice would have been taken of its first-fruits had he succeeded in making it available in ,strasburg4 ,on the contrary1 all the early writers in the least entitled to credit1 who have spoken of the invention of printing with moveable types1 agree in ascribing the honour to ,mentz1 after ,gutemberg had returned to that city and entered into partnership with ,faust4 ,two writers1 however1 whose learning and research are entitled to the highest respect1 are of a different opinion4 8,it has been doubted10 says ,professor ,oberlin1 8that ,gutemberg ever printed books at ,strasburg4 ,it is1 nevertheless1 probable that he did2 for he had a press there in #adci1 and continued to reside in that city for five years afterwards4 ,he might print several of those small tracts without date1 in which the inequality of the letters and rudeness of the workmanship indicate the infancy of the art4 ,schpflin thinks that he can identify some of them2 and the passages cited by him clearly show that printing had been carried on there40,,iii-#be ,it is1 however1 to be remarked that the passages cited by ,schpflin1 and referred to by ,oberlin1 by no means show that the art of printing had been practised at ,strasburg by ,gutemberg2 nor do they clearly prove that it had been continuously carried on there by his partners or others to the time of ,mentelin1 who probably established himself there as a printer in #adff4 ,footnote ,,iii-#be3 ,essai d',annales de la ,vie de ,jean ,gutenberg1 par ,jer4 ,j4 ,oberlin4 #hvo4 ,strasbourg1 ,an ix4 #ahjb4 ,it has been stated that ,gutemberg's first essays in typography were made with wooden types2 and ,daniel ,specklin1 an architect of ,strasburg1 who died in #aehi1 professed to have seen some of them4 ,according to his account there was a hole pierced in each letter1 and they were arranged in lines by a string being passed through them4 ,the lines thus formed like a string of beads were afterwards collected into pages1 and submitted to the press4 ,particles and syllables of frequent occurrence were not formed of separate letters1 but were cut on single pieces of wood4 ,we are left to conjecture the size of those letters2 but if they were sufficiently large to allow of a hole being bored through them1 and to afterwards sustain the action of the press1 they could not well be less than the missal types with which ,faust and ,scheffer's ,psalter is printed4 ,it is however likely that ,specklin had been mistaken2 and that he had supposed some old initial letters1 large enough to admit of a hole being bored through them without injury1 to have been such as were generally used in the infancy of the art4 ,in #adda and #addb1 ,gutemberg1 who appears to have been always in want of money1 executed deeds of sale to the dean and chapter of the collegiate church of ,st4 ,thomas at ,strasburg1 whereby he assigned to them certain rents and profits in ,mentz which he inherited from his uncle ,john ,leheymer1 who had been a judge in that city4 ,in #addc and #addd ,gutemberg's name still appears in the rate or tax book of ,strasburg2 but after the latter year it is no longer to be found4 ,about #adde1 it is probable that he returned to ,mentz1 his native city1 having apparently been unsuccessful in his speculations at ,strasburg4 ,from this period to #adej it is likely that he continued to employ himself in attempts to perfect his invention of typography4 ,in #adej he entered into partnership with ,john ,faust1 a goldsmith and native of ,mentz1 and it is from this year that ,trithemius dates the invention4 ,in his ,annales ,hirsaugienses1 under the year #adej1 he gives the following account of the first establishment and early progress of the art4 8,about this time #adej1 in the city of ,mentz upon the ,rhine1 in ,germany1 and not in ,italy as some have falsely stated1 this wonderful and hitherto unheard of art of printing was conceived and invented by ,john ,gutemberg1 a citizen of ,mentz4 ,he had expended nearly all his substance on the invention2 and being greatly pressed for want of means1 was about to abandon it in despair1 when1 through the advice and with the money furnished by ,john ,faust1 also a citizen of ,mentz1 he completed his undertaking4 ,at first they printed the vocabulary called the ,catholicon1 from letters cut on blocks of wood4 ,these letters however could not be used to print anything else1 as they were not separately moveable1 but were cut on the blocks as above stated4 ,to this invention succeeded others more subtle1 and they afterwards invented a method of casting the shapes1 named by them matrices1 of all the letters of the ,roman alphabet1 from which they again cast letters of copper or tin1 sufficient to bear any pressure to which they might be subjected1 and which they had formerly cut by hand4 ,as ,i have heard1 nearly thirty years ago1 from ,peter ,scheffer1 of ,gernsheim1 citizen of ,mentz1 who was son-in-law of the first inventor1 great difficulties attended the first establishment of this art2 for when they had commenced printing a ,bible they found that upwards of four thousand florins had been expended before they had finished the third quaternion or quire of four sheets4 ,peter ,scheffer1 an ingenious and prudent man1 at first the servant1 and afterwards1 as has been already said1 the son-in-law of ,john ,faust1 the first inventor1 discovered the more ready mode of casting the types1 and perfected the art as it is at present exercised4 ,these three for some time kept their method of printing a secret1 till at length it was divulged by some workmen whose assistance they could not do without4 ,it first passed to ,strasburg1 and gradually to other nations40,,iii-#bf ,footnote ,,iii-#bf3 ,trithemii ,annales ,hirsaugienses1 tom4 ii4 ad annum #adej4 ,the original passage is printed in ,prosper ,marchand's ,histoire de l',imprimerie1 #bnde ,partie1 p4 #g4 ,as ,trithemius finished the work which contains the preceding account in #aead1 ,marchand concludes that he must have received his information from ,scheffer about #adhd1 which would be within thirty-five years of ,gutemberg's entering into a partnership with ,faust4 ,although ,trithemius had his information from so excellent an authority1 yet the account which he has thus left is far from satisfactory4 ,schpflin1 amongst other objections to its accuracy1 remarks that ,trithemius is wrong in stating that the invention of moveable types was subsequent to ,gutemberg's connexion with ,faust1 seeing that the former had previously employed them at ,strasburg2 and he also observes that in the learned abbot's account there is no distinct mention made of moveable letters cut by hand1 but that we are led to infer that the improvement of casting types from matrices immediately followed the printing of the ,catholicon from wood-blocks4 ,the words of ,trithemius on this point are as follows3 8,post hc1 inventis successerunt subtiliora1 inveneruntque modum fundendi formas omnium ,latini alphabeti litterarum1 quas ipsi matrices nominabant1 ex quibus rursum neos sive stanneos characteres fundebant ad omnem pressuram sufficientes quos prius manibus sculpebant40 ,from this passage it might be objected in opposition to the opinion of ,schpflin3,,iii-#bg #a4 ,that the 8subtiliora10--more subtle contrivances1 mentioned before the invention of casting moveable letters1 may relate to the cutting of such letters by hand4 #b4 ,that the word 8quos0 is to be referred to the antecedent 8neos sive stanneos characteres10--letters of copper or tin1--and not to the 8characteres in tabulis ligneis scripti10--letters engraved on wood-blocks1--which are mentioned in a preceding sentence4 ,the inconsistency of ,trithemius in ascribing the origin of the art to ,gutemberg1 and twice immediately afterwards calling ,scheffer the son-in-law of 8the first inventor10 ,faust1 is noticed by ,schpflin1 and has been pointed out by several other writers4 ,footnote ,,iii-#bg3 ,vindici ,typographic1 pp4 #gg1 #gh4 ,in #adee the partnership between ,gutemberg and ,faust was dissolved at the instance of the latter1 who preferred a suit against his partner for the recovery1 with interest1 of certain sums of money which he had advanced4 ,there is no mention of the time when the partnership commenced in the sentence or award of the judge2 but ,schwartz infers1 from the sum claimed on account of interest1 that it must have been in ,august #addi4 ,it is probable that his conclusion is very near the truth2 for most of the early writers who have mentioned the invention of printing at ,mentz by ,gutemberg and ,faust1 agree in assigning the year #adej as that in which they began to practise the new art4 ,it is conjectured by ,santander that ,faust1 who seems to have been a selfish character1,,iii-#bh sought an opportunity of quarrelling with ,gutemberg as soon as ,scheffer had communicated to him his great improvement of forming the letters by means of punches and matrices4 ,footnote ,,iii-#bh3 ,in the first work which issued from ,faust and ,scheffer's press1 with a date and the printer's names1--the ,psalter of #adeg1--;and in several others1 ,scheffer appears on an equal footing with ,faust4 ,in the colophon of an edition of ,cicero de ,officiis1 #adfe1 ,faust has inserted the following degrading words3 8,presens opus ,joh4 ,fust ,moguntinus civis 4 4 4 4 arte quadam perpulcra ,petri manu pueri mei feliciter effeci40 ,his partner1 to whose ingenuity he is chiefly indebted for his fame1 is here represented in the character of a menial4 ,peter ,scheffer1 of ,gernsheim1 clerk1 who perfected the art of printing1 is now degraded to 8,peter1 my boy0 by whose hand--not by his ingenuity--,john ,faust exercises a certain beautiful art4 ,the document containing the decision of the judges was drawn up by ,ulric ,helmasperger1 a notary1 on #fth ,november1 #adee1 in the presence of ,peter ,gernsheim ,scheffer1 ,james ,faust1 the brother of ,john1 ,henry ,keffer1 and others4,,iii-#bi ,from the statement of ,faust1 as recited in this instrument1 it appears that he had first advanced to ,gutemberg eight hundred florins at the annual interest of six per cent41 and afterwards eight hundred florins more4 ,gutemberg having neglected to pay the interest1 there was owing by him a sum of two hundred and fifty florins on account of the first eight hundred2 and a further sum of one hundred and forty on account of the second4 ,in consequence of ,gutemberg's neglecting to pay the interest1 ,faust states that he had incurred a further expense of thirty-six florins from having to borrow money both of ,christians and ,jews4 ,for the capital advanced by him1 and arrears of interest1 he claimed on the whole two thousand and twenty florins4,,iii-#cj ,footnote ,,iii-#bi3 ,henry ,keffer was employed in ,gutemberg and ,faust's printing-office4 ,he afterwards went to ,nuremberg1 where his name appears as a printer1 in #adgc1 in conjunction with ,john ,sensenschmid4--,primaria qudam ,documenta de origine ,typographi1 edente ,c4 ,g4 ,schwartzio4 #hvo4 ,altorfii1 #agdj4 ,footnote ,,iii-#cj3 8,er ,johan ,fust denselben solt frter under ,christen und ,iudden hab mssen ussnemen1 und davor sess und dreyssig ,gulden ungevrlich zu guter ,rechnung zu ,gesuch geben1 das sich also zusamen mit dem ,hauptgeld ungevrlich trifft an zvvytusend und zvvanzig ,gulden40 ,schwartz in an observation upon this passage conceives the sum of #b1jbj florins to be thus made up3 capital advanced1 in two sums of #hjj each1 #a1fjj florins3 interest #cij2 on account of compound interest1 incurred by ,faust1 #cf2 making in all #b1jbf4 ,he thinks that #b1jbj florins only were claimed as a round sum2 and that the second sum of #hjj florins was advanced in ,october #adeb4--,primaria qudam ,documenta1 pp4 #i-ad4 ,in answer to these allegations ,gutemberg replied3 that the first eight hundred florins which he received of ,faust were advanced in order to purchase utensils for printing1 which were assigned to ,faust as a security for his money4 ,it was agreed between them that ,faust should contribute three hundred florins annually for workmen's wages and house-rent1 and for the purchase of parchment1 paper1 ink1 and other things4,,iii-#ca ,it was also stipulated that in the event of any disagreement arising between them1 the printing materials assigned to ,faust as a security should become the property of ,gutemberg on his repaying the sum of eight hundred florins4 ,this sum1 however1 which was advanced for the completion of the work1 ,gutemberg did not think himself bound to expend on book-work alone2 and although it was expressed in their agreement that he should pay six florins in the hundred for an annual interest1 yet ,faust assured him that he would not accept of it1 as the eight hundred florins were not paid down at once1 as by their agreement they ought to have been4 ,for the second sum of eight hundred florins he was ready to render ,faust an account4 ,for interest or usury he considered that he was not liable4,,iii-#cb ,footnote ,,iii-#ca3 84 4 4 4 und das ,,johannes ,,fust ym ierlichen #cjj ,gulden vor ,kosten geben1 und auch ,gesinde ,lone1 ,huss ,zinss1 ,vermet1 ,papier1 ,tinte1 c4 verlegen solte40 ,primaria qedam ,doc4 p4 #aj4 ,footnote ,,iii-#cb3 84 4 4 4 von den ubrigen #hjj ,gulden vvegen begert er ym ein rechnung zu thun1 so gestett er auch ym keins ,soldes noch ,wuchers1 und hofft ym im rechten darum nit pflichtigk sin40 ,primaria qudam ,doc4 p4 #aa4 ,the judges1 having heard the statements of both parties1 decided that ,gutemberg should repay ,faust so much of the capital as had not been expended in the business2 and that on ,faust's producing witnesses1 or swearing that he had borrowed upon interest the sums advanced1 ,gutemberg should pay him interest also1 according to their agreement4 ,faust having made oath that he had borrowed #aeej florins1 which he paid over to ,gutemberg1 to be employed by him for their common benefit1 and that he had paid yearly interest1 and was still liable on account of the same1 the notary1 ,ulric ,helmasperger1 signed his attestation of the award on #fth ,november1 #adee4;,,iii-#cc ,it would appear that ,gutemberg not being able to repay the money was obliged to relinquish the printing materials to ,faust4 ,footnote ,,iii-#cc3 ,mercier1 who is frequently referred to as an authority on subjects connected with ,bibliography1 has1 in his supplement to ,prosper ,marchand's ,histoire de l',imprimerie1 confounded this document with that containing an account of the process between the ,drytzehns and ,gutemberg at ,strasburg in #adci2 and ,heineken1 at p4 #bee of his ,ide ,gnrale1 has committed the same mistake4 ,salmuth1 who alludes to the above document in his annotations upon ,pancirollus1 has most singularly perverted its meaning1 by representing ,gutemberg as the person who advanced the money1 and ,faust as the ingenious inventor who was sued by his rich partner4 8,from this it evidently appears10 says he1 after making ,gutemberg and ,faust exchange characters1 8that ,gutemberg was not the first who invented and practised typography2 but that some years after its invention he was admitted a partner by ,john ,faust1 to whom he advanced money40 ,if for 8,gutemberg0 we read 8,faust10 and vice vers1 the account is correct4 ,whether ,faust1 who might be an engraver as well as a goldsmith1 assisted ,gutemberg or not by engraving the types1 does not appear4 ,it is stated that ,gutemberg's earliest productions at ,mentz were an alphabet cut on wood1 and a ,donatus executed in the same manner4 ,trithemius mentions a 8,catholicon0 engraved on blocks of wood as one of the first books printed by ,gutemberg and ,faust1 and this ,heineken thinks was the same as the ,donatus4,,iii-#cd ,whatever may have been the book which ,trithemius describes as a 8,catholicon10 it certainly was not the 8,catholicon ,joannis ,januensis10 a large folio which appeared in #adfj without the name or residence of the printer1 but which is supposed to have been printed by ,gutemberg after the dissolution of his partnership with ,faust4 ,footnote ,,iii-#cd3 8,je crois1 que ces tables deux planches de bois autrefois chez le ,duc de la ,valliere sont du livre que le ,chroniqueur de ,cologne appelle un ,donat et que ,trithem nomme un ,catholicon1 7livre universel17 ce qu'on a confondu ensuite avec le grand ouvrage intitul ,catholicon ,januensis40--,ide ,gnrale1 p4 #beh4 ,it has been stated that previous to the introduction of metal types ,gutemberg and ,faust used moveable types of wood2 and ,schpflin speaks confidently of such being used at ,strasburg by ,mentelin long after ,scheffer had introduced the improved method of forming metal types by means of punches and matrices4 ,on this subject1 however1 ,schpflin's opinion is of very little weight1 for on whatever relates to the practice of typography or wood engraving he was very slightly informed4 ,he fancies that all the books printed at ,strasburg previous to the appearance of ,vincentii ,bellovacensis ,speculum ,historiale in #adgc1 were printed with moveable types of wood4 ,it is1 however1 doubtful if ever a single book was printed in this manner4 ,willett in his ,essay on ,printing1 published in the eleventh volume of the ,archologia1 not only says that no entire book was ever printed with wooden types1 but adds1 8,i venture to pronounce it impossible40 ,he has pronounced rashly4 ,although it certainly would be a work of considerable labour to cut a set of moveable letters of the size of what is called ,donatus type1 and sufficient to print such a book1 yet it is by no means impossible4 ,that such books as 8,eyn ,manung der ,cristenheit widder die durken10 of which a fac-simile is given by ,aretin1 and the first and second ,donatuses1 of which specimens are given by ,fischer1 might be printed from wooden types ,i am perfectly satisfied1 though ,i am decidedly of opinion that they were not4 ,marchand has doubted the possibility of printing with wooden types1 which he observes would be apt to warp when wet for the purpose of cleaning2 but it is to be observed that they would not require to be cleaned before they were used4 ,fournier1 who was a letter-founder1 and who occasionally practised wood engraving1 speaks positively of the ,psalter first printed by ,faust and ,scheffer in #adeg1 and again in #adei1 being printed with wooden types2 and he expresses his conviction of the practicability of cutting and printing with such types1 provided that they were not of a smaller size than ,great ,primer ,roman4 ,meerman shows the possibility of using such types2 and ,camus caused two lines of the ,bible1 supposed to have been printed by ,gutemberg1 to be cut in separate letters on wood1 and which sustained the action of the press4,,iii-#ce ,lambinet says1 it is certain that ,gutemberg cut moveable letters of wood1 but he gives no authority for the assertion2 and ,i am of opinion that no unexceptionable testimony on this point can be produced4 ,the statements of ,serarius and ,paulus ,pater1,,iii-#cf who profess to have seen such ancient wooden types at ,mentz1 are entitled to as little credit as ,daniel ,specklin1 who asserted that he had seen such at ,strasburg4 ,they may have seen large initial letters of wood with holes bored through1 but scarcely any lower-case letters which were ever used in printing any book4 ,footnote ,,iii-#ce3 ,oberlin1 ,essai d',annales de la ,vie de ,gutenberg4 ,footnote ,,iii-#cf3 84 4 4 4 ligneos typos1 ex buxi frutice1 perforatos in medio1 ut zona colligari una jungique commode possint1 ex ,fausti officina reliquos1 ,mogunti aliquando me conspexisse memini40--,paulus ,pater1 in ,dissertatione de ,typis ,literarum1 c4 p1 #aj4 #dto4 ,lipsi1 #agaj4 ,heineken1 at p4 #bed of his ,ide ,gn41 declares himself to be convinced that ,gutemberg had cut separate letters on wood1 but he thinks that no person would be able to cut a quantity sufficient to print whole sheets1 and1 still less1 large volumes as many pretend4 ,that experiments might be made by ,gutemberg with wooden types ,i can believe1 though ,i have not been able to find any sufficient authority for the fact4 ,of the possibility of cutting moveable types of a certain size in wood1 and of printing a book with them1 ,i am convinced from experiment2 and could convince others1 were it worth the expense1 by printing a fac-simile1 from wooden types1 of any page of any book which is of an earlier date than #adfb4 ,but1 though convinced of the possibility of printing small works in letters of a certain size1 with wooden types1 ,i have never seen any early specimens of typography which contained positive and indisputable indications of having been printed in that manner4 ,it was1 until of late1 confidently asserted by persons who pretended to have a competent knowledge of the subject1 that the text of the celebrated ,adventures of ,theurdank1 printed in #aeag1 had been engraved on wood-blocks1 and their statement was generally believed4 ,there cannot1 however1 now be a doubt in the mind of any person who examines the book1 and who has the slightest knowledge of wood engraving and printing1 of the text being printed with metal types4 ,during the partnership of ,gutemberg and ,faust it is likely that they printed some works1 though there is scarcely one which can be assigned to them with any degree of certainty4 ,one of the supposed earliest productions of typography is a letter of indulgence conceded on the #abth of ,august1 #adea1 by ,pope ,nicholas ,v1 to ,paulin ,zappe1 counsellor and ambassador of ,john1 ,king of ,cyprus4 ,it was to be in force for three years from the #ast of ,may1 #adeb1 and it granted indulgence to all persons who within that period should contribute towards the defence of ,cyprus against the ,turks4 ,four copies of this indulgence are known1 printed on vellum in the manner of a patent or brief4 ,the characters are of a larger size than those of the 8,durandi ,rationale10 #adei1 or of the ,latin ,bible printed by ,faust and ,scheffer in #adfb4 ,the following date appears at the conclusion of one of the copies3 8,datum ,erffurdie sub anno ,domini m cccc liiij1 die vero quinta decima mensis novembris40 ,the words which are here printed in ,italic1 are in the original written with a pen4 ,a copy of the same indulgence discovered by ,professor ,gebhardi is more complete4 ,it has at the end1 a 8,forma plenissim absolutionis et remissionis in vita et in mortis articulo10--a form of plenary absolution and remission in life and at the point of death4 ,at the conclusion is the following date1 the words in ,italics being inserted with a pen3 8,datum in ,luneborch anno ,domini m cccc l quinto1 die vero vicesima sexta mensis ,januarii40 ,heineken1 who saw this copy in the possession of ,breitkopf1 has observed that in the original date1 m cccc liiij1 the last four characters had been effaced and the word quinto written with a pen2 but yet in such a manner that the numerals iiij might still be perceived4 ,in two copies of this indulgence in the possession of ,earl ,spencer1 described by ,dr4 ,dibdin in the ,bibliotheca ,spenceriana1 vol4 i4 p4 #dd1 the final units 7iiij7 have not had the word 8quinto0 overwritten1 but have been formed with a pen into the numeral ,v4 ,in the catalogue of ,dr4 ,kloss's library1 ,no4 #abhg1 it is stated that a fragment of a 8,donatus0 there described1 consisting of two leaves of parchment1 is printed with the same type as the ,mazarine ,bible2 and it is added1 on the authority of ,george ,appleyard1 ,esq41 ,earl ,spencer's librarian1 that the 8,littera ,indulgenti0 of ,pope ,nicholas ,v1 in his lordship's possession1 contains two lines printed with the same type4 ,breitkopf had some doubts respecting this instrument2 but a writer in the ,jena ,literary ,gazette is certainly wrong in supposing that it had been ante-dated ten years4 ,it was only to be in force for three years2 and ,pope ,nicholas ,v1 by whom it was granted1 died on the #bdth ,march1 #adee4;,,iii-#cg ,two words1 ,,universis and ,,paulinus1 which are printed in capitals in the first two lines1 are said to be of the same type as those of a ,bible of which ,schelhorn has given a specimen in his 8,dissertation on an early ,edition of the ,bible10 ,ulm1 #agfj4 ,footnote ,,iii-#cg3 ,oberlin1 ,essai d',annales de la ,vie de ,gutenberg4 ,the next earliest specimen of typography with a date is the tract entitled 8,eyn ,manung der ,cristenkeit widder die durken10--,an ,appeal to ,christendom against the ,turks1--which has been alluded to at page #acf4 ,a lithographic fac-simile of the whole of this tract1 which consists of nine printed pages of a quarto size1 is given by ,aretin at the end of his 8,essay on the earliest historical results of the invention of ,printing10 published at ,munich in #ahjh4 ,this 8,appeal0 is in ,german rhyme1 and it consists of exhortations1 arranged under every month in the manner of a calendar1 addressed to the pope1 the emperor1 to kings1 princes1 bishops1 and free states1 encouraging them to take up arms and resist the ,turks4 ,the exhortation for ,january is addressed to ,pope ,nicholas ,v1 who died1 as has been observed1 in ,march #adee4 ,towards the conclusion of the prologue is the date 8,als man zelet noch din' geburt offenbar m4cccc4lv4 iar sieben wochen und iiii do by von nativitatis bis esto michi40 ,at the conclusion of the exhortation for ,december are the following words3 8,eyn gut selig nuwe ,jar30 ,a happy new year6 ,from these circumstances ,aretin is of opinion that the tract was printed towards the end of #aded4 ,m4 ,bernhart1 however1 one of the superintendents of the ,royal ,library at ,munich1 of which ,aretin was the principal director1 has questioned the accuracy of this date2 and from certain allusions in the exhortation for ,december1 has endeavoured to show that the correct date ought to be #adgb4;,,iii-#ch ,footnote ,,iii-#ch3 ,dr4 ,dibdin1 ,bibliog4 ,tour1 vol iii4 p4 #ace1 second edition4 ,fischer in looking over some old papers discovered a calendar of a folio size1 and printed on one side only1 for #adeg4 ,the letters1 according to his description1 resemble those of a ,donatus1 of which he has given a specimen in the third part of his ,typographic ,rarities1 and he supposes that both the ,donatus and the ,calendar were printed by ,gutemberg4,,iii-#ci ,it is1 however1 certain that the ,donatus which he ascribed to ,gutemberg was printed by ,peter ,scheffer1 and in all probability after ,faust's death2 and from the similarity of the type it is likely that the ,calendar was printed at the same office4 ,fischer1 having observed that the large ornamental capitals of this ,donatus were the same as those in the ,psalter printed by ,faust and ,scheffer in #adeg1 was led most erroneously to conclude that the large ornamental letters of the ,psalter1 which were most likely of wood1 had been cut by ,gutemberg4 ,the discovery of a ,donatus with ,peter ,scheffer's imprint has completely destroyed his conjectures1 and invalidated the arguments advanced by him in favour of the ,mazarine ,bible being printed by ,gutemberg alone4 ,footnote ,,iii-#ci3 ,gotthelf ,fischer1 ,notice du premier livre imprim avec date4 #dto4 ,mayence1 ,an xi4 ,typographisch4 ,seltenheit4 #fte4 ,lieferung1 ,s4 #be4 #hvo4 ,nrnberg1 #ahjd4 ,when ,fischer published his account of the ,calendar1 ,aretin had not discovered the tract entitled 8,eyn ,manung der ,cristenheit widder die durken40 ,as ,trithemius and the compiler of the ,cologne ,chronicle have mentioned a ,bible as one of the first books printed by ,gutemberg and ,faust1 it has been a fertile subject of discussion among bibliographers to ascertain the identical edition to which the honour was to be awarded4 ,it seems1 however1 to be now generally admitted that the edition called the ,mazarine,,iii-#dj is the best entitled to that distinction4 ,in #aghi ,maugerard produced a copy of this edition to the ,academy of ,metz1 containing memoranda which seem clearly to prove that it was printed at least as early as ,august #adef4 ,as the partnership between ,gutemberg and ,faust was only dissolved in ,november #adee1 it is almost impossible that such could have been printed by either of them separately in the space of eight months2 and as there seems no reason to believe that any other typographical establishment existed at that period1 it is most likely that this was the identical edition alluded to by ,trithemius as having cost #d1jjj florins before the partners1 ,gutemberg and ,faust1 had finished the third quaternion1 or quire of four sheets4 ,footnote ,,iii-#dj3 ,it is called the ,mazarine ,bible in consequence of the first known copy being discovered in the library formed by ,cardinal ,mazarine4 ,dr4 ,dibdin1 in his ,bibliographical ,tour1 vol4 ii4 p4 #aia1 mentions having seen not fewer than ten or twelve copies of this edition1 which he says must not be designated as 8of the very first degree of rarity40 ,an edition of the ,bible1 supposed to have been printed at ,bamberg by ,albert ,pfister about #adfa1 is much more scarce4 ,the copy produced by ,maugerard is printed on paper1 and is now in the ,royal ,library at ,paris4 ,it is bound in two volumes2 and every complete page consists of two columns1 each containing forty-two lines4 ,at the conclusion of the first volume the person by whom it was rubricated,,iii-#da and bound has written the following memorandum3 8,et sic est finis prime partis biblie4 ,scr4 ,veteris testamenti4 ,illuminata seu rubricata et illuminata p' henricum ,albeh alius ,cremer anno dn'i m4cccc4lvi festo ,bartholomei apli--,deo gratias--alleluja40 ,at the end of the second volume the same person has written the date in words at length3 8,iste liber illuminatus1 ligatus completus est p' henricum ,cremer vicari ecclesie collegatur ,sancti ,stephani maguntini sub anno ,d'ni millesimo quadringentesimo quinquagesimo sexto festo assumptionis gloriose virginis ,marie4 ,deo gracias alleluja40,,iii-#db ,fischer,,iii-#dc says that this last memorandum assigns 8einen sptern tag0--a later day--to the end of the rubricator's work4 ,in this he is mistaken2 for the feast of the ,assumption of the ,virgin1 when the second volume was finished1 is on the #aeth of ,august3 while the feast of ,st4 ,bartholomew1 the day on which he finished the first1 falls on ,august #bdth4 ,lambinet1,,iii-#dd who doubts the genuineness of those inscriptions1 makes the circumstance of the second volume being finished nine days before the first1 a ground of objection4 ,this seeming inconsistency however can by no means be admitted as a proof of the inscriptions being spurious4 ,it is indeed more likely that the rubricator might actually finish the second volume before the first1 than that a modern forger1 intent to deceive1 should not have been aware of the objection4 ,footnote ,,iii-#da3 ,in most of the early printed books the capitals were left to be inserted in red ink by the pen or pencil of the 8rubricator40 ,footnote ,,iii-#db3 ,there are fac-simile tracings of those memorandums1 on separate slips of paper1 in the copy of the ,mazarine ,bible in the ,king's ,library at the ,british ,museum2 and fac-simile engravings of them are given in the ,m',carthy ,catalogue4 ,footnote ,,iii-#dc3 ,typograph4 ,seltenheit4 ,s4 #bj1 #cte4 ,lieferung4 ,footnote ,,iii-#dd3 ,recherches sur l',origine de l',imprimerie1 p4 #ace4 ,the genuineness of the inscriptions is1 however1 confirmed by other evidence which no mere conjecture can invalidate4 ,on the last leaf of this ,bible there is a memorandum written by ,berthold de ,steyna1 vicar of the parochial church of 8,ville-,ostein10,,iii-#de to the sacrist of which the ,bible belonged4 ,the sum of this memorandum is that on ,st4 ,george's day #bc;d ,april #adeg there was chaunted1 for the first time by the said ,berthold1 the mass of the holy sacrament4 ,in the ,carthusian monastery without the walls of ,mentz1 ,schwartz,,iii-#df says that he saw a copy of this edition1 the last leaves of which were torn out2 but that in an old catalogue he perceived an entry stating that this ,bible was presented to the monastery by ,gutemberg and ,faust4 ,if the memorandum in the catalogue could be relied on as genuine1 it would appear that this ,bible had been completed before the dissolution of ,gutemberg and ,faust's partnership in ,november #adee4 ,footnote ,,iii-#de3 ,oberlin says that 8,ville-,ostein0 lies near ,erfurth1 and is in the diocese of ,mentz4 ,footnote ,,iii-#df3 ,index librorum sub incunabula typograph4 impressorum4 #agci2 cited by ,fischer1 ,typograph4 ,seltenheit4 ,s4 #ba1 #cte4 ,lieferung4 ,although not a single work has been discovered with ,gutemberg's imprint1 yet there cannot be a doubt of his having established a press of his own1 and printed books at ,mentz after the partnership between him and ,faust had been dissolved4 ,in the chronicle printed by ,philip de ,lignamine at ,rome in #adgd1 it is expressly stated1 under the year #adeh1 that there were then two printers at ,mentz skilful in printing on parchment with metal types4 ,the name of one was ,cutemberg1 and the other ,faust2 and it was known that each of them could print three hundred sheets in a day4,,iii-#dg ,on ,st4 ,margaret's day1 #bjth ,july1 #adei1 ,gutemberg1 in conjunction with his brother ,friele and his cousins ,john1 ,friele1 and ,pederman1 executed a deed in favour of the convent of ,st4 ,clara at ,mentz1 in which his sister ,hebele was a nun4 ,in this document1 which is preserved among the archives of the university of ,mentz1 there occurs a passage1 8which makes it as clear10 says ,fischer1 who gives the deed entire1 8as the finest ,may-day noon1 that ,gutemberg had not only printed books at that time1 but that he intended to print more40 ,the passage alluded to is to the following effect3 8,and with respect to the books which ,i1 the above-named ,john1 have given the library of the said convent1 they shall remain for ever in the said library2 and ,i1 the above-named ,john1 will furthermore give to the library of the said convent all such books required for pious uses and the service of ,god1--whether for reading or singing1 or for use according to the rules of the order1--as ,i1 the above-named ,john1 have printed or shall hereafter print40,,iii-#dh ,footnote ,,iii-#dg3 ,philippi de ,lignamine ,chronica ,summorum ,pontificum ,imperatorumque1 anno #adgd1 ,rom impressa4 ,a second edition of this chronicle was printed at ,rome in #adgf by 8,schurener de ,bopardia40 ,in both editions ,gutemberg is called 8,jacobus10--,james1 and is said to be a native of ,strasburg4 ,under the same year ,john ,mentelin is mentioned as a printer at ,strasburg4 ,footnote ,,iii-#dh3 ,fischer1 ,typograph4 ,seltenheit4 ,s4 #dd1 #aste4 ,lieferung4 ,in this instrument ,gutemberg describes himself as 8,henne ,genssfleisch von ,sulgeloch1 genennt ,gudinberg40 ,that ,gutemberg had a press of his own is further confirmed by a bond or deed of obligation executed by ,dr4 ,conrad ,homery on the ,friday after ,st4 ,matthias' day1 #adfh1 wherein he acknowledges having received 8certain forms1 letters1 utensils1 materials1 and other things belonging to printing10 left by ,john ,gutemberg deceased2 and he binds himself to the archbishop ,adolphus not to use them beyond the territory of ,mentz1 and in the event of his selling them to give a preference to a person belonging to that city4 ,the words translated 8certain forms1 letters1 utensils1 materials1 and other things belonging to printing10 in the preceding paragraph1 are in the original enumerated as3 8etliche formen1 buchstaben1 instrument1 gezuge und anders zu truckwerck gehoerende40 ,as there is a distinction made between 8formen0 and 8buchstaben10--literally1 8forms0 and 8letters10--,schwartz is inclined to think that by 8formen0 engraved wood-blocks might be meant1 and he adduces in favour of his opinion the word 8formen-schneider10 the old ,german name for a wood-engraver4 ,one or more pages of type when wedged into a rectangular iron frame called a 8chase10 and ready for the press1 is termed a 8form0 both by ,english and ,german printers2 but ,schwartz thinks that such were not the 8forms0 mentioned in the document4 ,as there appears to be a distinction also between 8instrument0 and 8gezuge10--translated utensils and materials1--he supposes that the latter word may be used to signify the metal of which the types were formed4 ,he observes that ,german printers call their old worn-out types 8der ,zeug0--literally1 8stuff10 and that the mixed metal of which types are composed is also known as 8der ,zeug1 oder ,metall40,,iii-#di ,it is to be remembered that the earliest printers were also their own letter-founders4 ,footnote ,,iii-#di3 ,primaria qudam ,document4 pp4 #bf-cd4 ,the work called the ,catholicon1 compiled by ,johannes de ,balbis1 ,januensis1 a ,dominican1 which appeared in #adfj without the printer's name1 has been ascribed to ,gutemberg's press by some of the most eminent ,german bibliographers4 ,it is a ,latin dictionary and introduction to grammar1 and consists of three hundred and seventy-three leaves of large folio size4 ,fischer and others are of opinion that a ,vocabulary1 printed at ,elfeld1--in ,latin1 ,altavilla1--near ,mentz1 on #fth ,november1 #adfg1 was executed with the same types4 ,at the end of this work1 which is a quarto of one hundred and sixty-five leaves1 it is stated to have been begun by ,henry ,bechtermuntze1 and finished by his brother ,nicholas1 and ,wigand ,spyess de ,orthenberg4,,iii-#ej ,a second edition of the same work1 printed by ,nicholas ,bechtermuntze1 appeared in #adfi4 ,the following extract from a letter written by ,fischer to ,professor ,zapf in #ahjc1 contains an account of his researches respecting the ,catholicon and ,vocabulary3 8,the frankness with which you retracted your former opinions respecting the printer of the ,catholicon of #adfj1 and agreed with me in assigning it to ,gutemberg1 demands the respect of every unbiassed inquirer4 ,i beg now merely to mention to you a discovery that ,i have made which no longer leaves it difficult to conceive how the ,catholicon types should have come into the hands of ,bechtermuntze4 ,from a monument which stands before the high altar of the church of ,elfeld it is evident that the family of ,sorgenloch1 of which that of ,gutemberg or ,gnsfleisch was a branch1 was connected with the family of ,bechtermuntze by marriage4 ,the types used by ,bechtermuntze were not only similar to those formerly belonging to ,gutemberg1 but were the very same1 as ,i always maintained1 appealing to the principles of the type-founder's art4 ,they had come into the possession of ,bechtermuntze by inheritance1 on the death of ,gutemberg1 and hence ,dr4 ,homery's reclamation40,,iii-#ea ,footnote ,,iii-#ej3 84 4 4 4 per henricum bechtermuncze pie memorie in altavilla est inchoatum4 et dem sub anno di ,m4,,cccclxii4 ip die ,leonardi confessoris qui fuit quarta die mensis novembris p4 nycolaum bechtermcze fratrem dicti ,henrici et ,wygand ,spyess de orthenberg consummat40 ,there is a copy of this edition in the ,royal ,library at ,paris4 ,footnote ,,iii-#ea3 ,typographisch4 ,seltenheit4 ,s4 #aja1 #ete4 ,lieferung4 ,zapf1 to whom ,fischer's letter is addressed1 had previously communicated to ,oberlin his opinion that the types of the ,catholicon were the same as those of an ,augustinus de ,vita ,christiana1 #dto1 without date or printer's name1 but having at the end the arms of ,faust and ,scheffer4 ,in his account1 printed at ,nuremberg1 #ahjc1 of an early edition of 8,joannis de ,turre-cremata explanatio in ,psalterium10 he acknowledged that he was mistaken2 thus agreeing with ,schwartz1 ,meerman1 ,panzer1 and ,fischer1 that no book known to be printed by ,faust and ,scheffer is printed with the same types as the ,catholicon and the ,vocabulary4 ,although there can be little doubt of the ,catholicon and the ,elfeld ,vocabulary being printed with the same types1 and of the former being printed by ,gutemberg1 yet it is far from certain that ,bechtermuntze inherited ,gutemberg's printing materials1 even though he might be a relation4 ,it is as likely that ,gutemberg might sell to the brothers a portion of his materials and still retain enough for himself4 ,if they came into their possession by inheritance1 which is not likely1 ,gutemberg must have died some months previous to #dth ,november1 #adfg1 the day on which ,nicholas ,bechtermuntze and ,wygand ,spyess finished the printing of the ,vocabulary4 ,if the materials had been purchased by ,bechtermuntze in ,gutemberg's lifetime1 which seems to be the most reasonable supposition1 ,conrad ,homery could have no claim upon them on account of money advanced to ,gutemberg1 and consequently the types and printing materials which after his death came into ,homery's possession1 could not be those employed by the brothers ,bechtermuntze in their establishment at ,elfeld4,,iii-#eb ,footnote ,,iii-#eb3 ,the two following works1 without date or printer's name1 are printed with the same types as the ,catholicon1 and it is doubtful whether they were printed by ,gutemberg1 or by other persons with his types4 #a4 ,matthei de ,cracovia tractatus1 seu dialogus racionis et consciencie de sumpcione pabuli salutiferi corporis domini nostri ihesu christi4 #dto4 foliis #bb4 #b4 ,thome de ,aquino summa de articulis fidei et ecclesie sacramentis4 #dto4 foliis #ac4 ,a declaration of ,thierry von ,isenburg1 archbishop of ,mayence1 offering to resign in favour of his opponent1 ,adolphus of ,nassau1 printed in ,german and ,latin in #adfb1 is ascribed to ,gutemberg3 it is of quarto size and consists of four leaves4--,oberlin1 ,annales de la ,vie de ,gutenberg4 ,by letters patent1 dated at ,elfeld on ,st4 ,anthony's day1 #adfe1 ,adolphus1 archbishop and elector of ,mentz1 appointed ,gutemberg one of his courtiers1 with the same allowance of clothing as the rest of the nobles attending his court1 with other privileges and exemptions4 ,from this period ,fischer thinks that ,gutemberg no longer occupied himself with business as a printer1 and that he transferred his printing materials to ,henry ,bechtermuntze4 8,if ,wimpheling's account be true10 says ,fischer1 8that ,gutemberg became blind in his old age1 we need no longer be surprised that during his lifetime his types and utensils should come into the possession of ,bechtermuntze40 ,the exact period of ,gutemberg's decease has not been ascertained1 but in the bond or deed of obligation executed by ,doctor ,conrad ,homery the ,friday after ,st4 ,matthias's day1,,iii-#ec #adfh1 he is mentioned as being then dead4 ,he was interred at ,mentz in the church of the ,recollets1 and the following epitaph was composed by his relation1 ,adam ,gelthaus3,,iii-#ed 8,d4 ,o4 ,m4 ,s4 8,joanni ,genszfleisch1 artis impressori repertori1 de omni natione et lingua optime merito1 in nominis sui memoriam immortalem ,adam ,gelthaus posuit4 ,ossa ejus in ecclesia ,d4 ,francisci ,moguntina feliciter cubant40 ,from the last sentence it is probable that this epitaph was not placed in the church wherein ,gutemberg was interred4 ,the following inscription was composed by ,ivo ,wittich1 professor of law and member of the imperial chamber at ,mentz3 8,jo4 ,guttenbergensi1 ,moguntino1 qui primus omnium literas re imprimendas invenit1 hac arte de orbe toto bene merenti ,ivo ,witigisis hoc saxum pro monimento posuit ,m4,d4,,vii40 ,footnote ,,iii-#ec3 ,st4 ,matthias's ,day is on #bdth ,february4 ,footnote ,,iii-#ed3 ,in the instrument dated #adcd1 wherein ,gutemberg agrees to release the town-clerk of ,mentz1 whom he had arrested1 mention is made of a relation of his1 ,ort ,gelthus1 living at ,oppenheim4 ,schpflin1 mistaking the word1 has printed in his ,documenta1 p4 #d1 8,artgeld huss10 which he translates 8,artgeld domo10 the house of ,artgeld4 ,this inscription1 according to ,serarius1 who professes to have seen it1 and who died in #afji1 was placed in front of the school of law at ,mentz4 ,this house had formerly belonged to ,gutemberg1 and was supposed to be the same in which he first commenced printing at ,mentz in conjunction with ,faust4,,iii-#ee ,footnote ,,iii-#ee3 ,serarii ,historia ,mogunt4 lib4 #a4 cap4 xxxvii4 p4 #aei4 ,heineken1 ,nachrichten von ,kunstlern und ,kunst-,sachen1 #bte4 ,theil1 ,s4 #bii4 ,from the documentary evidence cited in the preceding account of the life of ,gutemberg1 it will be perceived that the art of printing with moveable types was not perfected as soon as conceived1 but that it was a work of time4 ,it is highly probable that ,gutemberg was occupied with his invention in #adcf2 and from the obscure manner in which his 8admirable discovery0 is alluded to in the process between him and the ,drytzehns in #adci1 it does not seem likely that he had then proceeded beyond making experiments4 ,in #addi or #adej1 when the sum of #hjj florins was advanced by ,faust1 it appears not unreasonable to suppose that he had so far improved his invention1 as to render it practically available without reference to ,scheffer's great improvement in casting the types from matrices formed by punches1 which was most likely discovered between #adeb and #adee4;,,iii-#ef ,about fourteen years must have elapsed before ,gutemberg was enabled to bring his invention into practice4 ,the difficulties which must have attended the first establishment of typography could only have been surmounted by great ingenuity and mechanical knowledge combined with unwearied perseverance4 ,after the mind had conceived the idea of using moveable types1 those types1 whatever might be the material employed1 were yet to be formed1 and when completed they were to be arranged in pages1 divided by proper spaces1 and bound together in some manner which the ingenuity of the inventor was to devise4 ,nor was his invention complete until he had contrived a ,,press1 by means of which numerous impressions from his types might be perfectly and rapidly obtained4 ,footnote ,,iii-#ef3 ,in the colophon to 8,trithemii ,breviarium historiarum de origine ,regum et ,gentis ,francorum10 printed at ,mentz in #aeae by ,john ,scheffer1 son of ,peter ,scheffer and ,christina1 the daughter of ,faust1 it is stated that the art of printing was perfected in #adeb1 through the labour and ingenious contrivances of ,peter ,scheffer of ,gernsheim1 and that ,faust gave him his daughter ,christina in marriage as a reward4 ,mr4 ,ottley1 at page #bhe of the first volume of his ,researches1 informs us that 8almost all great discoveries have been made by accident20 and at page #aif of the same volume1 when speaking of printing as the invention of ,lawrence ,coster1 he mentions it as an 8art which had been at first taken up as the amusement of a leisure hour1 became improved1 and was practised by him as a profitable trade40 ,let any unbiassed person enter a printing-office2 let him look at the single letters1 let him observe them formed into pages1 and the pages wedged up in forms2 let him see a sheet printed from one of those forms by means of the press2 and when he has seen and considered all this1 let him ask himself if ever1 since the world began1 the amusement of an old man practised in his hours of leisure was attended with such a result8 8,very few great discoveries10 says ,lord ,brougham1 8have been made by chance and by ignorant persons1 much fewer than is generally supposed4--,they are generally made by persons of competent knowledge1 and who are in search of them40,,iii-#eg ,footnote ,,iii-#eg3 ,on the ,pleasures and ,advantages of ,science1 p4 #afj4 ,edit4 #ahca4 ,having now given some account of the grounds on which ,gutemberg's claims to the invention of typography are founded1 it appears necessary to give a brief summary1 from the earliest authorities1 of the pretensions of ,lawrence ,coster not only to the same honour1 but to something more2 for if the earliest account which we have of him be true1 he was not only the inventor of typography1 but of block-printing also4 ,the first mention of ,holland in connexion with the invention of typography occurs in the ,cologne ,chronicle1 printed by ,john ,klhoff in #adii1 wherein it is said that the first idea of the art was suggested by the ,donatuses printed in ,holland2 it being however expressly stated in the same work that the art of printing as then practised was invented at ,mentz4 ,in a memorandum1 which has been referred to at page #abc1 written by ,mariangelus ,accursius1 who flourished about #aecj1 the invention of printing with metal types is erroneously ascribed to ,faust2 and it is further added1 that he derived the idea from a ,donatus printed in ,holland from a wood-block4 ,that a ,donatus might be printed there from a wood-block previous to the invention of typography is neither impossible nor improbable2 although ,i esteem the testimony of ,accursius of very little value4 ,he was born and resided in ,italy1 and it is not unlikely1 as has been previously observed1 that he might derive his information from the ,cologne ,chronicle4 ,john ,van ,zuyren1 who died in #aeid1 is said to have written a book to prove that typography was invented at ,harlem2 but it never was printed1 and the knowledge that we have of it is from certain fragments of it preserved by ,scriverius1 a writer whose own uncorroborated testimony on this subject is not entitled to the slightest credit4 ,the substance of ,zuyren's account is almost the same as that of ,junius1 except that he does not mention the inventor's name4 ,the art according to him was invented at ,harlem1 but that while yet in a rude and imperfect state it was carried by a stranger to ,mentz1 and there brought to perfection4 ,theodore ,coornhert1 in the dedication of his ,dutch translation of ,tully's ,offices to the magistrates of ,harlem1 printed in #aefa1 says that he had frequently heard from respectable people that the art of printing was invented at ,harlem1 and that the house where the inventor lived was pointed out to him4 ,he proceeds to relate that by the dishonesty of a workman the art was carried to ,mentz and there perfected4 ,though he says that he was informed by certain respectable old men both of the inventor's name and family1 yet1 for some reason or other1 he is careful not to mention them4 ,when he was informing the magistrates of ,harlem of their city being the nurse of so famous a discovery1 it is rather strange that he should not mention the parent's name4 ,from the conclusion of his dedication we may guess why he should be led to mention ,harlem as the place where typography was invented4 ,it appears that he and certain friends of his1 being inflamed with a patriotic spirit1 designed to establish a new printing-office at ,harlem1 8in honour of their native city1 to the profit of others1 and for their own accommodation1 and yet without detriment to any person40 ,his claiming the invention of printing for ,harlem was a good advertisement for the speculation4 ,the next writer who mentions ,harlem as the place where printing was invented is ,guicciardini1 who in his ,description of the ,low ,countries1 first printed at ,antwerp in #aefg1 gives the report1 without vouching for its truth1 as follows3 8,in this place1 it appears1 not only from the general opinion of the inhabitants and other ,hollanders1 but from the testimony of several writers and from other memoirs1 that the art of printing and impressing letters on paper such as is now practised1 was invented4 ,the inventor dying before the art was perfected or had come into repute1 his servant1 as they say1 went to live at ,mentz1 where making this new art known1 he was joyfully received2 and applying himself diligently to so important a business1 he brought it to perfection and into general repute4 ,hence the report has spread abroad and gained credit that the art of printing was first practised at ,mentz4 ,what truth there may be in this relation1 ,i am not able1 nor do ,i wish1 to decide2 contenting myself with mentioning the subject in a few words1 that ,i might not prejudice by my silence the claims of this district40,,iii-#eh ,footnote ,,iii-#eh3 ,ludovico ,guicciardini1 ,descrittione di tutti i ,paesi ,bassi3 folio1 ,anversa1 #aeha4 ,the original passage is given by ,meerman4 ,the original words altre memorie--translated in the above extract 8other memoirs0--are rendered by ,mr4 ,ottley 8other records40 ,this may pass2 but it scarcely can be believed that ,guicciardini consulted or personally knew of the existence of any such records4 ,mr4 ,ottley also1 to match his 8records10 refers to the relations of ,coornhert1 ,zuyren1 ,guicciardini1 and ,junius as 8documents40 ,it is evident that the above account is given from mere report4 ,what other writers had previously noticed the claims of ,harlem1 except ,coornhert and ,zuyren1 remain yet to be discovered4 ,they appear to have been unknown to ,guicciardini's contemporary1 ,junius1 who was the first to give a name to the ,harlem inventor2 a 8local habitation0 had already been provided for him by ,coornhert4 ,the sole authority for one ,lawrence ,coster having invented wood-engraving1 block-printing1 and typography1 is ,hadrian ,junius1 who was born at ,horn in ,north ,holland1 in #aeaa4 ,he took up his abode at ,harlem in #aefj4 ,during his residence in that city he commenced his ,batavia1--the work in which the account of ,coster first appeared1--which1 from the preface1 would seem to have been finished in ,january1 #aege4 ,he died the #afth ,june in the same year1 and his book was not published until #aehh1 twelve years after his decease4,,iii-#ei ,in this work1 which is a topographical and historical account of ,holland1 or more properly of the country included within the limits of ancient ,batavia1 we find the first account of ,lawrence ,coster as the inventor of typography4 ,almost every succeeding advocate of ,coster's pretensions has taken the liberty of altering1 amplifying1 or contradicting the account of ,junius according as it might suit his own line of argument2 but not one of them has been able to produce a single solitary fact in confirmation of it4 ,scriverius1 ,seiz1 ,meerman1 and ,koning are fertile in their conjectures about the thief that stole ,coster's types1 but they are miserably barren in their proofs of his having had types to be stolen4 8,if the variety of opinions10 observes ,naude1 speaking of ,coster's invention1 8may be taken as an indication of the falsehood of any theory1 it is impossible that this should be true04 ,since ,naude's time the number of ,coster's advocates has been increased by ,seiz1 ,meerman1 and ,koning2,,iii-#fj who1 if they have not been able to produce any evidence of the existence of ,lawrence ,coster as a printer1 have at least been fertile in conjectures respecting the thief4 ,they have not strengthened but weakened the ,costerian triumphal arch raised by ,junius1 for they have all more or less knocked a piece of it away2 and even where they have pretended to make repairs1 it has merely been 8one nail driving another out40 ,footnote ,,iii-#ei3 ,junius was a physician1 and unquestionably a learned man4 ,he is the author of a nomenclator in ,latin1 ,greek1 ,dutch1 and ,french4 ,an edition1 with the ,english synonyms1 by ,john ,higins and ,abraham ,fleming1 was printed at ,london in #aehe4 ,the following passage concerning ,junius occurs in ,southey's ,biographical ,sketch of the ,earl of ,surrey in the 8,select ,works of the ,british ,poets from ,chaucer to ,jonson30 8,surrey is next found distinguishing himself at the siege of ,landrecy4 ,at that siege ,bonner1 who was afterwards so eminently infamous1 invited ,hadrian ,junius to ,england4 ,when that distinguished scholar arrived1 ,bonner wanted either the means1 or more probably the heart1 to assist him2 but ,surrey took him into his family in the capacity of physician1 and gave him a pension of fifty angels40 ,footnote ,,iii-#fj3 ,koning's ,dissertation on the ,invention of ,printing1 which was crowned by the ,society of ,sciences of ,harlem1 was first printed at ,harlem in the ,dutch language in #ahaf4 ,it was afterwards abridged and translated into ,french with the approbation1 and under the revision1 of the author4 ,in #ahag he published a first supplement2 and a second appeared in #ahbj4 ,junius's account of ,coster is supposed to have been written about #aefh2 and in order to do justice to the claims of ,harlem ,i shall here give a faithful translation of the 8document10--according to ,mr4 ,ottley1--upon which they are founded4 ,after alluding1 in a preliminary rhetorical flourish1 to ,truth being the daughter of ,time1 and to her being concealed in a well1 ,junius thus proceeds to draw her out4 8,if he is the best witness1 as ,plutarch says1 who1 bound by no favour and led by no partiality1 freely and fearlessly speaks what he thinks1 my testimony may deservedly claim attention4 ,i have no connexion through kindred with the deceased1 his heirs1 or his posterity1 and ,i expect on this account neither favour nor reward4 ,what ,i have done is performed through a regard to the memory of the dead4 ,i shall therefore relate what ,i have heard from old and respectable persons who have held offices in the city1 and who seriously affirmed that they had heard what they told from their elders1 whose authority ought justly to entitle them to credit40 ,about a hundred and twenty-eight years ago1,,iii-#fa ,lawrence ,john1 called the churchwarden or keeper1,,iii-#fb from the profitable and honourable office which his family held by hereditary right1 dwelt in a large house1 which is yet standing entire1 opposite the ,royal ,palace4 ,this is the person who now on the most sacred ground of right puts forth his claims to the honour of having invented typography1 an honour so nefariously obtained and possessed by others4 ,walking in a neighbouring wood1 as citizens are accustomed to do after dinner and on holidays1 he began to cut letters of beech-bark1 with which for amusement1 the letters being inverted as on a seal1 he impressed short sentences on paper for the children of his son-in-law4 ,having succeeded so well in this1 he began to think of more important undertakings1 for he was a shrewd and ingenious man2 and1 in conjunction with his son-in-law ,thomas ,peter1 he discovered a more glutinous and tenacious kind of ink1 as he found from experience that the ink in common use occasioned blots4 ,this ,thomas ,peter left four sons1 all of whom were magistrates2 and ,i mention this that all may know that the art derived its origin from a respectable and not from a mean family4 ,he then printed whole figured pages with the text added4 ,of this kind ,i have seen specimens executed in the infancy of the art1 being printed only on one side4 ,this was a book composed in our native language by an anonymous author1 and entitled ,speculum ,nostr ,salutis4 ,in this we may observe that in the first productions of the art--for no invention is immediately perfected--the blank pages were pasted together1 so that they might not appear as a defect4 ,he afterwards exchanged his beech types for leaden ones1 and subsequently he formed his types of tin1 as being less flexible and of greater durability4 ,of the remains of these types certain old wine-vessels were cast1 which are still preserved in the house formerly the residence of ,lawrence1 which1 as ,i have said1 looks into the market-place1 and which was afterwards inhabited by his great-grandson ,gerard ,thomas1 a citizen of repute1 who died an old man a few years ago4 ,footnote ,,iii-#fa3 ,reckoning from #aefh1 the period referred to would be #addj4 ,footnote ,,iii-#fb3 8dituus ,custosve40 ,the word 8,koster0 in modern ,dutch is synonymous with the ,english 8,sexton40 8,the new invention being well received1 and a new and unheard-of commodity finding on all sides purchasers1 to the great profit of the inventor1 he became more devoted to the art1 his business was increased1 and new workmen--the first cause of his misfortune--were employed4 ,among them was one called ,john2 but whether1 as is suspected1 he bore the ominous surname of ,faust1--infaustus,,iii-#fc and unfaithful to his master--or whether it were some other ,john1 ,i shall not labour to prove1 as ,i do not wish to disturb the dead already enduring the pangs of conscience for what they had done when living4,,iii-#fd ,this person1 who was admitted under an oath to assist in printing1 as soon as he thought he had attained the art of joining the letters1 a knowledge of the fusile types1 and other matters connected with the business1 embracing the convenient opportunity of ,christmas ,eve1 when all persons are accustomed to attend to their devotions1 stole all the types and conveyed away all the utensils which his master had contrived by his own skill2 and then leaving home with the thief1 first went to ,amsterdam1 then to ,cologne1 and lastly to ,mentz1 as his altar of refuge1 where being safely settled1 beyond bowshot as they say1 he might commence business1 and thence derive a rich profit from the things which he had stolen4 ,within the space of a year from ,christmas1 #addb1 it is certain that there appeared printed with the types which ,lawrence had used at ,harlem #8,alexandri ,galli ,doctrinale1' a grammar then in frequent use1 with #8,petri ,hispani ,tractatus4' ,footnote ,,iii-#fc3 8,sive is 7ut fert suspicio7 ,faustus fuerit ominoso cognomine1 hero suo infidus et infaustus40 ,the author here indulges in an ominous pun4 ,the ,latinised name 8,faustus10 signifies lucky2 the word 8infaustus10 unlucky4 ,the ,german name ,fst may be literally translated 8,fist40 ,a clenched hand is the crest of the family of ,faust4 ,footnote ,,iii-#fd3 ,this is an admirable instance of candour4 ,a charge is insinuated1 and presumed to be a fact1 and yet the writer kindly forbears to bring forward proof1 that he may not disturb the dead4 ,history has long since given the lie to the insinuation of the thief having been ,faust4 8,the above is nearly what ,i have heard from old men worthy of credit who had received the tradition as a shining torch transferred from hand to hand1 and ,i have heard the same related and affirmed by others4 ,i remember being told by ,nicholas ,galius1 the instructor of my youth1--a man of iron memory1 and venerable from his long white hair1--that when a boy he had often heard one ,cornelius1 a bookbinder1 not less than eighty years old 7who had been an assistant in the same office71 relate with such excited feelings the whole transaction1--the occasion of the invention1 its progress1 and perfection1 as he had heard of them from his master1--that as often as he came to the story of the robbery he would burst into tears2 and then the old man's anger would be so roused on account of the honour that had been lost through the theft1 that he appeared as if he could have hanged the thief had he been alive2 and then again he would vow perdition on his sacrilegious head1 and curse the nights that he had slept in the same bed with him1 for the old man had been his bedfellow for some months4 ,this does not differ from the words of ,quirinus ,talesius1 who admitted to me that he had formerly received nearly the same account from the mouth of the same bookseller40,,iii-#fe ,footnote ,,iii-#fe3 ,hadriani ,junii ,batavia1 p4 #bec1 et sequent4 ,edit4 ,ludg4 ,batavor4 #aehh4 ,as ,junius died upwards of twelve years before his book was published1 it is doubtful whether the above account was actually written by him or not4 ,it may have been an interpolation of an editor or a bookseller anxious for the honour of ,harlem1 and who might thus expect to gain currency for the story by giving it to the world under the sanction of ,junius's name4 ,there was also another advantage attending this mode of publication2 for as the reputed writer was dead1 he could not be called on to answer the many objections which remain yet unexplained4 ,the manner in which ,coster1 according to the preceding account1 first discovered the principle of obtaining impressions from separate letters formed of the bark of the beech-tree requires no remark4,,iii-#ff ,there are1 however1 other parts of this narrative which more especially force themselves on the attention as being at variance with reason as well as fact4 ,footnote ,,iii-#ff3 ,scriverius--whose book was printed in #afbh--thinking that there might be some objection raised to the letters of beech-bark1 thus1 according to his own fancy1 amends the account of ,cornelius as given by ,junius3 8,coster walking in the wood picked up a small bough of a beech1 or rather of an oak-tree blown off by the wind2 and after amusing himself with cutting some letters on it1 wrapped it up in paper1 and afterwards laid himself down to sleep4 ,when he awoke1 he perceived that the paper1 by a shower of rain or some accident having got moist1 had received an impression from these letters2 which induced him to pursue the accidental discovery40 ,this is more imaginative than the account of ,cornelius1 but scarcely more probable4 ,coster1 we are informed1 lived in a large house1 and1 at the time of his engaging the workman who robbed him1 he had brought the art to such perfection that he derived from it a great profit2 and in consequence of the demand for the new commodity1 which was eagerly sought after by purchasers1 he was obliged to increase his establishment and engage assistants4 ,it is therefore evident that the existence of such an art must have been well known1 although its details might be kept secret4 ,coster1 we are also informed1 was of a respectable family2 his grand-children were men of authority in the city1 and a great-grandson of his died only a few years before ,junius wrote1 and yet not one of his friends or descendants made any complaint of the loss which ,coster had sustained both in property and fame4 ,their apathy1 however1 was compensated by the ardour of old ,cornelius1 who used to shed involuntary tears whenever the theft was mentioned2 and used to heap bitter curses on the head of the thief as often as he thought of the glory of which ,coster and ,harlem had been so villanously deprived4 ,it is certainly very singular that a person of respectability and authority should be robbed of his materials and deprived of the honour of the invention1 and yet neither himself nor any one of his kindred publicly denounce the thief2 more especially as the place where he had established himself was known1 and where in conjunction with others he had the frontless audacity to claim the honour of the invention4 ,of ,lawrence ,coster1 his invention1 and his loss1 the world knew nothing until he had been nearly a hundred and fifty years in his grave4 ,the presumed writer of the account which had to do justice to his memory had been also twelve years dead when his book was published4 ,his information1 which he received when he was a boy1 was derived from an old man who when a boy had heard it from another old man who lived with ,coster at the time of the robbery1 and who had heard the account of the invention from his master4 ,such is the list of the ,harlem witnesses4 ,if ,junius had produced any evidence on the authority of ,coster's great-grandson that any of his predecessors--his father or his grandfather--had carried on the business of a printer at ,harlem1 this might in part have corroborated the narrative of ,cornelius2 but1 though subsequent advocates of the claims of ,harlem have asserted that ,coster's grand-children continued the printing business1 no book or document has been discovered to establish the fact4 ,the account of ,cornelius involves a contradiction which cannot be easily explained away4 ,if the thief stole the whole or greater part of ,coster's printing materials1--types and press and all1 as the narrative seems to imply1--it is difficult to conceive how he could do so without being discovered1 even though the time chosen were ,christmas ,eve2 for on an occasion when all or most people were engaged at their devotions1 the fact of two persons being employed would in itself be a suspicious circumstance3 a tenant with a small stock of furniture who wished to make a 8moonlight flitting0 would most likely be stopped if he attempted to remove his goods on a ,sunday night4 ,as the dishonest workman had an assistant1 who is rather unaccountably called 8the thief10 it is evident from this circumstance1 as well as from the express words of the narrative1,,iii-#fg that the quantity of materials stolen must have been considerable4 ,if1 on the contrary1 the thief only carried away a portion of the types and matrices1 with a few other instruments1--8all that could be moved without manifest danger of immediate detection10 to use the words of ,mr4 ,ottley1--what was there to prevent ,coster from continuing the business of printing8 ,did he give up the lucrative trade which he had established1 and disappoint his numerous customers1 because a dishonest workman had stolen a few of his types8 ,but even if every letter and matrice had been stolen1--though how likely this is to be true ,i shall leave every one conversant with typography to decide1--was the loss irreparable1 and could this 8shrewd and ingenious man0 not reconstruct the types and other printing materials which he had originally contrived8 ,footnote ,,iii-#fg3 8,choragium omne typorum involat1 instrumentorum herilium ei artificio comparatorum suppelectilem convasat1 deinde cum fure domo se proripit40--,h4 ,junii ,batavia1 p4 #bee4 ,if the business of ,coster was continued uninterruptedly1 and after his death carried on by his grand-children1 we might naturally expect that some of the works which they printed could be produced1 and that some record of their having practised such an art at ,harlem would be in existence4 ,the records of ,harlem are however silent on the subject2 no mention is made by any contemporary author1 nor in any contemporary document1 of ,coster or his descendants as printers in that city2 and no book printed by them has been discovered except by persons who decide upon the subject as if they were endowed with the faculty of intuitive discrimination4 ,if ,coster's business had been suspended in consequence of the robbery1 his customers1 from all parts1 who eagerly purchased the 8new commodity10 must have been aware of the circumstance2 and to suppose that it should not have been mentioned by some old writer1 and that the claims of ,coster should have lain dormant for a century and a half1 exceeds my powers of belief4 ,where pretended truth can only be perceived by closing the eyes of reason ,i am content to remain ignorant2 nor do ,i wish to trust myself to the unsafe bridge of conjecture--a rotten plank without a hand-rail1-- 8,o'er which lame faith leads understanding blind40 ,if all ,coster's types had been stolen and he had not supplied himself with new ones1 it would be difficult to account for the wine vessels which were cast from the old types2 and if he or his heirs continued to print subsequent to the robbery1 all that his advocates had to complain of was the theft4 ,for since it must have been well known that he had discovered and practised the art1 at least ten years previous to its known establishment at ,mentz1 and seventeen years before a book appeared with the name of the printers claiming the honour of the invention1 the greatest injury which he received must have been from his fellow citizens2 who perversely and wilfully would not recollect his previous discovery and do justice to his claims4 ,even supposing that a thief had stolen the whole of ,coster's printing-materials1 types1 chases1 and presses1 it by no means follows that he deprived of their memory not only all the citizens of ,harlem1 but all ,coster's customers who came from other places,,iii-#fh to purchase the 8new commodity0 which his press supplied4 ,such however must have been the consequences of the robbery1 if the narrative of ,cornelius were true2 for except himself no person seems to have remembered ,coster's invention1 or that either he or his immediate descendants had ever printed a single book4 ,footnote ,,iii-#fh3 84 4 4 4 4 quum nova merx1 nunquam antea visa1 emptores undique exciret cum huberrimo questu40--,junii ,batavia4 ,notwithstanding the internal evidence of the improbability of ,cornelius's account of ,coster and his invention1 its claims to credibility are still further weakened by those persons who have shown themselves most wishful to establish its truth4 ,lawrence ,janszoon1 whom ,meerman and others suppose to have been the person described by ,cornelius as the inventor of printing1 appears to have been custos of the church of ,st4 ,bavon at ,harlem in the years #adbc1 #adbf1 #adcb and #adcc4 ,his death is placed by ,meerman in #addj2 and as1 according to the narrative of ,cornelius1 the types and other printing materials were stolen on ,christmas eve #adda1 the inventor of typography must have been in his grave at the time the robbery was committed4 ,cornelius must have known of his master's death1 and yet in his account of the robbery he makes no mention of ,coster being dead at the time1 nor of the business being carried on by his descendants after his decease4 ,it was at one time supposed that ,coster died of grief on the loss of his types1 and on account of the thief claiming the honour of the invention4 ,but this it seems is a mistake2 he was dead according to ,meerman at the time of the robbery1 and the business was carried on by his grandchildren4 ,koning has discovered that ,cornelius the bookbinder died in #aebb1 aged at least ninety years4 ,allowing him to have been ninety-two1 this assistant in ,coster's printing establishment1 and who learnt the account of the invention and improvement of the art from ,coster himself1 must have been just ten years old when his master died2 and yet upon the improbable and uncorroborated testimony of this person are the claims of ,coster founded4 ,lehne1 in his 8,chronology of the ,harlem fiction10,,iii-#fi thus remarks on the authorities1 ,galius1 and ,talesius1 referred to by ,junius as evidences of its truth4 ,as ,cornelius was upwards of eighty when he related the story to ,nicholas ,galius1 who was then a boy1 this must have happened about #aeaj4 ,the boy ,galius we will suppose to have been at that time about fifteen years old3 ,junius was born in #aeaa1 and we will suppose that he was under the care of ,nicholas ,galius1 the instructor of his youth1 until he was fifteen2 that is1 until #aebf4 ,in this year ,galius1 the man venerable from his grey hairs1 would be only thirty-six years old1 an age at which grey hairs are premature4 ,grey hairs are only venerable in old age1 and it is not usual to praise a young man's faculty of recollection in the style in which ,junius lauds the 8iron memory0 of his teacher4 ,talesius1 as ,koning states1 was born in #aeje1 and consequently six years older than ,junius2 and on the death of ,cornelius1 in #aebb1 he would be seventeen1 and ,junius eleven years old4 ,junius might in his eleventh year have heard the whole account from ,cornelius himself in the same manner as the latter when only ten must have heard it from ,coster2 and it is remarkable that ,galius who was so well acquainted with ,cornelius did not afford his pupil the opportunity4 ,we thus perceive that in the whole of this affair children and old men play the principal parts1 and both ages are proverbially addicted to narratives which savour of the marvellous4 ,footnote ,,iii-#fi3 ,in 8,einige ,bemerkungen ber das ,unternehmen der gelehrten ,gesellschaft zu ,harlem10 c4 ,s4 #ca4 ,meerman1 writing to his correspondent ,wagenaar in #ageg1 expresses his utter disbelief in the story of ,coster being the inventor of typography1 which1 he observes1 was daily losing credit3 whatever historical evidence ,seiz had brought forward in favour of ,coster was gratuitously assumed2 in short1 the whole story of the invention was a fiction4,,iii-#gj ,after the publication of ,schpflin's ,vindici ,typographic in #agfj1 giving proofs of ,gutemberg having been engaged in #adch with some invention relating to printing1 and in which a press was employed1 ,meerman appears to have received a new light2 for in #agfe he published his own work in support of the very story which he had previously declared to be undeserving of credit4 ,the mere change1 however1 of a writer's opinions cannot alter the immutable character of truth2 and the guesses and assumptions with which he may endeavour to gloss a fiction can never give to it the solidity of fact4 ,what he has said of the work of ,seiz in support of ,coster's claims may with equal truth be applied to his own arguments in the same cause3 8,whatever historical evidence he has brought forward in favour of ,coster has been gratuitously assumed40 ,meerman's work1 like the story which it was written to support1 8is daily losing credit40 ,it is a dangerous book for an advocate of ,coster to quote2 for he has scarcely advanced an argument in favour of ,coster1 and in proof of his stolen types being the foundation of typography at ,mentz1 but what is contradicted by a positive fact4 ,footnote ,,iii-#gj3 ,santander has published a ,french translation of this letter in his ,dictionnaire ,bibliographique1 tom4 i4 pp4 #ad-ah4 ,in order to make the documentary evidence produced by ,schpflin in favour of ,gutemberg in some degree correspond with the story of ,cornelius1 ,junius's authority1 he has assumed that ,gutemberg had an elder brother also called ,john2 and that he was known as ,gnsfleisch the elder1 while his younger brother was called by way of distinction ,gutemberg4 ,in support of this assumption he refers to ,wimpheling1,,iii-#ga who in one place has called the inventor ,gnsfleisch1 and in another ,gutemberg2 and he also supposes that the two epitaphs which have been given at page #add1 relate to two different persons4 ,the first1 inscribed by ,adam ,gelthaus to the memory of ,john ,gnsfleisch1 he concludes to have been intended for the elder brother4 ,the second1 inscribed by ,ivo ,wittich to the memory of ,john ,gutemberg1 he supposes to relate to the younger brother1 and to have been erected from a feeling of envy4 ,the fact of ,gutemberg being also named ,gnsfleisch in several contemporary documents1 is not allowed to stand in the way of ,meerman's hypothesis of the two 8brother ,johns10 which has been supposed to be corroborated by the fact of a ,john ,gnsfleisch the ,elder being actually the contemporary of ,john ,gnsfleisch called also ,gutemberg4 ,footnote ,,iii-#ga3 ,wimpheling1 who was born at ,sletstadt in #adea1 thus addresses the inventor of printing1--whose name1 ,gnsfleisch1 he ,latinises 8,ansicarus10--in an epigram printed at the end of 8,memori ,marsilii ab ,inghen10 #dto4 #adii4 8,felix ,ansicare1 per te ,germania felix ,omnibus in terris prmia laudis habet4 ,urbe ,moguntina1 divino fulte ,joannes ,ingenio1 primus imprimis re notas4 ,multum ,relligio1 multum tibi ,grca sophia1 ,et multum debet lingua ,latina40 ,in his 8,epitome ,rerum ,germanicarum10 #aejb1 he says that the art of printing was discovered at ,strasburg in #addj by a native of that city1 who afterwards removing to ,mentz there perfected the art4 ,in his 8,episcoporum ,argentinensium ,catalogus10 #aejh1 he says that printing was invented by a native of ,strasburg1 and that when the inventor had joined some other persons engaged on the same invention at ,mentz1 the art was there perfected by one ,john ,gnsfleisch1 who was blind through age1 in the house called ,gutemberg1 in which1 in #aejh1 the ,college of ,justice held its sittings4 ,wimpheling does not seem to have known that ,gnsfleisch was also called ,gutemberg1 and that his first attempts at printing were made in ,strasburg4 ,having thus provided ,gutemberg with an elder brother also named ,john1 ,meerman proceeds to find him employment2 for at the period of his writing much light had been thrown on the early history of printing1 and no person in the least acquainted with the subject could believe that ,faust was the thief who stole ,coster's types1 as had been insinuated by ,junius and affirmed by ,boxhorn and ,scriverius4 ,gnsfleisch the ,elder is accordingly sent by ,meerman to ,harlem1 and there engaged as a workman in ,lawrence ,coster's printing office4 ,it is needless to ask if there be any proof of this3 ,meerman having introduced a new character into the ,harlem farce may claim the right of employing him as he pleases4 ,as there is evidence of ,gutemberg1 or ,gnsfleisch the ,younger1 being engaged at ,strasburg about #adcf in some experiments connected with printing1 and mention being made in the same documents of the fair of ,aix-la-,chapelle1 ,meerman sends him there in #adce4 ,from ,aix-la-,chapelle1 as the distance is not very great1 ,meerman makes him pay a visit to his elder brother1 then working as a printer in ,coster's office at ,harlem4 ,he thus has an opportunity of seeing ,coster's printing establishment1 and of gaining some information respecting the art1 and hence his attempts at printing at ,strasburg in #adcf4 ,in #adda he supposes that ,john ,gnsfleisch the ,elder stole his master's types1 and printed with them1 at ,mentz1 in #addb1 8,alexandri ,galli ,doctrinale10 and 8,petri ,hispani ,tractatus10 as related by ,junius4 ,as this trumpery story rests solely on the conjecture of the writer1 it might be briefly dismissed for reconsideration when the proofs should be produced2 but as ,heineken,,iii-#gb has afforded the means of showing its utter falsity1 it may perhaps be worth while to notice some of the facts produced by him respecting the family and proceedings of ,gutemberg4 ,footnote ,,iii-#gb3 ,nachrichten von ,kunstlern und ,kunst-,sachen1 #ate4 ,theil1 ,s4 #bhf-bic4 ,john ,gnsfleisch the ,elder1 whom ,meerman makes ,gutemberg's elder brother1 was descended from a branch of the numerous family of ,gnsfleisch1 which was also known by the local names of zum ,jungen1 ,gutenberg or ,gutemberg1 and ,sorgenloch4 ,this person1 whom ,meerman engages as a workman with ,coster1 was a man of property2 and at the time that we are given to understand he was residing at ,harlem1 we have evidence of his being married and having children born to him at ,mentz4 ,this objection1 however1 could easily be answered by the ingenuity of a ,dutch commentator1 who1 as he has made the husband a thief1 would find no difficulty in providing him with a suitable wife4 ,he would also be very likely to bring forward the presumed misconduct of the wife in support of his hypothesis of the husband being a thief4 ,john ,gnsfleisch the ,elder was married to ,ketgin1 daughter of ,nicholas ,jostenhofer of ,schenkenberg1 on the ,thursday after ,st4 ,agnes's day1 #adcg4 ,in #adci his wife bore him a son named ,michael2 and in #addb another son1 who died in infancy4 ,in #adda we have evidence of his residing at ,mentz2 for in that year his relation ,rudiger zum ,landeck appeared before a judge to give ,gnsfleisch an acknowledgment of his having properly discharged his duties as trustee1 and of his having delivered up to the said ,rudiger the property left to him by his father and mother4 ,that ,john ,gnsfleisch the ,elder printed 8,alexandri ,galli ,doctrinale10 and 8,petri ,hispani ,tractatus10 at ,mentz in #addb with the types which he had stolen from ,coster1 is as improbable as every other part of the story4 ,there is1 in fact1 not the slightest reason to believe that the works in question were printed at ,mentz in #addb1 or that any book was printed there with types until nearly eight years after that period4 ,in opposition1 however1 to a host of historical evidence we have the assertion of ,cornelius1 who told the tale to ,galius1 who told it to ,junius1 who told it to the world4 ,meerman's web of sophistry and fiction having been brushed away by ,heineken1 a modern advocate of ,coster's undertook to spin another1 which has also been swept down by a ,german critic4 ,jacobus ,koning1,,iii-#gc town-clerk of ,amsterdam1 having learnt from a document printed by ,fischer1 that ,gutemberg had a brother named ,friele1 sends him to ,harlem to work with ,coster1 and makes him the thief who stole the types2 thus copying ,meerman's plot1 and merely substituting ,gutemberg's known brother for ,john ,gnsfleisch the ,elder4 ,on this attempt of ,koning's to make the old sieve hold water by plastering it with his own mud1 ,lehne,,iii-#gd makes the following remarks3-- 8,he gives up the name of ,john1--although it might be supposed that old ,cornelius would have known the name of his bedfellow better than ,koning1--and without hesitation charges ,gutemberg's brother with the theft4 ,in order to flatter the vain-glory of the ,harlemers1 poor ,friele1 after he had been nearly four hundred years in his grave1 is publicly accused of robbery on no other ground than that ,mynheer ,koning had occasion for a thief4 ,it is1 however1 rather unfortunate for the credit of the story that this ,friele should have been the founder of one of the first families in ,mentz1 of the order of knighthood1 and possessed of great property both in the city and the neighbourhood4 ,is it likely that this person should have been engaged as a workman in the employment of the ,harlem churchwarden1 and that he should have robbed him of his types in order to convey them to his brother1 who then lived at ,strasburg1 and who had been engaged in his own invention at least three years before1 as is proved by the process between him and the ,drytzehns published by ,schpflin8 ,from this specimen of insulting and unjust accusation on a subject of literary inquiry1 we may congratulate the city of ,amsterdam that ,mynheer ,koning is but a law-writer and not a judge1 should he be not more just as a man than as an author40 ,footnote ,,iii-#gc3 ,in a ,memoir on the ,invention of ,printing1 which was crowned by the ,academy of ,sciences at ,harlem in #ahaf4 ,footnote ,,iii-#gd3 ,einige ,bemerkungen1 c4 ,s4 #ah1 #ai4 ,in a book of old accounts belonging to the city of ,harlem1 and extending from ,april #adci to ,april #addj1 ,koning having discovered at least nine entries of expenses incurred on account of messengers despatched to the ,justice-,court of ,amsterdam1 he concludes that there must have been some conference between the judges of ,harlem and ,amsterdam on the subject of ,coster's robbery4 ,there is not a word mentioned in the entries on what account the messengers were despatched1 but he decides that it must have been on some business connected with this robbery1 for the first messenger was despatched on the last day of the ,christmas holidays2 and the thief1 according to the account of ,junius1 made choice of ,christmas-eve as the most likely opportunity for effecting his purpose4 ,to this most logical conclusion there happens to be an objection1 which however ,mynheer ,koning readily disposes of4 ,the first messenger was despatched on the last day of the ,christmas holidays #adci1 and the accounts terminate in ,april #addj2 but according to the narrative of ,cornelius the robbery was committed on ,christmas-eve #adda4 ,this trifling discrepancy is however easily accounted for by the fact of the ,dutch at that period reckoning the commencement of the year from ,easter1 and by supposing1--as the date is printed in numerals1--that ,junius might have written #addb1 instead of #adda1 as the time when the two books appeared at ,mentz printed with the stolen types1 and within a year after the robbery4 ,notwithstanding this satisfactory explanation there still remains a trifling error to be rectified1 and it will doubtless give the clear-headed advocate of ,coster very little trouble4 ,admitting that the accounts are for the year commencing at ,easter #addj and ending at ,easter #adda1 it is rather difficult to comprehend how they should contain any notice of an event which happened at the ,christmas following4 ,the ,harlem scribe possibly might have the gift of seeing into futurity as clearly as ,mynheer ,koning has the gift of seeing into the past4 ,the arguments derived from paper-marks which ,koning has advanced in favour of ,coster are not worthy of serious notice4 ,he has found1 as ,meerman did before him1 that one ,lawrence ,janszoon was living in ,harlem between #adbj and #adcf1 and that his name occurs within that period as custos or warden of ,st4 ,bavon's church4 ,as he is never called 8,coster10 a name acquired by the family1 according to ,junius1 in consequence of the office which they enjoyed by hereditary right1 the identity of ,lawrence ,janszoon and ,lawrence ,coster is by no means clearly established2 and even if it were1 the sole evidence of his having been a printer rests on the testimony of ,cornelius1 who was scarcely ten years old when ,lawrence ,janszoon died4 ,the correctness of ,cornelius's narrative is questioned both by ,meerman and ,koning whenever his statements do not accord with their theory1 and yet they require others to believe the most incredible of his assertions4 ,they themselves throw doubts on the evidence of their own witness1 and yet require their opponents to receive as true his deposition on the most important point in dispute---that ,coster invented typography previous to #adda1--;a point on which he is positively contradicted by more than twenty authors who wrote previous to #aejj2 and negatively by the silence of ,coster's contemporaries4 ,supposing that the account of ,cornelius had been published in #adhh instead of #aehh1 it would be of very little weight unless corroborated by the testimony of others who must have been as well aware of ,coster's invention as himself2 for the silence of contemporary writers on the subject of an important invention or memorable event1 will always be of greater negative authority than the unsupported assertion of an individual who when an old man professes to relate what he had heard and seen when a boy4 ,if therefore the uncorroborated testimony of ,cornelius would be so little worth1 even if published in #adhh1 of what value can it be printed in #aehh1 in the name of a person who was then dead1 and who could not be called on to explain the discrepancies of his part of the narrative8 ,whatever might be the original value of ,cornelius's testimony1 it is deteriorated by the channel through which it descends to us4 ,he told it to a boy1 who1 when an old man1 told it to another boy1 who when nearly sixty years old inserts it in a book which he is writing1 but which is not printed until twelve years after his death4 ,it is singular how ,mr4 ,ottley1 who contends for the truth of ,papillon's story of the ,cunio1 and who maintains that the art of engraving figures and text upon wood was well known and practised previous to #abhe1 should believe the account given by ,cornelius of the origin of ,coster's invention4 ,if he does not believe this part of the account1 with what consistency can he require other people to give credit to the rest8 ,with respect to the origin and progress of the invention1 ,cornelius was as likely to be correctly informed as he was with regard to the theft and the establishment of printing at ,mentz2 if therefore ,coster's advocates themselves establish the incorrectness of his testimony in the first part of the story1 they destroy the general credibility of his evidence4 ,with respect to the fragments of 8,alexandri ,galli ,doctrinale0 and 8,catonis ,disticha0 which have been discovered1 printed with the same1 or similar types as the ,speculum ,salvationis1 no good argument can be founded on them in support of ,coster's claims1 although the facts which they establish are decisive of the fallacy of ,meerman's assumptions4 ,in order to suit his own theory1 he was pleased to assert that the first edition of the ,speculum was the only one of that book printed by ,coster1 and that it was printed with wooden types4 ,mr4 ,ottley has1 however1 shown that the edition which ,meerman and others supposed to be the first was in reality the second2 and that the presumed second was unquestionably the first1 and that the text was throughout printed with metal types by means of a press4 ,it is thus the fate of all ,coster's advocates that the last should always produce some fact directly contradicting his predecessors' speculations1 but not one confirmatory of the truth of the story on which all their arguments are based4 ,meerman questions the accuracy of ,cornelius as reported by ,junius2 ,meerman's arguments are rejected by ,koning2 and ,mr4 ,ottley1 who espouses the same cause1 has from his diligent collation of two different editions of the ,speculum afforded a convincing proof that on a most material point all his predecessors are wrong4 ,his inquiries have established beyond a doubt1 that the text of the first edition of the ,speculum was printed wholly with metal types2 and that in the second the text was printed partly from metal types by means of a press1 and partly from wood-blocks by means of friction4 ,the assertion that ,coster printed the first edition with wooden types1 and that his grandsons and successors printed the second edition with types of metal1 is thus most clearly refuted4 ,as no printer's name has been discovered in any of the fragments referred to1 it is uncertain where or when they were printed4 ,it however seems more likely that they were printed in ,holland or the ,low ,countries than in ,germany4 ,the presumption of their antiquity in consequence of their rarity is not a good ground of argument4 ,of an edition of a 8,donatus10 printed by ,sweinheim and ,pannartz1 between #adfe and #adgj1 and consisting of three hundred copies1 not one is known to exist4 ,from sundry fragments of a 8,donatus10 embellished with the same ornamented small capitals as are used in ,faust and ,scheffer's ,psalter1 ,fischer was pleased to conjecture that the book had been printed by ,gutemberg and ,faust previous to #adee4 ,a copy1 however1 has been discovered bearing the imprint of ,scheffer1 and printed1 in all probability1 subsequent to #adfg1 as it is in this year that ,scheffer's name first appears alone4 ,the 8,historia ,alexandri ,magni10 pretendedly printed with wooden types1 and ascribed by ,meerman to ,coster1 was printed by ,ketelar and ,leempt1 who first established a printing-office at ,utrecht in #adgc4 ,john ,enschedius1 a letter-founder and printer of ,harlem1 and a strenuous assertor of ,coster's pretensions1 discovered a very curious specimen of typography which he and others have supposed to be the identical 8short sentences0 mentioned by ,junius as having been printed by ,coster for the instruction of his grand-children4 ,this unique specimen of typography consists of eight small pages1 each being about one inch and six-eighths high1 by one and five-eighths wide1 printed on parchment and on both sides4 ,the contents are an alphabet2 the ,lord's ,prayer2 the ,creed2 the ,ave ,mary2 and two short prayers1 all in ,latin4 ,meerman has given a fac-simile of all the eight pages in the second volume of his 8,origines ,typographic20,,iii-#ge and if this be correct1 ,i am strongly inclined to suspect that this singular 8,horarium0 is a modern forgery4 ,the letters are rudely formed1 and the shape of some of the pages is irregular2 but the whole appears to me rather as an imitation of rudeness and a studied irregularity1 than as the first essay of an inventor4 ,there are very few contractions in the words2 and though the letters are rudely formed1 and there are no points1 yet ,i have seen no early specimen of typography which is so easy to read4 ,it is apparent that the printer1 whoever he might be1 did not forget that the little manual was intended for children4 ,the letters ,i am positive could not be thus printed with types formed of beech-bark2 and ,i am further of opinion that they were not1 and could not be1 printed with moveable types of wood4 ,i am also certain that1 whatever might be the material of which the types were formed1 those letters could only be printed on parchment on both sides by means of a press4 ,the most strenuous of ,coster's advocates have not ventured to assert that he was acquainted with the use of metal types in #adbc1 the pretended date of his first printing short sentences for the use of his grand-children1 nor have any of them suggested that he used a press for the purpose of obtaining impressions from his letters of beech-bark2 how then can it be pretended with any degree of consistency that this 8,horarium0 agrees exactly with the description of ,cornelius8 ,it is said that ,enschedius discovered this singular specimen of typography pasted in the cover of an old book4 ,it is certainly such a one as he was most wishful to find1 and which he in his capacity of typefounder and printer would find little difficulty in producing4 ,i am firmly convinced that it is neither printed with wooden types nor a specimen of early typography2 on the contrary1 ,i suspect it to be a ,dutch typographic essay on popular credulity4 ,footnote ,,iii-#ge3 ,enschedius published a fac-simile himself1 with the following title3 8,afbeelding van 't ,a4 ,b4 ,c4 't ,pater ,noster1 ,ave ,maria1 't ,credo1 en ,ave ,salus ,mundi1 door ,laurens ,janszoon1 te ,haarlem1 ten behoeven van zyne dochters ,kinderen1 met beweegbaare ,letteren gedrukt1 en teffens aangeweesen de groote der ,stukjes pergament1 zekerlyk 't oudste overblyfsel der eerste ,boekdrukkery1 't welk als zulk een eersteling der ,konst bewaard word en berust in de ,boekery van ,joannes ,ensched1 ,lettergieter en ,boekdrukker te ,haarlem1 #agfh4--;,a4 ,j4 ,polak sculps4 ex originali40 ,of all the works which have been claimed for ,coster1 his advocates have not succeeded in making out his title to a single one2 and the best evidence of the fallacy of his claims is to be found in the writings of those persons by whom they have been most confidently asserted4 ,having no theory of my own to support1 and having no predilection in favour of ,gutemberg1 ,i was long inclined to think that there might be some rational foundation for the claims which have been so confidently advanced in favour of ,harlem4 ,an examination1 however1 of the presumed proofs and arguments adduced by ,coster's advocates has convinced me that the claims put forward on his behalf1 as the inventor of typography1 are untenable4 ,they have certainly discovered that a person of the name of ,lawrence ,janszoon was living at ,harlem between the years #adbj and #addj1 but they have not been able to show anything in proof of this person ever having printed any book either from wood-blocks or with moveable types4 ,there is indeed reason to believe that at the period referred to there were three persons of the name of ,lawrence ,janszoon1--or ,fitz-,john1 as the surname may be rendered2--but to which of them the pretended invention is to be ascribed is a matter of doubt4 ,at one time we find the inventor described as an illegitimate scion of the noble family of ,brederode1 which was descended from the ancient sovereigns of ,holland2 at another he is said to have been called ,coster in consequence of the office of custos or warden of ,st4 ,bavon's church being hereditary in his family2 and in a third account we find ,lawrence ,janszoon figuring as a promoter of sedition and one of the leaders of a body of rioters4 ,the advocates for the claims of ,harlem have brought forward every ,lawrence that they could find at that period whose father's name was ,john2 as if the more they could produce the more conclusive would be the proof of one of them at least being the inventor of printing4 ,as the books which are ascribed to ,coster furnish positive evidence of the incorrectness of the story of ,cornelius and of the comments of ,meerman2 and as records1 which are now matters of history1 prove that neither ,gutemberg nor ,faust stole any types from ,coster or his descendants1 the next supporter of the claims of ,harlem will have to begin de novo2 and lest the palm should be awarded to the wrong ,lawrence ,janszoon1 he ought first to ascertain which of them is really the hero of the old bookbinder's tale4 ,illustration ,,chapter ,,iv4 ,,wood ,,engraving ,,in ,,connexion ,,with ,,the ,,press4 ,faust and ,scheffer's ,psalter of #adeg -- ,printing at ,bamberg in #adfa -- ,books ,containing ,wood-,cuts ,printed there by ,albert ,pfister -- ,opposition of the ,wood ,engravers of ,augsburg to the ,earliest ,printers ,established in that ,city -- ,travelling ,printers -- ,wood-,cuts in 8,meditationes ,johannis ,de ,turre-,cremata10 ,rome1 #adfg2 and in 8,valturius ,de ,re ,militari10 ,verona1 #adgb -- ,wood-,cuts ,frequent in ,books ,printed at ,augsburg ,between #adgd and #adhj -- ,wood-,cuts in ,books ,printed by ,caxton -- ,maps ,engraved on ,wood1 #adhb -- ,progress of ,map ,engraving -- ,cross-,hatching -- ,flowered ,borders -- ,hortus ,sanitatis -- ,nuremberg ,chronicle -- ,wood ,engraving in ,italy -- ,poliphili ,hypnerotomachia -- ,decline of ,block-,printing -- ,old ,wood-,cuts in ,derschau's ,collection4 ,considering ,gutemberg as the inventor of printing with moveable types2 that his first attempts were made at ,strasburg about #adcf2 and that with ,faust's money and ,scheffer's ingenuity the art was perfected at ,mentz about #adeb1 ,i shall now proceed to trace the progress of wood engraving in its connexion with the press4 ,in the first book which appeared with a date and the printers' names--the ,psalter printed by ,faust and ,scheffer1 at ,mentz1 in #adeg--the large initial letters1 engraved on wood and printed in red and blue ink1 are the must beautiful specimens of this kind of ornament which the united efforts of the wood-engraver and the pressman have produced4 ,they have been imitated in modern times1 but not excelled4 ,as they are the first letters1 in point of time1 printed with two colours1 so are they likely to continue the first in point of excellence4 ,only seven copies of the ,psalter of #adeg are known1 and they are all printed on vellum4 ,although they have all the same colophon1 containing the printers' names and the date1 yet no two copies exactly correspond4 ,a similar want of agreement is said to have been observed in different copies of the ,mazarine ,bible1 but which are1 notwithstanding1 of one and the same edition4 ,as such works would in the infancy of the art be a long time in printing--more especially the ,psalter1 as1 in consequence of the large capitals being printed in two colours1 each side of many of the sheets would have to be printed thrice--it can be a matter of no surprise that alterations and amendments should be made in the text while the work was going through the press4 ,in the ,mazarine ,bible1 the entire ,book of ,psalms1 which contains a considerable number of red letters1 would have to pass four times through the press1 including what printers call the 8reiteration40,,iv-#a ,footnote ,,iv-#a3 ,by the common press only one side of a sheet can be printed at once4 ,the reiteration is the second printing of the same sheet on the blank side4 ,thus in the ,psalter of #adeg every sheet containing letters of two colours on each side would have to pass six times through the press4 ,it was probably in consequence of printing so much in red and black that the early printers used to employ so many presses4 ,melchior de ,stamham1 abbot of ,st4 ,ulric and ,st4 ,afra at ,augsburg1 and who established a printing-office within that monastery1 about #adgb1 bought five presses of ,john ,schssler2 a considerable number for what may be considered an amateur establishment4 ,he also had two others made by ,sixtus ,saurloch4--,zapf1 ,annales ,typographic ,augustan1 p4 xxiv4 ,the largest of the ornamented capitals in the ,psalter of #adeg is the letter ,b1 which stands at the commencement of the first psalm1 8,beatus vir40 ,the letters which are next in size are an ,a1 a ,c1 a ,d1 an ,e1 and a ,p2 and there are also others of a smaller size1 similarly ornamented1 and printed in two colours in the same manner as the larger ones4 ,although only two colours are used to each letter1 yet when the same letter is repeated a variety is introduced by alternating the colours3 for instance1 the shape of the letter is in one page printed red1 with the ornamental portions blue2 and in another the shape of the letter is blue1 and the ornamental portions red4 ,it has been erroneously stated by ,papillon that the large letters at the beginning of each psalm are printed in three colours1 red1 blue1 and purple2 and ,lambinet has copied the mistake4 ,a second edition of this ,psalter appeared in #adei2 a third in #adij2 and a fourth in #aejb1 all in folio1 like the first1 and with the same ornamented capitals4 ,heineken observes that in the edition of #adij the large letters are printed in red and green instead of red and blue4 ,in consequence of those large letters being printed in two colours1 two blocks would necessarily be required for each2 one for that portion of the letter which is red1 and another for that which is blue4 ,in the body1 or shape1 of the largest letter1 the ,b at the beginning of the first psalm1 the mass of colour is relieved by certain figures being cut out in the block1 which appear white in the impression4 ,on the stem of the letter a dog like a greyhound is seen chasing a bird2 and flowers and ears of corn are represented on the curved portions4 ,these figures being white1 or the colour of the vellum1 give additional brightness to the full-bodied red by which they are surrounded1 and materially add to the beauty and effect of the whole letter4 ,in consequence of two blocks being required for each letter1 the means were afforded of printing any of them twice in the same sheet or the same page with alternate colours2 for while the body of the first was printed in red from one block1 the ornamental portion of the second might be printed red at the same time from the other block4 ,in the second printing1 with the blue colour1 it would only be necessary to transpose the blocks1 and thus the two letters would be completed1 identical in shape and ornament1 and differing only from the corresponding portions being in the one letter printed red and in the other blue4 ,in the edition of #adei the same ornamented letter is to be found repeated on the same page2 but of this ,i have only noticed one instance2 though there are several examples of the same letter being printed twice in the same sheet4 ,although the engraving of the most highly ornamented and largest of those letters cannot be considered as an extraordinary instance of skill1 even at that period1 for many wood-cuts of an earlier date afford proof of greater excellence1 yet the artist by whom the blocks were engraved must have had considerable practice4 ,the whole of the ornamental part1 which would be the most difficult to execute1 is clearly and evenly cut1 and in some places with great neatness and delicacy4 8,this letter10 says ,heineken1 8is an authentic testimony that the artists employed on such a work were persons trained up and exercised in their profession4 ,the art of wood engraving was no longer in its cradle40 ,the name of the artist by whom those letters were engraved is unknown4 ,in ,sebastian ,munster's ,cosmography1 book iii4 chapter #aei1 ,john ,meydenbach is mentioned as being one of ,gutemberg's assistants2 and an anonymous writer in ,serarius states the same fact4 ,heineken in noticing these two passages writes to the following effect4 8,this ,meydenbach is doubtless the same person who proceeded with ,gutemberg from ,strasburg to ,mentz in #addd4;,,iv-#b ,it is probable that he was a wood engraver or an illuminator1 but this is not certain2 and it is still more uncertain that this person engraved the cuts in a book entitled ,apocalipsis cum figuris1 printed at ,strasburg in #aejb1 because these are copied from the cuts in the ,apocalypse engraved and printed by ,albert ,durer at ,nuremberg4 ,whether this copyist was the ,jacobus ,meydenbach who printed books at ,mentz in #adia1;,,iv-#c or he was some other engraver1 ,i have not been able to determine40,,iv-#d ,footnote ,,iv-#b3 ,heineken in his ,nachrichten1 ,t4 ,i4 ,s4 #ajh1 also states that ,meydenbach came from ,strasburg with ,gutemberg4 ,oberlin however observes1 8,je ne sais o de ,heinecke a trouv que ce ,meydenbach est venu en #addd avec ,gutenberg ,mayence40 ,heineken says1 8,in der ,nachricht von ,strassburg findet man dass ein gewisser ,meydenbach #addd nach ,maynz gezogen10 and refers to ,fournier1 p4 #dj4 ,dissert sur l',orig4 de l',imprimerie primitive4 ,footnote ,,iv-#c3 ,an edition of the ,hortus ,sanitatis with wood-cuts was printed at ,mentz1 by ,jacobus ,meydenbach1 in #adia4 ,footnote ,,iv-#d3 ,ide ,gnrale1 p4 #bhf4 ,although so little is positively known respecting ,john ,meydenbach1 ,gutemberg's assistant1 yet ,von ,murr thinks that there is reason to suppose that he was the artist who engraved the large initial letters for the ,psalter of #adeg4 ,fischer1 who declares that there is no sufficient grounds for this conjecture1 confidently assumes1 from false premises1 that those letters were engraved by ,gutemberg1 8a person experienced in such work10 adds he1 8as we are taught by his residence at ,strasburg40 ,from the account that we have of his residence and pursuits at ,strasburg1 however1 we are taught no such thing4 ,we only learn from it he was engaged in some invention which related to printing4 ,we learn that ,conrad ,saspach made him a press1 and it is conjectured that the goldsmith ,hanns ,dunne was employed to engrave his letters2 but there is not a word of his being an experienced wood engraver1 nor is there a well authenticated passage in any account of his life from which it might be concluded that he ever engraved a single letter4 ,fischer's reasons for supposing that ,gutemberg engraved the large letters in ,faust and ,scheffer's ,psalter are1 however1 contradicted by facts4 ,having seen a few leaves of a ,donatus ornamented with the same initial letters as the ,psalter1 he directly concluded that the former was printed by ,gutemberg and ,faust prior to the dissolution of their partnership2 and not satisfied with this leap he takes another1 and arrives at the conclusion that they were engraved by ,gutemberg1 as 8his modesty only could allow such works to appear without his name40 ,although we have no information respecting the artist by whom those letters were engraved1 yet it is not unlikely that they were suggested1 if not actually drawn by ,scheffer1 who1 from his profession of a scribe or writer,,iv-#e previous to his connexion with ,faust1 may be supposed to have been well acquainted with the various kinds of flowered and ornamented capitals with which manuscripts of that and preceding centuries were embellished4 ,it is not unusual to find manuscripts of the early part of the fifteenth century embellished with capitals of two colours1 red and blue1 in the same taste as in the ,psalter2 and there is now lying before me a capital ,p1 drawn on vellum in red and blue ink1 in a manuscript apparently of the date of #adcj1 which is so like the same letter in the ,psalter that the one might be supposed to have suggested the other4 ,footnote ,,iv-#e3 ,scheffer previous to his connexion with ,faust was a 8clericus10--not a clerk as distinguished from a layman1 but a writer or scribe4 ,a specimen of his 8set-hand10 written at ,paris in #addi1 is given by ,schpflin in his ,vindici ,typographic4 ,several of the earliest printers were writers or illuminators2 among whom may be mentioned ,john ,mentelin of ,strasburg1 ,john ,baemler of ,augsburg1 ,ulric ,zell of ,cologne1 and ,colard ,mansion of ,bruges4 ,it was an object with ,faust and ,scheffer to recommend their ,psalter--probably the first work printed by them after ,gutemberg had been obliged to withdraw from the partnership--by the beauty of its capitals and the sufficiency and distinctness of its 8rubrications20,,iv-#f and it is evident that they did not fail in the attempt4 ,the ,psalter of #adeg is1 with respect to ornamental printing1 their greatest work2 for in no subsequent production of their press does the typographic art appear to have reached a higher degree of excellence4 ,it may with truth be said that the art of printing--be the inventor who he may--was perfected by ,faust and ,scheffer2 for the earliest known production of their press remains to the present day unsurpassed as a specimen of skill in ornamental printing4 ,footnote ,,iv-#f3 ,this is intimated in the colophon1 which1 with the contracted words written at length1 is as follows3 8,presens ,spalmorum codex venustate capitalium decoratus ,rubricationibusque sufficienter distinctus4 ,adinventione artificiosa imprimendi ac caracterizandi absque calami ulla exaracione sic effigiatus4 ,et ad eusebiam dei industrie est consummatus4 ,per ,johannem ,fust1 ,civem maguntinum4 ,et ,petrum ,schoffer de ,gernzheim1 ,anno domini ,millesimo4 cccc4 lvii4 ,in vigilia ,assumpcionis40 ,in the second edition the mis-spelling1 8,spalmorum0 for 8,psalmorum10 is corrected4 ,a fac-simile of the large ,b at the commencement of the ,psalter1 printed in colours the same as the original1 is given in the first volume of ,dibdin's ,bibliotheca ,spenceriana1 and in ,savage's ,hints on ,decorative ,printing2 but in neither of those works has the excellence of the original letter been attained4 ,in the ,bibliotheca ,spenceriana1 although the volume has been printed little more than twenty years1 the red colour in which the body of the letter is printed has assumed a coppery hue1 while in the original1 executed nearly four hundred years ago1 the freshness and purity of the colours remain unimpaired4 ,in ,savage's work1 though the letter and its ornaments are faithfully copied,,iv-#g and tolerably well printed1 yet the colours are not equal to those of the original4 ,in the modern copy the blue is too faint2 and the red1 which in the original is like well impasted paint1 has not sufficient body1 but appears like a wash1 through which in many places the white paper may be seen4 ,the whole letter compared with the original seems like a water-colour copy compared with a painting in oil4 ,footnote ,,iv-#g3 ,it is to be observed that in ,savage's copy the perpendicular flourishes are given horizontally1 above and below the letter1 in order to save room4 ,in a copy of the edition of #adei1 in the ,king's ,library1 part of the lower flourish has not been inked1 as it would have interfered with the letter ,q at the commencement of the second psalm 8,quare fremuerunt gentes40 ,traces of the flourish where not coloured may be observed impressed in the vellum4 ,although it has been generally supposed that the art of printing was first carried from ,mentz in #adfb when ,faust and ,scheffer's sworn workmen were dispersed,,iv-#h on the capture of that city by the archbishop ,adolphus of ,nassau1 yet there can be no doubt that it was practised at ,bamberg before that period2 for a book of fables printed at the latter place by ,albert ,pfister is expressly dated on ,st4 ,valentine's day1 #adfa2 and a history of ,joseph1 ,daniel1 ,judith1 and ,esther was also printed by ,pfister at ,bamberg in #adfb1 8,nit lang nach sand walpurgen tag10--not long after ,st4 ,walburg's day4,,iv-#i ,it is therefore certain that the art was practised beyond ,mentz previous to the capture of that city1 which was not taken until the eve of ,st4 ,simon and ,st4 ,jude2 that is1 on the #bhth of ,october in #adfb4 ,as it is very probable that ,pfister would have to superintend the formation of his own types and the construction of his own presses1--for none of his types are of the same fount as those used by ,gutemberg or by ,faust and ,scheffer1--we may presume that he would be occupied for some considerable time in preparing his materials and utensils before he could begin to print4 ,as his first known work with a date1 containing a hundred and one wood-cuts1 was finished on the #adth of ,february #adfa1 it is not unlikely that he might have begun to make preparations three or four years before4 ,upon these grounds it seems but reasonable to conclude with ,aretin1 that the art was carried from ,mentz by some of ,gutemberg and ,faust's workmen on the dissolution of their partnership in #adee2 and that the date of the capture of ,mentz--when for a time all the male inhabitants capable of bearing arms were compelled to leave the city by the captors--marks the period of its more general diffusion4 ,the occasion of the disaster to which ,mentz was exposed for nearly three years was a contest for the succession to the archbishopric4 ,theodoric von ,erpach having died in ,may #adei1 a majority of the chapter chose ,thierry von ,isenburg to succeed him1 while another party supported the pretensions of ,adolphus of ,nassau4 ,an appeal having been made to ,rome1 the election of ,thierry was annulled1 and ,adolphus was declared by the ,pope to be the lawful archbishop of ,mentz4 ,thierry1 being in possession and supported by the citizens1 refused to resign1 until his rival1 assisted by the forces of his adherents and relations1 succeeded in obtaining possession of the city4,,iv-#aj ,footnote ,,iv-#h3 ,the following passage occurs in the colophon of two works printed by ,john ,scheffer at ,mentz in #aeae and #aeaf2 the one being the 8,trithemii ,breviarium ,histori ,francorum10 and the other 8,breviarium ,ecclesi ,mindensis30 8,retinuerunt autem hi duo jam prnominati1 ,johannes ,fust et ,petrus ,scheffer1 hanc artem in secreto1 7omnibus ministris et familiaribus eorum1 ne illam quoquo modo manifestarent1 jure jurando adstrictis 37 qu tandem anno ,domini ,m4,,cccc4,,lxii4 per eosdem familiares in diversas terrarum provincias divulgata1 haud parvum sumpsit incrementum40 ,footnote ,,iv-#i3 ,st4 ,walburg's day is on the #beth of ,february2 though her feast is also held both on the #ast of ,may and on the #abth of ,october4 ,the eve of her feast on the #ast of ,may is more particularly celebrated2 and it is then that the witches and warlocks of ,germany hold their annual meeting on the ,brocken4 ,st4 ,walburg1 though born of royal parents in ,saxony1 was yet educated in ,england1 at the convent of ,wimborn in ,dorsetshire1 of which she became afterwards abbess1 and where she died in #ggi4 ,footnote ,,iv-#aj3 ,a mournful account of the expulsion of the inhabitants and the plundering of the city is given by ,trithemius at page #cj of his 8,res ,gest ,frederici ,palatini10 published with notes by ,marquard ,freher1 at ,heidelberg1 #dto4 #afjc4 ,until the discovery of ,pfister's book containing the four histories1 most bibliographers supposed that the date #adfa1 in the fables1 related to the composition of the work or the completion of the manuscript1 and not to the printing of the book4 ,saubert1 who was the first to notice it1 in #afdc1 describes it as being printed1 both text and figures1 from wood-blocks2 and ,meerman has adopted the same erroneous opinion4 ,heineken was the first to describe it truly1 as having the text printed with moveable types1 though he expresses himself doubtfully as to the date1 #adfa1 being that of the impression4 ,as the discovery of ,pfister's tracts has thrown considerable light on the progress of typography and wood engraving1 ,i shall give an account of the most important of them1 as connected with those subjects2 with a brief notice of a few circumstances relative to the early connexion of wood engraving with the press1 and to the dispersion of the printers on the capture of ,mentz in #adfb4 ,the discovery of the history of ,joseph1 ,daniel1 ,judith1 and ,esther1 with the date #adfb1 printed at ,bamberg by ,pfister1 has established the fact that the dates refer to the years in which the books were printed1 and not to the period when the works were composed or transcribed4 ,an account of the history above named1 written by ,m4 ,j4 ,steiner1 pastor of the church of ,st4 ,ulric at ,augsburg1 was first printed in ,meusel's ,historical and ,literary ,magazine in #agib2 and a more ample description of this and other tracts printed by ,pfister was published by ,camus in #ahjj1;,,iv-#aa when the volume containing them1 which was the identical one that had been previously seen by ,steiner1 was deposited in the ,national ,library at ,paris4 ,footnote ,,iv-#aa3 ,under the title of 8,notice d'un ,livre imprim ,bamberg en ,,ci,,cccclxii4 lue l',institut ,national1 par ,camus40 #dto4 ,paris1 ,an ,,vii4 #ahjj4 ,the book of fables,,iv-#ab printed by ,pfister at ,bamberg in #adfa is a small folio consisting of twenty-eight leaves1 and containing eighty-five fables in rhyme in the old ,german language4 ,as those fables1 which are ascribed to one 8,boner1 dictus der ,edelstein10 are known to have been written previous to #accj1 the words at the end of the volume1--8,zu ,bamberg dies ,bchlein geendet ist10--,at ,bamberg this book is finished1--most certainly relate to the time when it was printed1 and not when it was written4 ,it is therefore the earliest book printed with moveable types which is illustrated with wood-cuts containing figures4 ,not having an opportunity of seeing this extremely rare book1--of which only one perfect copy is known1--,i am unable to speak from personal examination of the style in which its hundred and one cuts are engraved4 ,heineken1 however1 has given a fac-simile of the first1 and he says that the others are of a similar kind4 ,the following is a reduced copy of the fac-simile given by ,heineken1 and which forms the head-piece to the first fable4 ,on the manner in which it is engraved ,i shall make no remark1 until ,i shall have produced some specimens of the cuts contained in a 8,biblia ,pauperum ,predicatorum10 also printed by ,pfister1 and having the text in the ,german language4 ,footnote ,,iv-#ab3 ,the copy of those fables belonging to the ,wolfenbuttel ,library1 and which is the only one known1 was taken away by the ,french and placed in the ,national ,library at ,paris1 but was restored on the surrender of ,paris in #ahae4 ,illustration ,the volume described by ,camus contains three different works2 and although ,pfister's name1 with the date #adfb1 appears in only one of them1 the 8,four ,histories10 yet1 as the type is the same in all1 there can be no doubt of the other two being printed by the same person and about the same period4 ,the following particulars respecting its contents are derived from the 8,notice0 of ,camus4 ,it is a small folio consisting altogether of a hundred and one leaves of paper of good quality1 moderately thick and white1 and in which the water-mark is an ox's head4 ,the text is printed in a large type1 called missal-type2 and though the characters are larger1 and there is a trifling variation in three or four of the capitals1 yet they evidently appear to have been copied from those of the ,mazarine ,bible4 ,the first work is that which ,heineken calls 8une ,allgorie sur la ,mort20,,iv-#ac but this title does not give a just idea of its contents4 ,it is in fact a collection of accusations preferred against ,death1 with his answers to them4 ,the object is to show that such complaints are unavailing1 and that1 instead of making them1 people ought rather to employ themselves in endeavouring to live well4 ,in this tract1 which consists of twenty-four leaves1 there are five wood-cuts1 each occupying an entire page4 ,the first represents ,death seated on a throne4 ,before him there is a man with a child1 who appears to accuse ,death of having deprived him of his wife1 who is seen on a tomb wrapped in a winding-sheet4--,in the second cut1 ,death is also seen seated on a throne1 with the same person apparently complaining against him1 while a number of persons appear approaching sad and slow1 to lay down the ensigns of their dignity at his feet4--,in the third cut there are two figures of ,death2 one on foot mows down youths and maidens with a scythe1 while another1 mounted1 is seen chasing a number of figures on horseback1 at whom he at the same time discharges his arrows4--,the fourth cut consists of two parts1 the one above the other4 ,in the upper part1 ,death appears seated on a throne1 with a person before him in the act of complaining1 as in the first and second cuts4 ,in the lower part1 to the left of the cut1 is seen a convent1 at the gate of which there are two persons in religious habits2 to the right a garden is represented1 in which are perceived a tree laden with fruit1 a woman crowning an infant1 and another woman conversing with a young man4 ,in the space between the convent and the garden certain signs are engraved1 which ,camus thinks are intended to represent various branches of learning and science1--none of which can afford protection against death1--as they are treated of in the chapter which precedes the cut4 ,in the fifth cut1 ,death and the ,complainant are seen before ,christ1 who is seated on a throne with an angel on each side of him1 under a canopy ornamented with stars4 ,although neither ,heineken nor ,camus give specimens of those cuts1 nor speak of the style in which they are executed1 it may be presumed that they are not superior either in design or engraving to those contained in the other tracts4 ,footnote ,,iv-#ac3 ,ide ,gnrale1 p4 #bgf4 ,dr4 ,dibdin in his ,bibliographical ,tour says that this work 8is entitled by ,camus the ,,allegory ,,of ,,death40 ,this is a mistake2 for ,camus1 who objects to this title1--which was given to it by ,heineken1--always refers to the book under the title of 8,les ,plaintes contre la ,mort40 ,the text of the work is divided into thirty-four chapters1 each of which1 except the first1 is preceded by a summary2 and their numbers are printed in ,roman characters4 ,the initial letter of each chapter is red1 and appears to have been formed by means of a stencil4 ,the first chapter1 which has neither title nor numeral1 commences with the ,complainant's recital of his injuries2 in the second1 ,death defends himself2 in the third the ,complainant resumes1 in the fourth ,death replies2 and in this manner the work proceeds1 the ,complainant and ,death speaking alternately through thirty-two chapters4 ,in the thirty-third1 ,god decides between the parties2 and after a few common-place reflections and observations on the readiness of people to complain on all occasions1 sentence is pronounced in these words3 8,the ,complainant is condemned1 and ,death has gained the cause4 ,of right1 the ,life of every man is due to ,death2 to ,earth his ,body1 and to ,us his ,soul40 ,in the thirty-fourth chapter1 the ,complainant1 perceiving that he has lost his suit1 proceeds to pray to ,god on behalf of his deceased wife4 ,in the summary prefixed to the chapter the reader is informed that he is now about to peruse a model of a prayer2 and that the name of the ,complainant is expressed by the large red letters which are to be found in the chapter4 ,accordingly1 in the course of the chapter1 six red letters1 besides the initial at the beginning1 occur at the commencement of so many different sentences4 ,they are formed by means of a stencil1 while the letters at the commencement of other similar sentences are printed black4 ,those red letters1 including the initial at the beginning of the chapter1 occur in the following order1 ,,ihesanw4 ,whether the name is expressed by them as they stand1 or whether they are to be combined in some other manner1 ,camus will not venture to decide4,,iv-#ad ,from the prayer it appears that the name of the ,complainant's deceased wife was ,margaret4 ,in this singular composition1 which in the summary is declared to be a model1 the author1 not forgetting the court language of his native country1 calls the ,almighty 8the ,elector who determines the choice of all ,electors10 8,hoffmeister0 of the court of ,heaven1 and 8,herzog0 of the ,heavenly host4 ,the text is in the ,german language1 such as was spoken and written in the fifteenth century4 ,footnote ,,iv-#ad3 8,outre la lettre initiale1 on remarque1 dans le cours du chapitre1 six lettres rouges non imprimes1 mais peintes la plaque1 qui commencent six phrases diverses4 ,les lettres initiales des autres phrases du mme chapitre sont imprimes en noir4 ,les lettres rouges sont ,,ihesanw4 ,doit-on les assembler dans l'ordre o elles sont places1 ou bien doivent-elles recevoir un autre arrangement8 ,je ne prends pas sur moi de le dcider40--,camus1 ,notice1 p4 #f4 ,the ,german words 8,hoffmeister0 and 8,herzog0 appear extremely ridiculous in ,camus's ,french translation1--8le ,matre-d'htel de la cour cleste10 and 8le ,grand-duc de l'arme cleste40 ,but this is clothing ancient and dignified ,german in modern ,french frippery4 ,the word 8,hoffmeister0--literally1 8court-master or governor0--is used in modern ,german in nearly the same sense as the ,english word 8steward20 and the governor or tutor of a young prince or nobleman is called by the same name4 ,the word 8,herzog0--the 8,grand-duc0 of ,camus--in its original signification means the leader of a host or army4 ,it is a ,german title of honour which defines its original meaning1 and is in modern language synonymous with the ,english title 8,duke40 ,the ancient ,german 8,herzog0 was a leader of hosts2 the modern ,french 8,grand-duc0 is a clean-shaved gentleman in a court-dress1 redolent of eau-de-,cologne1 and bedizened with stars and strings4 ,the two words are characteristic of the two languages4 ,the second work in the volume is the ,histories of ,joseph1 ,daniel1 ,judith1 and ,esther4 ,it has no general frontispiece nor title2 but each separate history commences with the words3 8,here begins the history of 4 4 4 40 in ,german4 ,each history forms a separate gathering1 and the whole four are contained in sixty leaves1 of which two1 about the middle1 are blank1 although there is no appearance of any deficiency in the history4 ,the text is accompanied with wood-cuts which are much less than those in the 8,complaints against ,death10 each occupying only the space of eleven lines in a page1 which when full contains twenty-eight4 ,the number of the cuts is sixty-one2 but there are only fifty-five different subjects1 four of them having been printed twice1 and one thrice4 ,camus gives a specimen of one of the cuts1 which represents the ,jews of ,bethuliah rejoicing and offering sacrifice on the return of ,judith after she had cut off the head of ,holofernes4 ,it is certainly a very indifferent performance1 both with respect to design and engraving2 and from ,camus's remarks on the artist's ignorance and want of taste it would appear that the others are no better4 ,in one of them ,haman is decorated with the collar of an order from which a cross is suspended2 and in another ,jacob is seen travelling to ,egypt in a carriage,,iv-#ae drawn by two horses1 which are harnessed according to the manner of the fifteenth century1 and driven by a postilion seated on a saddle1 and with his feet in stirrups4 ,all the cuts in the 8,four ,histories0 are coarsely coloured4 ,footnote ,,iv-#ae3 ,camus calls it a 8voiture10 but ,i question if such a carriage was known in #adfb2 and am inclined to think that he has converted a kind of light waggon into a modern 8voiture40 ,a light sort of waggon1 called by ,stow a 8,wherlicote10 was used in ,england by the mother of ,richard the ,second in the manner of a modern coach4 ,i have noticed in an old wood-cut a light travelling waggon1 drawn by what is called a 8unicorn team0 of three horses2 that is1 one as a 8leader10 and two 8wheelers10 with the driver riding on the 8near side0 wheeler4 ,this cut is in the ,bagford collection in the ,british ,museum1 and is one of a series of ninety subjects from the ,old and ,new ,testament which have been cut out of a book4 ,a manuscript note in ,german states that they are by ,michael ,wolgemuth1 and printed in #adia4 ,in no wood-cut executed previous to #aejj have ,i seen a vehicle like a modern ,french voiture4 ,it is this work which ,camus1 in his title-page1 professes to give an account of1 although in his tract he describes the other two contained in the same volume with no less minuteness4 ,he especially announced a notice of this work as 8a book printed at ,bamberg in #adfb10 in consequence of its being the most important in the volume2 for it contains not only the date and place1 but also the printer's name4 ,in the book of ,fables1 printed with the same types at ,bamberg in #adfa1 ,pfister's name does not appear4 ,the text of the 8,four ,histories0 ends at the fourth line on the recto of the sixtieth leaf2 and after a blank space equal to that of a line1 thirteen lines succeed1 forming the colophon1 and containing the place1 date1 and printer's name4 ,although those lines run continuously on1 occupying the full width of the page as in prose1 yet they consist of couplets in ,german rhyme4 ,the end of each verse is marked with a point1 and the first word of the succeeding one begins with a capital4 ,camus has given a fac-simile of those lines1 that he might at once present his readers with a specimen of the type and a copy of this colophon1 so interesting to bibliographers as establishing the important fact in the history of printing1 namely1 that the art was practised beyond ,mentz prior to #adfb4 ,the following copy1 though not a fac-simile1 is printed line for line from ,camus4 ,ein ittlich mensch von herzen gert 4 ,das er wer weiss und wol gelert 4 ,an meister un' schrift das nit mag sein 4 ,so kun' wir all auch nit latein 4 ,darauff han ich ein teil gedacht 4 ,und vier historii zu samen pra- cht 4 ,joseph daniel un' auch judith 4 ,und hester auch mit gutem sith4 die vier het got in seiner hut 4 ,als er noch ye de' guten thut 4 ,dar durch wir pessern unser lebe' 4 ,de' puchlein ist sein ende gebe' 4 ,tu bambergh in der selbe' stat 4 ,das albrecht pfister gedrucket hat ,do ma' zalt tausent un' vierhu'dert iar 4 ,im zwei und sechzigste' das ist war 4 ,nit lang nach sand walpur- gen tag 4 ,die uns wol gnad erberben mag 4 ,frid un' das ewig lebe' 4 ,das wolle uns got alle' gebe' 4 ,ame'4 ,the following is a translation of the above1 in ,english couplets of similar rhythm and measure as the original3 ,with heart's desire each man doth seek ,that he were wise and learned eke3 ,but books and teacher he doth need1 ,and all men cannot ,latin read4 ,as on this subject oft ,i thought1 ,these hist'ries four ,i therefore wrote2 ,of ,joseph1 ,daniel1 ,judith too1 ,and ,esther eke1 with purpose true3 ,these four did ,god with bliss requite1 ,as he doth all who act upright4 ,that men may learn their lives to mend ,this book at ,bamberg here ,i end4 ,in the same city1 as ,i've hinted1 ,it was by ,albert ,pfister printed1 ,in th' year of grace1 ,i tell you true1 ,a thousand four hundred and sixty-two2 ,soon after good ,st4 ,walburg's day1 ,who well may aid us on our way1 ,and help us to eternal bliss3 ,god1 of his mercy1 grant us this4 ,amen4 ,the third work contained in the volume described by ,camus is an edition of the 8,poor ,preachers' ,bible10 with the text in ,german1 and printed on both sides4 ,the number of the leaves is eighteen1 of which only seventeen are printed2 and as there is a 8history0 on each page1 the total number in the work is thirty-four1 each of which is illustrated with five cuts4 ,the subjects of those cuts and their arrangement on the page is not precisely the same as in the earlier ,latin editions2 and as in the latter there are forty 8histories10 six are wanting in the ,bamberg edition1 namely3 #a4 ,christ in the garden2 #b4 ,the soldiers alarmed at the sepulchre2 #c4 ,the ,last ,judgment2 #d4 ,hell2 #e4 ,the eternal ,father receiving the righteous into his bosom2 and #f4 ,the crowning of the ,saints4 ,as the cuts illustrative of these subjects are the last in the ,latin editions1 it is possible that the ,bamberg copy described by ,camus might be defective2 he1 however1 observes that there is no appearance of any leaves being wanting4,,iv-#af ,in each page of the ,bamberg edition the text is in two columns below the cuts1 which are arranged in the following manner in the upper part of the page3 ,illustration3 ------------------------ #c -------------- -------------- #a ,christ appearing to the #b ,busts4 ,apostles4 ,busts4 -------------- ------------------------ -------------- ---------------------------------------- ---------------------- #d ,joseph making himself ,the ,prodigal ,son's return known to his brethern4 to his father4 ---------------------------------------- ---------------------- ,the following cuts are fac-similes of those given by ,camus2 and the numbers underneath each relate to their position in the preceding example of their arrangement4 ,in ,no4 #a the heads are intended for ,david and the author of the ,book of ,wisdom2 in ,no4 #b1 for ,isaiah and ,ezekiel4 ,illustration3 ,no4 #a4 ,illustration3 ,no4 #b4 ,footnote ,,iv-#af3 ,the copy of the ,bamberg edition in the ,wolfenbuttel ,library1 seen and described by ,heineken1 ,ide ,gnrale1 pp4 #cbg-cbi1 contained only twenty-six 8histories10 or general subjects4 ,the subject represented in the following cut1 ,no4 #c1 forming the centre piece at the top in the arrangement of the original page1 is ,christ appearing to his disciples after his resurrection4 ,the figure on the right of ,christ is intended for ,st4 ,peter1 and that on his left for ,st4 ,john4 ,i believe that in no wood-cut1 ancient or modern1 is ,christ represented with so uncomely an aspect and so clumsy a figure4 ,illustration3 ,no4 #c4 ,the subject of ,no4 #d is ,joseph making himself known to his brethren2 from ,genesis1 chapter ,,xlv4 ,illustration3 ,no4 #d4 ,in ,no4 #e the subject represented is the ,prodigal ,son received by his father2 from ,st4 ,luke1 chapter ,,xv4 ,camus says that the cuts given by him were engraved on wood by ,duplaa with the greatest exactitude from tracings of the originals by ,dubrena4 ,illustration3 ,no4 #e4 ,supposing that all the cuts in the four works1 printed by ,pfister and described in the preceding pages1 were designed in a similar taste and executed in a similar manner to those of which specimens are given1 the persons by whom they were engraved--for it is not likely that they were all engraved by one man--must have had very little knowledge of the art4 ,looking merely at the manner in which they are engraved1 without reference to the wretched drawing of the figures and want of 8feeling0 displayed in the general treatment of the subjects1 a moderately apt lad1 at the present day1 generally will cut as well by the time that he has had a month or two's practice4 ,if those cuts were to be considered as fair specimens of wood engraving in ,germany in #adfb1 it would be evident that the art was then declining2 for none of the specimens that ,i have seen of the cuts printed by ,pfister can bear a comparison with those contained in the early block-books1 such as the ,apocalypse1 the ,history of the ,virgin1 or the early editions of the ,poor ,preachers' ,bible4 ,to the cuts contained in the latter works they are decidedly inferior1 both with respect to design and engraving4 ,even the earliest wood-cuts which are known1--for instance1 the ,st4 ,christopher1 the ,st4 ,bridget1 and the ,annunciation1 in ,earl ,spencer's collection1--are executed in a superior manner4 ,it would1 however1 be unfair to conclude that the cuts which appear in ,pfister's works were the best that were executed at that period4 ,on the contrary1 it is probable that they are the productions of persons who in their own age would be esteemed only as inferior artists4 ,as the progress of typography was regarded with jealousy by the early wood engravers and block printers1 who were apprehensive that it would ruin their trade1 and as previous to the establishment of printing they were already formed into companies or fellowships1 which were extremely sensitive on the subject of their exclusive rights1 it is not unlikely that the earliest type-printers who adorned their books with wood-cuts would be obliged to have them executed by a person who was not professionally a wood engraver4 ,it is only upon this supposition that we can account for the fact of the wood-cuts in the earliest books printed with type being so very inferior to those in the earliest block-books4 ,this supposition is corroborated by the account which we have of the proceedings of the wood engravers of ,augsburg shortly after type-printing was first established in that city4 ,in #adga they opposed ,gunther ,zainer's,,iv-#ag admission to the privileges of a burgess1 and endeavoured to prevent him printing wood engravings in his books4 ,melchior ,stamham1 however1 abbot of ,st4 ,ulric and ,afra1 a warm promoter of typography1 interested himself on behalf of ,zainer1 and obtained an order from the magistracy that he and ,john ,schussler--another printer whom the wood engravers had also objected to--should be allowed to follow without interruption their art of printing4 ,they were1 however1 forbid to print initial letters from wood-blocks or to insert wood-cuts in their books1 as this would be an infringement on the privileges of the fellowship of wood engravers4 ,subsequently the wood engravers came to an understanding with ,zainer1 and agreed that he should print as many initial letters and wood-cuts as he pleased1 provided that they engraved them4,,iv-#ah ,whether ,schussler came to the same agreement or not is uncertain1 as there is no book known to be printed by him of a later date than #adgb4 ,it is probable that he is the person1--named ,john ,schssler in the memorandum printed by ,zapf1--of whom ,melchior de ,stamham in that year bought five presses for the printing-office which he established in his convent of ,st4 ,ulric and ,st4 ,afra4 ,to ,john ,bmler1 who at the same time carried on the business of a printer at ,augsburg1 no objection appears to have been made4 ,as he was originally a 8calligraphus0 or ornamental writer1 it is probable that he was a member of the wood engravers' guild1 and thus entitled to engrave and print his own works without interruption4 ,footnote ,,iv-#ag3 ,gunther ,zainer was a native of ,reutlingen1 in ,wirtemberg1 and was the first printer in ,germany who used ,roman characters1--in an edition of 8,isidori ,episcopi ,hispalensis ,etymologia10 printed by him in #adgb4 ,he first began to print at ,augsburg in #adfh4 ,in #adgb he printed a ,german translation of the book entitled 8,belial10 with wood-cuts4 ,a ,latin edition of this book was printed by ,schussler in the same year4 ,von ,murr says that ,schussler printed another edition of 8,belial0 in #adgg2 but this would seem to be a mistake1 for ,veith asserts in his 8,diatribe de ,origine et ,incrementis ,artis ,typographic in urbe ,augusta ,vindelica10 prefixed to ,zapf's 8,annales10 that ,schussler only printed in the years #adgj1 #adga1 and #adgb4 ,footnote ,,iv-#ah3 ,von ,murr1 ,journal1 #b ,theil1 ,s4 #add4--,zapf1 ,buchdruckergeschichte von ,augsburg1 #a ,band4 ,as it is probable that the wood-cuts which appear in books printed within the first thirty years from the establishment of typography at ,mentz were intended to be coloured1 this may in some degree account for the coarseness with which they are engraved2 but as the wood-cuts in the earlier block-books were also intended to be coloured in a similar manner1 the inferiority of the former can only be accounted for by supposing that the best wood engravers declined to assist in promoting what they would consider to be a rival art1 and that the earlier printers would generally be obliged to have their cuts engraved by persons connected with their own establishments1 and who had not by a regular course of apprenticeship acquired a knowledge of the art4 ,about seventy or eighty years ago1 and until a more recent period1 many country printers in ,england used themselves to engrave such rude wood-cuts as they might occasionally want4 ,a most extensive assortment of such wood-cuts belonged to the printing-office of the late ,mr4 ,george ,angus of ,newcastle-upon-,tyne1 who used them as head-pieces and general illustrations to ballads and chap-books4 ,a considerable number of them were cut with a penknife1 on pear-tree wood1 by an apprentice named ,randell1 who died about forty years ago4 ,persons who are fond of a 8rough harvest0 of such modern-antiques are referred to the 8,historical ,delights10 the 8,history of ,ripon10 and other works published by ,thomas ,gent at ,york about #agcc4 ,notwithstanding the rudeness with which the cuts are engraved in the four works printed by ,pfister1 yet from their number a considerable portion of time must have been occupied in their execution4 ,in the 8,four ,histories0 there are sixty-one cuts1 which have been printed from fifty-five blocks4 ,in the 8,fables0 there are one hundred and one cuts2 in the 8,complaints against ,death10 five2 and in the 8,poor ,preachers' ,bible10 one hundred and seventy1 reckoning each subject separately4 ,supposing each cut in the three last works was printed from a separate block1 the total number of blocks required for the four would be three hundred and thirty-one4,,iv-#ai ,supposing that each cut on an average contained as much work as that which is numbered #d in the preceding specimens--,joseph making himself known to his brethren--and supposing that the artist drew the subjects himself1 the execution of those three hundred and thirty-one cuts would occupy one person for about two years and a half1 allowing him to work three hundred days in each year4 ,it is true that a modern wood engraver might finish more than three of such cuts in a week1 yet ,i question if any one of the profession would complete the whole number1 with his own hands1 in less time than ,i have specified4 ,footnote ,,iv-#ai3 ,lichtenberger1 in his ,initia ,typographica1 referring to ,sprenger's ,history of ,printing at ,bamberg1 says that1 besides those four1 five other tracts are printed with ,pfister's types1 of which three contain wood-cuts4 ,one of those three1 however1 a 8,poor ,preachers' ,bible10 with the text in ,latin1 has the same cuts as the 8,poor ,preachers' ,bible0 with the text in ,german4 ,only one of those other five works contains the place and date4 ,from the similarity between ,pfister's types and those with which a ,bible without place or date is printed1 several bibliographers have ascribed the latter work to his press4 ,this ,bible1 which in the ,royal ,library at ,paris is bound in three volumes folio1 is the rarest of all editions of the ,scriptures printed in ,latin4 ,schelhorn1 who wrote a dissertation on this edition1 endeavoured to show that it was the first of the ,bibles printed at ,mentz1 and that it was partly printed by ,gutemberg and ,faust previous to their separation1 and finished by ,faust and ,scheffer in #adef4;,,iv-#bj ,lichtenberger1 without expressly assenting to ,schelhorn's opinion1 is inclined to think that it was printed at ,mentz1 and by ,gutemberg4 ,the reasons which he assigns1 however1 are not such as are likely to gain assent without a previous willingness to believe4 ,he admits that ,pfister's types are similar to those of the ,bible1 though he says that the former are somewhat ruder4 ,footnote ,,iv-#bj3 ,de ,antiquissima ,latinorum ,bibliorum editione 4 4 4 4 ,jo4 ,georgii ,schelhorn ,diatribe4 ,ulm1 #dto4 #agfj4 ,camus considers that the tracts unquestionably printed by ,pfister throw considerable light on the question as to whom this ,bible is to be ascribed4 ,there are two specimens of this ,bible1 the one given by ,masch in his ,bibliotheca ,sacra1 and the other by ,schelhorn1 in a dissertation prefixed to ,quirini's account of the principal works printed at ,rome4 ,camus1 on comparing these specimens with the text of ,pfister's tracts1 immediately perceived the most perfect resemblance between the characters2 and on applying a tracing of the last thirteen lines of the 8,four ,histories0 to the corresponding letters in ,schelhorn's specimen1 he found that the characters exactly corresponded4 ,this perfect identity induced him to believe that the ,bible described by ,schelhorn was printed with ,pfister's types4 ,a correspondent in ,meusel's ,magazine1 ,no4 ,,vii4 #agid1 had previously advanced the same opinion2 and he moreover thought that the ,bible had been printed previous to the ,fables dated #adfa1 because the characters of the ,bible are cleaner1 and appear as if they had been impressed from newer types than those of the ,fables4,,iv-#ba ,in support of this opinion an extract is given1 in the same magazine1 from a curious manuscript of the date of #adei1 and preserved in the library of ,cracow4 ,this manuscript is a kind of dictionary of arts and sciences1 composed by ,paul of ,prague1 doctor of medicine and philosophy1 who1 in his definition of the word 8,libripagus10 gives a curious piece of information to the following effect4 ,the barbarous ,latin of the original passage1 to which ,i shall have occasion to refer1 will be found in the subjoined note4,,iv-#bb 8,he is an artist who dexterously cuts figures1 letters1 and whatever he pleases on plates of copper1 of iron1 of solid blocks of wood1 and other materials1 that he may print upon paper1 on a wall1 or on a clean board4 ,he cuts whatever he pleases2 and he proceeds in this manner with respect to pictures4 ,in my time somebody of ,bamberg cut the entire ,bible upon plates2 in four weeks he impressed the whole ,bible1 thus sculptured1 upon thin parchment40 ,footnote ,,iv-#ba3 ,dr4 ,dibdin says that a copy of this ,bible1 which formerly belonged to the ,earl of ,oxford1 and is now in the ,royal ,library at ,paris1 contains 8an undoubted coeval ,,ms4 date1 in red ink1 of #adfa40--;,bibliog4 ,tour1 vol4 ii p4 #ajh4 ,second edition4 ,footnote ,,iv-#bb3 8,libripagus est artifex sculpens subtiliter in laminibus reis1 ferreis1 ac ligneis solidi ligni1 atque aliis1 imagines1 scripturam et omne quodlibet1 ut prius imprimat papyro aut parieti aut asseri mundo4 ,scindit omne quod cupit1 et est homo faciens talia cum picturis2 et tempore mei ,bamberg quidam sculpsit integram bibliam super lamellas1 et in quatuor septimanis totam bibliam in pergameno subtili prsignavit sculpturam40 ,although ,i am of opinion that the weight of evidence is in favour of ,pfister being the printer of the ,bible in question1 yet ,i cannot think that the arguments which have been adduced in his favour derive any additional support from this passage4 ,the writer1 like many other dictionary makers1 both in ancient and modern times1 has found it a more difficult matter to give a clear account of a thing than to find the synonym of a word4 ,but1 notwithstanding his confused account1 ,i think that ,i can perceive in it the 8disjecta membra0 of an ancient ,formschneider and a ,briefmaler1 but no indication of a typographer4 ,in a jargon worthy of the 8,epistol obscurorum virorum0 he describes an artist1 or rather an artizan1 8sculpens subtiliter in laminibus,,iv-#bc laminis reis1 ferreis1 ac ligneis solidi ligni1 atque aliis1 imagines1 scripturam et omne quodlibet40 ,in this passage the business of the 8,formschneider0 may be clearly enough distinguished3 he cuts figures and animals in plates of copper and iron2--but not in the manner of a modern copper-plate engraver2 but in the manner in which a stenciller pierces his patterns4 ,that this is the true meaning of the writer is evident from the context1 wherein he informs us of the artist's object in cutting such letters and figures1 namely1 8ut prius imprimat papyro aut parieti aut asseri mundo10--that he may print upon paper1 on a wall1 or on a clean board4 ,this is evidently descriptive of the practice of stencilling1 and proves1 if the manuscript be authentic1 that the old 8,briefmalers0 were accustomed to 8slapdash0 walls as well as to engrave and colour cards4 ,in the distinction which is made of the 8laminibus ligneis ligni solidi10 it is probable that the writer meant to specify the difference between cutting out letters and figures on thin plates of metal1 and cutting upon blocks of solid wood4 ,when he speaks of a ,bible being cut1 at ,bamberg1 8super lamellas10 he most likely means a 8,poor ,preachers' ,bible10 engraved on blocks of wood4 ,an impression of a hundred or more copies of such a work might easily enough be taken in a month when the blocks were all ready engraved2 but we cannot suppose that the ,bible ascribed to ,pfister could be worked off in so short a time4 ,this ,bible consists of eight hundred and seventy leaves2 and to print an edition of three hundred copies at the rate of three hundred sheets a day would require four hundred and fifty days4 ,about three hundred copies of each work appears to have been the usual number which ,sweinheim and ,pannartz and ,ulric ,hahn printed1 on the establishment of the art in ,italy2 and ,philip de ,lignamine in his chronicle mentions1 under the year #adeh1 that ,gutemberg and ,faust1 at ,mentz1 and ,mentelin at ,strasburg1 printed three hundred sheets in a day4,,iv-#bd ,footnote ,,iv-#bc3 ,in #agic1 a learned doctor of divinity of ,cambridge is said in a like manner to have broken ,priscian's head with 8paginibus40 ,an epigram on this 8blunderbus0 is to be found in the 8,gradus ad ,cantabrigiam40 ,footnote ,,iv-#bd3 ,lichtenberger1 ,initia ,typographica1 p4 #ea4 ,of ,pfister nothing more is positively known than what the tracts printed by him afford2 namely1 that he dwelt at ,bamberg1 and exercised the business of a printer there in #adfa and #adfb4 ,he might indeed print there both before and after those years1 but of this we have no direct evidence4 ,from #adfb to #adha no book is known to have been printed at ,bamberg4 ,in the latter year1 a press was established there by ,john ,sensenschmidt of ,egra1 who had previously1 that is from #adgj1 printed several works at ,nuremberg4 ,panzer1 alluding to ,pfister as the printer only of the ,fables and of the tracts contained in the volume described by ,camus1 says that he can scarcely believe that he had a fixed residence at ,bamberg2 and that those tracts most likely proceeded from the press of a travelling printer4,,iv-#be ,several of the early printers1 who commenced on their own account1 on the dispersion of ,faust and ,scheffer's workmen in #adfb1 were accustomed to travel with their small stock of materials from one place to another2 sometimes finding employment in a monastery1 and sometimes taking up their temporary abode in a small town2 removing to another as soon as public curiosity was satisfied1 and the demand for the productions of their press began to decline4 ,as they seldom put their names1 or that of the place1 to the works which they printed1 it is extremely difficult to decide on the locality or the date of many old books printed in ,germany4 ,it is very likely that they were their own letter-founders1 and that they themselves engraved such wood-cuts as they might require4 ,as their object was to gain money1 it is not unlikely that they might occasionally sell a portion of their types to each other2,,iv-#bf or to a novice who wished to begin the business1 or to a learned abbot who might be desirous of establishing an amateur press within the precinct of his monastery1 where copies of the ,faceti of ,poggius might be multiplied as well as the works of ,st4 ,augustine4 ,although it has been asserted the monks regarded with jealousy the progress of printing1 as if it were likely to make knowledge too cheap1 and to interfere with a part of their business as transcribers of books1 such does not appear to have been the fact4 ,in every country in ,europe we find them to have been the first to encourage and promote the new art2 and the annals of typography most clearly show that the greater part of the books printed within the first thirty years from the time of ,gutemberg and ,faust's partnership were chiefly for the use of the monks and the secular clergy4 ,footnote ,,iv-#be3 8,opuscula qu typis mandavit typographus hic1 hactenus ignotus1 ad litteraturam ,teutonicam pertinent4 ,imprimis ,pfisterum hunc ,bamberg fixam habuisse sedem vix crediderim4 ,videntur potius hi libri ,teutonici monumenta transeuntis typographi40--,annal4 ,typogr4 tom4 i4 p4 #adb1 cited by ,camus4 ,footnote ,,iv-#bf3 ,breitkopf1 ,ueber ,bibliographie1 ,s4 #be4 #dto4 ,leipzig1 #agic4 ,from #adfb to #adfg there appears to have been no book printed containing wood-cuts4 ,in the latter year ,ulric ,hahn1 a ,german1 printed at ,rome a book entitled 8,meditationes ,johannis de ,turrecremata10,,iv-#bg which contains wood-cuts engraved in simple outline in a coarse manner4 ,the work is in folio1 and consists of thirty-four leaves of stout paper1 on which the water-mark is a hunter's horn4 ,the number of cuts is also thirty-four2 and the following--the creation of animals--is a reduced copy of the first4 ,footnote ,,iv-#bg3 ,the following is the title at length as it is printed1 in red letters1 underneath the first cut3 8,meditationes ,rever dissimi patris di ,johannis de turre cremata sacrosce ,romane eccl'ie cardinalis posite depicte de ipsius mdato eccl'ie ambitu ,marie de ,minerva4 ,rome40 ,the book is described in ,von ,murr's ,memorabilia ,bibliothecar4 ,publicar4 ,norimbergensium and in ,dibdin's des ,althorpian1 vol4 ii4 p4 #bgc1 with specimens of the cuts4 ,illustration ,the remainder of the cuts are executed in a similar style2 and though designed with more spirit than those contained in ,pfister's tracts1 yet it can scarcely be said that they are better engraved4 ,the following is an enumeration of the subjects4 #a4 ,the ,creation1 as above represented4 #b4 ,the ,almighty speaking to ,adam4 #c4 ,eve taking the apple4 7,from ,no4 #c the rest of the cuts are illustrative of the ,new ,testament or of ,ecclesiastical ,history47 #d4 ,the ,annunciation4 #e4 ,the ,nativity4 #f4 ,circumcision of ,christ4 #g4 ,adoration of the ,magi4 #h4 ,simeon's ,benediction4 #i4 ,the ,flight into ,egypt4 #aj4 ,christ disputing with the ,doctors in the ,temple4 #aa4 ,christ baptized4 #ab4 ,the ,temptation in the ,wilderness4 #ac4 ,the keys given to ,peter4 #ad4 ,the ,transfiguration4 #ae4 ,christ washing the ,apostles' feet4 #af4 ,the ,last ,supper4 #ag4 ,christ betrayed by ,judas4 #ah4 ,christ led before the ,high ,priest4 #ai4 ,the ,crucifixion4 #bj4 ,mater ,dolorosa4 #ba4 ,the ,descent into ,hell4 #bb4 ,the ,resurrection4 #bc4 ,christ appearing to his ,disciples4 #bd4 ,the ,ascension4 #be4 ,the feast of ,pentecost #bf4 ,the ,host borne by a bishop4 #bg4 ,the mystery of the ,trinity2 ,abraham sees three and adores one4 #bh4 ,st4 ,dominic extended like the 8,stam-,herr0 or first ancestor in a pedigree1 and sending forth numerous branches as ,popes1 ,cardinals1 and ,saints4 #bi4 ,christ appearing to ,st4 ,sixtus4 #cj4 ,the ,assumption of the ,virgin4 #ca4 ,christ seated amidst a choir of ,angels4 #cb4 ,christ seated at the ,virgin's right hand in the assembly of ,saints4 #cc4 ,the ,office of ,mass for the ,dead4 #cd4 ,the ,last ,judgment4 ,zani says that those cuts were engraved by an ,italian artist1 but beyond his assertion there is no authority for the fact4 ,it is most likely that they were cut by one of ,hahn's workmen1 who could occasionally 8turn his hand0 to wood-engraving and type-founding1 as well as compose and work at press2 and it is most probable that ,hahn's workmen when he first established a press in ,rome were ,germans1 and not ,italians4 ,the second book printed in ,italy with wood-cuts is the 8,editio ,princeps0 of the treatise of ,r4 ,valturius de ,re ,militari1 which appeared at ,verona from the press of 8,johannes de ,verona10 son of ,nicholas the surgeon1 and master of the art of printing4,,iv-#bh ,this work is dedicated by the author to ,sigismund ,malatesta1 lord of ,rimini1 who is styled in pompous phrase1 8,splendidissimum ,arminensium ,regem ac ,imperatorem semper invictum40 ,the work1 however1 must have been written several years before it was printed1 for ,baluze transcribed from a ,,ms4 dated #adfc a letter written in the name of ,malatesta1 and sent by the author with a copy of his work to the ,sultan ,mahomet ,,ii4 ,the bearer of this letter was the painter ,matteo ,pasti1 a friend of the author1 who visited ,constantinople at the ,sultan's request in order that he might paint his portrait4 ,it is said that the cuts in this work were designed by ,pasti2 and it is very probable that he might make the drawings in ,malatesta's own copy1 from which it is likely that the book was printed4 ,as ,valturius has mentioned ,pasti as being eminently skilful in the arts of ,painting1 ,sculpture1 and ,engraving1,,iv-#bi ,maffei has conjectured1--and ,mr4 ,ottley adds1 8with some appearance of probability10--that the cuts in question were executed by his hand4 ,if such were the fact1 it only could be regretted that an artist so eminent should have mis-spent his time in a manner so unworthy of his reputation2 for1 allowing that a considerable degree of talent is displayed in many of the designs1 there is nothing in the engraving1 as they are mere outlines1 but what might be cut by a novice4 ,there is not1 however1 the slightest reasonable ground to suppose that those engravings were cut by ,matteo ,pasti1 for ,i believe that he died before printing was introduced into ,italy2 and it surely would be presuming beyond the verge of probability to assert that they might be engraved in anticipation of the art being introduced1 and of the book being printed at some time or other1 when the blocks would be all ready engraved1 in a simple style of art indeed1 but with a master's hand4 ,a master-sculptor's hand1 however1 is not very easily distinguished in the mere rough-dressing of a block of sandstone1 which any country mason's apprentice might do as well4 ,it is very questionable if ,matteo ,pasti was an engraver in the present sense of the word2 the engraving meant by ,valturius was probably that of gold and silver vessels and ornaments2 but not the engraving of plates of copper or other metal for the purpose of being printed4 ,footnote ,,iv-#bh3 ,the following is a copy of the colophon3 8,johannes ex verona oriundus3 ,nicolai cyrurgie medici filius3 ,artis impressorie magister3 hunc de re militari librum elegantissimum3 litteris et figuratis signis sua in patria primus impressit4 ,an4 ,,mcccclxxii40 ,footnote ,,iv-#bi3 8,valturius speaks of ,pasti in one of his letters as being eminently skilful in the arts of ,painting1 ,sculpture1 and ,engraving40--,ottley1 ,inquiry1 p4 #beg4 ,several of those cuts occupy an entire folio page1 though the greater number are of smaller size4 ,they chiefly represent warlike engines1 which display considerable mechanical skill on the part of the contriver2 modes of attack and defence both by land and water1 with various contrivances for passing a river which is not fordable1 by means of rafts1 inflated bladders1 and floating bridges4 ,in some of them inventions may be noticed which are generally ascribed to a later period3 such as a boat with paddle-wheels1 which are put in motion by a kind of crank2 a gun with a stock1 fired from the shoulder2 and a bomb-shell4 ,it has frequently been asserted that hand-guns were first introduced about the beginning of the sixteenth century1 yet the figure of one in the work of ,valturius makes it evident that they were known some time before4 ,it is also likely that the drawing was made and the description written at least ten years before the book was printed4 ,it has also been generally asserted that bomb-shells were first used by ,charles ,,viii4 of ,france when besieging ,naples in #adie4 ,valturius1 however1 in treating of cannon1 ascribes the invention to ,malatesta4,,iv-#cj ,gibbon1 in chapter lxviii4 of his ,history of the ,decline and ,fall of the ,roman ,empire1 notices this cut of a bomb-shell4 ,his reference is to the second edition of the work1 in ,italian1 printed also at ,verona by ,bonin de ,bononis in #adhc1 with the same cuts as the first edition in ,latin4,,iv-#ca ,the two following cuts are fac-similes of the bomb-shell and the hand-gun1 as represented in the edition of #adgb4 ,the figure armed with the gun1--a portion of a large cut1--is firing from a kind of floating battery2 and in the original two figures armed with similar weapons are stationed immediately above him4 ,footnote ,,iv-#cj3 8,inventum est quoque alterum machin hujusce tuum ,sigismonde ,panpulfe ,malatesta3 qua pil ne tormentarii pulveris plen cum fungi aridi fomite urientis emittuntur40--,we hence learn that the first bomb-shells were made of copper1 and that the fuzee was a piece of a dried fungus4 ,as the first edition has neither numerals nor signatures1 ,i cannot refer to the page in which the above passage is to be found4 ,it is1 however1 opposite to the cut in which the bomb-shell appears1 and that is about the middle of the volume4 ,footnote ,,iv-#ca3 8,robert ,valturio published at ,verona1 in #adhc1 his twelve books de ,re ,militari1 in which he first mentions the use of bombs4 ,by his patron ,sigismond ,malatesti1 ,prince of ,rimini1 it had been addressed with a ,latin epistle to ,mahomet ,,ii40--,decline and ,fall of the ,roman ,empire1 chap4 lxviii41 note4 ,illustration ,illustration ,the following fac-simile of a cut representing a man shooting with a cross-bow is the best in the book4 ,the drawing of the figure is good1 and the attitude graceful and natural4 ,the figure1 indeed1 is not only the best in the work of ,valturius1 but is one of the best1 so far as respects the drawing1 that is to be met with in any book printed in the fifteenth century4 ,illustration ,the practice of introducing wood-cuts into printed books seems to have been first generally adopted at ,augsburg1 where ,gunther ,zainer1 in #adga1 printed a ,german translation of the 8,legenda ,sanctorum0 with figures of the saints coarsely engraved on wood4 ,this1 ,i believe1 is the first book1 after ,pfister's tracts1 printed in ,germany with wood-cuts and containing a date4 ,in #adgb he printed a second volume of the same work1 and an edition of the book entitled 8,belial10,,iv-#cb both containing wood-cuts4 ,several other works printed by him between #adga and #adge are illustrated in a similar manner4 ,zainer's example was followed at ,augsburg by his contemporaries ,john ,bmler and ,john ,schussler2 and by them1 and ,anthony ,sorg1 who first began to print there about #adge1 more books with wood-cuts were printed in that city previous to #adhj than at any other place within the same period4 ,in #adgg the first ,german ,bible with wood-cuts was printed by ,sorg1 who printed another edition with the same cuts and initial letters in #adhj4 ,in #adhc he printed an account of the ,council of ,constance held in #adca1 with upwards of a thousand wood-cuts of figures and of the arms of the principal persons both lay and spiritual who attended the council4 ,upon this work ,gebhard1 in his ,genealogical ,history of the ,heritable ,states of the ,german ,empire1 makes the following observations3--8,the first printed collection of arms is that of #adhc in the ,history of the ,council of ,constance written by ,ulrich ,reichenthal4 ,to this council we are indebted accidentally for the collection4 ,from the thirteenth century it was customary to hang up the shields of noble and honourable persons deceased in churches2 and subsequently the practice was introduced of painting them upon the walls1 or of placing them in the windows in stained glass4 ,a similar custom prevailed at the ,council of ,constance2 for every person of consideration who attended had his arms painted on the wall in front of his chamber2 and thus ,reichenthal1 who caused those arms to be copied and engraved on wood1 was enabled to give in his history the first general collection of coat-armour which had appeared2 as eminent persons from all the ,catholic states of ,europe attended this council40,,iv-#cc ,footnote ,,iv-#cb3 ,von ,murr says that the person who engraved the cuts for this book also engraved the cuts in a ,german edition of the ,speculum without date1 but printed at ,augsburg1 and dedicated to ,john von ,giltingen abbot of the monastery of ,st4 ,ulric and ,st4 ,afra1 who was chosen to that office in #adhb4 ,heineken supposed that the person to whom the book was dedicated was ,john von ,hohenstein1 but he resigned the office of abbot in #adei2 and the book was certainly not printed at that period4--,see ,heineken1 ,ide ,gn4 p4 #dff2 and ,von ,murr1 ,journal1 #b ,theil1 ,s4 #ade4 ,footnote ,,iv-#cc3 ,l4 ,a4 ,gebhard1 ,genealogische ,geschichte1 #a ,theil1 ,vorrede1 ,s4 #aa4 ,cited by ,veith in his 8,diatribe10 prefixed to ,zapf's 8,annales ,typographi ,augustan40 ,the practice of introducing wood-cuts became in a few years general throughout ,germany4 ,in #adgc1 ,john ,zainer of ,reutlingen1 who is said to have been the brother of ,gunther1 printed an edition of ,boccacio's work 8,de mulieribus claris10 with wood-cuts1 at ,ulm4 ,in #adgd the first edition of ,werner ,rolewinck de ,laer's chronicle1 entitled 8,fasciculus ,temporum10 was printed with wood-cuts by ,arnold ,ther-,hoernen at ,cologne2 and in #adgf an edition of the same work1 also with wood-cuts1 was printed at ,louvain by ,john ,veldener1 who previously had been a printer at ,cologne4 ,in another edition of the same work printed by ,veldener at ,utrecht in #adhj1 the first page is surrounded with a border of foliage and flowers cut on wood2 and another page1 about the middle of the volume1 is ornamented in a similar manner4 ,these are the earliest instances of ornamental borders from wood-blocks which ,i have observed4 ,about the beginning of the sixteenth century title-pages surrounded with ornamental borders are frequent4 ,from the name of those borders1 ,rahmen1 the ,german wood engravers of that period are sometimes called ,rahmenschneiders4 ,prosper ,marchand1 in his 8,dictionnaire ,historique10 tom4 ii4 p4 #aef1 has stated that ,erhard ,ratdolt1 a native of ,augsburg1 who began to print at ,venice about #adge1 was the first printer who introduced flowered initial letters1 and vignettes--meaning by the latter term wood-cuts2 but his information is scarcely correct4 ,wood-cuts--without reference to ,pfister's tracts1 which were not known when ,marchand wrote--were introduced at ,augsburg six years before ,ratdolt and his partners,,iv-#cd printed at ,venice in #adgf the 8,calendarium ,joannis ,regiomontani10 the work to which ,marchand alludes4 ,it may be true that he introduced a new kind of initial letters ornamented with flowers in this work1 but much more beautiful initial letters had appeared long before in the ,psalter1 in the 8,durandi ,rationale10 and the 8,donatus0 printed by ,faust and ,scheffer4 ,the first person who mentions ,ratdolt as the inventor of 8florentes litter10 so named from the flowers with which they are intermixed1 is ,maittaire1 in his ,annales ,typographici1 tom4 i4 part i4 p4 #ec4 ,footnote ,,iv-#cd3 ,the following colophon to an edition of ,appian informs us that his partners were ,bernard the painter and ,peter ,loslein1 who also acted as corrector of the press3 8,impressum est hoc opus ,venetiis per ,bernard pictorem ,erhardum ratdolt de ,augusta una cum ,petro ,loslein de ,langenzen correctore ac socio4 ,laus ,deo4 ,,mcccclxxvii40 ,in #adhc ,veldener1,,iv-#ce as has been previously observed at page #ajf1 printed at ,culemburg an edition in small quarto of the ,speculum ,salvationis1 with the same blocks as had been used in the earlier folio editions1 which are so confidently ascribed to ,lawrence ,coster4 ,in ,veldener's edition each of the large blocks1 consisting of two compartments1 is sawn in two in order to adapt them to a smaller page4 ,a ,german translation of the ,speculum1 with wood-cuts1 was printed at ,basle1 in folio1 in #adgf2 and ,jansen says that the first book printed in ,france with wood-cuts was an edition of the ,speculum1 at ,lyons1 in #adgh2 and that the second was a translation of the book named 8,belial10 printed at the same place in #adhb4 ,footnote ,,iv-#ce3 ,veldener at the conclusion of a book printed by him in #adgf1 containing 8,epistolares quasdam formulas10 thus informs the reader of his name and qualifications3 8,accipito huic artifici nomen esse magistro ,johanni ,veldener1 cui quidem certa manu insculpendi1 celandi1 intorculandi1 caracterandi adsit industria2 adde et figurandi et effigiendi40 ,that is1 his name was ,john ,veldener2 he could engrave1 could work both at press and case1 and moreover he knew something of sculpture1 and could paint a little4 ,the first printed book in the ,english language that contains wood-cuts is the second edition of ,caxton's 8,game and ,playe of the ,chesse10 a small folio1 without date or place1 but generally supposed to have been printed about #adgf4;,,iv-#cf ,the first edition of the same work1 without cuts1 was printed in #adgd4 ,on the blank leaves at the end of a copy of the first edition in the ,king's ,library1 at the ,british ,museum1 there is written in a contemporary hand a list of the bannerets and knights,,iv-#cg made at the battle of 8,stooke by syde newerke apon trent the xvi day of june the iide yer of harry the vii40 that is1 in #adhg4 ,in this battle ,martin ,swart was killed4 ,he commanded the ,flemings1 who were sent by the ,duchess of ,burgundy to assist ,lambert ,simnel4 ,it was at the request of the duchess1 who was ,edward the ,fourth's sister1 that ,caxton translated the 8,recuyell of the ,historyes of ,troye10 the first book printed in the ,english language1 and which appeared at ,cologne in #adga or #adgb4 ,footnote ,,iv-#cf3 ,heineken1 ,ide ,gn4 p4 #bjg1 erroneously states that the first book with wood-cuts printed in ,england was the ,golden ,legend1 by ,caxton1 in #adhc4 ,it is probable that the second edition of the ,game of ,chess preceded it by seven years1 and it certainly was printed after the ,mirror of the ,world4 ,footnote ,,iv-#cg3 ,the following are some of the names as they are written3 8,s gilbert talbott 4 ,s ,john cheiny 4 ,s willi stoner 4 ,theis iij wer made byfore the bataile1 and after the bataile were made the same day 3 ,sr4 ,john of ,arundell 4 ,thomas ,cooksey 4 ,john forteskew 4 ,edmond benyngfeld 4 james blount 4 ric 4 of ,croffte 4 ,geofrey ,stanley 4 ric 4 delaber 4 ,john mortymer 4 willi troutbeke40 ,the above appear to have been created ,bannerets1 for after them follows a list of 8,knyghtes made at the same bataile40 ,it is likely that the owner of the volume was at the battle1 and that the names were written immediately after4 ,in ,dr4 ,dibdin's edition of ,ames's ,typographical ,antiquities there is a 8,description of the ,pieces and ,pawns0 in the second edition of ,caxton's ,chess2 which description is said to be illustrated with facsimile wood-cuts4 ,there are indeed fac-similes of some of the figures given1 but not of the wood-cuts generally2 for in almost every cut given by ,dr4 ,dibdin the back-ground of the original is omitted4 ,in the description of the first fac-simile there is also an error3 it is said to be 8the first cut in the work10 while in fact it is the second4 ,the following ,i believe to be a correct list of these first fruits of ,english wood-engraving4 #a4 ,an executioner with an axe cutting to pieces1 on a block1 the limbs of a man4 ,on the head1 which is lying on the ground1 there is a crown4 ,birds are seen seizing and flying away with portions of the limbs4 ,there are buildings in the distance1 and three figures1 one of whom is a king with a crown and sceptre1 appear looking on4 #b4 ,a figure sitting at a table1 with a chess-board before him1 and holding one of the chess-men in his hand4 ,this is the cut which ,dr4 ,dibdin says is the first in the book4 #c4 ,a king and another person playing at chess4 #d4 ,the king at chess1 seated on a throne4 #e4 ,the king and queen4 #f4 ,the 8alphyns10 now called 8bishops0 in the game of chess1 8in the maner of judges sittyng40 #g4 ,the knight4 #h4 ,the 8rook10 or castle1 a figure on horseback wearing a hood and holding a staff in his hand4 ,from ,no4 #i to ,no4 #ae inclusive1 the pawns are thus represented4 #i4 ,labourers and workmen1 the principal figure representing the first pawn1 with a spade in his right hand and a cart-whip in his left4 #aj4 ,the second pawn1 a smith with his buttriss in the string of his apron1 and a hammer in his right hand4 #aa4 ,the third pawn1 represented as a clerk1 that is a writer or transcriber1 in the same sense as ,peter ,scheffer and ,ulric ,zell are styled clerici1 with his case of writing materials at his girdle1 a pair of shears in one hand1 and a large knife in the other4 ,the knife1 which has a large curved blade1 appears more fit for a butcher's chopper than to make or mend pens4 #ab4 ,the fourth pawn1 a man with a pair of scales1 and having a purse at his girdle1 representing 8marchauntes or chaungers40 #ac4 ,the fifth pawn1 a figure seated on a chair1 having in his right hand a book1 and in his left a sort of casket or box of ointments1 representing a physician1 spicer1 or apothecary4 #ad4 ,the sixth pawn1 an innkeeper1 receiving a guest4 #ae4 ,the seventh pawn1 a figure with a yard measure in his right hand1 a bunch of keys in his left1 and an open purse at his girdle1 representing 8customers and tolle gaderers40 #af4 ,the eighth pawn1 a figure with a sort of badge on his breast near to his right shoulder1 after the manner of a nobleman's retainer1 and holding a pair of dice in his left hand1 representing dice-players1 messengers1 and 8currours10 that is 8couriers40 ,in old authors the numerous idle retainers of the nobility are frequently represented as gamblers1 swash-bucklers1 and tavern-haunters4 ,although there are twenty-four impressions in the volume1 yet there are only sixteen subjects1 as described above2 the remaining eight being repetitions of the cuts numbered #d1 #e1 #f1 #g1 #h and #aj1 with two impressions of the cut ,no4 #b1 besides that towards the commencement4 ,illustration ,the above cut is a reduced copy of the knight1 ,no4 #g2 and his character is thus described3 8,the knyght ought to be maad al armed upon an hors in suche wise that he have an helme on his heed and a spere in his right hond1 and coverid with his shelde1 a swerde and a mace on his left syde 4 clad with an halberke and plates tofore his breste 4 legge harnoys on his legges 4 spores on his heelis1 on hys handes hys gauntelettes 4 hys hors wel broken and taught and apte to bataylle and coveryd with hys armes4 ,when the ,knyghtes been maad they ben bayned or bathed 4 ,that is the signe that they sholde lede a newe lyf and newe maners 4 also they wake alle the nyght in prayers and orisons unto god that he wil geve hem grace that they may gete that thyng that they may not gete by nature4 ,the kyng or prynce gyrdeth a boute them a swerde in signe that they shold abyde and kepen hym of whom they taken their dispences and dignyte40 ,the following cut of the sixth or bishop's pawn1 ,no4 #ad1 8whiche is lykened to taverners and vytayllers10 is thus described in ,caxton's own words3 8,the sixte pawn whiche stondeth before the alphyn on the lyfte syde is made in this forme 4 ffor hit is a man that hath the right hond stretched out for to calle men1 and holdeth in his left honde a loof of breed and a cuppe of wyn 4 and on his gurdel hangyng a bondel of keyes1 and this resemblith the taverners hostelers and sellars of vytayl 4 and these ought properly to be sette to fore the alphyn as to fore a juge1 for there sourdeth oft tymes amonge hem contencion noyse and stryf1 which behoveth to be determyned and trayted by the alphyn which is juge of the kynge40 ,illustration ,the next book containing wood-cuts printed by ,caxton is the 8,mirrour of the ,world1 or thymage of the same10 as he entitles it at the head of the table of contents4 ,it is a thin folio consisting of one hundred leaves2 and1 in the ,prologue1 ,caxton informs the reader that it 8conteyneth in all lxvii chapitres and xxvii figures1 without which it may not lightly be understde40 ,he also says that he translated it from the ,french at the 8request1 desire1 coste1 and dispense of the honourable and worshipful man ,hugh ,bryce1 alderman cytezeyn of ,london10 who intended to present the same to ,william1 ,lord ,hastings1 chamberlain to ,edward ,,iv1 and lieutenant of the same for the town of ,calais and the marches there4 ,on the last page he again mentions ,hugh ,bryce and ,lord ,hastings1 and says of his translation3 8,whiche book ,i begun first to trslate the second day of ,janyuer the yere of our lord ,m4cccc4lxxx4 ,and fynysshed the viii day of ,marche the same yere1 and the xxi yere of the reign of the most crysten kynge1 ,kynge ,edward the fourthe40,,iv-#ch ,footnote ,,iv-#ch3 ,edward ,,iv4 began to reign #dth ,march #adfa2 the twenty-first year of his reign would consequently commence on #dth ,march #adha2 ,caxton's dates therefore do not agree1 unless we suppose that he reckoned the commencement of the year from #bast ,march4 ,if so1 his date viii ,march #adhj1 and the xxi year of the reign of ,edward ,,iv4 would agree2 and the year of ,christ1 according to our present mode of reckoning1 would be #adha4 ,dr4 ,dibdin assigns to the ,mirror the date #adha4--,typ4 ,ant4 i4 p4 #ajj4 ,the 8xxvii figures0 mentioned by ,caxton1 without which the work might not be easily understood1 are chiefly diagrams explanatory of the principles of astronomy and dialling2 but besides those twenty-seven cuts the book contains eleven more1 which may be considered as illustrative rather than explanatory4 ,the following is a list of those eleven cuts in the order in which they occur4 ,they are less than the cuts in the 8,game of ,chess20 the most of them not exceeding three inches and a half by three4,,iv-#ci ,footnote ,,iv-#ci3 ,fac-similes of six of those cuts are given in ,dr4 ,dibdin's edition of ,ames's ,typographical ,antiquities1 vol4 i4 p4 #aaj-aab4 #a4 ,a school-master or 8doctor10 gowned1 and seated on a high-backed chair1 teaching four youths who are on their knees4 #b4 ,a person seated on a low-backed chair1 holding in his hand a kind of globe2 astronomical instruments on a table before him4 #c4 ,christ1 or the ,godhead1 holding in his hand a ball and cross4 #d4 ,the creation of ,eve1 who appears coming out of ,adam's side4--,the next cuts are figurative of the 8seven arts liberal40 #e4 ,grammar4 ,a teacher with a large birch-rod seated on a chair1 his four pupils before him on their knees4 #f4 ,logic4 ,figure bare-headed seated on a chair1 and having before him a book on a kind of reading-stand1 which he appears expounding to his pupils who are kneeling4 #g4 ,rhetoric4 ,an upright figure in a gown1 to whom another1 kneeling1 presents a paper1 from which a seal is seen depending4 #h4 ,arithmetic4 ,a figure seated1 and having before him a tablet inscribed with numerical characters4 #i4 ,geometry4 ,a figure standing1 with a pair of compasses in his hand1 with which he seems to be drawing diagrams on a table4 #aj4 ,music4 ,a female figure with a sheet of music in her hand1 singing1 and a man playing on the ,english flute4 #aa4 ,astronomy4 ,figure with a kind of quadrant in his hand1 who seems to be taking an observation4--,an idea may be formed of the manner in which those cuts are engraved from the fac-simile on the next page of ,no4 #aj1 8,music40 ,there are wood-cuts in the ,golden ,legend1 #adhc2 the ,fables of ,esop1 #adhd2 ,chaucer's ,canterbury ,tales1 and other books printed by ,caxton2 but it is unnecessary either to enumerate them or to give specimens1 as they are all executed in the same rude manner as the cuts in the ,book of ,chess and the ,mirror of the ,world4 ,in the ,book of ,hunting and ,hawking printed at ,st4 ,albans1 #adhf1 there are rude wood-cuts2 as also in a second and enlarged edition of the same book printed by ,wynkyn de ,worde1 ,caxton's successor1 at ,westminster in #adif4 ,the most considerable wood-cut printed in ,england previous to #aejj is1 so far as regards the design1 a representation of the ,crucifixion at the end of the ,golden ,legend printed by ,wynkyn de ,worde in #adic4;,,iv-#dj ,in this cut1 neither of the thieves on each side of ,christ appears to be nailed to the cross4 ,the arms of the thief on the right of ,christ hang behind1 and are bound to the transverse piece of the cross1 which passes underneath his shoulders4 ,his feet are neither bound nor nailed to the cross4 ,the feet of the thief to the left of ,christ are tied to the upright piece of the cross1 to which his hands are also bound1 his shoulders resting upon the top1 and his face turned upward towards the sky4 ,to the left is seen the ,virgin1--who has fallen down1--supported by ,st4 ,john4 ,in the back-ground to the right1 the artist1 like several others of that period1 has represented ,christ bearing his cross4 ,illustration ,dr4 ,dibdin1 at page #h of the 8,disquisition on the ,early ,state of ,engraving and ,ornamental ,printing in ,great ,britain10 prefixed to ,ames's and ,herbert's ,typographical ,antiquities1 makes the following observations on this cut3 8,the #8,crucifixion' at the end of the #8,golden ,legend' of #adic1 which ,wynkyn de ,worde has so frequently subjoined to his religious pieces1 is1 unquestionably1 the effort of some ingenious foreign artist4 ,it is not very improbable that ,rubens had a recollection of one of the thieves1 twisted1 from convulsive agony1 round the top of the cross1 when he executed his celebrated picture of the same subject40,,iv-#da ,in ,de ,worde's cut1 however1 it is to be remarked that the contorted attitude of both the thieves results rather from the manner in which they are bound to the cross1 than from the convulsions of agony4 ,footnote ,,iv-#dj3 ,a large flowered letter1 a ,t1 cut on wood1 occurs on the same page as the ,crucifixion4 ,footnote ,,iv-#da3 ,in a note upon this passage ,dr4 ,dibdin gives the following extract from ,sir ,joshua ,reynolds4 8,to give animation to this subject1 ,rubens has chosen the point of time when an executioner is piercing the side of ,christ1 while another with a bar of iron is breaking the limbs of one of the malefactors1 who in his convulsive agony1 which his body admirably expresses1 has torn one of his feet from the tree to which it was nailed4 ,the expression in the action of the figure is wonderful40 ,at page #g of the same ,disquisition it is said that the figures in the ,game of ,chess1 the ,mirror of the ,world1 and other works printed by ,caxton 8are1 in all probability1 not the genuine productions of this country2 and may be traced to books of an earlier date printed abroad1 from which they were often borrowed without acknowledgment or the least regard to the work in which they again appeared4 ,caxton1 however1 has judiciously taken one of the prints from the #8,biblia ,pauperum' to introduce in his #8,life of ,christ4' ,the cuts for his second edition of #8,chaucer's ,canterbury ,tales' may perhaps safely be considered as the genuine invention and execution of a ,british artist40 ,although ,i am well aware that the printers of the fifteenth century were accustomed to copy without acknowledgment the cuts which appeared in each other's books1 and though ,i think it likely that ,caxton might occasionally resort to the same practice1 yet ,i am decidedly of opinion that the cuts in the 8,game of ,chess0 and the 8,mirror of the ,world0 were designed and engraved in this country4 ,caxton's ,game of ,chess is certainly the first book of the kind which appeared with wood-cuts in any country2 and ,i am further of opinion that in no book printed previous to #adha will the presumed originals of the eleven principal cuts in the ,mirror of the ,world be found4 ,before we are required to believe that the cuts in those two books were copied from similar designs by some foreign artist1 we ought to be informed in what work such originals are to be found4 ,if there be any merit in a first design1 however rude1 it is but just to assign it to him who first employs the unknown artist and makes his productions known4 ,caxton's claims to the merit of 8illustrating0 the ,game of ,chess and the ,mirror of the ,world with wood-cuts from original designs1 ,i conceive to be indisputable4 ,dr4 ,dibdin1 in a long note at pages #cc1 #cd1 and #ce of the ,typographical ,antiquities1 gives a confused account of the earliest editions of books on chess4 ,he mentions as the first1 a ,latin edition--supposed by ,santander to be the work of ,jacobus de ,cessolis--in folio1 printed about the year #adgc1 by ,ketelaer and ,leempt4 ,in this edition1 however1 there are no cuts1 and the date is only conjectural4 ,he says that two editions of the work of ,jacobus de ,cessolis on the ,morality of ,chess1 in ,german and ,italian1 with wood-cuts1 were printed1 without date1 in the fifteenth century1 and he adds3 8,whether ,caxton borrowed the cuts in his second edition from those in the #hvo4 ,german edition without date1 or from this latter ,italian one1 ,i am not able to ascertain1 having seen neither40 ,he seems satisfied that ,caxton had borrowed the cuts in his book of chess1 though he is at a loss to discover the party who might have them to lend4 ,had he even seen the two editions which he mentions1 he could not have known whether ,caxton had borrowed his cuts from them or not until he had ascertained that they were printed previously to the ,english edition4 ,there is a ,german edition of ,jacobus de ,cessolis1 in folio1 with wood-cuts supposed to be printed in #adgg1 at ,augsburg1 by ,gunther ,zainer1 but both date and printer's name are conjectural4 ,the first ,german edition of this work with wood-cuts1 and having a positive date1 ,i believe to be that printed at ,strasburg by ,henry ,knoblochzer in #adhc4 ,until a work on chess shall be produced of an earlier date than that ascribed to ,caxton's1 and containing similar wood-cuts1 ,i shall continue to believe that the wood-cuts in the second ,english edition of the 8,game and ,playe of the ,chesse0 were both designed and executed by an ,english artist2 and ,i protest against bibliographers going a-begging with wood-cuts found in old ,english books1 and ascribing them to foreign artists1 before they have taken the slightest pains to ascertain whether such cuts were executed in ,england or not4 ,the wood-cuts in the ,game of ,chess and the ,mirror of the ,world are equally as good as the wood-cuts which are to be found in books printed abroad about the same period4 ,they are even decidedly better than those in ,anthony ,sorg's ,german ,bible1 ,augsburg1 #adhj1 or those in ,veldener's edition of the ,fasciculus ,temporum1 printed at ,utrecht in the same year4 ,it has been supposed that most of the wood-cuts which appear in books printed by ,caxton and ,de ,worde were executed abroad2 on the presumption that there were at that period no professed wood engravers in ,england4 ,although ,i am inclined to believe that within the fifteenth century there were no persons in this country who practised wood engraving as a distinct profession1 yet it by no means follows from such an admission that ,caxton's and ,de ,worde's cuts must have been engraved by foreign artists4 ,the manner in which they are executed is so coarse that they might be cut by any person who could handle a graver4 ,looking at them merely as specimens of wood engraving1 they are not generally superior to the practice-blocks cut by a modern wood-engraver's apprentice within the first month of his noviciate4 ,i conceive that there would be no greater difficulty in finding a person capable of engraving them than there would be in finding the pieces of wood on which they were to be executed4 ,persons who have noticed the embellishments in manuscripts1 the carving1 the monuments1 and the stained glass in churches1 executed in ,england about the time of ,caxton1 will scarcely suppose that there were no artists in this country capable of making the designs for those cuts4 ,there is in fact reason to believe that in ,england in the fifteenth and sixteenth centuries the walls of apartments1 more especially in taverns and hostelries1 frequently contained paintings1 most probably in distemper1 of subjects both from sacred and general history4 ,that paintings of sacred subjects were not unusual in churches at those periods is well known4 ,in most of the cuts which are to be found in books printed by ,caxton1 the effect is produced by the simplest means4 ,the outline of the figures is coarse and hard1 and the shades and folds of the draperies are indicated by short parallel lines4 ,cross-hatchings occur in none of them1 though in one or two ,i have noticed a few angular dots picked out of the black part of a cut in order that it might not appear like a mere blot4 ,the foliage of the trees is generally represented in a manner similar to those in the background of the cut of the knight1 of which a copy is given at page #aic4 ,the oak leaves in a wood-cut,,iv-#db at the commencement of the preface to the ,golden ,legend1 #adhc1 are an exception to the general style of ,caxton's foliage2 and represent what they are intended for with tolerable accuracy4 ,having thus noticed some of the earliest books with wood-engravings printed in ,england1 ,i shall now resume my account of the progress of the art on the ,continent4 ,footnote ,,iv-#db3 ,a copy of this cut is given at p4 #ahf1 vol4 i4 of ,dr4 ,dibdin's edition of the ,typographical ,antiquities4 ,in an edition of ,ptolemy's ,cosmography1 printed at ,ulm in #adhb by ,leonard ,holl1 we have the first instance of maps engraved on wood4 ,the work is in folio1 and the number of the maps is twenty-seven4 ,in a general map of the world the engraver has thus inserted his name at the top3 8,insculptum est per ,johann ,schnitzer de ,armssheim40,,iv-#dc ,at the corners of this map the winds are represented by heads with puffed-out cheeks1 very indifferently engraved4 ,the work also contains ornamental initial letters engraved on wood4 ,in a large one1 the letter at the beginning of the volume1 the translator is represented offering his book to ,pope ,paul ,,ii4 who occupied the see of ,rome from #adfd to #adga4 ,footnote ,,iv-#dc3 ,arnsheim1 which is probably the place intended1 is about twenty miles to the south-west of ,mentz4 ,each map occupies two folio pages1 and is printed on the verso of one page and the recto of the next1 in such a manner that when the book is open the adjacent pages seem as if printed from one block4 ,what may be considered as the skeleton of each map1--such as indications of rivers and mountains1--is coarsely cut2 but as the names of the places are also engraved on wood1 the execution of those thirty-seven maps must have been a work of considerable labour4 ,in #adhf another edition with the same cuts was printed at ,ulm by ,john ,regen at the cost of ,justus de ,albano of ,venice4 ,the idea of ,leonard ,holl's ,ptolemy was most likely suggested by an edition of the same work printed at ,rome in #adgh by ,arnold ,bukinck1 the successor of ,conrad ,sweinheim4 ,in this edition the maps are printed from plates of copper2 and from the perfect similarity of the letters1 as may be observed in the names of places1 there can be no doubt of their having been stamped upon the plate by means of a punch in a manner similar to that in which a bookbinder impresses the titles at the back of a volume4 ,it is absolutely impossible that such perfect uniformity in the form of the letters could have been obtained1 had they been separately engraved on the plate by hand4 ,each single letter is as perfectly like another of the same character1--the capital ,m for instance1--as types cast by a letter-founder from the same mould4 ,the names of the places are all in capitals1 but different sizes are used for the names of countries and cities4 ,the capitals at the margins referring to the degrees of latitude are of very beautiful shape1 and as delicate as the capitals in modern hair-type4 ,at the back of some of the maps in the copy in the ,king's ,library at the ,british ,museum1 the paper appears as if it had received1 when in a damp state1 an impression from linen cloth4 ,as this appearance of threads crossing each other does not proceed from the texture of the paper1 but is evidently the result of pressure1 ,i am inclined to think that it has been occasioned by a piece of linen being placed between the paper and the roller when the impressions were taken4 ,in the dedication of the work to the ,pope it is stated that this edition was prepared by ,domitius ,calderinus of ,verona1 who promised to collate the ,latin version with an ancient ,greek manuscript2 and that ,conrad ,sweinheim1 who was one of the first who introduced the art of printing at ,rome1 undertook1 with the assistance of 8certain mathematical men10 whom he taught1 to 8impress0 the maps upon plates of copper4 ,sweinheim1 after having spent three years in preparing these plates1 died before they were finished2 and ,arnold ,bukinck1 a learned ,german printer1 completed the work1 8that the emendations of ,calderinus1--who also died before the book was printed1--and the results of ,sweinheim's most ingenious mechanical contrivances might not be lost to the learned world40,,iv-#dd ,footnote ,,iv-#dd3 8,magister vero ,conradus ,suueynheyn1 ,germanus1 a quo formandorum ,rom librorum ars primum profecta est1 occasione hinc sumpta posteritati consulens animum ad hanc doctrinam capessendam applicuit4 ,subinde mathematicis adhibitis viris quemadmodum tabulis eneis imprimerentur edocuit1 triennioque in hac cura consumpto diem obiit4 ,in cujus vigilarum laborumque partem non inferiori ingenio ac studio ,arnoldus ,buckinck e ,germania vir apprime eruditus ad imperfectum opus succedens1 ne ,domitii ,conradique obitu eorum vigili emendationesque sine testimonio perirent neve virorum eruditorum censuram fugerent immens subtilitatis machinimenta1 examussim ad unum perfecit40--,dedication to the ,pope1 of ,ptolemy's ,cosmography1 ,rome1 #adgh4 ,an edition of ,ptolemy in folio1 with the maps engraved on copper1 was printed at ,bologna by ,dominico de ,lapis with the erroneous date ,m4,,cccc4,,lxii4 ,this date is certainly wrong1 for no work from the press of this printer is known of an earlier date than #adgg2 and the editor of this edition1 ,philip ,beroaldus the elder1 was only born in #adej1 if not in #adec4 ,supposing him to have been born in the former year1 he would only be twelve years old in #adfb4 ,raidel1 who in #agcg published a dissertation on this edition1 thinks that two numerals--,,xx--had accidentally been omitted1 and that the date ought to be #adhb4 ,breitkopf thinks that one ,x might be accidentally omitted in a date and pass uncorrected1 but not two4 ,he rather thinks that the compositor had placed an ,i instead of an ,l1 and that the correct date ought to stand thus3 ,m ,,cccc ,l ,,xli--#adia4 ,i am however of opinion that no instance of the ,roman numerals1 ,l ,,xli1 being thus combined to express #ia1 can be produced4 ,it seems most probable that the date #adhb assigned by ,raidel is correct2 although his opinion respecting the numerals--,,xx--being accidentally omitted may be wrong4 ,it is extremely difficult to account for the erroneous dates of many books printed previous to #aejj4 ,several of those dates may have been accidentally wrong set by the compositor1 and overlooked by the corrector2 but others are so obvious that it is likely they were designedly introduced4 ,the bibliographer who should undertake to enquire what the printers' reasons might be for falsifying the dates of their books1 would be as likely to arrive at the truth1 as he would be in an enquiry into the reason of their sometimes adding their name1 and sometimes omitting it4 ,the execution of the maps in the edition of ,de ,lapis is much inferior to that of the maps begun by ,sweinheim1 and finished by ,bukinck in #adgh4 ,bukinck's edition of ,ptolemy1 #adgh1 is the second book which contains impressions from copper-plates4 ,heineken1 at page #bcc1 refers to the 8,missale ,herbipolense10 folio1 #adha1 as the first book printed in ,germany containing a specimen of copper-plate engraving4 ,dr4 ,dibdin1 however1 in the #crd volume of his ,tour1 page #cjf1 mentions the same work as having the date of #adgi in the prefatory admonition1 and says that the plate of a shield of arms--the only one in the volume--is noticed by ,bartsch in his 8,peintre-,graveur10 vol4 x4 p4 #eg4 ,the printer of the edition of #adha appears from ,heineken to have been ,george ,reyser4 ,in the 8,modus ,orandi secundum chorum ,herbipolensem10 folio1 printed by ,george ,reyser1 8,herbipoli10 at ,wurtzburg1 #adhe1 there is on folio ,,ii4 a copper-plate engraving of the arms of ,rudolph de ,scherenberg1 bishop of that see4 ,this plate is also described by ,bartsch in his 8,peintre-,graveur10 vol4 x4 p4 #aef4 ,the first book which appeared with copper-plate engravings is intitled 8,il ,monte ,sancto di ,dio10 written by ,antonio ,bettini1 and printed at ,florence in #adgg by ,nicolo di ,lorenzo della ,magna4 ,as this book is of extreme rarity1 ,i shall here give an account of the plates from ,mercier1 who first called the attention of bibliographers to it as being of an earlier date than the folio edition of ,dante1 with copper-plate engravings1 printed also by ,nicolo ,lorenzo in #adha4 ,this edition of ,dante was generally supposed to be the first book containing copper-plate engravings until ,bettini's work was described by ,mercier4 ,the work called 8,il ,monte ,sancto di ,dio0 is in quarto1 and according to ,mercier there ought to be a quire or gathering of four leaves at the commencement1 containing a summary of the work1 which is divided into three parts1 with a table of the chapters4 ,on the reverse of the last of those four leaves is the first plate1 which occupies the whole page1 and 8measures nine inches and seven-eighths in height1 by seven inches in width40,,iv-#de ,this plate represents the ,holy ,mountain1 on the top of which ,christ is seen standing in the midst of adoring angels4 ,a ladder is placed against this mountain1 to which it is fastened with iron chains1 and on each step is engraved the name of a virtue1 for instance1 ,prudence1 ,temperance1 ,fortitude1 and others4 ,a figure clothed in a long robe1 and who appears to be a monk1 is seen mounting the ladder4 ,his eyes are directed towards a huge crucifix placed half way up the hill to the right of the ladder1 and from his mouth there proceeds a label inscribed with these words3 8,tirami doppo ti10--8,draw me up after thee40 ,another figure is seen standing at the foot of the mountain1 looking towards the top1 and uttering these words3 8,levavi oculos meos in montes10 c4 ,the second plate occurs at signature ,iv,,iv-#df after the #aaeth chapter4 ,it also represents ,christ in his glory1 surrounded by angels4 ,it is only four inches and five lines high1 by six inches wide1 ,french measure4 ,the third plate1 which is the same size as the second1 occurs at signature ,pvij1 and represents a view of ,hell according to the description of ,dante4 ,those plates1 which for the period are well enough designed and executed1 especially the second1 were most likely engraved on copper2 and they seem to be by the same hand as those in the edition of ,dante of #adha1 from the press of ,nicolo di ,lorenzo1 who also printed the work of ,bettini4,,iv-#dg ,a copy of 8,il ,monte ,sancto di ,dio0 is in ,earl ,spencer's ,library2 and a description and specimens of the cuts are given by ,dr4 ,dibdin in the ,bibliotheca ,spenceriana1 vol4 iv4 p4 #cj2 and by ,mr4 ,ottley in the ,inquiry into the ,origin and ,early ,history of ,engraving1 vol4 i4 pp4 #cge-cgg4 ,footnote ,,iv-#de3 ,this is ,mr4 ,ottley's measurement1 taken within the black line which bounds the subject4 ,the width as given by ,mercier does not accord with the above4 ,he says that the plate 8a neuf pouces et demi de haut sur six de large40 ,footnote ,,iv-#df3 ,mr4 ,ottley says1 8on the reverse of signature ,n viij40 ,footnote ,,iv-#dg3 8,lettres de ,m4 l',abb de ,st4 ,l9999991 ,st4 ,lger1 autrefois le pere ,le ,mercier1 ancien ,bibliothecaire de ,st4 ,genevieve ,m4 le ,baron de ,h999999 sur diffrentes ,editions rares du ,,xve4 ,sicle10 p4 #d-e4 #hvo4 ,paris1 #aghc4 ,a short biographic sketch of the ,abb ,mercier ,st4 ,lger1 one of the most eminent ,french ,bibliographers of the last century1 will be found in ,dr4 ,dibdin's ,tour1 vol4 ii4 p4 #ahj4 ,in the execution of the maps1 the copper-plate engraver possesses a decided advantage over the engraver on wood1 owing to the greater facility and clearness with which letters can be cut in copper than on wood4 ,in the engraving of letters on copper1 the artist cuts the form of the letter into the plate1 the character being thus in intaglio2 while in engraving on a block1 the wood surrounding has to be cut away1 and the letter left in relief4 ,on copper1 using only the graver1--for etching was not known in the fifteenth century1--as many letters might be cut in one day as could be cut on wood in three4 ,notwithstanding the disadvantage under which the ancient wood engravers laboured in the execution of maps1 they for many years contended with the copper-plate printers for a share of this branch of business2 and the printers1 at whose presses maps engraved on wood only could be printed1 were well inclined to support the wood engravers4 ,in a folio edition of ,ptolemy1 printed at ,venice in #aeaa1 by ,jacobus ,pentius de ,leucho1 the outlines of the maps1 with the indications of the mountains and rivers1 are cut on wood1 and the names of the places are printed in type1 of different sizes1 and with red and black ink4 ,for instance1 in the map of ,britain1 which is more correct than any which had previously appeared1 the word 8,,albion0 is printed in large capitals1 and the word 8,,gadini0 in small capitals1 and both with red ink4 ,the words 8,curia0 and 8,bremenium0 are printed in small ,roman characters1 and with black ink4 ,the names of the rivers are also in small ,roman1 and in black ink4 ,such of those maps as contain many names1 are almost full of type4 ,the double borders surrounding them1 within which the degrees of latitude are marked1 appear to have been formed of separate pieces of metal1 in the manner of wide double rules4 ,at the head of several of the maps there are figures of animals emblematic of the country4 ,in the first map of ,africa there are two parrots2 in the second an animal like a jackal1 and a non-descript2 in the third1 containing ,egypt1 a crocodile1 and a monstrous kind of fish like a dragon2 and in the fourth1 two parrots4 ,in the last1 the 8curious observer0 will note a specimen of decorative printing from two blocks of wood2 for the beak1 wing1 and tail of one of the parrots is printed in red4 ,in the last map1--of ,loraine1--in an edition of ,ptolemy1 in folio1 printed at ,strasburg in #aeac1 by ,john ,schott1 the attempt to print in colours1 in the manner of chiaro-scuro wood engravings1 is carried yet further4 ,the hills and woods are printed green2 the indications of towns and cities1 and the names of the most considerable places1 are red2 while the names of the smaller places are black4 ,for this map1 executed in three colours1 green1 red1 and black1 there would be required two wood engravings and two forms of type1 each of which would have to be separately printed4 ,the arms which form a border to the map are printed in their proper heraldic colours4,,iv-#dh ,the only other specimen of armorial bearings printed in colours from wood-blocks1 that ,i am aware of1 is ,earl ,spencer's arms in the first part of ,savage's ,hints on ,decorative ,printing1 which was published in #ahah1 upwards of three hundred years after the first essay4 ,footnote ,,iv-#dh3 ,i regret that ,i have not had an opportunity of personally examining this map4 ,there is a copy of ,schott's edition in the ,british ,museum2 but all the maps1 except one of the sphere1 are taken out4 ,the above account of the map of ,loraine is from ,breitkopf's interesting essay 8,ueber den ,druck der ,geographischen ,charten10 ,s4 #g4 #dto4 ,leipzig1 #aggg4 ,at a later period a new method was adopted by which the wood engraver was spared the trouble of cutting the letters1 while the printer was enabled to obtain a perfect copy of each map by a single impression4 ,the mode in which this was effected was as follows4 ,the indications of mountains1 rivers1 cities1 and villages were engraved on the wood as before1 and blank spaces were left for the names4 ,those spaces were afterwards cut out by means of a chisel or drill1 piercing quite through the block3 and the names of the places being inserted in type1 the whole constituted only one 8form10 from which an impression both of the cut and the letters could be obtained by its being passed once through the press4 ,sebastian ,munster's ,cosmography1 folio1 printed at ,basle in #aeed1 by ,henry ,petri1 affords several examples of maps executed in this manner4 ,this may be considered as one of the last efforts of the old wood engravers and printers to secure to themselves a share of the business of map-engraving4 ,their endeavours1 however1 were unavailing2 for within twenty years of that date1 this branch of art was almost exclusively in the hands of the copper-plate engravers4 ,from the date of the maps of ,ortelius1 ,antwerp1 #aegj1 engraved on copper by gidius ,diest1 maps engraved on wood are rarely to be seen4 ,the practice of engraving the outlines and rivers on wood1 and then piercing the block and inserting the names of the places in type has1 however1 lately been revived2 and where publishers are obliged either to print maps with the type or to give none at all1 this mode may answer very well1 more especially when the object is to give the relative position of a few of the principal places1 rather than a crowded list of names4 ,most of the larger maps in the ,penny ,cyclopdia are executed in this manner4 ,the holes in the blocks are pierced with the greatest rapidity by gouges of different sizes acting vertically1 and put in motion by machinery contrived by ,mr4 ,edward ,cowper1 to whose great mechanical skill the art of steam-printing chiefly owes its perfection4 ,having thus noticed consecutively the progress of map engraving1 it may not here be out of place to give a brief account of ,breitkopf's experiment to print a map with separate pieces of metal in the manner of type4,,iv-#di ,previous to #aggf some attempts had been made by a person named ,preusch1 of ,carlsruhe1 to print maps by a process which he named typometric1 and who published an account of his plan1 printed at the press of ,haass the ,younger1 of ,basil4 ,in #aggf ,breitkopf sent a communication to ,busching's ,journal1 containing some remarks on the invention of ,preusch1 and stating that he had conceived a similar plan upwards of twenty years previously1 and that he had actually set up a specimen and printed off a few copies1 which he had given to his friends4 ,the veracity of this account having been questioned by an illiberal critic1 ,breitkopf1 in #aggg1 prefixed to his ,essay on the ,printing of ,maps a specimen composed of moveable pieces of metal in the manner of types4 ,he expressly declares that he considered his experiment a failure2 and that he only produced his specimen--a quarto map of the country round ,leipsic--in testimony of the truth of what he had previously asserted1 and to show that two persons might1 independently of each other1 conceive an idea of the same invention1 although they might differ considerably in their mode of carrying it into effect4 ,footnote ,,iv-#di3 ,the following particulars respecting ,breitkopf's invention are derived from his essay 8,ueber den ,druck der ,geographischen ,charten10 previously referred to4 ,he was first led to think on the practicability of printing maps with moveable pieces of metal by considering that when the letters are omitted there remain but hills1 rivers1 and the indications of places2 and for these he was convinced that representations consisting of moveable pieces of metal might be contrived4 ,having1 however1 made the experiment1 he felt satisfied that the appearance of such a map was unpleasing to the eye1 and that the invention was not likely to be practically useful4 ,had it not been for the publication of ,preusch1 he says that he never would have thought of mentioning his invention1 except as a mechanical experiment2 and to show that the execution of maps in such a manner was within the compass of the printer's art4 ,in the specimen which he gives1 rivers are represented by minute parallel lines1 which are shorter or longer as the river contracts or expands2 and the junction of the separate pieces may be distinctly perceived4 ,for hills and trees there are distinct characters representing those objects4 ,towns and large villages are distinguished by a small church1 and small villages by a small circle4 ,roads are indicated by dotted parallel lines4 ,for the title of the map large capitals are used4 ,the name of the city of ,,leipsic is in small capitals4 ,the names of towns and villages are in ,italic2 and of woods1 rivers1 and hills1 in ,roman type4 ,the general appearance of the map is unpleasing to the eye4 ,breitkopf has displayed his ingenuity by producing such a typographic curiosity1 and his good sense in abandoning his invention when he found that he could not render it useful4 ,mr4 ,ottley1 at page #gee of the second volume of his ,inquiry1 makes the following remarks on the subject of cross-hatching in wood engravings3--8,it appears anciently to have been the practice of those masters who furnished designs for the wood engravers to work from1 carefully to avoid all cross-hatchings1 which1 it is probable1 were considered beyond the power of the ,xylographist to represent4 ,wolgemuth perceived that1 though difficult1 this was not impossible2 and in the cuts of the ,nuremberg ,chronicle1 the execution of which1 7besides furnishing the designs17 he doubtless superintended1 a successful attempt was first made to imitate the bold hatchings of a pen-drawing1 crossing each other1 as occasion prompted the designer1 in various directions3 to him belongs the praise of having been the first who duly appreciated the powers of this art40 ,although it is true that cross-hatchings are not to be found in the earliest wood engravings1 yet ,mr4 ,ottley is wrong in assigning this material improvement in the art to ,michael ,wolgemuth2 for cross-hatching is introduced in the beautiful cut forming the frontispiece to the ,latin edition of ,breydenbach's ,travels1 folio1 first printed at ,mentz1 by ,erhard ,reuwich1 in #adhf1;,,iv-#ej seven years before the ,nuremberg ,chronicle appeared4 ,the cut in the following page is a reduced but accurate copy of ,breydenbach's frontispiece1 which is not only the finest wood engraving which had appeared up to that date1 #adhf1 but is in point of design and execution as superior to the best cuts in the ,nuremberg ,chronicle1 as the designs of ,albert ,durer are to the cuts in the oldest editions of the 8,poor ,preachers' ,bible40 ,footnote ,,iv-#ej3 ,an edition of this work in ,german1 with the same cuts1 was printed by ,reuwich in #adhh4 ,within ten years1 at least six different editions of this work were printed in ,germany4 ,it was also translated into ,low ,dutch1 and printed in ,holland4 ,illustration3 ,philippus de bicken miles ,in this cut1 cross-hatching may be observed in the drapery of the female figure1 in the upper part of the two shields on each side of her1 in the border at the top of the cut1 and in other places4 ,whether the female figure be intended as a personification of the city of ,mentz1 as is sometimes seen in old books of the sixteenth century1 or for ,st4 ,catherine1 whose shrine on ,mount ,sinai was visited by ,breydenbach in his travels1 ,i shall not pretend to determine4 ,the arms on her right are ,breydenbach's own2 on her left are the arms of ,john1 ,count of ,solms and ,lord of ,mintzenberg1 and at the bottom of the cut those of ,philip de ,bicken1 knight1 who were ,breydenbach's companions to the holy sepulchre at ,jerusalem and the shrine of ,st4 ,catherine on ,mount ,sinai4 ,st4 ,catherine1 it may be observed1 was esteemed the patroness of learned men1 and her figure was frequently placed in libraries in ,catholic countries1 in the same manner as the bust of ,minerva in the libraries of ancient ,greece and ,rome4 ,the name of the artist by whom the frontispiece to ,breydenbach's travels was executed is unknown2 but ,i have no hesitation in declaring him to be one of the best wood engravers of the period4 ,as this is the earliest wood-cut in which ,i have noticed cross-hatching1 ,i shall venture to ascribe the merit of the invention to the unknown artist1 whoever he may have been2 and shall consider the date #adhf as marking the period when a new style of wood engraving was introduced4 ,wolgemuth1 as associated with wood engraving1 has too long been decked out with borrowed plumes2 and persons who knew little or nothing either of the history or practice of the art1 and who are misled by writers on whose authority they rely1 believe that ,michael ,wolgemuth was not only one of the best wood engravers of his day1 but that he was the first who introduced a material improvement into the practice of the art4 ,this error becomes more firmly rooted when such persons come to be informed that he was the master of ,albert ,durer1 who is generally1 but erroneously1 supposed to have been the best wood engraver of his day4 ,albert ,durer studied under ,michael ,wolgemuth as a painter1 and not as a wood engraver2 and ,i consider it as extremely questionable if either of them ever engraved a single block4 ,there are many evidences in ,germany of ,wolgemuth having been a tolerably good painter for the age and country in which he lived2 but there is not one of his having engraved on wood4 ,in the ,nuremberg ,chronicle he is represented as having1 in conjunction with ,william ,pleydenwurf1 superintended the execution of the wood-cuts contained in that book4 ,those cuts1 which are frequently referred to as excellent specimens of old wood engraving1 are in fact the most tasteless and worthless things that are to be found in any book1 ancient or modern4 ,it is a book1 however1 that is easy to be obtained2 and it serves as a land-mark to superficial enquirers who are perpetually referring to it as containing wood-cuts designed1 if not engraved1 by ,albert ,durer's master1--and such1 they conclude1 must necessarily possess a very high degree of excellence4 ,breydenbach was a canon of the cathedral church of ,mentz1 and he dedicates the account of his pilgrimage to the ,holy ,land and visit to ,mount ,sinai to ,berthold1 archbishop of that see4 ,the frontispiece1 although most deserving of attention as a specimen of wood engraving1 is not the only cut in the book which is worthy of notice4 ,views are given1 engraved on wood1 of the most remarkable places which he visited2--and those of ,venice1 ,corfu1 ,modon1 and the country round ,jerusalem1 which are of great length1 are inserted in the book as 8folding plates40 ,each of the above views is too large to have been engraved on one block4 ,for that of ,venice1 which is about five feet long1 and ten inches high1 several blocks must have been required1 from each of which impressions would have to be taken singly1 and afterwards pasted together1 as is at present done in such views as are too wide to be contained on one sheet4 ,those views1 with respect to the manner in which they are executed1 are superior to everything of the same kind which had previously appeared4 ,the work also contains smaller cuts printed with the type1 which are not generally remarkable for their execution1 although some of them are drawn and engraved in a free and spirited manner4 ,the following cut is a reduced copy of that which is prefixed to a chapter intitled 8,de ,surianis qui ,ierosolimis et locis illis manentes etiam se asserunt esse ,christianos30-- ,illustration ,in a cut of animals there is a figure of a giraffe1,,iv-#ea named by ,breydenbach 8seraffa10 of a unicorn1 a salamander1 a camel1 and an animal something like an oran-outang1 except that it has a tail4 ,of the last the traveller observes1 8non constat de nomine40 ,some account of this book1 with fac-similes of the cuts1 will be found in ,dibdin's ,bibliotheca ,spenceriana1 vol iii4 pp4 #baf-bbh4 ,in the copy there described1 belonging to ,earl ,spencer1 the beautiful frontispiece was wanting4 ,footnote ,,iv-#ea3 ,this is probably the first figure of the giraffe that was communicated to the 8reading public0 of ,europe4 ,its existence was afterwards denied by several naturalists2 and it is only within a comparatively recent period that the existence of such an animal was clearly established4 ,although a flowered border surrounding a whole page may be observed as occurring twice in ,veldener's edition of the ,fasciculus ,temporum1 printed at ,utrecht in #adhj1 yet ,i am inclined to think that the practice of surrounding every page with an ornamental flowered border cut in wood1 was first introduced by the ,parisian printers at a period somewhat later4 ,in #adhh1 an edition of the 8,hor in ,laudem beatissim virginis ,mari10 in octavo1 was printed at ,paris by ,anthony ,verard1 the text of which is surrounded with ornamental borders4 ,the practice thus introduced was subsequently adopted by the printers of ,germany and ,holland1 more especially in the decoration of devotional works1 such as ,hor1 ,breviaries1 and ,psalters4 ,verard appears to have chiefly printed works of devotion and love1 for a greater number of ,hor and ,romances proceeded from his press than that of any other printer of his age4 ,most of them contain wood-cuts1 some of which1 in books printed by him about the beginning of the sixteenth century1 are designed with considerable taste and well engraved2 while others1 those for instance in 8,la ,fleur des ,battailes10 #dto1 #aeje1 are not superior to those in ,caxton's ,chess3 it is1 however1 not unlikely that the cuts in 8,la ,fleur des ,battailes0 of this date had been used for an earlier edition4,,iv-#eb ,footnote ,,iv-#eb3 ,a good specimen of early ,french wood engraving may be seen in the large cut forming a kind of frontispiece to the 8,roman du ,roy ,artus10 folio1 printed at ,rouen in #adhh by ,jehan de ,bourgeois4 ,this cut1 which occupies the whole page1 represents ,king ,arthur and his knights dining off the round table4 ,a smaller one occurs at the beginning of the second part1 and both are surrounded by ornamental borders4 ,the 8,hortus ,sanitatis10 folio1 printed at ,mentz in #adia by ,jacobus ,meydenbach1 is frequently referred to by bibliographers2 not so much on account of the many wood-cuts which it contains1 but as being supposed in some degree to confirm a statement in ,sebastian ,munster's ,cosmography1 and in ,serrarius1 ,de ,rebus ,moguntinis1 where a ,john ,meydenbach is mentioned as being a partner with ,gutemberg and ,faust4 ,von ,murr1 as has been previously noticed1 supposed that this person was a wood engraver2 and ,prosper ,marchand1,,iv-#ec though without any authority1 calls ,jacobus ,meydenbach his son or his relation4 ,footnote ,,iv-#ec3 ,hist4 de l',imprimerie1 p4 #di4 ,this work1 which is a kind of ,natural ,history1 explaining the uses and virtues of herbs1 fowls1 fish1 quadrupeds1 minerals1 drugs1 and spices1 contains a number of wood-cuts1 many of which are curious1 as containing representations of natural objects1 but none of which are remarkable for their execution as wood engravings4 ,on the opposite page is a fac-simile of the cut which forms the head-piece to the chapter 8,de ,ovis40 ,the figure1 which possesses considerable merit1 represents an old woman going to market with her basket of eggs4 ,this is a fair specimen of the manner in which the cuts in the ,hortus ,sanitatis are designed and executed4 ,among the most curious and best designed are3 the interior of an apothecary's shop1 on the reverse of the first leaf2 a monkey seated on the top of a fountain1 in the chapter on water2 a butcher cutting up meat2 a man selling cheese at a stall2 a woman milking a cow2 and figures of the male and female mandrake4 ,at chapter #aai1 8,de ,pediculo10 a woman is represented brushing the head of a boy with a peculiar kind of brush1 which answers the purpose of a small-toothed comb2 and she appears to bestow her labour on no infertile field1 for each of her 8sweepings10 which are seen lying on the floor1 would scarcely slip through the teeth of a garden rake4 ,meydenbach's edition has been supposed to be the first2 and ,linnus1 in the ,bibliotheca ,botanica1 has ascribed the work to one ,john ,cuba1 a physician of ,mentz2 but other writers have doubted if this person were really the author4 ,the first edition of this work1 under the title of 8,herbarus10 with a hundred and fifty wood-cuts1 was printed at ,mentz by ,peter ,scheffer in #adhd2 and in #adhe he printed an enlarged edition in ,german1 containing three hundred and eighty cuts1 under the title of 8,ortus ,sanitatis oder ,garten der ,gesundheit40 ,of the work printed by ,scheffer1 ,breydenbach is said to have been one of the compilers4 ,several editions of the ,hortus ,sanitatis were subsequently printed1 not only in ,germany1 but in ,france1 ,holland1 and ,switzerland4 ,illustration ,having previously expressed my opinion respecting the wood-cuts in the ,nuremberg ,chronicle1 there will be less occasion to give a detailed account of the book and the rubbish it contains here3 in speaking thus it may perhaps be necessary to say that this character is meant to apply to the wood-cuts and not to the literary portion of the work1 which ,thomas ,hearne1 of black-letter memory1 pronounces to be extremely 8pleasant1 useful1 and curious40 ,with the wood-cuts the ,rev4 ,dr4 ,dibdin appears to have been equally charmed4 ,the work called the 8,nuremberg ,chronicle0 is a folio1 compiled by ,hartman ,schedel1 a physician of ,nuremberg1 and printed in that city by ,anthony ,koburger in #adic4 ,in the colophon it is stated that the views of cities1 and figures of eminent characters1 were executed under the superintendence of ,michael ,wolgemuth and ,william ,pleydenwurff1 8mathematical men0,,iv-#ed and skilled in the art of painting4 ,the total number of impressions contained in the work exceeds two thousand1 but several of the cuts are repeated eight or ten times4 ,the following fac-simile will afford an idea of the style in which the portraits of illustrious men contained in this often-cited chronicle are executed4 ,footnote ,,iv-#ed3 ,the expression 8adhibitis tamen viris mathematicis0 in the ,nuremberg ,chronicle1 is evidently borrowed from that1--8subinde mathematicis adhibitis viris10--in the dedication of ,bukinck's ,ptolemy1 #adgh1 to the ,pope4 8,mathematical men10 in the present sense of the term1 might be required to construct the maps in the edition of ,ptolemy1 but scarcely to design or engrave the vulgar figures and worthless views in the ,nuremberg ,chronicle4 ,illustration ,the above head1 which the owner appears to be scratching with so much earnestness1 first occurs as that of ,paris the lover of ,helen2 and it is afterwards repeated as that of ,thales1 ,anastasius1 ,odofredus1 and the poet ,dante4 ,in a like manner the economical printer has a stock-head for kings and emperors2 another for popes2 a third for bishops2 a fourth for saints1 and so on4 ,several cuts representing what might be supposed to be particular events are in the same manner pressed into the general service of the chronicler4 ,the peculiarity of the cuts in the ,nuremberg ,chronicle is that they generally contain more of what engravers term 8colour0 than any which had previously appeared4 ,before proceeding1 however1 to make any further observations on these cuts1 ,i shall endeavour to explain what engravers mean by the term 8colour10 as applied to an impression taken with black ink from a copper-plate or a wood-block4 ,though there is no 8colour10 strictly speaking1 in an engraving consisting merely of black and white lines1 yet the term is often conventionally applied to an engraving which is supposed1 from the varied character of its lines and the contrast of light and shade1 to convey the idea of varied local colour as seen in a painting or a water-colour drawing4 ,for instance1 an engraving is said to contain much 8colour0 which appears clearly to indicate not only a variety of colour1 but also its different degrees of intensity in the several objects1 and which at the same time presents an effective combination of light and shade4 ,an engraver cannot certainly express the difference between green and yellow1 or red and orange1 yet in engraving a figure1 say that of a cavalier by ,vandyke1 with brown leather boots1 buff-coloured woollen hose1 doublet of red silk1 and blue velvet cloak1 a master of his art will not only express a difference in the texture1 but will also convey an idea of the different parts of the dress being of different colours4 ,the ,rent ,day1 engraved by ,raimbach from a painting by ,wilkie1 and ,chelsea ,pensioners hearing the ,gazette of the ,battle of ,waterloo read1 engraved by ,burnet from a picture by the same artist1 may be instanced as copper-plate engravings which contain much 8colour40 ,mr4 ,landseer1 at pages #age1 #agf1 of his ,lectures on ,engraving1 makes the following remarks on the term 8colour10 as conventionally applied by engravers in speaking of impressions from plates or from wood-blocks3--8,it is not uncommon among print-publishers1 nor even amongst engravers themselves1 to hear the word ,,colour mistakenly employed to signify shade2 so that if they think an engraving too dark1 they say it has too much colour1 too little colour if too light--and so forth4 ,the same ignorance which has hitherto reigned over the pursuits of this ,art1 has here imposed its authority1 and with the same unfortunate success3 ,i cannot however yield to it the same submission1 since it is not only a palpable misuse of a word1 but would lead to endless confusion when ,i come to explain to you my ideas of the means the ,art of engraving possesses of rendering local colour in the abstract4 ,wherefore1 whenever ,i may use the term colour1 ,i mean it in no other than its ordinary acceptation40 8,by ,,middle ,,tint1 ,i understand and mean1 #8the medium between strong light and strong shade4'--,these are ,mr4 ,gilpin's words2 and he adds1 with a propriety that confers value on the definition--#8the phrase is not at all expressive of colour4'0 ,whether we owe the term 8colour10 as applied to engravings1 to the ignorance of printsellers or not1 ,i shall not inquire2 ,i only know that a number of terms equally objectionable1 if their primitive meaning be considered1 are used in speaking of the arts of painting and engraving by persons who are certainly not ignorant4 ,we have the words high and deep1 which strictly relate to objects of lineal altitude or profundity1 applied to denote intensity of colour2 and the very word intensity1 when thus applied1 is only relative2 the speaker being unable to find a word directly expressive of his meaning1 explains himself by referring to some object or thing previously known1 as1 in this instance1 by reference to the tension of a string or cord4 ,the word tone1 which is so frequently used in speaking of pictures1 is derived from the sister art of music4 ,i presume that none of these terms were introduced into the nomenclature of painting and engraving by ignorant persons1 but that they were adopted from a necessity originating from the very constitution of the human mind4 ,it is well known to every person who has paid any attention to the construction of languages1 that almost every abstract term is referable to1 and derived from1 the name of some material object4 ,the very word to 8think10 implying the exercise of our mental faculties1 is probably an offset from the substantive 8thing40 ,it is also to be observed1 that ,mr4 ,landseer speaks as if the term colour was used by ignorant printsellers1 and of course ignorant engravers1 to signify shade only4 ,it is1 however1 used by them to signify that there is a considerable proportion of dark lines and hatchings in an engraving1 although such lines and hatchings are not expressive of shade1 but merely indicative of deep colours4 ,dark brown1 red1 and purple1 for instance1 even when receiving direct rays of light1 would naturally contain much conventional 8colour0 in an engraving2 and so would a bay horse1 a coal barge1 or the trunk of an old oak tree1 when receiving the light in a similar manner2 all would be represented as comparatively dark1 when contrasted with lighter coloured objects1--for instance1 with a blue sky1 grass1 or light green foliage1--although not in shade4 ,an engraving that appears too light1 compared with the painting from which it is copied1 is said to want 8colour10 and the copper-plate engraver remedies the defect by thickening the dark lines1 or by adding cross lines and hatchings4 ,as a copper-plate engraver can always obtain more 8colour10 he generally keeps his work light in the first stage of a plate2 on the contrary1 a wood engraver keeps his first proof dark1 as he cannot afterwards introduce more 8colour10 or give to an object a greater depth of shade4 ,a wood engraver can make his lines thinner if they be too thick1 and thus cause his subject to appear lighter2 but if he has made them too fine at first1 and more colour be wanted1 it is not in his power to remedy the defect4 ,what ,mr4 ,landseer's ideas may be of the 8means which the art of engraving possesses of rendering local colour in the abstract10 ,i cannot very well comprehend4 ,i am aware of the lines used conventionally by engravers to indicate heraldic colours in coat-armour2 but ,i can see no natural relation between perpendicular lines in an engraving and the red colour of a soldier's coat4 ,i believe that no person could tell the colour of the draperies in ,leonardo da ,vinci's ,last ,supper from an inspection of ,raphael ,morghen's engraving of it4 ,when ,mr4 ,landseer says that he will use the term 8colour0 in its 8ordinary acceptation10 he ought to have explained what the ordinary acceptation of the word meant when applied to impressions from copper-plates which consist of nothing but lines and interstices of black and white4 ,illustration ,in the second paragraph ,mr4 ,landseer displays great inconsistency in praising ,mr4 ,gilpin for his definition of the word 8tint10 which1 when applied to engravings1 is as objectionable as the term 8colour40 ,it appears that ,mr4 ,gilpin may employ a conventional term with 8singular propriety10 while printsellers and engravers who should use the same liberty would be charged with ignorance4 ,is there such a thing as a tint in nature which is of no colour8 ,mr4 ,gilpin's lauded definition involves a contradiction even when the word is applied to engravings1 in which every 8tint0 is indicative of positive colour4 ,that 8medium between strong light and strong shade10 and which is yet of no colour1 remains to be discovered4 ,mr4 ,gilpin has supplied us with the 8word10 but it appears that no definite idea is necessary to be attached to it4 ,having thus endeavoured to give a little brightness to the 8colour0 of 8ignorant printsellers and engravers10 ,i shall resume my observations on the cuts in the ,nuremberg ,chronicle1 to the 8colour0 of which the preceding digression is to be ascribed4 ,the preceding cut1 representing the ,creation of ,eve1 is copied from one of the best in the ,nuremberg ,chronicle1 both with respect to design and engraving4 ,in this1 compared with most other cuts previously executed1 much more colour will be perceived1 which results from the closeness of the single lines1 as in the dark parts of the rock immediately behind the figure of ,eve2 from the introduction of dark lines crossing each other1--called 8cross-hatching10--as may be seen in the drapery of the ,divinity2 and from the contrast of the shade thus produced with the lighter parts of the cut4 ,illustration ,the subjoined cut1 of the same subject1 copied from the ,poor ,preachers' ,bible1,,iv-#ee will1 by comparison with the preceding1 illustrate more clearly than any verbal explanation the difference with respect to colour between the wood-cuts in the old block-books and in most others printed between #adfb and #adic1 and those contained in the ,nuremberg ,chronicle4 ,in this cut there is no indication of colour2 the shades in the drapery which are expressed by hard parallel lines are all of equal strength1 or rather weakness2 and the hair of ,adam's head and the foliage of the tree are expressed nearly in the same manner4 ,footnote ,,iv-#ee3 ,in the original1 this cut1 with one of ,christ's side pierced by a soldier1 and another of ,moses striking the rock1 are intended to illustrate the mystery of the ,sacrament of the ,lord's ,supper4 ,this manner of representing the creation of ,eve appears to have been general amongst the wood engravers of the fifteenth century1 for the same subject frequently occurs in old cuts executed previous to #aejj4 ,it is frequently represented in the same manner in illuminated missals2 and in ,flaxman's ,lectures on ,sculpture a lithographic print is given1 copied from an ancient piece of sculpture in ,wells ,cathedral1 where ,eve is seen thus proceeding from the side of ,adam4 ,in a picture by ,raffaele the creation of ,eve is also represented in the same manner4 ,in the wood-cuts which occur in ,italian books printed previous to #aejj the engravers have seldom attempted anything beyond a simple outline with occasionally an indication of shade1 or of colour1 by means of short parallel lines4 ,the following is a fac-simile of a cut in ,bonsignore's ,italian prose translation of ,ovid's ,metamorphoses1 folio1 printed at ,venice by the brothers ,de ,lignano in #adig4 ,it may serve at once as a specimen of the other cuts contained in the work and of the general style of engraving on wood in ,italy for about ten years preceding that period4 ,illustration ,the subject illustrated is the difficult labour of ,alcmena through the malign influence of ,lucina1 as related by ,ovid in the ,i,xth book of the ,metamorphoses1 from verse #bie to #cad4 ,this would appear to have been rather a favourite subject with designers1 for it is again selected for illustration in ,ludovico ,dolce's ,transformationi1 a kind of paraphrase of the ,metamorphoses1 #dto1 printed at ,venice by ,gabriel ,giolito in #aeeg2 and it is also represented in the illustrations to the ,metamorphoses designed by ,virgil ,solis1 and printed at ,frankfort1 in oblong #dto1 by ,george ,corvinus and ,sigismund ,feyrabent1 in #aefi4;,,iv-#ef ,footnote ,,iv-#ef3 ,mr4 ,ottley in speaking of an edition of the ,metamorphoses printed at ,venice in #aeji1 with wood-cuts1 mentions one of them as representing the 8,birth of ,hercules10 which is probably treated in a manner similar to those above noticed4 ,mr4 ,ottley also states that he had discovered the artist to be ,benedetto ,montagna1 who also engraved on copper4--,inquiry1 vol4 ii p4 #egf4 ,of all the wood-cuts executed in ,italy within the fifteenth century there are none that can bear a comparison for elegance of design with those contained in an ,italian work entitled 8,hypnerotomachia ,poliphili10 a folio without printer's name or place1 but certainly printed at ,venice by ,aldus in #adii4 ,this 8,contest between ,imagination and ,love1 by a general ,lover10--for such seems to be the import of the title1--is an obscure medley of fable1 history1 antiquities1 mathematics1 and various other matters1 highly seasoned with erotic sketches,,iv-#eg suggested by the prurient imagination of a monk1--for such the author was1--who1 like many others of his fraternity1 in all ages1 appears to have had 8a law not to marry1 and a custom not to live chaste40 ,the language in which this chaos of absurdities is composed is almost as varied as the subjects4 ,the ground-work is ,italian1 on which the author engrafts at will whole phrases of ,latin1 with a number of words borrowed from the ,greek1 ,hebrew1 ,arabic1 and ,chaldee4 8,certain persons10 says ,tiraboschi1 8who admire a work the more the less they understand it1 have fancied that they could perceive in the ,hypnerotomachia a complete summary of human knowledge40,,iv-#eh ,footnote ,,iv-#eg3 ,bibliographers and booksellers in their catalogues specify with delight such copies as contain 8la figura rappresentante il ,sacrifizio ,priapo bene conservata10 for in some copies this choice subject is wanting1 and in others partially defaced4 ,footnote ,,iv-#eh3 ,some account of the ,hypnerotomachia and its author is to be found in ,prosper ,marchand's ,dictionnaire ,historique4 ,the name of the author was ,francis ,colonna1 who was born at ,venice1 and at an early age became a monk of the order of ,st4 ,dominic4 ,in #adfg he professed ,grammar and ,classical ,literature in the convent of his order at ,trevisa2 and he afterwards became ,professor of ,theology at ,padua1 where he commenced ,doctor in #adgc1 a degree which1 according to the rule of his order1 he could not assume until he was forty4 ,at the time of his death1 which happened in #aebg1 he could not thus be less than ninety-four years old4 ,the true name of this amorous dreaming monk1 and the fictitious one of the woman with whom he was in love1 are thus expressed by combining1 in the order in which they follow each other1 the initial letters of the several chapters3 8,,poliam ,,frater ,,fransiscus ,,columna ,,peramavit40,,iv-#ei ,if any reliance can be placed on the text and the cuts as narrating and representing real incidents1 we may gather that the stream of love had not run smooth with father ,francis any more than with simple laymen4 ,with respect to the true name of the mistress of father ,francis1 biographers are not agreed4 ,one says that her name was ,lucretia ,maura2 and another that her name was ,ippolita1 and that she belonged to the noble family of ,poli1 of ,trevisa1 and that she was a nun in that city4 ,from the name ,ippolita some authors thus derive the fictitious name ,polia3 ,ippolita2 ,polita2 ,polia4 ,footnote ,,iv-#ei3 ,in the life of ,colonna in the ,biographie ,universelle1 the last word is said to be 8adamavit10 which is a mistake4 ,the word formed by the initial letters of the nine last chapters is 8peramavit10 as above4 ,a second edition1 also from the ,aldine press1 appeared in #aede2 and in the following year a ,french translation was printed at ,paris under the following title3 8,le ,tableau des riches inventions couvertes du voile des feintes amourouses qui sont representes dans le ,songe de ,poliphile1 devoiles des ombres du ,songe1 et subtilment exposes40 ,of this translation several editions were published2 and in #ahjd ,j4 ,g4 ,legrand1 an architect of some repute in ,paris1 printed a kind of paraphrase of the work1 in two volumes #abmo1 which1 however1 was not published until after his death in #ahjg4 ,in #ahaa ,bodoni reprinted the original work at ,parma in an elegant quarto volume4 ,in the original work the wood-cuts with respect to design may rank among the best that have appeared in ,italy4 ,the whole number in the volume is one hundred and ninety-two2 of which eighty-six relate to mythology and ancient history2 fifty-four represent processions and emblematic figures3 there are thirty-six architectural and ornamental subjects2 and sixteen vases and statues4 ,several writers have asserted that those cuts were designed by ,raffaele1,,iv-#fj while others with equal confidence1 though on no better grounds1 have ascribed them to ,andrea ,mantegna4 ,except from the resemblance which they are supposed to bear to the acknowledged works of those artists1 ,i am not aware that there is any reason to suppose that they were designed by either of them4 ,as ,raffaele1 who was born in #adhc1 was only sixteen when the ,hypnerotomachia was printed1 it is not likely that all1 or even any of those cuts were designed by him2 as it is highly probable that all the drawings would be finished at least twelve months before1 and many of them contain internal evidence of their not being the productions of a youth of fifteen4 ,that ,andrea ,mantegna might design them is possible2 but this certainly cannot be a sufficient reason for positively asserting that he actually did4 ,mr4 ,ottley1 at page #egf1 vol4 ii1 of his ,inquiry1 asserts that they were designed by ,benedetto ,montagna1 an artist who flourished about the year #aejj1 and who is chiefly known as an engraver on copper4 ,the grounds on which ,mr4 ,ottley forms his opinion are not very clear1 but if ,i understand him correctly they are as follows3 ,footnote ,,iv-#fj3 ,heineken1 in his catalogue of ,raffaele's works1 mentions the cuts in the ,hypnerotomachia1 but he says that it is questionable whether he designed them all or only the eighty-six mythological and historical subjects4--,nachrichten von ,knstlern und ,kunst-,sachen1 #b;er ,theil1 ,s4 #cfj4 #hvo4 ,leipzig1 #agfi4 ,in the collection of the late ,mr4 ,douce there were sixteen wood engravings which had been cut out of a folio edition of ,ovid's ,metamorphoses1 printed at ,venice in #aeji4 ,all those engravings1 except two1 were marked with the letters a1 which according to ,mr4 ,ottley are the initials of the engraver1 ,ioanne ,andrea di ,vavassori4 ,between some of the cuts from the ,ovid1 and certain engravings executed by ,montagna1 it seems that ,mr4 ,ottley discovered a resemblance2 and as he thought that he perceived a perfect similarity between the sixteen cuts from the ,ovid and those contained in the ,hypnerotomachia1 he considers that ,benedetto ,montagna is thus proved to have been the designer of the cuts in the latter work4 ,not having seen the cuts in the edition of the ,metamorphoses of #aeji1 ,i cannot speak1 from my own examination1 of the resemblance between them and those in the ,hypnerotomachia2 it1 however1 seems that ,mr4 ,douce had noticed the similarity as well as ,mr4 ,ottley3 but even admitting that there is a perfect identity of style in the cuts of the above two works1 yet it by no means follows that1 because a few of the cuts in the ,ovid resemble some copper-plate engravings executed by ,benedetto ,montagna1 he must have designed the cuts in the ,hypnerotomachia4 ,as the cuts in the ,ovid may1 as ,mr4 ,ottley himself remarks1 have been used in an earlier edition than that of #aeji1 it is not unlikely that they might appear before ,montagna's copper-plates2 and that the latter might copy the designs of a greater artist than himself1 and thus by his very plagiarism acquire1 according to ,mr4 ,ottley's train of reasoning1 the merit which may be justly due to another4 ,if ,benedetto ,montagna be really the designer of the cuts in the ,hypnerotomachia1 he has certainly excelled himself1 for they certainly display talent of a much higher order than is to be perceived in his copper-plate engravings4 ,besides the striking difference with respect to drawing between the wood-cuts in ,poliphilo,,iv-#fa and the engravings of ,benedetto ,montagna1 two of the cuts in the former work have a mark which never appears in any of that artist's known productions1 which generally have either his name at length or the letters ,b4 ,m4 ,in the third cut of ,poliphilo1 the designer's or engraver's mark1 a small b1 may be perceived at the foot1 to the right2 and the same mark is repeated in a cut at signature ,c4 ,footnote ,,iv-#fa3 ,the author thus names his hero in his ,italian title3 8,poliphilo incomincia la sua hypnerotomachia ad descrivere et l'hora et il tempo quando gli appar ve in somno1 c40 ,a ,london bookseller in his catalogue published in #ahcd1 probably speaking on ,mr4 ,ottley's hint that the cuts in the ,ovid of #aeji might have appeared in an earlier edition1 thus describes ,bonsignore's ,ovid1 a work in which the wood-cuts are of a very inferior description1 and of which a specimen is given in a preceding page3 8,ovidii ,metamorphoseos ,vulgare1 con le ,allegorie1 ,venezia1 #adig1 with numerous beautiful wood-cuts1 apparently by the artist who executed the ,poliphilo1 printed by ,aldus in #adii40 ,the wood-cuts in the ,ovid of #adig are as inferior to those in ,poliphilo as the commonest cuts in children's school-books are inferior to the beautiful wood-cuts in ,rogers's ,pleasures of ,memory1 printed in #ahab1 which were designed by ,stothard and engraved by ,clennell4 ,it is but fair to add1 that the cuts used in the ,ovid of #adig1 printed by the brothers ,de ,lignano1 cannot be the same as those in the ,ovid of #aeji referred to by ,mr4 ,ottley2 for though the subjects may be nearly the same1 the cuts in the latter edition are larger than those in the former1 and have besides an engraver's mark which is not to be seen in any of the cuts in the edition of #adig4 ,the five following cuts are fac-similes traced line for line from the originals in ,poliphilo4 ,in the first1 ,mercury is seen interfering to save ,cupid from the anger of ,venus1 who has been punishing him and plucking the feathers from his wings4 ,the cause of her anger is explained by the figure of ,mars behind the net in which he and ,venus had been inclosed by ,vulcan4 ,love had been the cause of his mother's misfortune4 ,illustration ,in the following cut ,cupid is represented as brought by ,mercury before ,jove1 who in the text1 8in ,athica lingua10 addresses the ,god of ,love1 as 8 0--8at once sweet and bitter40 ,in the inscription in the cut1 80 is substituted for 840 ,illustration ,in the next cut ,cupid appears piercing the sky with a dart1 and thus causing a shower of gold to fall4 ,the figures represent persons of all conditions whom he has wounded1 looking on with amazement4 ,illustration ,the three preceding cuts1 in the original work1 appear as compartments from left to right on one block4 ,they are here given separate for the convenience of printing1 as the page is not wide enough to allow of their being placed as in the original folio4 ,illustration ,the subjoined cut is intended to represent ,autumn1 according to a description of the figure in the text1 where the author is speaking of an altar to be erected to the four seasons4 ,on one of the sides he proposes that the following figure should be represented 8with a jolly countenance1 crowned with vine leaves1 holding in one hand a bunch of grapes1 and in the other a cornucopia1 with an inscription3 #8,,mustulento ,,autumno ,s4'0,,iv-#fb ,the face of jolly ,autumn is indeed like that of one who loved new wine1 and his body seems like an ample skin to keep the liquor in2--,sir ,john ,falstaff playing ,bacchus ere he had grown old and inordinately fat4 ,footnote ,,iv-#fb3 ,the epithets applied to the different seasons as represented on this votive altar are singularly beautiful and appropriate3 8,florido ,veri2 ,flav ,messi2 ,mustulento ,autumno2 ,hyemi oli1 ,sacrum40 ,the following figure of ,cupid is copied from the top of a fanciful military standard described by the author2 and on a kind of banner beneath the figure is inscribed the word 80--8,gained in war40 ,illustration ,the following is a specimen of one of the ornamental vases contained in the work4 ,it is not1 like the five preceding cuts1 of the same size as the original1 but is copied on a reduced scale4 ,illustration ,the simple style in which the cuts in the ,hypnerotomachia are engraved1 continued to prevail1 with certain modifications1 in ,italy for many years after the method of cross-hatching became general in ,germany2 and from #aejj to about #aecj the characteristic of most ,italian wood-cuts is the simple manner in which they are executed compared with the more laboured productions of the ,german wood engravers4 ,while the ,german proceeds with considerable labour to obtain 8colour10 or shade1 by means of cross-hatching1 the ,italian in the early part of the sixteenth century endeavours to attain his object by easier means1 such as leaving his lines thicker in certain parts1 and in others1 indicating shade by means of short slanting parallel lines4 ,in the execution of flowered or ornamented initial letters a decided difference may frequently be noticed between the work of an ,italian and a ,german artist4 ,the ,german mostly1 with considerable trouble1 cuts his flourishes1 figures1 and flowers in relief1 according to the general practice of wood engravers2 the ,italian1 on the contrary1 often cuts them1 with much greater ease1 in intaglio2 and thus the form of the letter1 and its ornaments1 appear1 when printed1 white upon a black ground4,,iv-#fc ,the letter ,c at the commencement of the present chapter is an example of the ,german style1 with the ornamental parts in relief2 the letter ,m at the commencement of chapter ,v4 is a specimen of the manner frequently adopted by old ,italian wood engravers1 the form of the letter and the ornamental foliage being cut in intaglio4 ,at a subsequent period a more elaborate manner of engraving began to prevail in ,italy1 and cross-hatching was almost as generally employed to obtain depth of colour and shade as in ,germany4 ,the wood-cuts which appear in works printed at ,venice between #aeej and #aegj are generally as good as most ,german wood-cuts of the same period2 and many of them1 more especially those in books printed by the ,giolitos1 are executed with a clearness and delicacy which have seldom been surpassed4 ,footnote ,,iv-#fc3 ,the letter ,m at the commencement of the next chapter affords an example of this style of engraving4 ,before concluding the present chapter1 which is more especially devoted to the consideration of wood engraving in the first period of its connexion with typography1 it may not be improper to take a brief glance at the state of the art as practised by the ,briefmalers and ,formschneiders of ,germany1 who were the first to introduce the practice of block-printing1 and who continued to exercise this branch of their art for many years after typography had been generally established throughout ,europe4 ,that the ancient wood engravers continued to practise the art of block-printing till towards the close of the fifteenth century1 there can be little doubt4 ,there is an edition of the ,poor ,preachers' ,bible1 with the date #adgj1 printed from wood-blocks1 without place or engraver's name1 but having at the end1 as a mark1 two shields1 on one of which is a squirrel1 and on the other something like two pilgrim's staves crossed4 ,another edition of the same work1 though not from the same blocks1 appeared in #adga4 ,in this the engraver's mark is two shields1 on one of which is a spur1 probably a rebus for the name of 8,sporer20 in the same manner that a pair of folding-doors represented the name 8,thurer10 or 8,durer40 ,an engraver of the name of ,hans ,sporer printed an edition of the ,ars ,moriendi from wood-blocks in #adgc2 and in the preceding year ,young ,hans1 ,briefmaler1 of ,nuremberg1 printed an edition of the ,antichrist in the same manner4,,iv-#fd ,footnote ,,iv-#fd3 ,von ,murr says that 8,young ,hans0 was unquestionably the son of 8,hans ,formschneider10 whose name appears in the town-books of ,nuremberg from #addi to #adij4 ,he also thinks that he might be the same person as ,hans ,sporer4--,journal1 #b ,theil1 ,s4 #adj1 #ada4 ,it is probable that most of the single sheets and short tracts1 printed from wood-blocks1 preserved in the libraries of ,germany1 were printed between #addj and #adhj4 ,books consisting of two or more sheets printed from wood-blocks are of rare occurrence with a date subsequent to #adhj4 ,although about that period the wood engravers appear to have resigned the printing of books entirely to typographers1 yet for several years afterwards they continued to print broadsides from blocks of wood2 and until about #aejj they continued to compete with the press for the printing of 8,wand-,kalendars10 or sheet ,almanacks to be hung up against a wall4 ,several copies of such ,almanacks1 engraved between #adgj and #aejj1 are preserved in libraries on the ,continent that are rich in specimens of early block-printing4 ,but even this branch of their business the wood engravers were at length obliged to abandon2 and at the end of the fifteenth century the practice of printing pages of text from engraved wood-blocks may be considered as almost extinct in ,germany4 ,it probably began with a single sheet1 and with a single sheet it ended2 and its origin1 perfection1 decline1 and extinction are comprised within a century4 #adcj may mark its origin2 #adej its perfection2 #adfj the commencement of its decline2 and #aejj its fall4 ,in an assemblage of wood engravings printed at ,gotha between #ahjh and #ahaf1;,,iv-#fe from old blocks collected by the ,baron ,von ,derschau1 there are several to which the editor1 ,zacharias ,becker1 assigns an earlier date than the year #aejj4 ,it is not unlikely that two or three of those in his oldest class1 ,a1 may have been executed previous to that period2 but there are others in which bad drawing and rude engraving have been mistaken for indubitable proofs of antiquity4 ,there are also two or three in the same class which ,i strongly suspect to be modern forgeries4 ,it would appear from a circumstance mentioned in ,dr4 ,dibdin's ,bibliographical ,tour1,,iv-#ff and referred to at page #bcf of the present work1 that the ,baron was a person from whose collection copper-plate engravings of questionable date had proceeded as well as wood-blocks4 ,the following is a reduced copy of one of those suspicious blocks1 but which the editor considers to be of an earlier date than the ,st4 ,christopher in the collection of ,earl ,spencer4 ,i am however of opinion that it is of comparatively modern manufacture4 ,footnote ,,iv-#fe3 ,the title of this work is3 8,holzschnitte alter ,deutscher ,meister in den ,original-,platten gesammelt von ,hans ,albrecht ,von ,derschau4 ,als ein ,beytrag zur ,kunstgeschichte herausgegeben1 und mit einer ,abhandlung ber die ,holzschneidekunst begleitet1 von ,rudolph ,zacharias ,becker40 ,it is in large folio1 with the text in ,german and ,french4 ,the first part was published at ,gotha in #ahjh2 the second in #ahaj2 and the third in #ahaf4 ,footnote ,,iv-#ff3 ,vol4 iii4 p4 #dde1 edit4 #ahbi4 ,illustration ,the inscription1 intended for old ,german1 at the bottom of the cut1 is literally as follows3 8,hiet uch1 vor den ,katczen dy vorn lecken unde hinden kraiczen0--that is3 8,beware of the cats that lick before and scratch behind40 ,it is rather singular that the editor--who describes the subject as a cat which appears to teach her kitten 8le ,jeu de ,souris0--should not have informed his readers that more was meant by this inscription than met the eye1 and that it was in fact part of a ,german proverb descriptive of a class of females who are particularly dangerous to simple young men4,,iv-#fg ,among the cuts supposed to have been engraved previous to the year #aejj1 another is given which ,i suspect also of being a forgery1 and by the same person that engraved the cat4 ,the cut alluded to represents a woman sitting beside a young man1 whose purse she is seen picking while she appears to fondle him4 ,a hawk is seen behind the woman1 and an ape behind the man4 ,at one side is a lily1 above which are the words 8,ich wart40 ,at the top of the cut is an inscription1--which seems1 like that in the cut of the cat1 to be in affectedly old ,german1--describing the young man as a prey for hawks and a fool1 and the woman as a flatterer1 who will fawn upon him until she has emptied his pouch4 ,the subjects of those two cuts1 though not apparently1 are1 in reality1 connected4 ,in the first we are presented with the warning1 and in the latter with the example4 ,von ,murr--whom ,dr4 ,dibdin suspects to have forged the ,french ,st4 ,christopher--describes in his ,journal impressions from those blocks as old wood-cuts in the collection of ,dr4 ,silberrad2,,iv-#fh and it is certainly very singular that the identical blocks from which ,dr4 ,silberrad's scarce old wood engravings were taken should afterwards happen to be discovered and come into the possession of the ,baron ,von ,derschau4 ,footnote ,,iv-#fg3 8,huren sind bse katzen die vornen lecken und hinten kratzen40 ,footnote ,,iv-#fh3 ,journal zur ,kunstgeschichte1 #b;er ,theil1 ,s4 #abe1 #abf4 ,in the same work there is a rude wood-cut of ,st4 ,catharine and three other saints2 and at the back of the block there is also engraved the figure of a soldier4 ,at the bottom of the cut of ,st4 ,catharine1 the name of the engraver1 8,jorg ,glockendon10 appears in old ,german characters4 ,as 8,glockendon0 or 8,glockenton0 was the name of a family of artists who appear to have been settled at ,nuremberg early in the fifteenth century1 ,becker concludes that the cut in question was engraved prior to #adhb1 and that this 8,jorg ,glockendon0 was 8the first wood engraver known by name1 and not ,john ,schnitzer of ,arnsheim1--who engraved the maps in ,leonard ,holl's ,ptolemy1 printed in the above year1--as ,heineken and others pretend40 ,that the cut was engraved previous to #adhb rests merely on ,becker's conjecture2 and a person who would assert that it was engraved ten or fifteen years later1 would perhaps be nearer the truth4 ,john ,schnitzer1 however1 is not the first wood engraver known by name4 ,the name of ,hans ,sporer appears in the ,ars ,moriendi of #adgc2 and it is not probable that ,hartlieb's ,chiromantia1 in which we find the name 8,jorg ,schapff zu ,augspurg10 was engraved subsequent to #adhj4 ,it would appear that ,becker did not consider 8,hans ,briefmaler10 who occurs as a wood engraver between #adgj and #adhj1 as a person 8known by name10 though it is probable that he had no other surname than that which was derived from his profession4 ,illustration ,although ,derschau's collection contains a number of old cuts which are well worth preserving1 more especially among those executed in the sixteenth century2 yet it also contains a large portion of worthless cuts1 which are neither interesting from their subjects nor their antiquity1 and which throw no light on the progress of the art4 ,there are also not a few modern antiques which are only illustrative of the credulity of the collector1 who mistakes rudeness of execution for a certain test of antiquity4 ,according to this test the following cut ought to be ascribed to the age of ,caxton1 and published with a long commentary as an undoubted specimen of early ,english wood engraving4 ,it is however nothing more than an impression from a block engraved with a pen-knife by a printer's apprentice between #aggj and #aghj4 ,it was one of the numerous cuts of a similar kind belonging to the late ,mr4 ,george ,angus of ,newcastle-upon-,tyne1 who used them as head-pieces to chap-books and broadside histories and ballads4 ,besides the smaller block-books1 almanacks1 and broadsides of text1 executed by wood engravers between #adfj and #aejj1 they also executed a number of single cuts1 some accompanied with a few sentences of text also cut in wood1 and others containing only figures4 ,many of the sacred subjects were probably executed for convents in honour of a favourite saint2 while others were engraved by them on their own account for sale among the poorer classes of the people1 who had neither the means to purchase1 nor the ability to read1 a large 8picture-book0 which contained a considerable portion of explanatory text4 ,in almost every one of the works executed by the ,briefmalers and ,formschneiders subsequent to the invention of typography1 there is scarcely a single cut to be found that possesses the least merit either in design or execution4 ,they appear generally to have been mere workmen1 who could draw and engrave figures on wood in a rude style1 but who had not the slightest pretensions to a knowledge of art4 ,having now brought the history of wood engraving to the end of the fifteenth century1 ,i shall here conclude the present chapter1 without expressly noticing such works of ,albert ,durer as were certainly engraved on wood previous to the year #aejj4 ,the designs of this great promoter of wood engraving mark an epoch in the progress of the art2 and will1 with others of the same school1 more appropriately form the subject of the next chapter4 ,illustration ,,chapter ,v4 ,,wood ,,engraving ,,in ,,the ,,time ,,of ,,albert ,,durer4 ,chiaro-,scuro ,engraving on ,wood -- ,a ,copper-,plate by ,mair ,mistaken for the ,first ,chiaro-,scuro -- ,dotted ,backgrounds in ,old ,wood-,cuts -- ,albert ,durer ,probably ,not a ,wood-,engraver -- ,his ,birth -- ,a ,pupil of ,michael ,wolgemuth -- ,his ,travels -- ,cuts of the ,apocalypse ,designed by ,him -- ,his ,visit to ,venice in #aejf -- ,the ,history of the ,virgin and ,christ's ,passion ,engraved on ,wood from his ,designs -- ,his ,triumphal ,car and ,triumphal ,arch of the ,emperor ,maximilian -- ,his ,invention of ,etching -- ,his ,carving -- ,visit to the ,netherlands -- ,his ,death -- ,wood-,cuts ,designed by ,l4 ,cranach1 ,h4 ,burgmair1 and ,h4 ,schfflein -- ,the ,adventures of ,sir ,theurdank -- ,the ,wise ,king -- ,the ,triumphs of ,maximilian -- ,ugo ,da ,carpi -- ,lucas ,van ,leyden -- ,william ,de ,figuersnider -- ,ursgraff -- ,cuts ,designed by ,unknown ,artists ,between #aejj and #aebh4 ,most authors who have written on the history of engraving have incidentally noticed the art of chiaro-scuro engraving on wood1 which began to be practised early in the sixteenth century4,v-#a ,the honour of the invention has been claimed for ,italy by ,vasari and other ,italian writers1 who seem to think that no improvement in the arts of design and engraving can originate on this side of the ,alps4 ,according to their account1 chiaro-scuro engraving on wood was first introduced by ,ugo da ,carpi1 who executed several pieces in that manner from the designs of ,raffaele4 ,but1 though confident in their assertions1 they are weak in their proofs2 for they can produce no chiaro-scuros by ,ugo da ,carpi1 or by any other ,italian engraver1 of an earlier date than #aeah4 ,the engravings of ,italian artists in this style are not numerous1 previous to #aecj1 and we can scarcely suppose that the earliest of them was executed before #aeae4 ,that the art was known and practised in ,germany several years before this period there can be no doubt2 for a chiaro-scuro wood engraving1 a ,repose in ,egypt1 by ,lucas ,cranach1 is dated #aeji2 two others by ,hans ,baldung ,grn are dated #aeji and #aeaj2 and a portrait1 in the same style1 by ,hans ,burgmair1 is dated #aeab4 ,footnote ,v-#a3 ,chiaro-scuros are executed by means of two or more blocks1 in imitation of a drawing in sepia1 ,india ink1 or any other colour of two or more shades4 ,the older chiaro-scuros are seldom executed with more than three blocks2 on the first of which the general outline of the subject and the stronger shades were engraved and printed in the usual manner2 from the second the lighter shades were communicated2 and from the third a general tint was printed over the impressions of the other two4 ,some ,german writers1 not satisfied with these proofs of the art being practised in ,germany before it was known in ,italy1 refer to an engraving1 dated #adii1 by a ,german artist of the name of ,mair1 as one of the earliest executed in this manner4 ,this engraving1 which is from a copper-plate1 cannot fairly be produced as evidence on the point in dispute2 for though it bears the appearance of a chiaro-scuro engraving1 yet it is not so in reality2 for on a narrow inspection we may perceive that the light touches have neither been preserved1 nor afterwards communicated by means of a block or a plate1 but have been added with a fine pencil after the impression was taken4 ,it is1 in fact1 nothing more than a copper-plate printed on dark-coloured paper1 and afterwards heightened with a kind of white and yellow body-colour4 ,it is very likely1 however1 that the subject was engraved and printed on a dark ground with the express intention of the lights being subsequently added by means of a pencil4 ,the artist had questionless wished to produce an imitation of a chiaro-scuro drawing2 but he certainly did not effect his purpose in the same manner as ,l4 ,cranach1 ,h4 ,burgmair1 or ,ugo da ,carpi1 whose chiaro-scuro engravings had the lights preserved1 and required no subsequent touching with the pencil to give to them that character4 ,the subject of this engraving is the ,nativity1 and there is an impression of it in the ,print ,room of the ,british ,museum4,v-#b ,in the foreground1 about the middle of the print1 is the ,virgin seated with the infant ,jesus in her lap4 ,at her feet is a cradle of wicker-work1 and to the left is an angel kneeling in adoration4 ,on the same side1 but further distant1 is ,joseph leaning over a half door1 holding a candle in one hand and shading it with the other4 ,in the background is the stable1 in which an ox and an ass are seen2 and the directing star appears shining in the sky4 ,the print is eight inches high1 and five inches and three-eighths wide2 at the top is the date #adii1 and at the bottom the engraver's name1 ,,mair4 ,it is printed in black ink on paper which previous to receiving the impression had been tinted or stained a brownish-green colour4 ,the lights have neither been preserved in the plate nor communicated by means of a second impression1 but have been laid on by the hand with a fine pencil4 ,the rays of the star1 and the circles of light surrounding the head of the ,virgin1 and also that of the infant1 are of a pale yellow1 and the colour from its chalky appearance seems very like the touches of a crayon4 ,the lights in the draperies and in the architectural parts of the subject have been laid on with a fine pencil guided by a steady hand4 ,that the engraver intended his work to be finished in this manner there can be little doubt2 and the impression referred to affords a proof of it2 for ,joseph's candle1 though he shades it with his left hand1 in reality gives no light4 ,the engraver had evidently intended that the light should be added in positive body colour2 but the person--perhaps the engraver himself--whose business it was to add the finishing touches to the impression1 has neglected to light ,joseph's candle4,v-#c ,footnote ,v-#b3 ,this print is one of the valuable collection left to the ,museum by the ,rev4 ,c4 ,m4 ,cracherode1 and the following remark in that gentleman's writing is inserted on the opposite page of the folio in which it is preserved3 8,the ,presepe is a plain proof that printing in chiaro-scuro was known before the time of ,ugo da ,carpi1 who is erroneously reputed the inventor of this art at the beginning of the sixteenth century40 ,the print in question is certainly not a proof of the art of engraving in chiaro-scuro2 and ,mr4 ,ottley has added the following correction in pencil3 8,but the white here is put on with a pencil1 and not left in printing1 as it would have been if the tint had been added by a wooden block after the copper-plate had been printed40 ,footnote ,v-#c3 ,bartsch describes this print in his ,peintre-,graveur1 tom4 vi4 p4 #cfd1 ,no4 #d2 but he takes no notice of ,joseph holding a candle1 nor of its wanting a light4 ,towards the latter end of the fifteenth century1,v-#d a practice was introduced by the ,german wood engravers of dotting the dark parts of their subjects with white1 more especially in cuts where the figures were intended to appear light upon a dark ground2 and about the beginning of the sixteenth1 this mode of 8killing the black10 as it is technically termed1 was very generally prevalent among the ,french wood engravers1 who1 as well as the ,germans and ,dutch1 continued to practise it till about #aebj1 when it was almost wholly superseded by cross-hatching2 a mode of producing shade which had been much practised by the ,german engravers who worked from the drawings of ,durer1 ,cranach1 and ,burgmair1 and which about that time seems to have been generally adopted in all countries where the art had made any progress4 ,the two following cuts1 which are from an edition of 8,heures l',usaige de ,chartres10 printed at ,paris by ,simon ,vostre1 about #aejb1 are examples of this mode of diminishing the effects of a ground which would otherwise be entirely black4 ,books printed in ,france between #aejj and #aebj afford the most numerous instances of dark backgrounds dotted with white4 ,in many cuts executed about the latter period the dots are of larger size and more numerous in proportion to the black1 and they evidently have been produced by means of a lozenge-pointed tool1 in imitation of cross-hatching4 ,footnote ,v-#d3 ,some single cuts executed in this manner are supposed to be at least as old as the year #adej4 ,the earliest that ,i have noticed in a book occur in a ,life of ,christ printed at ,cologne about #adhe4 ,the greatest promoter of the art of wood engraving1 towards the close of the fifteenth and in the early part of the sixteenth century1 was unquestionably ,albert ,durer2 not however1 as is generally supposed1 from having himself engraved the numerous wood-cuts which bear his mark1 but from his having thought so well of the art as to have most of his greatest works engraved on wood from drawings made on the block by himself4 ,until within the last thirty years1 most writers who have written on the subject of art1 have spoken of ,albert ,durer as a wood engraver2 and before proceeding to give any account of his life1 or specimens of some of the principal wood engravings which bear his mark1 it appears necessary to examine the grounds of this opinion4 ,illustration ,illustration ,there are about two hundred subjects engraved on wood which are marked with the initials of ,albert ,durer's name2 and the greater part of them1 though evidently designed by the hand of a master1 are engraved in a manner which certainly denotes no very great excellence4 ,of the remainder1 which are better engraved1 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 ,albert ,durer himself4 ,the earliest engravings on wood with ,durer's mark are sixteen cuts illustrative of the ,apocalypse1 first published in #adih2 and between that period and #aebh1 the year of his death1 it is likely that nearly all the others were executed4 ,the cuts of the ,apocalypse generally are much superior to all wood engravings that had previously appeared1 both in design and execution2 but if they be carefully examined by any person conversant with the practice of the art1 it will be perceived that their superiority is not owing to any delicacy in the lines which would render them difficult to engrave1 but from the ability of the person by whom they were drawn1 and from his knowledge of the capabilities of the art4 ,looking at the state of wood engraving at the period when those cuts were published1 ,i cannot think that the artist who made the drawings would experience any difficulty in finding persons capable of engraving them4 ,in most of the wood-cuts supposed to have been engraved by ,albert ,durer we find cross-hatching freely introduced2 the readiest mode of producing effect to an artist drawing on wood with a pen or a black-lead pencil1 but which to the wood engraver is attended with considerable labour4 ,had ,albert ,durer engraved his own designs1 ,i am inclined to think that he would not have introduced cross-hatching so frequently1 but would have endeavoured to attain his object by means which were easier of execution4 ,what is termed 8cross-hatching0 in wood engraving is nothing more than black lines crossing each other1 for the most part diagonally2 and in drawing on wood it is easier to produce a shade by this means1 than by thickening the lines2 but in engraving on wood it is precisely the reverse2 for it is easier to leave a thick line than to cut out the interstices of lines crossing each other4 ,nothing is more common than for persons who know little of the history of wood engraving1 and still less of the practice1 to refer to the frequent cross-hatching in the cuts supposed to have been engraved by ,albert ,durer as a proof of their excellence3 as if the talent of the artist were chiefly displayed in such parts of the cuts as are in reality least worthy of him1 and which a mere workman might execute as well4 ,in opposition to this vulgar error ,i venture to assert1 that there is not a wood engraver in ,london of the least repute who cannot produce apprentices to cut fac-similes of any cross-hatching that is to be found1 not only in the wood engravings supposed to have been executed by ,albert ,durer1 but in those of any other master4 ,the execution of cross-hatching requires time1 but very little talent2 and a moderately clever lad1 with a steady hand and a lozenge-pointed tool1 will cut in a year a square yard of such cross-hatching as is generally found in the largest of the cuts supposed to have been engraved by ,albert ,durer4 ,in the works of ,bewick1 scarcely more than one trifling instance of cross-hatching is to be found2 and in the productions of all other modern wood engravers who have made their own drawings1 we find cross-hatching sparingly introduced2 while in almost every one of the cuts designed by ,durer1 ,cranach1 ,burgmair1 and others who are known to have been painters of eminence in their day1 it is of frequent occurrence4 ,had these masters engraved their own designs on wood1 as has been very generally supposed1 they probably would have introduced much less cross-hatching into their subjects2 but as there is every reason to believe that they only made the drawing on the wood1 the engravings which are ascribed to them abound in lines which are readily made with a pen or a pencil1 but which require considerable time to cut with a graver4 ,at the period that ,durer published his illustrations of the ,apocalypse1 few wood-cuts of much merit either in design or execution had appeared in printed books2 and the wood engravers of that age seem generally to have been mere workmen1 who only understood the mechanical branch of their art1 but who were utterly devoid of all knowledge of composition or correct drawing2 and there is also reason to believe that wood-cuts at that period1 and even for some time after1 were not unfrequently engraved by women4,v-#e ,as the names of those persons were probably not known beyond the town in which they resided1 it cannot be a matter of surprise that neither their marks nor initials should be found on the cuts which they engraved from the drawings of such artists as ,albert ,durer4 ,footnote ,v-#e3 ,in a folio of ,albert ,durer's drawings in the ,print ,room at the ,british ,museum there is a portrait of 8,fronica1 ,formschneiderin10 with the date #aebe4 ,in #adcc we find a woman at ,nuremberg described as a card-maker3 8,eli4 ,kartenmacherin40 ,it is scarcely necessary to remind the reader that the earliest ,german wood engravers were card-makers4--,see chapter ,,ii4 p4 #da4 ,it perhaps may be objected1 that as ,albert ,durer's copper-plate engravings contain only his mark1 in the same manner as the wood engravings1 it might with equal reason be questioned if they were really executed by himself4 ,notwithstanding the identity of the marks1 there is1 however1 a wide difference between the two cases4 ,in the age of ,albert ,durer most of the artists who engraved on copper were also painters2 and most of the copper-plate engravings which bear his mark are such as none but an artist of great talent could execute4 ,it would require the abilities of a first-rate copper-plate engraver of the present day to produce a fac-simile of his best copper-plates2 while a wood engraver of but moderate skill would be able to cut a fac-simile of one of his best wood engravings after the subject was drawn for him on the block4 ,the best of ,albert ,durer's copper-plates could only have been engraved by a master2 while the best of his wood-cuts might be engraved by a working ,formschneider who had acquired a practical knowledge of his art by engraving1 under the superintendence of ,michael ,wolgemuth and ,william ,pleydenwurff1 the wood-cuts for the ,nuremberg ,chronicle4 ,von ,murr1 who was of opinion that ,albert ,durer engraved his own designs on wood1 gives a letter of ,durer's in the ninth volume of his ,journal which he thinks is decisive of the fact4 ,the letter1 which relates to a wood engraving of a shield of arms1 was written in #aeaa1 and is to the following effect3 8,dear ,michael ,beheim1 ,i return you the arms1 and beg that you will let it remain as it is4 ,no one will make it better1 as ,i have done it according to art and with great care1 as those who see it and understand the matter will tell you4 ,if the labels were thrown back above the helmet1 the volet would be covered40,v-#f ,this letter1 however1 is by no means decisive1 for it is impossible to determine whether the 8arms0 which the artist returned were a finished engraving or merely a drawing on wood4,v-#g ,from one or two expressions it seems most likely to have been a drawing only2 for in a finished cut alterations cannot very well be introduced2 and it seems most probable that ,michael ,beheim's objections would be made to the drawing of the arms before they were engraved1 and not to the finished cut4 ,but even supposing it to have been the engraved block which ,durer returned1 this is by no means a proof of his having engraved it himself1 for he might have engravers employed in his house in order that the designs which he drew on the blocks might be executed under his own superintendence4 ,the ,baron ,derschau indeed told ,dr4 ,dibdin that he was once in possession of the journal or day-book of ,albert ,durer1 from which 8it appeared that he was in the habit of drawing upon the blocks1 and that his men performed the remaining operation of cutting away the wood40,v-#h ,this information1 had it been communicated by a person whose veracity might be depended on1 would be decisive of the question2 but the book unfortunately 8perished in the flames of a house in the neighbourhood of one of the battles fought between ,bonaparte and the ,prussians20 and from a little anecdote recorded by ,dr4 ,dibdin the ,baron appears to have been a person whose word was not to be implicitly relied on4,v-#i ,footnote ,v-#f3 ,the following is ,bartsch's ,french version of this letter1 which is given in the original ,german in ,von ,murr's ,journal1 #i;er4 ,theil1 ,s4 #ec4 8,cher ,michel ,beheim4 ,je vous envoie les armoiries1 en vous priant de les laisser comme elles sont4 ,personne d'ailleurs ne les corrigeroit en mieux1 car je les ai faites exprs et avec art2 c'est pourquoi ceux qui s'y connoissent et qui les verront vous en rendront bonne raison4 ,si l'on haussoit les lambrequins du heaume1 ils couvriroient le volet40--,bartsch1 ,peintre-,graveur1 tom4 vii4 p4 #bg4 ,footnote ,v-#g3 ,in ,durer's ,journal of his visit to the ,netherlands in #aebj there is the following passage3 8,item hab dem von ,rogendorff sein ,wappen auf ,holz gerissen1 dafr hat er mir geschenckt vii4 ,ein ,sammet40--8,also ,i have drawn for ,von ,rogendorff his arms on wood1 for which he has presented me with seven yards of velvet40--,von ,murr1 ,journal zur ,kunstgeschichte1 #g;er4 ,theil1 ,s4 #gf4 ,footnote ,v-#h3 ,bibliographical ,tour1 vol4 iii4 p4 #ddb1 second edition4 ,footnote ,v-#i3 ,the ,baron was the collector of the wood-cuts published with ,becker's explanations1 referred to at page #bbf1 chapter ,,iv4 ,the anecdote alluded to will be found in ,dr4 ,dibdin's ,bibliographical ,tour1 vol4 iii4 pp4 #dde1 #ddf4 ,the ,baron sold a rare specimen of copper-plate engraving with the date ,m4 ,,cccc4 ,,xxx4 to the ,doctor1 and it seems that he also sold another impression from the same plate to ,mr4 ,john ,payne4 ,there is no doubt of their being gross forgeries2 and it is not unlikely that the plate was in the ,baron's possession4 ,neudrffer1 who in #aedf collected some particulars relative to the history of the artists of ,nuremberg1 says that ,jerome ,resch1 or ,rsch1 engraved most of the cuts designed by ,albert ,durer4 ,he also says that ,resch was one of the most skilful wood engravers of his day1 and that he particularly excelled in engraving letters on wood4 ,this artist also used to engrave dies for coining money1 and had a printing establishment of his own4 ,he dwelt in the ,broad ,way at ,nuremberg1 with a back entrance in ,petticoat ,lane2,v-#aj and when he was employed in engraving the ,triumphal ,car drawn by ,albert ,durer for the ,emperor ,maximilian1 the ,emperor used to call almost every day to see the progress of the work2 and as he entered at ,petticoat ,lane1 it became a by-word with the common people3 8,the ,emperor still often drives to ,petticoat ,lane40,v-#aa ,footnote ,v-#aj3 8,dieser ,hieronymus hat allhier im breiten ,gassen gewohnt1 dessen ,wohnung hinten ins ,frauengsslein ging40 ,footnote ,v-#aa3 ,neudrffer1 quoted in ,von ,murr's ,journal1 #bter ,theil1 ,s4 #aeh1 #aei4 ,although it is by no means unlikely that ,albert ,durer might engrave two or three wood-cuts of his own designing1 yet1 after a careful examination of most of those that bear his mark1 ,i cannot find one which is so decidedly superior to the rest as to induce an opinion of its being engraved by himself2 and ,i cannot for a moment believe that an artist of his great talents1 and who painted so many pictures1 engraved so many copper-plates1 and made so many designs1 could find time to engrave even a small part of the many wood-cuts which have been supposed to be executed by him1 and which a common wood engraver might execute as well4 8,if ,durer himself had engraved on wood10 says ,bartsch in the seventh volume of his ,peintre-,graveur1 8it is most likely that among the many particular accounts which we have of his different pursuits1 and of the various kind of works which he has left1 the fact of his having applied himself to wood engraving would certainly have been transmitted in a manner no less explicit2 but1 far from finding the least trace of it1 everything that relates to this subject proves that he had never employed himself in this kind of work4 ,he is always described as a painter1 a designer1 or an editor of works engraved on wood1 but never as a wood engraver40,v-#ab ,i also further agree with ,bartsch1 who thinks that the wood-cuts which contain the marks of ,lucas ,cranach1 ,hans ,burgmair1 and others who are known to have been painters of considerable reputation in their day1 were not engraved by those artists1 but only designed or drawn by them on the block4 ,footnote ,v-#ab3 ,at the end of the first edition of the cuts illustrative of the ,apocalypse1 #adih1 we find the words3 8,gedrukt durch ,albrecht ,durer1 ,maler10--,printed by ,albert ,durer1 painter2 and the same in ,latin in the second edition1 printed about #aeaj4 ,the passion of ,christ and the ,history of the ,virgin are respectively said to have been 8effigiata0 and 8per figuras digesta0--8drawn0 and 8pictorially represented0 by ,albert ,durer2 and the cuts of the ,triumphal ,car of the ,emperor ,maximilian are described as being 8erfunden und geordnet0--8invented and arranged0 by him4--,bartsch1 ,peintre-,graveur1 tom4 vii4 p4 #bh4 ,albert ,durer was born at ,nuremberg1 on #bjth ,may #adga4 ,his father1 whose name was also ,albert1 was a goldsmith1 and a native of ,cola in ,hungary4 ,his mother was a daughter of ,jerome ,haller1 who was also a goldsmith1 and the master under whom the elder ,durer had acquired a knowledge of his art4 ,albert continued with his father till his sixteenth year1 and had1 as he himself says1 learned to execute beautiful works in the goldsmith's art1 when he felt a great desire to become a painter4 ,his father on hearing of his wish to change his profession was much displeased1 as he considered that the time he had already spent in endeavouring to acquire a knowledge of the art of a goldsmith was entirely lost4 ,he1 however1 assented to his son's earnest request1 and placed him1 on ,st4 ,andrew's day1 #adhf1 as a pupil under ,michael ,wolgemuth for the term of three years1 to learn the art of painting4 ,on the expiration of his 8lehr-jahre10 or apprenticeship1 in #adij1 he left his master1 and1 according to the custom of ,german artists of that period1 proceeded to travel for the purpose of gaining a further knowledge of his profession4 ,in what manner or in what places he was chiefly employed during his 8wander-jahre0,v-#ac is not very well known2 but it is probable that his travels did not extend beyond ,germany4 ,in the course of his peregrinations he visited ,colmar1 in #adib1 where he was kindly received by ,caspar1 ,paul1 and ,louis1 the brothers of ,martin ,schongauer2 but he did not see1 either then or at any other period1 that celebrated engraver himself4,v-#ad ,he returned to ,nuremberg in the spring of #adid2 and shortly afterwards married ,agnes1 the daughter of ,john ,frey1 a mechanist of considerable reputation of that city4 ,this match1 which is said to have been made for him by his parents1 proved to be an unhappy one2 for1 though his wife possessed considerable personal charms1 she was a woman of a most wretched temper2 and her incessant urging him to continued exertion in order that she might obtain money1 is said to have embittered the life of the artist and eventually to have hastened his death4,v-#ae ,footnote ,v-#ac3 ,the time that a ,german artist spends in travel from the expiration of his apprenticeship to the period of his settling as a master is called his 8wander-jahre10--his travelling years4 ,it is customary with many trades in ,germany for the young men to travel for a certain time on the termination of their apprenticeship before they are admitted to the full privileges of the company or fellowship4 ,footnote ,v-#ad3 ,it has been stated1 though erroneously1 that ,albert ,durer was a pupil of ,martin ,schongauer1 or ,schn1 as the surname was spelled by some writers1 one of the most eminent painters and copper-plate engravers of his day4 ,it has been generally supposed that he died in #adhf2 but1 if an old memorandum at the back of his portrait in the collection of ,count de ,fries can be depended on1 his death did not take place till the #b;d of ,february #adii4 ,an account of this memorandum will be found in ,ottley's ,inquiry into the ,origin and ,early ,history of ,engraving1 vol4 ii4 p4 #fdj4 ,footnote ,v-#ae3 ,on a passage1 in which ,durer alludes to his wife1 in one of his letters from ,venice1 #aejf1 to his friend ,bilibald ,pirkheimer1 ,von ,murr makes the following remark3 8,this ,xantippe must even at that time have vexed him much2 and he was obliged to drag on his life with her for twenty-two years longer1 till she fairly plagued him to death40--,journal1 #aj;er ,theil1 ,s4 #cb4 ,it has not been ascertained from whom ,albert ,durer learnt the art of engraving on copper2 for there seems but little reason to believe that his master ,michael ,wolgemuth ever practised that branch of art1 though several copper-plates1 marked with a ,w1 have been ascribed to him by some authors4,v-#af ,as most of the early copper-plate engravers were also goldsmiths1 it is probable that ,durer might acquire some knowledge of the former art during the time that he continued with his father2 and1 as he was endowed with a versatile genius1 it is not unlikely that he owed his future improvement entirely to himself4 ,the earliest date that is to be found on his copper-plates is #adid4 ,the subject in which this date occurs represents a group of four naked women with a globe suspended above them1 in the manner of a lamp1 on which are inscribed the letters ,o4 ,g4 ,h4 which have been supposed to signify the words 8,o ,gott helf60--,help1 ,o ,lord6--as if the spectator on beholding the naked beauties were exceedingly liable to fall into temptation4,v-#ag ,footnote ,v-#af3 ,bartsch is decidedly of opinion that ,michael ,wolgemuth was not an engraver2 and he ascribes all the plates marked with a ,w1 which others have supposed to be ,wolgemuth's1 to ,wenceslaus of ,olmutz1 an artist of whom nothing is positively known4 ,footnote ,v-#ag3 ,this subject has also been engraved by ,israel ,von ,mecken1 and by an artist supposed to be ,wenceslaus of ,olmutz4 ,it is probable that those artists have copied ,durer's engraving4 ,on the globe in ,israel ,von ,mecken's plate the letters are ,o4 ,g4 ,b4 ,the earliest wood engravings that contain ,albert ,durer's mark are sixteen subjects1 of folio size1 illustrative of the ,apocalypse1 which were printed at ,nuremberg1 #adih4 ,on the first leaf is the title in ,german3 8,die heimliche ,offenbarung ,johannes0--8,the ,revelation of ,john20--and on the back of the last cut but one is the imprint3 8,gedrcket zu ,nurnbergk durch ,albrecht ,durer1 maler1 nach ,christi geburt ,m4 ,,cccc4 und darnach im xcviij4 iar0--8,printed at ,nuremberg by ,albert ,durer1 painter1 in the year after the birth of ,christ #adih40 ,the date of those cuts marks an important epoch in the history of wood engraving4 ,from this time the boundaries of the art became enlarged2 and wood engravers1 instead of being almost wholly occupied in executing designs of the very lowest character1 drawn without feeling1 taste1 or knowledge1 were now to be engaged in engraving subjects of general interest1 drawn1 expressly for the purpose of being thus executed1 by some of the most celebrated artists of the age4 ,though several cuts of the ,apocalypse are faulty in drawing and extravagant in design1 they are on the whole much superior to any series of wood engravings that preceded them2 and their execution1 though coarse1 is free and bold4 ,they are not equal1 in point of well-contrasted light and shade1 to some of ,durer's later designs on wood2 but considering them as his first essays in drawing on wood1 they are not unworthy of his reputation4 ,they appear as if they had been drawn on the block with a pen and ink2 and though cross-hatching is to be found in all of them1 this mode of indicating a shade1 or obtaining 8colour10 is much less frequently employed than in some of his later productions4 ,the following is a reduced copy of one of the cuts1 ,no4 #aa1 which is illustrative of the twelfth chapter of ,revelations1 verses #a-d3 8,and there appeared a great wonder in heaven2 a woman clothed with the sun1 and the moon under her feet1 and upon her head a crown of twelve stars4----,and there appeared another wonder in heaven2 and behold a great red dragon1 having seven heads and ten horns1 and seven crowns upon his heads4 ,and his tail drew the third part of the stars of heaven1 and did cast them to the earth2 and the dragon stood before the woman40 ,illustration ,in #aejb a pirated edition of those cuts was published at ,strasburg by ,jerome ,greff1 who describes himself as a painter of ,frankfort4 ,in #aeaa ,durer published a second edition of the originals2 and on the back of the last cut but one is a caution addressed to the plagiary1 informing him of the ,emperor's order1 prohibiting any one to copy the cuts or to sell the spurious impressions within the limits of the ,german empire1 under the penalty of the confiscation of goods1 and at the peril of further punishment4,v-#ah ,footnote ,v-#ah3 ,this caution is in the original expressed in the following indignant terms3 8,heus1 tu insidiator1 ac alieni laboris et ingenii surreptor1 ne manus temerarias his nostris operibus inicias cave4 ,scias enim a gloriosissimo ,romanorum imperatore ,maximiliano nobis concessum esse ne quis suppositiciis formis has imagines imprimere seu impressas per imperii limites vendere audeat3 q' per contemptum seu avarici crimen secus feceris1 post bonorum confiscationem tibi maximum periculum subeundum esse certissime scias40 ,though no other wood engravings with ,durer's mark are found with a date till #aejd1 yet it is highly probable that several subjects of his designing were engraved between #adih1 the date of the ,apocalypse1 and the above year2 and it is also likely that he engraved several copper-plates within this period2 although1 with the exception of that of the four naked women1 there are only four known which contain a date earlier than #aeje4 ,about the commencement of #aejf ,durer visited ,venice1 where he remained till ,october in the same year4 ,eight letters which he addressed to ,bilibald ,pirkheimer from ,venice1 are printed in the tenth volume of ,von ,murr's ,journal4 ,in the first letter1 which is dated on the day of the ,three ,kings of ,cologne1 #aejf1 he informs his friend that he was employed to paint a picture for the ,german church at ,venice1 for which he was to receive a hundred and ten ,rhenish guilders1,v-#ai and that he expects to have it ready to place above the altar a month after ,easter4 ,he expresses a hope that he will be enabled to repay out of this money what he had borrowed of ,pirkheimer4 ,from this letter it seems evident that ,durer's circumstances were not then in a very flourishing state1 and that he had to depend on his exertions for the means of living4 ,the comparatively trifling sums which he mentions as having sent to his mother and his wife sufficiently declare that he had not left a considerable sum at home4 ,he also says1 that should his wife want more money1 her father must assist her1 and that he will honourably repay him on his return4 ,footnote ,v-#ai3 ,von ,murr says that the subject of this picture was the martyrdom of ,st4 ,bartholomew1 the saint to whom the church was dedicated2 and that the painting afterwards came into the possession of the ,emperor ,rudolf ,,ii4 and was placed in his gallery at ,prague4 ,it seems that ,durer had taken some pictures with him to ,venice2 for in his fifth letter he says that he has sold two for twenty-four ducats1 and exchanged three others for three rings1 valued also at twenty-four ducats4 ,in the second letter1 after telling ,pirkheimer that he has no other friend but him on earth1 he expresses a wish that he were in ,venice to enjoy the pleasant company that he has met with there4 ,the following passage1 which occurs in this letter1 is1 perhaps1 the most interesting in the collection3 8,i have many good friends among the ,italians1 who warn me not to eat or drink with their painters1 of whom several are my enemies1 and copy my picture in the church and others of mine1 wherever they can find them2 and yet they blame them1 and say they are not according to ancient art1 and therefore not good4 ,giovanni ,bellini,v-#bj however has praised me highly to several gentlemen1 and wishes to have something of my doing4 ,he called on me himself1 and requested that ,i would paint a picture for him1 for which he said he would pay me well4 ,people are all surprised that ,i should be so much thought of by a person of his reputation4 ,he is very old1 but is still the best painter of them all4 ,the things which pleased me eleven years ago1 please me no longer4 ,if ,i had not seen it myself ,i could not have believed it4 ,you must also know that there are many better painters within this city than ,master ,jacob is without1 although ,anthony ,kolb swears that there is not on earth a better painter than ,jacob4,v-#ba ,the others laugh1 and say if he were good for anything he would live in ,venice40 ,footnote ,v-#bj3 ,in the ,venetian dialect of that period ,giovanni ,bellini was called ,zan ,belin2 and ,durer spells the name 8,sambellinus40 ,he was the master of ,titian1 and died in #aead1 at the age of ninety4--,von ,murr1 ,journal1 #aj;er ,theil1 ,s4 #h4 ,footnote ,v-#ba3 ,von ,murr says that he cannot discover what ,jacob is here meant4 ,it would not be ,jacob ,walsch1 as he died in #aejj4 ,the person alluded to was certainly not an ,italian4 ,the greater part of the other six letters are chiefly occupied with accounts of his success in executing sundry little commissions with which he had been entrusted by his friends1 such as the purchase of a finger-ring and two pieces of tapestry2 to enquire after such ,greek books as had been recently published2 and to get him some crane feathers4 ,the sixth and seventh letters are written in a vein of humour which at the present time would be called gross4 ,von ,murr illustrates one passage by a quotation from ,swift which is not remarkable for its delicacy2 and he also says that ,durer's eighth letter is written in the humorous style of that writer4 ,those letters show that chastity was not one of ,bilibald ,pirkheimer's virtues2 and that the learned counsellor of the imperial city of ,nuremberg was devoted 8tam ,veneri quam ,mercurio40,v-#bb ,footnote ,v-#bb3 ,bilibald ,pirkheimer was a learned man1 and a person of great authority in the city of ,nuremberg4 ,he was also a member of the ,imperial ,council1 and was frequently employed in negociations with neighbouring states4 ,he published several works2 and among others a humorous essay entitled 8,laus ,podagr0--,the ,praise of the ,gout4 ,his memory is still held in great respect in ,germany as the friend of ,albert ,durer and ,ulrich ,hutten1 two of the most extraordinary men that ,germany has produced4 ,he died in #aecj1 aged #fj4 ,in the fourth letter ,durer says that the painters were much opposed to him2 that they had thrice compelled him to go before the magistracy2 and that they had obliged him to give four florins to their society4 ,in the seventh letter1 he writes as follows about the picture which he had painted for the ,german church3 8,i have through it received great praise1 but little profit4 ,i might well have gained two hundred ducats in the same time1 and all the while ,i laboured most diligently in order that ,i might get home again4 ,i have given all the painters a rubbing down who said that ,i could engrave,v-#bc well1 but that in painting ,i knew not how to manage my colours4 ,everybody here says they never saw colours more beautiful40 ,in his last letter1 which is dated1 8at ,venice1 ,i know not what day of the month1 but about the fourteenth day after ,michaelmas1 #aejf10 he says that he will be ready to leave that city in about ten days2 that he intends to proceed to ,bologna1 and after staying there about eight or ten days for the sake of learning some secrets in perspective1 to return home by way of ,venice4 ,he visited ,bologna as he intended2 and was treated with great respect by the painters of that city4 ,after a brief stay at ,bologna1 he returned to ,nuremberg2 and there is no evidence of his ever having visited ,italy again4 ,footnote ,v-#bc3 ,the kind of engraving meant was copper-plate engraving4 ,durer's words are3 8,ich hab awch dy ,moler all gesthrilt dy do sagten1 ,im ,stechen wer ich gut1 aber im molen west ich nit mit farben um zu gen40 ,the word 8,stechen0 applies to engraving on copper2 8,schneiden0 to engraving on wood4--,von ,murr1 ,journal1 #aj;er ,theil1 ,s4 #bh4 ,illustration ,in #aeaa1 the second of ,durer's large works engraved on wood appeared at ,nuremberg4 ,it is generally entitled the ,history of the ,virgin1 and consists of nineteen large cuts1 each about eleven inches and three quarters high1 by eight inches and a quarter wide1 with a vignette of smaller size which ornaments the title-page4,v-#bd ,impressions are to be found without any accompanying text1 but the greater number have explanatory verses printed from type at the back4 ,the cut here represented is a reduced copy of the vignette on the title-page4 ,the ,virgin is seen seated on a crescent1 giving suck to the infant ,christ2 and her figure and that of the child are drawn with great feeling4 ,of all ,durer's ,madonnas1 whether engraved on wood or copper1 this1 perhaps1 is one of the best4 ,her attitude is easy and natural1 and happily expressive of the character in which she is represented--that of a nursing mother4 ,the light and shade are well contrasted2 and the folds of her ample drapery1 which ,durer was fond of introducing whenever he could1 are arranged in a manner which materially contributes to the effect of the engraving4 ,footnote ,v-#bd3 ,the title at length is as follows3 8,epitome in ,div ,parthenices ,marie ,historiam ab ,alberto ,durero ,norico per figuras digestam1 cum versibus annexis ,chelidonii40 ,chelidonius1 who was a ,benedictine monk of ,nuremberg1 also furnished the descriptive text to the series of twelve cuts illustrative of ,christ's ,passion1 of which specimens will be found between page #bdf and page #bej4 ,illustration ,the following cuts are reduced copies of two of the larger subjects of the same work4 ,that which is here given represents the birth of the ,virgin2 and were it not for the angel who is seen swinging a censer at the top of the room1 it might be taken for the accouchement of a ,german burgomaster's wife in the year #aeaj4 ,the interior is apparently that of a house in ,nuremberg of ,durer's own time1 and the figures introduced are doubtless faithful copies1 both in costume and character1 of such females as were generally to be found in the house of a ,german tradesman on such an occasion4 ,from the number of cups and flagons that are seen1 we may be certain that the gossips did not want liquor2 and that in ,durer's age the female friends and attendants on a groaning woman were accustomed to enjoy themselves on the birth of a child over a cheerful cup4 ,in the fore-ground an elderly female is perceived taking a draught1 without measure1 from a flagon2 while another1 more in the distance and farther to the right1 appears to be drinking1 from a cup1 health to the infant which a woman like a nurse holds in her arms4 ,an elderly female1 sitting by the side of the bed1 has dropped into a doze2 but whether from the effects of the liquor or long watching it would not be easy to divine4 ,on the opposite side of the bed a female figure presents a caudle1 with a spoon in it1 to ,st4 ,anne1 the mother of the ,virgin1 while another is seen filling a goblet of wine4 ,at the bottom of the cut is ,durer's mark on a tablet4 ,the original cut is not remarkable for the excellence of its engraving1 but it affords a striking example of the little attention which ,durer1 in common with most other ,german painters of that period1 paid to propriety of costume in the treatment of such subjects4 ,the piece is ,hebrew1 of the age of ,herod the ,great2 but the scenery1 dresses1 and decorations are ,german1 of the time of ,maximilian ,i4 ,the second specimen of the large cuts of ,durer's ,life of the ,virgin1 given on the next page1 represents the ,sojourn of the ,holy ,family in ,egypt4 ,in the fore-ground ,st4 ,joseph is seen working at his business as a carpenter2 while a number of little figures1 like so many ,cupids1 are busily employed in collecting the chips which he makes and in putting them into a basket4 ,two little winged figures1 of the same family as the chip-collectors1 are seen running hand-in-hand1 a little more in the distance to the left1 and one of them holds in his hand a plaything like those which are called 8windmills0 in ,england1 and are cried about as 8toys for girls and boys10 and sold for a halfpenny each1 or exchanged for old pewter spoons1 doctors' bottles1 or broken flint-glass4 ,to the right the ,virgin1 a matronly-looking figure1 is seen sitting spinning1 and at the same time rocking with her foot the cradle in which the infant ,christ is asleep4 ,near the ,virgin are ,st4 ,elizabeth and her young son1 the future ,baptist4 ,at the head of the cradle is an angel bending as if in the act of adoration2 while another1 immediately behind ,st4 ,elizabeth1 holds a pot containing flowers4 ,in the sky there is a representation of the ,deity1 with the ,holy ,ghost in the shape of a dove4 ,the artist has not thought it necessary to mark the locality of the scene by the introduction of pyramids and temples in the back-ground1 for the architectural parts of his subject1 as well as the human figures1 have evidently been supplied by his own country1 ,durer's mark is at the bottom of the cut on the right4 ,illustration ,christ's ,passion1 consisting of a series of eleven large wood-cuts and a vignette1 designed by ,albert ,durer1 appeared about the same time as his ,history of the ,virgin4,v-#be ,the descriptive matter was compiled by ,chelidonius2 and1 in the same manner as in the ,history of the ,virgin1 a certain number of impressions were printed without any explanatory text4,v-#bf ,the large subjects are about fifteen inches and a half high1 by eleven inches and an eighth wide4 ,the following cut is a reduced copy of the vignette on the title-page4 ,footnote ,v-#be3 ,the cuts of these two works appear to have been in the hands of the engraver at the same time4 ,of those in the ,history of the ,virgin one is dated #aeji2 and two bear the date #aeaj2 and in the ,passion of ,christ four are dated #aeaj4 ,footnote ,v-#bf3 ,the ,latin title of the work is as follows3 8,passio ,domini nostri ,jesu1 ex ,hieronymo ,paduano1 ,dominico ,mancino1 ,sedulio1 et ,baptista ,mantuana1 per fratrem ,chelidonium collecta1 cum figuris ,alberti ,dureri ,norici ,pictoris40 ,illustration ,the subject is ,christ mocked2 but the artist has at the same time wished to express in the figure of ,christ the variety of his sufferings3 the ,saviour prays as if in his agony on the mount2 near him lies the instrument of his flagellation2 his hands and feet bear the marks of the nails1 and he appears seated on the covering of his sepulchre4 ,the soldier is kneeling and offering a reed as a sceptre to ,christ1 whom he hails in derision as ,king of the ,jews4 ,the three following cuts are reduced copies of the same number in the ,passion of ,christ4 ,in the cut of the ,last ,supper1 in the next page1 cross-hatching is freely introduced1 though without contributing much to the improvement of the engraving2 and the same effect in the wall to the right1 in the groins of the roof1 and in the floor under the table1 might be produced by much simpler means4 ,no artist1 ,i am persuaded1 would introduce such work in a design if he had to engrave it himself4 ,the same 8colour0 might be produced by single lines which could be executed in a third of the time required to cut out the interstices of the cross-hatchings4 ,durer's mark is at the bottom of the cut1 and the date #aeaj is perceived above it1 on the frame of the table4 ,the cut on page #bdi1 from the ,passion1 ,christ bearing his ,cross1 is highly characteristic of ,durer's style2 and the original is one of the best of all the wood engravings which bear his mark4 ,the characters introduced are such as he was fondest of drawing2 and most of the heads and figures may be recognised in several other engravings either executed by himself on copper or by others on wood from his designs4 ,illustration ,the figure which is seen holding a kind of halbert in his right hand is a favourite with ,durer1 and is introduced1 with trifling variations1 in at least half a dozen of his subjects2 and the horseman with a kind of turban on his head and a lance in his left hand occurs no less frequently4 ,st4 ,veronica1 who is seen holding the 8sudarium10 or holy handkerchief1 in the fore-ground to the left1 is a type of his female figures2 the head of the executioner1 who is seen urging ,christ forward1 is nearly the same as that of the mocker in the preceding vignette2 and ,simon the ,cyrenian1 who assists to bear the cross1 appears to be the twin-brother of ,st4 ,joseph in the ,sojourn in ,egypt4 ,the figure of ,christ1 bowed down with the weight of the cross1 is well drawn1 and his face is strongly expressive of sorrow4 ,behind ,simon the ,cyrenian are the ,virgin and ,st4 ,john2 and under the gateway a man with a haggard visage is perceived carrying a ladder with his head between the steps4 ,the artist's mark is at the bottom of the cut4 ,illustration ,the subject of the cut on page #bej1 from ,christ's ,passion1 represents the descent into hell and the liberation of the ancestors4 ,the massive gates of the abode of sin and death have been burst open1 and the banner of the cross waves triumphant4 ,among those who have already been liberated from the pit of darkness are ,eve1 who has her back turned towards the spectator1 and ,adam1 who in his right hand holds an apple1 the symbol of his fall1 and with his left supports a cross1 the emblem of his redemption4 ,in the front is ,christ aiding others of the ancestors to ascend from the pit1 to the great dismay of the demons whose realm is invaded4 ,a horrid monster1 with a head like that of a boar surmounted with a horn1 aims a blow at the ,redeemer with a kind of rude lance2 while another1 a hideous compound of things that swim1 and walk1 and fly1 sounds a note of alarm to arouse his kindred fiends4 ,on a stone1 above the entrance to the pit1 is the date #aeaj2 and ,durer's mark is perceived on another stone immediately before the figure of ,christ4 ,this cut1 with the exception of the frequent cross-hatching1 is designed more in the style and spirit of the artist's illustrations of the ,apocalypse than in the manner of the rest of the series to which it belongs4 ,illustration ,the preceding specimens of wood-cuts from ,durer's three great works1 the ,apocalypse1 the ,history of the ,virgin1 and ,christ's ,passion1 afford not only an idea of the style of his drawing on wood1 but also of the progress made by the art of wood engraving from the time of his first availing himself of its capabilities4 ,in ,durer's designs on wood we perceive not only more correct drawing and a greater knowledge of composition1 but also a much more effective combination of light and shade1 than are to be found in any wood-cuts executed before the date of his earliest work1 the ,apocalypse1 which appeared in #adih4 ,one of the peculiar advantages of wood engraving is the effect with which strong shades can be represented2 and of this ,durer has generally availed himself with the greatest skill4 ,on comparing his works engraved on wood with all those previously executed in the same manner1 we shall find that his figures are not only much better drawn and more skilfully grouped1 but that instead of sticking1 in hard outline1 against the back-ground1 they stand out with the natural appearance of rotundity4 ,the rules of perspective are more attentively observed2 the back-grounds better filled2 and a number of subordinate objects introduced--such as trees1 herbage1 flowers1 animals1 and children--which at once give a pleasing variety to the subject and impart to it the stamp of truth4 ,though the figures in many of his designs may not indeed be correct in point of costume1--for though he diligently studied ,nature1 it was only in her ,german dress1--yet their character and expression are generally appropriate and natural4 ,though incapable of imparting to sacred subjects the elevated character which is given to them by ,raffaele1 his representations are perhaps no less like the originals than those of the great ,italian master4 ,it is indeed highly probable that ,albert ,durer's ,german representatives of saints and apostles are more like the originals than the more dignified ideal portraits of ,raffaele4 ,the latter1 from his knowledge of the antique1 has frequently given to his ,jews a character and a costume borrowed from ,grecian art of the age of ,phidias2 while ,albert ,durer has given to them the features and invested them in the costume of ,germans of his own age4 ,shortly after the appearance of the large cuts illustrative of ,christ's ,passion1 ,durer published a series of thirty-seven of a smaller size1 also engraved on wood1 which ,mr4 ,ottley calls 8,the ,fall of ,man and his ,redemption through ,christ10 but which ,durer himself refers to under the title of 8,the ,little ,passion40,v-#bg ,all the cuts of the ,little ,passion1 as well as seventeen of those of the ,life of the ,virgin and several other pieces of ,durer's1 were imitated on copper by ,marc ,antonio ,raimondi1 the celebrated ,italian engraver1 who is said to have sold his copies as the originals4 ,vasari1 in his ,life of ,marc ,antonio1 says that when ,durer was informed of this imitation of his works1 he was highly incensed and he set out directly for ,venice1 and that on his arrival there he complained of ,marc ,antonio's proceedings to the government2 but could obtain no further redress than that in future ,marc ,antonio should not put ,durer's mark to his engravings4 ,footnote ,v-#bg3 ,the ,latin title of this work is 8,passio ,christi10 and the explanatory verses are from the pen of ,chelidonius4 ,durer1 in the ,journal of his ,visit to the ,netherlands1 twice mentions it as 8die ,kleine ,passion10 and each time with a distinction which proves that he did not mean the ,passion engraved by him on copper and probably published in #aeab4 8,item ,sebaldt ,fischer hat mir zu ,antorff ,antwerp abkaufft #af kleiner ,passion1 pro #d fl4 ,mehr #cb grosser ,bcher pro #h fl4 ,mehr #f gestochne ,passion pro #c fl40--8,darnach die drey ,bcher unser ,frauen ,leben1 ,apocalypsin1 und den grossen ,passion1 darnach den klein ,passion1 und den ,passion in ,kupffer40--,albrecht ,drers ,reisejournal1 in ,von ,murr1 #g;er ,theil1 ,s4 #fj and #fg4 ,the size of the cuts of the ,little ,passion is five inches high by three and seven-eighths wide4 ,four impressions from the original blocks are given in ,ottley's ,inquiry1 vol4 ii4 between page #gcj and page #gca4 ,though it is by no means unlikely that ,durer might apply to the ,venetian government to prevent the sale of spurious copies of his works within the bounds of their jurisdiction1 yet ,vasari's account of his personally visiting that city for the purpose of making a complaint against ,marc ,antonio1 and of the government having forbid the latter to affix ,durer's mark to his engravings in future1 is certainly incorrect4 ,the ,history of the ,virgin1 the earliest of the two works which were almost entirely copied by ,marc ,antonio1 was not published before #aeaj1 and there is not the slightest evidence of ,durer having re-visited ,venice after his return to ,nuremberg about the latter end of #aejf4 ,bartsch thinks that ,vasari's account of ,durer's complaining to the ,venetian government against ,marc ,antonio is wholly unfounded2 not only from the fact of ,durer not having visited ,venice subsequent to #aejf1 but from the improbability of his applying to a foreign state to prohibit a stranger from copying his works4 ,mr4 ,ottley1 however1--after observing that ,marc ,antonio had affixed ,durer's mark to his copies of the seventeen cuts of the ,life of the ,virgin and of some other single subjects1 but had omitted it in his copies of the cuts of the ,little ,passion1--thus expresses his opinion with respect to the correctness of this part of ,vasari's account3 8,that ,durer1 who enjoyed the especial protection of the ,emperor ,maximilian1 might be enabled through the imperial ambassador at ,venice to lay his complaints before the government1 and to obtain the prohibition before stated1 may ,i think readily be imagined2 and it cannot be denied1 that the circumstance of ,marc ,antonio's having omitted to affix the mark of ,albert to the copies which he afterwards made of the series of the #8,life of ,christ' is strongly corroborative of the general truth of the story40,v-#bh ,as two of the cuts in the ,little ,passion1 which ,mr4 ,ottley here calls the 8,life of ,christ10 are dated #aeaj1 and as1 according to ,mr4 ,ottley1 ,marc ,antonio arrived at ,rome in the course of that year1 it is difficult to conceive how the government of ,venice could have the power to prohibit a native of ,bologna1 living in a state beyond their jurisdiction1 from affixing ,albert ,durer's mark to such engravings as he might please to copy from the works of that master4 ,footnote ,v-#bh3 ,inquiry into the ,origin and ,early ,history of ,engraving1 vol4 ii4 p4 #ghb4 ,the objections to the general truth of ,vasari's story appear to be much stronger than the presumptions in its favour4 #a4 ,the improbability of ,albert ,durer having visited ,venice subsequent to #aejf2 #b4 ,the fact of ,marc ,antonio's copies of the cuts of the ,little ,passion not containing ,albert ,durer's mark2 and #c4 ,the probability of ,mark ,antonio residing beyond the jurisdiction of the ,venetian government at the time of his engraving them4 ,among the more remarkable single subjects engraved on wood from ,durer's designs1 the following are most frequently referred to3 ,god the ,father bearing up into heaven the dead body of ,christ1 with the date #aeaa2 a ,rhinoceros1 with the date #aeae2 a portrait of ,ulrich ,varnbuler1 with the date #aebb2 a large head of ,christ crowned with thorns1 without date2 and the ,siege of a fortified town1 with the date #aebg4 ,in the first of the above-named cuts1 ,god the ,father wears a kind of tiara like that of the ,pope1 and above the principal figure the ,holy ,ghost is seen hovering in the form of a dove4 ,on each side of the ,deity and the dead ,christ are angels holding the cross1 the pillar to which ,christ was bound when he was scourged1 the crown of thorns1 the sponge dipped in vinegar1 and other emblems of the ,passion4 ,at the foot are heads with puffed-out cheeks intended to represent the winds4 ,this cut is engraved in a clearer and more delicate style than most of the other subjects designed by ,durer on wood4 ,there are impressions of the ,rhinoceros1 and the portrait of ,varnbuler1 printed in chiaro-scuro from three blocks2 and there are also other wood-cuts designed by ,durer executed in the same manner4 ,the large head of ,christ1 which is engraved in a coarse though spirited and effective manner1 is placed by ,bartsch among the doubtful pieces ascribed to ,durer2 but ,mr4 ,ottley says1 8,i am unwilling to deny to ,durer the credit of this admirable and boldly executed production40,v-#bi ,the cut representing the siege of a fortified town is twenty-eight inches and three-eighths wide1 by eight inches and seven eighths high4 ,it has been engraved on two blocks1 and afterwards pasted together4 ,a number of small figures are introduced1 and a great extent of country is shown in this cut1 which is1 however1 deficient in effect2 and the little figures1 though drawn with great spirit1 want relief1 which causes many of them to appear as if they were riding or walking in the air4 ,the most solid-like part of the subject is the sky2 there is no ground for most of the figures to stand on2 and those which are in the distance are of the same size as those which are apparently a mile or two nearer the spectator4 ,there is nothing remarkable in the execution1 and the design adds nothing to ,durer's reputation4 ,footnote ,v-#bi3 ,there is a copy of this head1 also engraved on wood1 of the size of the original1 but without ,durer's1 or any other mark4 ,underneath an impression of the copy1 in the ,print ,room of the ,british ,museum1 there is written in a hand which appears to be at least as old as the year #aeej1 8,dieser hat ,,hsbehaim gerissen0--8,h4 ,s4 ,behaim drew this40 ,hans ,sebald ,behaim1 a painter and designer on wood1 was born at ,nuremberg in #aejj1 and was the pupil of his uncle1 also named ,behaim1 a painter and engraver of that city4 ,the younger ,behaim abandoned the arts to become a tavern-keeper at ,frankfort1 where he died in #aeej4 ,the great patron of wood engraving in the earlier part of the sixteenth century was the ,emperor ,maximilian ,i1 who1--besides originating the three works1 known by the titles of ,sir ,theurdank1 the ,wise ,king1 and the ,triumphs of ,maximilian1 which he caused to be illustrated with numerous wood engravings1 chiefly from the designs of ,hans ,burgmair and ,hans ,schaufflein1--employed ,albert ,durer to make the designs for two other series of wood engravings1 a ,triumphal ,car and a ,triumphal ,arch4 ,the ,triumphal ,car1 engraved by ,jerome ,resch from ,durer's drawings on wood1 is frequently confounded with the larger work called the ,triumphs of ,maximilian1 most of the designs of which were made by ,hans ,burgmair4 ,it is indeed generally asserted that all the designs for the latter work were made by ,hans ,burgmair2 but ,i think ,i shall be able to show1 in a subsequent notice of that work1 that some of the cuts contained in the edition published at ,vienna and ,london in #agif were1 in all probability1 designed by ,albert ,durer4 ,the ,triumphal ,car consists of eight separate pieces1 which1 when joined together1 form a continuous subject seven feet four inches long2 the height of the highest cut--that containing the car--is eighteen inches from the base line to the upper part of the canopy above the ,emperor's head4 ,the ,emperor is seen seated in a highly ornamented car1 attended by female figures1 representing ,justice1 ,truth1 ,clemency1 and other virtues1 who hold towards him triumphal wreaths4 ,one of the two wheels which are seen is inscribed 8,magnificentia10 and the other 8,dignitas20 the driver of the car is ,reason1--8,ratio10--and one of the reins is marked 8,nobilitas10 and the other 8,potentia40 ,the car is drawn by six pair of horses splendidly harnessed1 and each horse is attended by a female figure4 ,the names of the females at the head of the first pair from the car are 8,providentia0 and 8,moderatio20 of the second1 8,alacritas0 and 8,opportunitas20 of the third1 8,velocitas0 and 8,firmitudo20 of the fourth1 8,acrimonia0 and 8,virilitas20 of the fifth1 8,audacia0 and 8,magnanimitas20 and the attendants on the leaders are 8,experientia0 and 8,solertia40 ,above each pair of horses there is a portion of explanatory matter printed in letter-press2 and in that above the leading pair is a mandate from the ,emperor ,maximilian1 dated ,inspruck1 #aeah1 addressed to ,bilibald ,pirkheimer1 who appears to have suggested the subject2 and in the same place is the name of the inventor and designer1 ,albert ,durer4,v-#cj ,the first edition of those cuts appeared at ,nuremberg in #aebb2 and in some copies the text is in ,german1 and in others in ,latin4 ,a second edition1 with the text in ,latin only1 was printed at the same place in the following year4 ,a third edition1 from the same blocks1 was printed at ,venice in #aehh2 and a fourth at ,amsterdam in #afji4 ,the execution of this subject is not particularly good1 but the action of the horses is generally well represented1 and the drawing of some of the female figures attending them is extremely spirited4 ,guido seems to have availed himself of some of the figures in ,durer's ,triumphal ,car in his celebrated fresco of the ,car of ,apollo1 preceded by ,aurora1 and accompanied by the ,hours4 ,footnote ,v-#cj3 ,in the edition with ,latin inscriptions1 #aebc1 are the words1 8,excogitatus et depictus est currus iste ,nuremberg1 impressus vero per ,albertum ,durer4 ,anno ,,mdxxiii40 ,the ,latin words 8excogitatus et depictus0 are expressed by 8gefunden und geordnet0 in the ,german inscriptions in the edition of #aebb4 ,a sketch by ,durer1 for the ,triumphal ,car1 is preserved in the ,print ,room in the ,british ,museum4 ,it is said that the same subject painted by ,durer himself is still to be seen on the walls of the ,town-hall of ,nuremberg2 but how far this is correct ,i am unable to positively say2 for ,i know of no account of the painting written by a person who appears to have been acquainted with the subject engraved on wood4 ,dr4 ,dibdin1 who visited the ,town-hall of ,nuremberg in #ahah1 speaks of what he saw there in a most vague and unsatisfactory manner1 as if he did not know the ,triumphal ,car designed by ,durer from the larger work entitled the ,triumphs of ,maximilian4 ,the notice of the learned bibliographer1 who professes to be a great admirer of the works of ,albert ,durer1 is as follows3 8,the great boast of the collection in the ,town-hall of ,nuremberg are the ,triumphs of ,maximilian executed by ,albert ,durer1--which1 however1 have by no means escaped injury40,v-#ca ,it is from such careless observations as the preceding that erroneous opinions respecting the ,triumphal ,car and the ,triumphs of ,maximilian are continued and propagated1 and that most persons confound the two works2 which is indeed not surprising1 seeing that ,dr4 ,dibdin himself1 who is considered to be an authority on such matters1 has afforded proof that he does not know one from the other4 ,in the same volume that contains the notice of the 8,triumphs of ,maximilian0 in the ,town-hall of ,nuremberg1 ,dr4 ,dibdin says that he saw the 8,,original ,,paintings0 from which the large wood blocks were taken for the well-known work entitled the 8,triumphs of the ,emperor ,maximilian10 in large folio1 in the ,imperial ,library at ,vienna4,v-#cb ,such observations are very much in the style of the countryman's1 who had seen two genuine skulls of ,oliver ,cromwell1--one at ,oxford1 and another in the ,british ,museum4 ,though ,i have not been able to ascertain satisfactorily the subject of ,durer's painting in the ,town-hall of ,nuremberg1 ,i am inclined to think that it is the ,triumphal ,car of ,maximilian4 ,in a memorandum in the hand-writing of ,nollekins1 preserved with his copies of ,durer's ,triumphal ,car and ,triumphal ,arch of ,maximilian1 in the ,print ,room of the ,british ,museum1 it is said1 though erroneously1 that the former is painted in the ,town-hall of ,augsburg with the figures as large as life4 ,footnote ,v-#ca3 ,bibliographical ,tour1 vol4 iii4 p4 #dch4 ,edit4 #ahbi4 ,footnote ,v-#cb3 ,ibid4 p4 #ccj4 ,the ,triumphal ,arch of the ,emperor ,maximilian1 engraved on wood from ,durer's designs1 consists of ninety-two separate pieces1 which1 when joined together1 form one large composition about ten feet and a half high by nine and a half wide1 exclusive of the margins and five folio sheets of explanatory matter by the projector of the design1 ,john ,stabius1 who styles himself the historiographer and poet of the ,emperor1 and who says1 at the commencement of his description1 that this arch was drawn 8after the manner of those erected in honour of the ,roman emperors at ,rome1 some of which are destroyed and others still to be seen40 ,in the arch of ,maximilian are three gates or entrances2 that in the centre is named the ,gate of ,honour and ,power2 that to the left the ,gate of ,fame2 and that to the right the ,gate of ,nobility4,v-#cc ,above the middle entrance is what ,stabius calls the 8grand tower10 surmounted with the imperial crown1 and containing an inscription in ,german to the memory of ,maximilian4 ,above and on each side of the gates or entrances1 which are of very small dimensions1 are portraits of the ,roman emperors from the time of ,julius ,csar to that of ,maximilian himself2 there are also portraits of his ancestors1 and of kings and princes with whom he was allied either by friendship or marriage2 shields of arms illustrative of his descent or of the extent of his sovereignty2 with representations of his most memorable actions1 among which his adventures in the ,tyrolean ,alps1 when hunting the chamois1 are not forgotten4 ,underneath each subject illustrative of his own history are explanatory verses1 in the ,german language1 engraved on wood2 and the names of the kings and emperors1 as well as the inscriptions explanatory of other parts of the subject1 are also executed in the same manner4 ,the whole subject is1 in fact1 a kind of pictorial epitome of the history of the ,german empire2 representing the succession of the ,roman emperors1 and the more remarkable events of ,maximilian's own reign2 with illustrations of his descent1 possessions1 and alliances4 ,footnote ,v-#cc3 ,the two last names are1 in the first edition1 pasted over others which appear to have been 8,the ,gate of ,honour0 and 8,the ,gate of ,relationship1 ,friendship1 and ,alliance40 ,the last name alludes to the emperor's possessions as acquired by descent or marriage1 and to his power as strengthened by his friendly alliances with neighbouring states4 ,at the time of ,maximilian's death1 which happened in #aeai1 this great work was not finished2 and it is said that ,durer himself did not live to see it completed1 as one small block remained to be engraved at the period of his death1 in #aebh4 ,at whatever time the work might be finished1 it certainly was commenced at least four years before the ,emperor's death1 for the date #aeae occurs in two places at the foot of the subject4 ,though ,durer's mark is not to be found on any one of the cuts1 there can be little doubt of his having furnished the designs for the whole4 ,in the ninth volume of ,von ,murr's ,journal it is stated that ,durer received a hundred guilders a year from the ,emperor1--probably on account of this large work2 and in the same volume there is a letter of ,durer's addressed to a friend1 requesting him to apply to the emperor on account of arrears due to him4 ,in this letter he says that he has made many drawings besides the 8,tryumps0,v-#cd for the emperor2 and as he also thrice mentions ,stabius1 the inventor of the ,triumphal ,arch1 there can be little doubt but that this was the work to which he alludes4 ,footnote ,v-#cd3 8,item wist auch das ,ich ,k4 ,mt4 ausserhalb des ,tryumps sonst viel mancherley ,fisyrung gemacht hab40--8,you must also know that ,i have made many other drawings for the emperor besides those of the ,triumph40 ,the date of this letter is not given1 but ,durer informs his friend that he had been already three years employed for the emperor1 and that if he had not exerted himself the beautiful 8work0 would not have been so soon completed4 ,if this is to be understood of the ,triumphal ,arch1 it would seem that the designs at least were all finished before the emperor's death4--,von ,murr1 ,journal1 #i;er ,theil1 ,s4 #d4 ,as a work of art the best single subjects of the ,triumphal ,arch will not bear a comparison with the best cuts in ,durer's ,apocalypse1 the ,history of the ,virgin1 or ,christ's ,passion2 and there are several in which no trace of his effective style of drawing on wood is to be found4 ,most of the subjects illustrative of the emperor's battles and adventures are in particular meagre in point of drawing1 and deficient in effect4 ,the whole composition indeed appears like the result of continued application without much display of talent4 ,the powers of ,durer had been evidently constrained to work out the conceptions of the historiographer and poet1 ,stabius2 and as the subjects were not the suggestions of the artist's own feelings1 it cannot be a matter of surprise that we should find in them so few traces of his genius4 ,the engraving of the cuts is clear1 but not generally effective2 and the execution of the whole1 both figures and letters1 would occupy a single wood engraver not less than four years2 even allowing him to engrave more rapidly on pear-tree than a modern wood engraver does on box2 and supposing him to be a master of his profession4 ,from his varied talents and the excellence which he displayed in every branch of art that he attempted1 ,albert ,durer is entitled to rank with the most extraordinary men of his age4 ,as a painter he may be considered as the father of the ,german school2 while for his fidelity in copying nature and the beauty of his colours he may bear a comparison with most of the ,italian artists of his own age4 ,as an engraver on copper he greatly excelled all who preceded him2 and it is highly questionable if any artist since his time1 except ,rembrandt1 has painted so many good pictures and engraved so many good copper-plates4 ,but besides excelling as an engraver on copper after the manner in which the art had been previously practised1 giving to his subjects a breadth of light and a depth of shade which is not to be found in the productions of the earlier masters1 he further improved the art by the invention of etching1,v-#ce which enables the artist to work with greater freedom and to give a variety and an effect to his subjects1 more especially landscapes1 which are utterly unattainable by means of the graver alone4 ,footnote ,v-#ce3 ,in the process of etching the plate is first covered with a resinous composition--called etching ground--on which the lines intended to be etched1 or bit into the plate1 are drawn through to the surface of the metal by means of a small pointed tool called an etching needle1 or an etching point4 ,when the drawing of the subject upon the etching ground is finished1 the plate is surrounded with a slightly raised border1 or 8wall10 as it is technically termed1 formed of rosin1 bee's-wax1 and lard2 and1 a corrosive liquid being poured upon the plate1 the lines are 8bit0 into the copper or steel4 ,when the engraver thinks that the lines are corroded to a sufficient depth1 he pours off the liquid1 cleans the plate by means of turpentine1 and proceeds to finish his work with the graver and dry-point4 ,according to the practice of modern engravers1 where several tints are required1 as is most frequently the case1 the process of 8biting-in0 is repeated2 the corrosive liquid being again poured on the plate to corrode deeper the stronger lines1 while the more delicate are 8stopped out10--that is1 covered with a kind of varnish that soon hardens1 to preserve them from further corrosion4 ,most of our best engravers now use a diamond point in etching4 ,nitrous acid is used for 8biting-in0 on copper in the proportion of one part acid to four parts water1 and the mixture is considered to be better after it has been once or twice used4 ,before using the acid it is advisable to take the stopper out of the bottle for twenty-four hours in order to allow a portion of the strength to evaporate4 ,during the process of biting-in a large copper-plate the fumes which arise are so powerful as frequently to cause an unpleasant stricture in the throat1 and sometimes to bring on a spitting of blood when they have been incautiously inhaled by the engraver4 ,at such times it is usual for the engraver to have near him some powerful essence1 generally hartshorn1 in order to counteract the effects of the noxious vapour4 ,for biting-in on steel1 nitric acid is used in the proportion of thirty drops to half a pint of distilled water2 and the mixture is never used for more than one plate4--,when a copper-plate is sufficiently bit-in1 it is only necessary to wash it with a little water previous to removing the etching ground with turpentine2 but1 besides this1 with a steel plate it is further necessary to set it on one of its edges against a wall or other support1 and to blow it with a pair of small bellows till every particle of moisture in the lines is perfectly evaporated4 ,the plate is then rubbed with oil1 otherwise the lines would rust from the action of the atmosphere and the plate be consequently spoiled4 ,previous to a steel plate being laid aside for any length of time it ought to be warmed1 and the engraved surface rubbed carefully over with virgin wax so that it may be completely covered1 and every line filled4 ,a piece of thick paper the size of the plate1 laid over the wax while it is yet adhesive1 will prove an additional safeguard4 ,for this information respecting the process of biting-in1 the writer is indebted to an eminent engraver1 ,mr4 ,j4 ,t4 ,wilmore4 ,there are two subjects by ,albert ,durer1 dated #aeab1 which ,bartsch thinks were etched upon plates of iron1 but which ,mr4 ,ottley considers to have been executed upon plates of a softer metal than copper1 with the dry-point4 ,there are1 however1 two undoubted etchings by ,durer with the date #aeae2 two others executed in the same manner are dated #aeaf2 and a fifth1 a landscape with a large cannon in the fore-ground to the left1 is dated #aeah4 ,there is another undoubted etching by ,durer1 representing naked figures in a bath2 but it contains neither his mark nor a date4 ,the three pieces which ,mr4 ,ottley thinks were not etched1 but executed on some soft kind of metal with the dry-point1 are3 #a4 ,the figure of ,christ1 seen in front1 standing1 clothed with a mantle1 having his hands tied together1 and on his head a crown of thorns2 date #aeab4 #b4 ,st4 ,jerome seated amongst rocks1 praying to a crucifix1 with a book open before him1 and a lion below to the left2 date #aeab4 #c4 ,the ,virgin1 seated with the infant ,christ in her lap1 and seen in front1 with ,st4 ,joseph behind her on the left1 and on the right three other figures2 without mark or date4--,one of the more common of ,durer's undoubted etchings is that of a man mounted on a unicorn1 and carrying off a naked woman1 with the date #aeaf4 ,albert ,durer not only excelled as a painter1 an engraver on copper1 and a designer on wood1 but he also executed several pieces of sculpture with surprising delicacy and natural expression of character4 ,an admirable specimen of his skill in this department of art is preserved in the ,british ,museum1 to which institution it was bequeathed by the late ,r4 ,payne ,knight1 ,esq41 by whom it was purchased at ,brussels for five hundred guineas upwards of forty years ago4 ,this most exquisite piece of sculpture is of small dimensions1 being only seven and three quarter inches high1 by five and a half wide4 ,it is executed in hone-stone1 of a cream colour1 and is all of one piece1 with the exception of a dog and one or two books in front4 ,the subject is the naming of ,john the ,baptist4,v-#cf ,in front1 to the right1 is an old man with a tablet inscribed with ,hebrew characters2 another old man is seen immediately behind him1 further to the right2 and a younger man1--said to be intended by the artist for a portrait of himself1--appears entering the door of the apartment4 ,an old woman with the child in her arms is seated near the figure with the tablet2 ,st4 ,elizabeth is perceived lying in bed1 on the more distant side of which a female attendant is standing1 and on the other1 nearer to the spectator1 an elderly man is seen kneeling4 ,it is supposed that the latter figure is intended for ,zacharias1 and that the artist had represented him in the act of making signs to ,elizabeth with his hands4 ,the figures in the fore-ground are executed in high relief1 and the character and expression of the heads have perhaps never been surpassed in any work of sculpture executed on the same scale4 ,durer's mark is perceived on a tablet at the foot of the bed1 with the date #aeaj4 ,this curious specimen of ,durer's talents as a sculptor is carefully preserved in a frame with a glass before it1 and is in most perfect condition1 with the exception of the hands of ,zacharias and of ,elizabeth1 some of the fingers of which are broken off4 ,footnote ,v-#cf3 ,the account of the naming of ,john the ,baptist will be found in ,st4 ,luke's ,gospel1 chap4 i4 verse #ei-fd4 ,shortly after ,whitsuntide1 #aebj1 ,durer set out from ,nuremberg1 accompanied by his wife and her servant ,susanna1 on a visit to the ,netherlands2 and as he took with him several copies of his principal works1 engravings on copper as well as on wood1 and painted and drew a number of portraits during his residence there1 the journey appears to have been taken as much with a view to business as pleasure4 ,he kept a journal from the time of his leaving ,nuremberg till the period of his reaching ,cologne on his return1 and from this curious record of the artist's travels the following particulars of his visit to the ,netherlands have been obtained4,v-#cg ,footnote ,v-#cg3 ,durer's ,journal of his ,travels is given by ,von ,murr1 #g;er ,theil1 ,s4 #ee-ih4 ,the title which the ,editor has prefixed to it is1 8,reisejournal ,albrecht ,drer's von seiner ,niederlndischen ,reise1 #aebj und #aeba4 ,e4 ,bibliotheca ,ebneriana40 ,in the same volume1 ,von ,murr gives some specimens of ,durer's poetry4 ,the first couplet which he made in #aeji is as follows3 8,du aller ,engel ,spiegel und ,erlser der ,welt1 ,deine grosse ,marter sey fr mein ,snd ein ,widergelt40 ,thou mirror of all ,angels and ,redeemer of mankind1 ,through thy martyrdom1 for all my sins may ,i a ransom find4 ,this couplet being ridiculed by ,bilibald ,pirkheimer1 who said that rhyming verses ought not to consist of more than eight syllables1 ,durer wrote several others in a shorter measure1 but with no better success2 for he says at the conclusion1 that they did not please the learned counsellor4 ,with ,durer's rhymes there is an epistle in verse from his friend ,lazarus ,sprengel1 written to dissuade him from attempting to become a poet4 ,durer's verses want 8the right butter-woman's trot to market10 and are sadly deficient in rhythm when compared with the more regular clink of his friend's4 ,durer proceeded from ,nuremberg direct to ,bamberg1 where he presented to the bishop a painting of the ,virgin1 with a copy of the ,apocalypse and the ,life of the ,virgin engraved on wood4 ,the bishop invited ,durer to his table1 and gave him a letter exempting his goods from toll1 with three others which were1 most likely1 letters of recommendation to persons of influence in the ,netherlands4,v-#ch ,from ,bamberg1 ,durer proceeded by way of ,eltman1 ,sweinfurth1 and ,frankfort to ,mentz1 and from the latter city down the ,rhine to ,cologne4 ,in this part of his journey he seems to have met with little which he deemed worthy of remark3 at ,sweinfurth ,dr4 ,rebart made him a present of some wine2 at ,mentz1 ,peter ,goldsmith's landlady presented him with two flasks of the same liquor2 and when ,veit ,varnbuler invited him to dinner there1 the tavern-keeper would not receive any payment1 but insisted on being ,durer's host himself4 ,at ,lohnstein1 on the ,rhine1 between ,boppart and ,coblentz1 the toll-collector1 who was well acquainted with ,durer's wife1 presented him with a can of wine1 and expressed himself extremely glad to see him4 ,footnote ,v-#ch3 ,subsequently1 ,durer mentions having delivered to the ,margrave ,john1 at ,brussels1 a letter of recommendation ,frderbrief from the ,bishop of ,bamberg4 ,from ,cologne1 ,durer proceeded direct to ,antwerp1 where he took up his abode in the house of 8,jobst ,planckfelt20 and on the evening of his arrival,v-#ci he was invited to a splendid supper by ,bernard ,stecher1 an agent of the ,fuggers1 the celebrated family of merchants of ,nuremberg1 and the most wealthy in ,germany4 ,on ,st4 ,oswald's day1 ,sunday1 #eth ,august1 the ,painters' ,company of ,antwerp invited ,durer1 with his wife and her maid1,v-#dj to a grand entertainment in their hall1 which was ornamented in a splendid manner1 and all the vessels on the table were of silver4 ,the wives of the painters were also present2 and when ,durer was conducted to his seat at the table 8all the company stood up on each side1 as if some great lord had been making his entrance40 ,several honourable persons1 who had also been invited1 bowed to him2 and all expressed their respect and their wishes to afford him pleasure4 ,while he was at table the messenger of the magistrates of ,antwerp made his appearance1 and presented him in their name with four flaggons of wine1 saying1 that the magistrates thus testified their respect and their good-will towards him4 ,durer1 as in duty bound1 returned thanks1 and tendered to the magisterial body his humble service4 ,after this little affair was despatched1 entered ,peter the city carpenter in propria persona1 and presented ,durer with two more flaggons of wine1 and complimented him with the offer of his services4 ,after the party had enjoyed themselves cheerfully till late in the night1 they attended ,durer to his lodgings with torches in a most honourable manner1 expressing their good-will towards him1 and their readiness to assist him in whatever manner he might choose4--,shortly after this grand ,fellowship-feast1 ,durer was entertained by ,quintin ,matsys1--frequently called the ,blacksmith of ,antwerp1--whose celebrated picture of the ,misers is now in the ,royal ,collection at ,windsor4 ,footnote ,v-#ci3 ,as ,durer was at ,cologne about the #bfth ,july1 it is probable that he would arrive at ,antwerp about the last day of that month4 ,footnote ,v-#dj3 ,the maid1 ,susanna1 seems to have been rather a 8humble friend0 than a menial servant2 for she is mentioned in another part of the ,journal as being entertained with ,durer's wife at the house of 8,tomasin ,florianus10 whom ,durer describes as 8,romanus1 von ,luca brtig40 ,on the ,sunday after the ,assumption1,v-#da ,durer witnessed a grand procession in honour of the ,virgin1 and the account which he has given of it presents so curious a picture of the old religious pageantries that it appears worthy of being translated without abridgement4 8,on the ,sunday after the ,assumption of our ,lady10 says the artist1 8,i saw the grand procession from our ,lady's church at ,antwerp1 where all the inhabitants of the city assembled1 gentry as well as trades-people1 each1 according to his rank1 gayly dressed4 ,every class and fellowship was distinguished by its proper badge2 and large and valuable crosses were borne before several of the crafts4 ,there were also silver trumpets of the old ,frankish fashion2 with ,german drums and fifes playing loudly4 ,i also saw in the street1 marching after each other in rank1 at a certain distance1 the ,goldsmiths1 the ,painters1 the ,masons1 the ,embroiderers1 the ,statuaries1 the ,cabinet-makers1 the ,carpenters1 the ,sailors1 the ,fishermen1 the ,butchers1 the ,curriers1 the ,weavers1 the ,bakers1 the ,tailors1 the ,shoemakers1 and all kinds of craftsmen with labourers engaged in producing the necessaries of life4 ,in the same manner came the ,shopkeepers and ,merchants with their assistants4 ,after these came the ,shooters1 with firelocks1 bows1 and cross-bows1 some on horseback and some on foot2 and after them came the ,city ,guard4 ,these were followed by persons of the higher classes and the magistrates1 all dressed in their proper habits2 and after them came a gallant troop arrayed in a noble and splendid manner4 ,in this procession were a number of females of a religious order who subsist by means of their labour1 all clothed in white from head to foot1 and forming a very pleasing sight4 ,after them came a number of gallant persons and the canons of our ,lady's church1 with all the clergy and scholars1 followed by a grand display of characters4 ,twenty men carried the ,virgin and ,christ1 most richly adorned1 to the honour of ,god4 ,in this part of the procession were a number of delightful things1 represented in a splendid manner4 ,there were several waggons in which were representations of ships and fortifications4 ,then came a troop of characters from the ,prophets in regular order1 followed by others from the ,new ,testament1 such as the ,annunciation1 the ,wise ,men of the ,east1 riding on great camels and other wonderful animals1 and the ,flight into ,egypt1 all very skilfully appointed4 ,then came a great dragon1 and ,st4 ,margaret1 with the image of the ,virgin at her girdle1 exceedingly beautiful2 and last ,st4 ,george and his squire4 ,in this troop rode a number of boys and girls very handsomely arrayed in various costumes1 representing so many saints4 ,this procession1 from beginning to end1 was upwards of two hours in passing our house2 and there were so many things to be seen1 that ,i could never describe them all even in a book40,v-#db ,footnote ,v-#da3 ,the ,assumption of the ,virgin is celebrated in the ,roman ,catholic ,church on the #aeth ,august4 ,footnote ,v-#db3 ,albrecht ,drer's ,reisejournal1 in ,von ,murr1 #g;er ,theil1 ,s4 #fc-fe4 ,though ,durer chiefly resided at ,antwerp during his stay in the ,netherlands1 he did not entirely confine himself to that city1 but occasionally visited other places4 ,on the #bnd of ,september #aebj1 he left ,antwerp for ,brussels1 proceeding by way of ,malines and ,vilvorde4 ,when at ,brussels1 he saw a number of valuable curiosities which had been sent to the ,emperor from ,mexico1 among which he enumerates a golden sun1 a fathom broad1 and a silver moon of the same size1 with weapons1 armour1 and dresses1 and various other admirable things of great beauty and cost4 ,he says that their value was estimated at a hundred thousand guilders2 and that he never saw any thing that pleased him so much in his life4 ,durer was evidently fond of seeing sights2 he speaks with delight of the fountains1 the labyrinths1 and the parks in the neighbourhood of the ,royal ,palace1 which he says were like ,paradise2 and among the wonders which he saw at ,brussels1 he notices a large fish-bone which was almost a fathom in circumference and weighed fifteen 8centner20,v-#dc a great bed that would hold fifty men2 and a stone which fell from the sky in a thunder-storm in presence of the ,count of ,nassau4 ,he also mentions having seen at ,antwerp the bones of a giant who had been eighteen feet high4 ,durer and his wife seem to have had a taste for zoology3 ,herr ,lazarus ,von ,ravenspurg complimented him with a monkey2 and 8,signor ,roderigo10 a ,portuguese1 presented his ill-tempered spouse with a green parrot4 ,footnote ,v-#dc3 ,this 8gross ,fischpein0 was probably part of the back-bone of a whale4 ,when at ,brussels1 ,durer painted the portrait of the celebrated ,erasmus1 from whom1 previous to leaving ,antwerp1 he had received as a present a ,spanish mantle and three portraits4 ,he remained about a week at ,brussels1 during which time he drew or painted seven portraits2 and in his ,journal he makes the following memorandum3 8,item1 six persons whose likenesses ,i have taken at ,brussels1 have not given me anything40 ,among those portraits was that of ,bernard ,van ,orley1 an eminent ,flemish painter who had studied under ,raffaele1 and who at that time held the office of painter to the ,archduchess ,margaret1 regent of the ,netherlands1 and aunt of the ,emperor ,charles ,v4 ,when at ,brussels1 ,durer bought for a stiver,v-#dd two copies of the 8,eulenspiegel10 a celebrated engraving by ,lucas ,van ,leyden1 now of very great rarity4 ,footnote ,v-#dd3 ,the stiver was the twenty-fourth part of a guilder or florin of gold1 which was equal to about nine shillings ,english money of the present time2 the stiver would therefore be equal to about four pence half-penny4 ,about the same time1 ,durer sold a copy of his ,christ's ,passion1 probably the large one1 for twelve stivers1 and an impression of his copper-plate of ,adam and ,eve for four stivers4 ,shortly after his first arrival at ,antwerp1 he sold sixteen copies of the ,little ,passion for four guilders or florins2 and thirty-two copies of his larger works1--probably the ,apocalypse1 the ,history of the ,virgin1 and the ,great ,passion1--for eight florins1 being at the rate of sixteen stivers for each copy4 ,he also sold six copies of the ,passion engraved on copper at the same price4 ,he gave to his host a painting of the ,virgin on canvass to sell for two ,rhenish florins4 ,the sum that he received for each portrait in pencil the ,german is mit ,kohlen1 which is literally charcoal1 when the parties did pay1 appears to have been a florin4 ,after remaining at ,antwerp till the latter end of ,september1 ,durer proceeded to ,aix-la-,chapelle1 where1 on the #bcrd of ,october1 he witnessed the coronation of the ,emperor ,charles ,v4 ,he afterwards proceeded to ,cologne1 where1 on the ,sunday after ,all ,saints' day1 he saw a grand banquet and dance given by the emperor1 from whom1 on the ,monday after ,martinmas day1 he received the appointment of court-painter to his ,imperial ,majesty4 ,when at ,cologne1 ,durer bought a copy of the 8,condemnation of that good man1 ,martin ,luther1 for a white-penny40 ,this ,condemnation was probably a copy of the bull of excommunication issued against ,luther by ,pope ,leo ,x4 on #bjth ,june #aebj4 ,in a day or two after receiving his appointment1 ,durer left ,cologne and proceeded down the ,rhine1 and visited ,nimeguen4 ,he then went to ,bois-le-duc1 where he was entertained by ,arnold de ,beer1 a painter of considerable reputation in his day1 and treated with great respect by the goldsmiths of the place4 ,on the ,thursday after the ,presentation of the ,virgin1,v-#de--bast ,november1--,durer again arrived at ,antwerp4 8,in the seven weeks and upwards that ,i was absent10 he writes in his ,journal1 8my wife and her maid spent seven gold crowns4 ,the first had her pocket cut off in ,st4 ,mary's church on ,st4 ,mary's day2 there were two guilders in it40 ,footnote ,v-#de3 ,in ,von ,murr the words are 8,am ,donnerstage nach ,marien ,himmelfahrt10--,on the ,thursday after the ,assumption of the ,virgin4 ,but this is evidently incorrect1 the feast of the ,assumption being kept on #aeth ,august4 ,the 8,marien ,opferung0--the ,presentation of the ,virgin--which is commemorated on #bast ,november1 is evidently meant4 ,on the #crd of ,december1 ,durer left ,antwerp on a short journey through ,zealand1 proceeding by way of ,bergen-op-,zoom4 ,in the ,abbey at ,middleburg he saw the great picture of the ,descent from the ,cross by ,mabeuse2 of which he remarks that 8it is better painted than drawn40 ,when he was about to land at ,armuyden1 a small town on the island of ,walcheren1 the rope broke1 and a violent wind arising1 the boat which he was in was driven out to sea4 ,some persons1 however1 at length came to their assistance1 and brought all the passengers safely ashore4 ,on the ,friday after ,st4 ,lucia's day he again returned to ,antwerp1 after having been absent about twelve days4 ,on ,shrove ,tuesday1 #aeba1 the company of goldsmiths invited ,durer and his wife to a dinner1 at which he was treated with great honour2 and as this was an early meal1 he was enabled at night to attend a grand banquet to which he was invited by one of the chief magistrates of ,antwerp4 ,on the ,monday after his entertainment by the goldsmiths he was invited to another grand banquet which lasted two hours1 and where he won1 at some kind of game1 two guilders of ,bernard of ,castile4 ,both at this and at the magistrates' banquet there was masquerading4 ,at another entertainment given by ,master ,peter the ,secretary1 ,durer and ,erasmus were present4 ,he was not idle at this period of festivity1 but drew several portraits in pencil4 ,he also made a drawing for 8,tomasin10 and a painting of ,st4 ,jerome for ,roderigo of ,portugal1 who appears to have been one of the most liberal of all ,durer's ,antwerp friends4 ,besides the little green parrot which he gave his wife1 he also presented ,durer with one for himself2 he also gave him a small cask of comfits1 with various other sweetmeats1 and specimens of the sugar-cane4 ,he also made him a present of cocoa-nuts and of several other things2 and shortly before the painting was finished1 ,signor ,roderigo gave him two large pieces of ,portuguese gold coin1 each of which was worth ten ducats4 ,on the ,saturday after ,easter1 ,durer visited ,bruges1 where he saw in ,st4 ,james's church some beautiful paintings by ,hubert ,van ,eyck and ,hugo ,vander ,goes2 and in the ,painters' chapel1 and in other churches1 he saw several by ,john ,van ,eyck2 he also mentions having seen1 in ,st4 ,mary's church1 an image of the ,virgin in alabaster by ,michael ,angelo4 ,the guild of painters invited him to a grand banquet in their hall4 ,two of the magistrates1 ,jacob and ,peter ,mostaert1 presented him with twelve flaggons of wine2 and on the conclusion of the entertainment1 all the company1 amounting to sixty persons1 accompanied him with torches to his lodgings4 ,he next visited ,ghent1 where the company of painters also treated him with great respect4 ,he there saw1 in ,st4 ,john's church1 the celebrated picture of the ,elders worshipping the ,lamb1 from the ,revelations1 painted by ,john ,van ,eyck for ,philip the ,good1 ,duke of ,burgundy4 ,durer thus expresses his opinion of it3 8,this is a well conceived and capital picture2 the figures of ,eve1 the ,virgin1 and ,god the ,father1 are1 in particular1 extremely good40 ,after being about a week absent1 he again returned to ,antwerp1 where he was shortly after seized with an intermitting fever1 which was accompanied with a violent head-ache and great sense of weariness4 ,this illness1 however1 does not seem to have lasted very long2 his fever commenced in the third week after ,easter1 and on ,rogation ,sunday he attended the marriage feast of 8,meister ,joachim10--probably ,joachim ,patenier1 a landscape painter whom ,durer mentions in an earlier part of his ,journal4 ,durer was a man of strong religious feelings2 and when ,luther began to preach in opposition to the church of ,rome1 he warmly espoused his cause4 ,the following passages from his ,journal sufficiently demonstrate the interest which he felt in the success of the great champion of the ,reformation4 ,luther on his return from ,worms1 where he had attended the ,diet under a safe-conduct granted by the ,emperor ,charles ,v1 was waylaid1 on #dth ,may #aeba1 by a party of armed men1 who caused him to descend from the light waggon in which he was travelling1 and to follow them into an adjacent wood4 ,his brother ,james1 who was in the waggon with him1 made his escape on the first appearance of the horsemen4 ,luther having been secured1 the driver and others who were in the waggon were allowed to pursue their journey without further hindrance4 ,this secret apprehension of ,luther was1 in reality1 contrived by his friend and supporter1 ,frederick1 ,elector of ,saxony1,v-#df in order to withdraw him for a time from the apprehended violence of his enemies1 whose hatred towards him had been more than ever inflamed by the bold and undisguised statement of his opinions at ,worms4 ,luther's friends1 being totally ignorant of the elector's design1 generally supposed that the safe-conduct had been disregarded by those whose duty it was to respect it1 and that he had been betrayed and delivered into the hands of his enemies4 ,durer1 on hearing of ,luther's apprehension1 writes in his ,journal as follows4 ,footnote ,v-#df3 ,luther's safe-conduct from ,worms to ,wittenberg was limited to twenty-one days1 at the expiration of which he was declared to be under the ban of the empire1 or1 in other words1 an outlaw1 to whom no prince or free city of ,germany was to afford a refuge4 ,luther1 previous to leaving ,worms1 was informed of the elector's intention of secretly apprehending him on the road and conveying him to a place of safety4 ,after getting into the wood1 ,luther was mounted on horseback1 and conveyed to ,wartburg1 a castle belonging to the elector1 where he continued to live disguised as a knight--,junker ,jrge--till ,march #aebb4 ,luther was accustomed to call the castle of ,wartburg his ,patmos4 8,on the ,friday after ,whitsuntide1 #aeba1 ,i heard a report at ,antwerp1 that ,martin ,luther had been treacherously seized2 for the herald of the ,emperor ,charles1 who attended him with a safe-conduct1 and to whose protection he was committed1 on arriving at a lonely place near ,eisenach1 said he durst proceed no further1 and rode away4 ,immediately ten horsemen made their appearance1 and carried off the godly man thus betrayed into their hands4 ,he was indeed a man enlightened by the ,holy ,ghost1 and a follower of the true ,christian faith4 ,whether he be yet living1 or whether his enemies have put him to death1 ,i know not2 yet certainly what he has suffered has been for the sake of truth1 and because he has reprehended the abuses of unchristian papacy1 which strives to fetter ,christian liberty with the incumbrance of human ordinances1 that we may be robbed of the price of our blood and sweat1 and shamefully plundered by idlers1 while the sick and needy perish through hunger4 ,above all1 it is especially distressing to me to think that ,god may yet allow us to remain under the blind doctrine which those men called #8the fathers' have imagined and set forth1 whereby the precious word is either in many places falsely expounded or not at all observed40,v-#dg ,footnote ,v-#dg3 ,durer1 though an advocate of ,luther1 does not seem to have withdrawn himself from the communion of the ,church of ,rome4 ,in his ,journal1 in #aeba1 he enters a sum of ten stivers given to his confessor1 and1 subsequently1 eight stivers given to a monk who visited his wife when she was sick4 ,the passage in which the last item occurs is curious1 and seems to prove that female practitioners were then accustomed both to dispense and administer medical preparations at ,antwerp4 8,meine ,frau ward krank1--der ,apothekerinn fr ,klystiren gegeben #ad ,stber2 dem ,mnch1 der sie besuchte1 #h ,stber40--,von ,murr1 ,journal1 #g;er ,theil1 ,s4 #ic4 ,after indulging in sundry pious invocations and reflections to the extent of two or three pages1 ,durer thus proceeds to lament the supposed death of ,luther1 and to invoke ,erasmus to put his hand to the work from which he believed that ,luther had been removed4 8,and is ,luther dead8 ,who henceforth will so clearly explain to us the ,gospel8 ,alas6 what might he not have written for us in ten or twenty years8 ,aid me1 all pious ,christians1 to bewail this man of heavenly mind1 and to pray that ,god may send us another as divinely enlightened4 ,where1 ,o ,erasmus1 wilt thou remain8 ,behold1 now1 how the tyranny of might and the power of darkness prevail4 ,hear1 thou champion of ,christ6 ,ride forward1 defend the truth1 and deserve the martyr's crown1 for thou art already an old man4,v-#dh ,i have heard from thy own mouth that thou hast allotted to thyself two years yet of labour in which thou mightst still be able to produce something good2 employ these well for the benefit of the ,gospel and the true ,christian faith3 let then thy voice be heard1 and so shall not the see of ,rome1 the gates of ,hell1 as ,christ saith1 prevail against thee4 ,and though1 like thy master1 thou shouldst bear the scorn of the liars1 and even die a short time earlier than thou otherwise mightst1 yet wilt thou therefore pass earlier from death unto eternal life and be glorified through ,christ4 ,if thou drinkest of the cup of which he drank1 so wilt thou reign with him and pronounce judgment on those who have acted unrighteously40,v-#di ,footnote ,v-#dh3 ,this inducement for ,erasmus to stand forth as a candidate for the honour of martyrdom is1 in the original1 as simple in expression as it is novel in conception3 8,du bist doch sonst ein altes ,menniken40 ,literally3 ,for thou art already an old mannikin4 ,erasmus1 however1 was not a spirit to be charmed to enter such a circle by such an invocation4 ,as he said of himself1 8his gift did not lie that way10 and he had as little taste for martyrdom as he had for fish4--,in one or two other passages in ,durer's ,journal there is an allusion to the diminutive stature of ,erasmus4 ,footnote ,v-#di3 ,von ,murr1 ,journal1 #g;er ,theil1 ,s4 #hh-ic4 ,in volume ,x1 p4 #da1 ,von ,murr gives from ,peucer1 the son-in-law of ,melancthon1 the following anecdote3 8,melancthon1 when at ,nuremberg1 on church and university affairs1 was much in the society of ,pirkheimer2 and ,albert ,durer1 the painter1 an intelligent man1 whose least merit1 as ,melancthon used to say1 was his art1 was frequently one of the party4 ,between ,pirkheimer and ,durer there were frequent disputes respecting the recent religious contest1 in which ,durer1 as he was a man of strong mind1 vigorously opposed ,pirkheimer1 and refuted his arguments as if he had come prepared for the discussion4 ,pirkheimer growing warm1 for he was very irritable and much plagued with the gout1 would sometimes exclaim 8,not so3--these things cannot be painted40--8,and the arguments which you allege10 ,durer would reply1 8can neither be correctly expressed nor comprehended40--,whatever might have been the particular points in dispute between the two friends1 ,pirkheimer1 as well as ,durer1 was a supporter of the doctrines of ,luther40 ,about this time a large wood-cut1 of which the following is a reduced copy1 was published2 and though the satire which it contains will apply equally to any monk who may be supposed to be an instrument of the devil1 it was probably directed against ,luther in particular1 as a teacher of false doctrine through the inspiration of the father of lies4 ,in the cut the arch-enemy1 as a bag-piper1 is seen blowing into the ear of a monk1 whose head forms the 8bag10 and by skilful fingering causing the nose1 elongated in the form of a 8chanter10 to discourse sweet music4 ,the preaching friars of former times were no less celebrated for their nasal melody than the 8saints0 in the days of ,cromwell4 ,a serious portrait of ,luther1 probably engraved or drawn on wood by ,hans ,baldung ,grn1 a pupil of ,durer1 was also published in #aeba4 ,it is printed in a quarto tract1 entitled1 8,acta et ,res gest ,d4 ,martini ,lutheri in ,comitiis ,principum ,vuormaci1 ,anno ,,mdxxi10 and also in a tract1 written by ,luther himself in answer to ,jerome ,emser1 without date1 but probably printed at ,wittenberg about #aebc4 ,in this portrait1 which bears considerable resemblance to the head forming the bag of ,satan's pipe1 ,luther appears as if meditating on a passage that he has just read in a volume which he holds open2 his head is surrounded with rays of glory2 and the ,holy ,ghost1 in the form of a dove1 appears as if about to settle on his shaven crown4 ,in an impression now before me1 some one1 apparently a contemporary1 who thought that ,luther's inspiration was derived from another source1 has with pen and ink transformed the dove into one of those unclean things between bat and serpent1 which are supposed to be appropriate to the regions of darkness1 and which are generally to be seen in paintings and engravings of the temptation of ,st4 ,anthony4 ,illustration ,a week after ,corpus ,christi day,v-#ej ,durer left ,antwerp for ,malines1 where the ,archduchess ,margaret1 the aunt of the emperor ,charles ,v1 was then residing4 ,he took up his lodgings with ,henry de ,bles1 a painter of considerable reputation1 called ,civetta by the ,italians1 from the owl which he painted as a mark in most of his pictures2 and the painters and statuaries1 as at ,antwerp and other places1 invited him to an entertainment and treated him with great respect4 ,he waited on the archduchess and showed her his portrait of the emperor1 and would have presented it to her1 but she would by no means accept of it2--probably because she could not well receive such a gift without making the artist a suitable return1 for it appears1 from a subsequent passage in ,durer's ,journal1 that she had no particular objection to receive other works of art when they cost her nothing4 ,footnote ,v-#ej3 ,corpus ,christi day is a moveable festival1 and is celebrated on the first ,thursday after ,trinity ,sunday4 ,in the course of a few days ,durer returned to ,antwerp1 where he shortly afterwards saw ,lucas ,van ,leyden1 the celebrated painter and engraver1 whose plates at that time were by many considered nearly equal to his own4 ,durer's brief notice of his talented contemporary is as follows3 8,received an invitation from ,master ,lucas1 who engraves on copper4 ,he is a little man1 and a native of ,leyden in ,holland40 ,subsequently he mentions having drawn ,lucas's portrait in crayons2 and having exchanged some of his own works to the value of eight florins for a complete set of ,lucas's engravings4 ,durer in this part of his ,journal1 after enumerating the portraits he had taken and the exchanges he had made since his return from ,malines to ,antwerp1 thus speaks of the manner in which he was rewarded3 8,in all my transactions in the ,netherlands--for my paintings1 drawings1 and in disposing of my works--both with high and low ,i have had the disadvantage4 ,the ,lady ,margaret1 especially1 for all that ,i have given her and done for her1 has not made me the least recompense40 ,durer now began to make preparations for his return home4 ,he engaged a waggoner to take him and his wife to ,cologne2 he exchanged a portrait of the emperor for some white ,english cloth2 and1 on #ast ,july1 he borrowed of ,alexander ,imhoff a hundred gold guilders to be repaid at ,nuremberg2 another proof that ,durer1 though treated with great distinction in the ,low ,countries1 had not derived much pecuniary advantage during the period of his residence there4 ,on the #bnd ,july1 when he was about to leave ,antwerp1 the ,king of ,denmark1 ,christian ,,ii1 who had recently arrived in ,flanders1 sent for him to take his portrait4 ,he first drew his majesty with black chalk--mit der ,kohlen--and afterwards went with him to ,brussels1 where he appears to have painted his portrait in oil colours1 and for which he received thirty florins4 ,at ,brussels1 on the ,sunday before ,st4 ,margaret's ,day1,v-#ea the ,king of ,denmark gave a grand banquet to the ,emperor and the ,archduchess ,margaret1 to which ,durer had the honour of being invited1 and failed not to attend4 ,on the following ,friday he left ,brussels to return to ,nuremberg1 proceeding by way of ,aix-la-,chapelle to ,cologne4 ,footnote ,v-#ea3 ,st4 ,margaret's day is the #bjth ,july4 ,out of a variety of other matters which ,durer has mentioned in his ,journal1 the following--which could not be conveniently given in chronological order in the preceding abstract--may not1 perhaps1 be wholly uninteresting4 ,he painted a portrait of one ,nicholas1 an astronomer1 who was in the service of the ,king of ,england1 and who was of great service to ,durer on several occasions4,v-#eb ,he gave one florin and eight stivers for wood1 but whether for drawing on1 or for fuel1 is uncertain4 ,he only mentions having made two drawings on wood during his residence in the ,low ,countries1 and both were of the arms of ,von ,rogendorff1 noticed at page #bcf4 ,in one of those instances1 he distinctly says that he made the drawing1 8das man's schneiden mag0--that it may be engraved4 ,the word 8man's0 clearly shows that it was to be engraved by another person4--,he mentions that since ,raffaele's death his works are dispersed--8verzogen10--and that one of that master's pupils1 by name 8,thomas ,polonier10 had called on him and made him a present of an antique ring4 ,in a subsequent passage he calls this person 8,thomas ,polonius10 and says that he had given him a set of his works to be sent to ,rome and exchanged for 8,raphaelische ,sache0--things by ,raffaele4 ,footnote ,v-#eb3 ,durer says that this astronomer was a ,german1 and a native of ,munich4 ,it has been said1 though without sufficient authority1 that ,durer1 weary of a home where he was made miserable by his bad-tempered1 avaricious wife1 left ,nuremberg1 and visited the ,low ,countries alone for the purpose of avoiding her constant annoyance4 ,there is1 however1 no evidence of ,durer's visiting the ,low ,countries previous to #aebj1 when he was accompanied by his wife2 nor is there any authentic record of his ever again visiting ,flanders subsequent to the latter end of ,august #aeba1 when he left ,brussels to return to ,nuremberg4 ,in #aebb1 ,durer published the first edition of the ,triumphal ,car of the ,emperor ,maximilian1 the designs for which had probably been made five or six years before4 ,one of the best portraits drawn by ,durer on wood also bears the date #aebb4 ,it is that of his friend ,ulrich ,varnbuler1,v-#ec-- mentioned at page #bec1--;and is of large size1 being about seventeen inches high by twelve and three-fourths wide4 ,the head is full of character1 and the engraving is admirably executed4 ,from #aebb to #aebh1 the year of ,durer's death1 he seems to have almost entirely given up the practice of drawing on wood1 as there are only three cuts with his mark which contain a date between those years2 they are his own arms dated #aebc2 his own portrait dated #aebg2 and the siege of a fortified city previously noticed at page #bec1 also dated #aebg4 ,the following is a reduced copy of the cut of ,durer's arms4 ,the pair of doors on the shield--in ,german ,durer or ,thurer--is a rebus of the artist's name2 after the manner of the ,lucys of our own country1 who bore three luces1,v-#ed or pikes--fish1 not weapons--argent1 in their coat of arms4 ,footnote ,v-#ec3 ,ulrich ,varnbuler was subsequently the chancellor of the ,emperor ,ferdinand ,i4 ,durer mentions him in a letter addressed to 8,hernn ,frey in ,zurich10 and dated from ,nuremberg on the ,sunday after ,st4 ,andrew's day1 #aebc4 ,with this letter ,durer sent to his correspondent a humorous sketch1 in pen and ink1 of apes dancing1 which in #aggf was still preserved in the ,public ,library of ,basle4 ,the date of this letter proves the incorrectness of ,mr4 ,ottley's statement1 in page #gbc of his ,inquiry1 where he says that ,durer did not return to ,nuremberg from the ,low ,countries 8until the middle of the year #aebd40 ,mr4 ,ottley is not more correct when he says1 at page #gce1 that the portrait of ,varnbuler is the 8size of nature40 ,footnote ,v-#ed3 ,it is supposed that ,shakspeare1 in alluding to the 8dozen white luces0 in ,master ,shallow's coat of arms1--,merry ,wives of ,windsor1 ,act ,i1--intended to ridicule ,sir ,thomas ,lucy of ,charlecotte1 ,wiltshire1 before whom he is said to have been brought in his youth on a charge of deer-stealing4 ,illustration ,the last of ,durer's engravings on copper is a portrait of ,melancthon1 dated #aebf1 the year in which the meek and learned reformer visited ,nuremberg4 ,the following is a reduced copy of his own portrait1 perhaps the last drawing that he made on wood4 ,it is probably a good likeness of the artist2 at any rate it bears a great resemblance to the portrait said to be intended for ,durer's own in his carving of the naming of ,st4 ,john1 of which some account is given at page #bei4 ,the size of the original is eleven inches and three-eighths high by ten inches wide4 ,according to ,bartsch1 the earliest impressions have not the arms and mark1 and are inscribed above the border at the top3 8,albrecht ,durer's ,conterfeyt0--,albert ,durer's portrait4 ,it would seem that the block had been preserved for many years subsequent to the date1 for ,i have now before me an impression1 on comparatively modern paper1 from which it is evident that at the time of its being taken1 the block had been much corroded by worms4 ,illustration ,it is probable that between #aebb and #aebh the treatises of which ,durer is the author were chiefly composed4 ,their ,titles are ,an ,essay on the ,fortification of ,towns and ,villages2 ,instructions for ,measuring with the ,rule and ,compass2 and ,on the ,proportions of the ,human ,body4,v-#ee ,they were all published at ,nuremberg with illustrative wood-cuts2 the first in #aebg1 and the other two in #aebh4 ,it is to the latter work that ,hogarth alludes1 in his ,analysis of ,beauty1 when he speaks of ,albert ,durer1 ,lamozzo1 and others1 having 8puzzled mankind with a heap of minute unnecessary divisions0 in their rules for correctly drawing the human figure4 ,footnote ,v-#ee3 ,etliche ,underricht zu ,befestigung der ,stett1 ,schloss1 und ,flecken2 ,underweysung der ,messung mit der ,zirckel und ,richtscheyt2 ,bucher von ,menschlicher ,proportion4 ,all in folio4 ,those treatises were subsequently translated into ,latin and several times reprinted4 ,the treatise on the ,proportions of the ,human ,body was also translated into ,french and printed at ,paris in #aeeg4 ,a collection of ,durer's writings was published by ,j4 ,jansen1 #afjd4 ,after a life of unremitted application1--as is sufficiently proved by the number of his works as a painter1 an engraver1 and a designer on wood1--,albert ,durer died at ,nuremberg on #fth ,april #aebh1 in the fifty-seventh year of his age4 ,his wife's wretched temper had unquestionably rendered the latter years of his life very unhappy1 and in her eagerness to obtain money she appears to have urged her husband to what seems more like the heartless toil of a slave than an artist's exercise of his profession4 ,it is said that her sitting-room was under her husband's studio1 and that she was accustomed to give an admonitory knock against the ceiling whenever she suspected that he was 8not getting forward with his work40 ,the following extracts from a letter1 written by ,bilibald ,pirkheimer shortly after ,durer's death1 will show that common fame has not greatly belied this heartless1 selfish woman1 in ascribing1 in a great measure1 her husband's death to the daily vexation which she caused him1 and to her urging him to continual application in order that a greater sum might be secured to her on his decease4 ,the passages relating to ,durer in ,pirkheimer's letter are to the following effect4,v-#ef ,footnote ,v-#ef3 ,this letter is addressed to 8,johann ,tscherte10 an architect residing at ,vienna1 the mutual friend of ,pirkheimer and ,durer4--,von ,murr1 ,journal1 #aj;er ,theil1 ,s4 #cf4 8,i have indeed lost in ,albert one of the best friends ,i had on earth2 and nothing pains me more than the thought of his death having been so melancholy1 which1 next to the will of ,providence1 ,i can ascribe to no one but his wife1 for she fretted him so much and tasked him so hard that he departed sooner than he otherwise would4 ,he was dried up like a bundle of straw2 durst never enjoy himself nor enter into company4 ,this bad woman1 moreover1 was anxious about that for which she had no occasion to take heed1--she urged him to labour day and night solely that he might earn money1 even at the cost of his life1 and leave it to her2 she was content to live despised1 as she does still1 provided ,albert might leave her six thousand guilders4 ,but she cannot enjoy them3 the sum of the matter is1 she alone has been the cause of his death4 ,i have often expostulated with her about her fretful1 jealous conduct1 and warned her what the consequences would be1 but have only met with reproach4 ,to the friends and sincere well-wishers of ,albert she was sure to be the enemy2 while such conduct was to him a cause of exceeding grief1 and contributed to bring him to the grave4 ,i have not seen her since his death2 she will have nothing to say to me1 although ,i have on many occasions rendered her great service4 ,whoever contradicts her1 or gives not way to her in all things1 is sure to incur her enmity2 ,i am1 therefore1 better pleased that she should keep herself away4 ,she and her sister are not indeed women of loose character2 but1 on the contrary1 are1 as ,i believe1 of honest reputation and religious2 one would1 however1 rather have one of the other kind who otherwise conducts herself in a pleasant manner1 than a fretful1 jealous1 scolding wife--however devout she may be--with whom a man can have no peace either day or night4 ,we must1 however1 leave the matter to the will of ,god1 who will be gracious and merciful to ,albert1 for his life was that of a pious and righteous man4 ,as he died like a good ,christian1 we may have little doubt of his salvation4 ,god grant us grace1 and that in his own good time we may happily follow ,albert40 ,the popular error1--as ,i believe it to be1--that ,albert ,durer was an engraver on wood1 has not tended1 in ,england1 where his works as a painter are but little known1 to increase his reputation4 ,many persons on looking over the wood engravings which bear his mark have thought but meanly of their execution2 and have concluded that his abilities as an artist were much over-rated1 on the supposition that his fame chiefly rested on the presumed fact of his being the engraver of those works4 ,certain writers1 too1 speaking of him as a painter and an engraver on copper1 have formed rather an unfavourable estimate of his talents1 by comparing his pictures with those of his great ,italian contemporaries1-- ,leonardo da ,vinci1 ,michael ,angelo1 and ,raffaele1--and by judging of his engravings with reference to the productions of modern art1 in which the freedom and effect of etching are combined with the precision and clearness of lines produced by the burin4 ,this1 however1 is judging the artist by an unfair standard4 ,though he has not attained1 nor indeed attempted1 that sublimity which seems to have been principally the aim of the three great ,italian masters above mentioned1 he has produced much that is beautiful1 natural1 and interesting2 and which1 though it may not stand so high in the scale of art as the grand compositions of his three great contemporaries1 is no less necessary to its completion4 ,the field which he cultivated1 though not yielding productions so noble or splendid as theirs1 was of greater extent and afforded greater variety4 ,if they have left us more sublime conceptions of past and future events1 ,durer has transmitted to us more faithful pictures of the characters1 manners1 and customs of his own times4 ,let those who are inclined to depreciate his engravings on copper1 as dry and meagre when compared with the productions of modern engravers1 consider the state in which he found the art2 and let them also recollect that he was not a mere translator of another person's ideas1 but that he engraved his own designs4 ,setting aside his merits as a painter1 ,i am of opinion that no artist of the present day has produced1 from his own designs1 three such engravings as ,durer's ,adam and ,eve1 ,st4 ,jerome seated in his chamber writing1 and the subject entitled ,melancolia4,v-#eg ,let it also not be forgotten that to ,albert ,durer we owe the discovery of etching2 a branch of the art which gives to modern engravers1 more especially in landscape1 so great an advantage over the original inventor4 ,looking impartially at the various works of ,durer1 and considering the period and the country in which he lived1 few1 ,i think1 will venture to deny that he was one of the greatest artists of his age4 ,the best proof indeed of the solidity of his fame is afforded by the esteem in which his works have been held for three centuries by nearly all persons who have had opportunities of seeing them1 except such as have1 upon narrow principles1 formed an exclusive theory with respect to excellence in art4 ,with such authorities nothing can be beautiful or interesting that is not grand2 every country parish church should be built in the style of a ,grecian temple2 our woods should grow nothing but oaks2 a country gentleman's dove-cot should be a fac-simile of the lantern of ,demosthenes2 the sign of the ,angel at a country inn should be painted by a ,guido2 and a picture representing the meeting of the ,british ,association for the ,advancement of ,science should be in the style of ,raffaele's ,school of ,athens4 ,footnote ,v-#eg3 ,those three engravings are respectively numbered #a1 #fj1 and #fg in ,bartsch's list of ,durer's works in his ,peintre-,graveur1 tom4 vii4 ,the ,adam and ,eve is nine inches and three-fourths high by seven inches and a half wide1--date #aejd2 ,st4 ,jerome1 nine inches and five-eighths high by seven inches and three-eighths wide1--date #aead2 ,melancolia1 nine inches and three-eighths high by seven inches and one fourth wide1--date #aead4 ,lucas ,cranach1 a painter of great repute in his day1 like his contemporary ,durer has also been supposed to be the engraver of the wood-cuts which bear his mark1 but which1 in all probability1 were only drawn by him on the block and executed by professional wood engravers4 ,the family name of this artist was ,sunder1 and he is also sometimes called ,muller or ,maler--,painter--from his profession4 ,he acquired the name ,cranach1 or ,von ,cranach1 from ,cranach1 a town in the territory of ,bamberg1 where he was born in #adgj4 ,he enjoyed the patronage of the electoral princes of ,saxony1 and one of the most frequent of his marks is a shield of the arms of that family4 ,another of his marks is a shield with two swords crossed2 a third is a kind of dragon2 and a fourth is the initial letters of his name1 ,l4 ,c4 ,sometimes two or three of those marks are to be found in one cut4 ,there are four engravings on copper with the mark ,,lcz which are generally ascribed to this artist4 ,that they are from his designs is very likely1 but whether they were engraved by himself or not is uncertain4 ,one of them bears the date #adib1 and it is probable that they were all executed about the same period4 ,two of those pieces were in the possession of ,mr4 ,ottley1 who says1 8,perhaps the two last characters of the mark may be intended for ,cr40 ,it seems1 however1 more likely that the last character is intended for the letter which it most resembles--a ,z1 and that it denotes the ,german word zeichnet--that is 8drew20 in the same manner as later artists occasionally subjoined the letter ,p or ,f to their names for ,pinxit or ,fecit1 respectively as they might have painted the picture or engraved the plate4 ,one of the earliest chiaro-scuros1 as has before been observed1 printed from three blocks1 is from a design of ,lucas ,cranach4 ,it is dated #aeji1 nine years before the earliest chiaro-scuro with a date executed by ,ugo da ,carpi1 to whom ,vasari and others have erroneously ascribed the invention of this mode of imitating a drawing by impressions from two or more wood-blocks4 ,the subject1 like that of the following specimen1 is a ,repose in ,egypt1 but is treated in a different manner1--the ,virgin being represented giving suck to the infant ,christ4 ,the wood engravings that contain ,cranach's mark are not so numerous as those which contain the mark of ,albert ,durer1 and they are also generally inferior to the latter both in effect and design4 ,the following reduced copy of a cut which contains three of ,cranach's four marks will afford some idea of the style of his designs on wood4 ,as a specimen of his ability in this branch of art it is perhaps superior to the greater part of his designs executed in the same manner4 ,the subject is described by ,bartsch as a ,repose in ,egypt4 ,the action of the youthful angels who are dancing round the ,virgin and the infant ,christ is certainly truly juvenile if not graceful4 ,the two children seen up the tree robbing an eagle's nest are perhaps emblematic of the promised peace of ,christ's kingdom and of the destruction of the power of ,satan3 8,no lion shall be there nor any ravenous beast shall go up thereon1 it shall not be found there2 but the redeemed shall walk there40,v-#eh ,in the right-hand corner at the top is the shield of the arms of ,saxony2 and to the left1 also at the top1 is another of ,cranach's marks--a shield with two swords crossed2 in the right-hand corner at the bottom is a third mark1--the figure of a kind of dragon with a ring in its mouth4 ,the size of the original cut is thirteen inches and one-fourth high by nine inches and one-fourth wide4 ,footnote ,v-#eh3 ,isaiah1 chapter xxxv4 verse #i4 ,illustration ,cranach was much esteemed in his own country as a painter1 and several of his pictures are still regarded with admiration4 ,he was in great favour with ,john ,frederick1 ,elector of ,saxony1,v-#ei and at one period of his life was one of the magistrates of ,wittenberg4 ,he died at ,weimar1 on #afth ,october #aeec1 aged eighty-three4 ,footnote ,v-#ei3 ,one of the largest wood-cuts designed by ,cranach is a subject representing the baptism of some saint2 and having on one side a portrait of ,frederick1 ,elector of ,saxony1 and on the other a portrait of ,luther4 ,the block has consisted of three pieces1 and from the impressions it seems as if the parts containing the portraits of the elector and ,luther had been added after the central part had been finished4 ,the piece altogether is comparatively worthless in design1 and is very indifferently engraved4 ,another eminent painter who has been classed with ,durer and ,cranach as a wood engraver is ,hans ,burgmair1 who was born at ,augsburg about #adgc4 ,the mark of this artist is to be found on a great number of wood engravings1 but beyond this fact there is not the least reason to suppose that he ever engraved a single block4 ,to those who have described ,burgmair as a wood engraver from this circumstance only1 a most satisfactory answer is afforded by the fact that several of the original blocks of the ,triumphs of ,maximilian1 which contain ,burgmair's mark1 have at the back the names of the different engravers by whom they were executed4 ,as we have here positive evidence of cuts with ,burgmair's mark being engraved by other persons1 we cannot certainly conclude that any cut1 from the mere fact of its containing his mark1 was actually engraved by himself4 ,next to ,albert ,durer he was one of the best designers on wood of his age2 and as one of the early masters of the ,german school of painting he is generally considered as entitled to rank next to the great painter of ,nuremberg4 ,it has indeed been supposed that ,burgmair was a pupil of ,durer2 but for this opinion there seems to be no sufficient ground4 ,it is certain that he made many of the designs for the wood-cuts published under the title of ,the ,triumphs of ,maximilian2 and it is also probable that he drew nearly all the cuts in the book entitled ,der ,weiss ,kunig--,the ,wise ,king1 another work illustrative of the learning1 wisdom1 and adventures of the ,emperor ,maximilian4,v-#fj ,before proceeding1 however1 to give any account of those works1 it seems advisable to give two specimens from a different series of wood-cuts of his designing1 and to briefly notice two or three of the more remarkable single cuts that bear his mark4 ,footnote ,v-#fj3 ,burgmair also made the designs for a series of saints1 male and female1 of the family of the emperor1 which are also engraved on wood4 ,the original blocks1 with the names of the engravers written at the back1 are still preserved1 and are at present in the ,imperial ,library at ,vienna4 ,the cut on the opposite page is a reduced copy from a series designed by ,burgmair4 ,the subject is ,samson and ,delilah1 and is treated according to the old ,german fashion1 without the least regard to propriety of costume4 ,samson is represented like a grisly old ,german baron of ,burgmair's own time1 with limbs certainly not indicating extraordinary strength2 and ,delilah seems very deliberately engaged in cutting off his hair4 ,the wine flagon and fowl1 to the left1 would seem to indicate the danger of yielding to sensual indulgence4 ,the original cut is surrounded by an ornamental border1 and is four inches and five-eighths high by three inches and five-eighths wide4 ,burgmair's mark ,h4 ,b4 is at the bottom of the cut1 to the right4 ,illustration ,the cut on page #bhj is also a reduced copy from one of the same series1 and is a proof that those who call the whole by the general title of 8,bible ,prints0 are not exactly correct in their nomenclature4 ,the somewhat humorous-looking personage1 whom a lady is using as her pad1 is thus described in an inscription underneath the cut3 8,aristotle1 a ,greek1 the son of ,nicomachus4 ,a disciple of ,plato1 and the master of ,alexander the ,great40 ,though ,aristotle is said to have been extremely fond of his wife ,pythas1 and to have paid her divine honours after her death1 there is no record1 ,i believe1 of her having amused herself with riding on her husband's back4 ,the subject is probably intended to illustrate the power of the fair sex over even the wisest of mortals1 and to show that philosophers themselves when under such influence occasionally forget their character as teachers of men1 and exhibit themselves in situations which scarcely an ass might envy4 ,the original is surrounded by a border1 and is four inches and five-eighths high by three inches and five-eighths wide4 ,illustration ,there are several chiaro-scuros from wood-blocks with ,burgmair's mark4 ,one of the earliest is a portrait of 8,joannes ,paungartner10 from two blocks1 with the date #aeab2 another of ,st4 ,george on horseback1 from two blocks1 engraved by ,jost or ,josse de ,negher1 without date2 a third representing a young woman flying from ,death1 who is seen killing a young man1--from three blocks1 without date2 and a fourth of the ,emperor ,maximilian on horseback1 from two blocks1 with the date #aeah4 ,the best cuts of ,burgmair's designing1 though drawn with great spirit and freedom1 are decidedly inferior to the best of the wood-cuts designed by ,albert ,durer4 ,errors in perspective are frequent in the cuts which bear his mark2 his figures are not so varied nor their characters so well indicated as ,durer's2 and in their arrangement1 or grouping1 he is also inferior to ,durer1 as well as in the art of giving effect to his subjects by the skilful distribution of light and shade4 ,the cuts in the ,wise ,king1 nearly all of which are said to have been designed by him1 are1 for the most part1 very inferior productions both with respect to engraving and design4 ,his merits as a designer on wood are perhaps shown to greater advantage in the ,triumphs of ,maximilian than in any other of his works executed in this manner4--,some writers have asserted that ,burgmair died in #aeag1 but this is certainly incorrect2 for there is a portrait of him1 with that of his wife on the same pannel1 painted by himself in #aebi1 when he was fifty-six years old4 ,underneath this painting was a couplet to the following effect3 ,our likeness such as here you view2-- ,the glass itself was not more true4,v-#fa ,footnote ,v-#fa3 8,solche ,gestalt unser baider was1 ,im ,spigel aber nix dan das60 ,a small engraving in a slight manner appears to have been made of the portraits of ,burgmair and his wife by ,george ,christopher ,kilian1 an artist of ,augsburg1 about #aggd4--,von ,murr1 ,journal1 #d;er ,theil1 ,s4 #bb4 ,burgmair1 like ,cranach1 lived till he was upwards of eighty2 but it would seem that he had given up drawing on wood for many years previous to his death1 for ,i am not aware of there being any wood-cuts designed by him with a date subsequent to #aecj4 ,he died in #aeei1 aged eighty-six4 ,hans ,schufflein is another of those old ,german painters who are generally supposed to have been also engravers on wood4 ,bartsch1 however1 thinks that1 like ,durer1 ,cranach1 and ,burgmair1 he only made the designs for the wood-cuts which are ascribed to him1 and that they were engraved by other persons4 ,schufflein was born at ,nuremberg in #adhc2 and it is said that he was a pupil of ,albert ,durer4 ,subsequently he removed to ,nordlingen1 a town in ,suabia1 about sixty miles to the south-westward of ,nuremberg1 where he died in #aeej4 ,the wood-cuts in connexion with which ,schufllein's name is most frequently mentioned are the illustrations of the work usually called the ,adventures of ,sir ,theurdank1,v-#fb an allegorical poem1 in folio1 which is said to have been the joint composition of the ,emperor ,maximilian and his private secretary ,melchior ,pfintzing1 provost of the church of ,st4 ,sebald at ,nuremberg4 ,though ,khler1 a ,german author1 in an ,essay on ,sir ,theurdank1--,de inclyto libro poetico ,theurdank1--has highly praised the poetical beauties of the work1 they are certainly not such as are likely to interest an ,english reader4 8,the versified allegory of ,sir ,theurdank10 says ,kttner1,v-#fc 8is deficient in true ,epic beauty2 it has also nothing1 as a poem1 of the romantic descriptions of the thirteenth century1--nothing of the delicate gallantry of the age of chivalry and the troubadours4 ,the machinery which sets all in action are certain personifications of ,envy1 restless ,curiosity1 and ,daring2 these induce the hero to undertake many perilous adventures1 from which he always escapes through ,understanding and ,virtue4 ,such is the groundwork of the fable which ,pfintzing constructs in order to extol1 under allegorical representations1 the perils1 adventures1 and heroic deeds of the emperor4 ,everything is described so figuratively as to amount to a riddle2 and the story proceeds with little connexion and without animation4 ,there are no striking descriptive passages1 no ,homeric similes1 and no episodes to allow the reader occasionally to rest2 in fact1 nothing admirable1 spirit-stirring1 or great4 ,the poem is indeed rather moral than epic2 ,lucan's ,pharsalia partakes more of the epic character than ,pfintzing's ,theurdank4 ,pfintzing1 however1 surpasses the ,cyclic poets alluded to by ,horace40,v-#fd ,footnote ,v-#fb3 ,the original title of the work is3 8,die gevarlichkeiten und eins teils der ,geschichten des loblichen streytparen und hochbermbten ,helds und ,ritters ,tewrdanckha40 ,that is3 ,the adventurous deeds and part of the history of the famous1 valiant1 and highly-renowned hero ,sir ,theurdank4 ,the name1 ,theurdank1 in the language of the period1 would seem to imply a person whose thoughts were only employed on noble and elevated subjects4 ,goethe1 who in his youth was fond of looking over old books illustrated with wood-cuts1 alludes to ,sir ,theurdank in his admirable play of ,gtz von ,berlichingen3 8,geht6 ,geht60 says ,adelheid to ,weislingen1 8,erzhlt das ,mdchen die den ,teurdanck lesen1 und sich so einen ,mann wnschen40--8,go6 ,go6 ,tell that to a girl who reads ,sir ,theurdank1 and wishes that she may have such a husband40 ,in ,sir ,walter ,scott's faulty translation of this play--under the name of ,william ,scott1 #agii1--the passage is rendered as follows3 8,go6 ,go6 ,talk of that to some forsaken damsel whose ,corydon has proved forsworn40 ,in another passage where ,goethe makes ,adelheid allude to the popular 8,mrchen10 or tale1 of ,number-,nip1 the point is completely lost in the translation3 8,entbinden nicht unsre ,gesetze solchen ,schwren8--,macht das ,kindern weiss die den ,rbezahl glauben40 ,literally1 8,do not our laws release you from such oaths8--,tell that to children who believe ,number-,nip40 ,in ,sir ,walter ,scott's translation the passage is thus most incorrectly rendered3 8,such agreement is no more binding than an unjust extorted oath4 ,every child knows what faith is to be kept with robbers40 ,the name ,rbezahl is literally translated by ,number-,neep2 ,rbe is the ,german name for a turnip1--,scotic1 a neep4 ,the story is as well known in ,germany as that of ,jack the ,giant-,killer in ,england4 ,footnote ,v-#fc3 ,charaktere ,teutscher ,dichter und ,prosaisten1 ,s4 #ga4 ,berlin1 #agha4 ,footnote ,v-#fd3 ,nec sic incipies1 ut scriptor cyclicus olim3 8,fortunam ,priami cantabo1 et nobile bellum30 ,quid dignum tanto feret hic promissor hiatu8 ,parturiunt montes2 nascetur ridiculus mus4 ,ars ,poetica1 v4 #acf-aci4 ,in a ,greek epigram the ,cyclic poets are thus noticed3 4 ,the first edition of ,sir ,theurdank was printed by ,hans ,schnsperger the elder1 at ,nuremberg in #aeag2 and in #aeai two editions appeared at ,augsburg from the press of the same printer4 ,as ,schnsperger's established printing-office was at the latter city and not at ,nuremberg1 ,panzer has supposed that the imprint of ,nuremberg in the first edition might have been introduced as a compliment to the nominal author1 ,melchior ,pfintzing1 who then resided in that city4 ,two or three other editions of ,sir ,theurdank1 with the same cuts1 appeared between #aeai and #afjb2 but ,kttner1 in his ,characters of ,german poets and prose-writers1 says that in all those editions alterations have been made in the text4 ,the character in which ,sir ,theurdank is printed is of great beauty and much ornamented with flourishes4 ,several writers1 and among others ,fournier1 who was a type-founder and wood-engraver1 have erroneously described the text as having been engraved on blocks of wood4 ,this very superficial and incorrect writer also states that the cuts contained in the volume are 8chefs-d'uvres de la gravure en bois40,v-#fe ,his opinion with respect to the cuts is about as correct as his judgment respecting the type2 the most of them are in fact very ordinary productions1 and are neither remarkable for execution nor design4 ,he also informs his readers that he has discovered on some of those cuts an ,h and an ,s1 accompanied with a little shovel1 and that they are the monogram of ,hans ,sebalde1 or ,hans ,schufflein4 ,by ,hans ,sebalde he perhaps means ,hans ,sebald ,behaim1 an artist born at ,nuremberg in #aejj1 and who never used the letters ,h and ,s1 accompanied with a little shovel1 as a monogram4 ,fournier did not know that this mark is used exclusively by ,hans ,schufflein2 and that the little shovel1 or baker's peel1--called in old ,german1 ,schufflein1 or ,scheuffleine1--is a rebus of his surname4 ,the careful examination of writers more deserving of credit has completely proved that the text of the three earliest editions--those only in which it was asserted to be from engraved wood-blocks--is printed from moveable types of metal4 ,breitkopf,v-#ff has observed1 that in the edition of #aeag the letter i1 in the word shickhet1 in the second line following the eighty-fourth cut1 is inverted2 and ,panzer and ,brunner have noticed several variations in the orthography of the second and third editions when compared with the first4 ,footnote ,v-#fe3 ,dissertation sur l',origine et les ,progres de l',art de ,graver en ,bois1 p4 #gd4 ,paris1 #ageh4 ,footnote ,v-#ff3 ,the kind of character in which the text of ,sir ,theurdank is printed is called 8,fractur0 by ,german printers4 8,the first work10 says ,breitkopf1 8which afforded an example of a perfectly-shaped ,fractur for printing1 was unquestionably the ,theurdank1 printed at ,nuremberg1 #aeag40--,ueber ,bibliographie und ,bibliophile1 ,s4 #h4 #agic4--,neudrffer1 a contemporary1 who lived at ,nuremberg at the time when ,sir ,theurdank was first published1 says that the specimens for the types were written by ,vincent ,rockner1 the emperor's court-secretary4--,von ,murr1 ,journal1 #b;er ,theil1 ,s4 #aei2 and ,lichtenberger1 ,initia ,typographica1 p4 #aid4 ,there are a hundred and eighteen wood-cuts in the ,adventures of ,sir ,theurdank1 which are all supposed to have been designed1 if not engraved1 by ,hans ,schufflein1 though his mark1 ,symbol1 occurs on not more than five or six4 ,from the general similarity of style ,i have1 however1 no doubt that the designs were all made by the same person1 and ,i think it more likely that ,schaufflein was the designer than the engraver4 ,the cut on page #bhd is a reduced copy of that numbered #ad in the first edition4 ,the original is six inches and one-fourth high by five inches and a half wide4 ,in this cut1 ,sir ,theurdank is seen1 in the dress of a hunter1 encountering a huge bear2 while to the right is perceived one of his tempters1 ,frwittig--restless ,curiosity1--and to the left1 on horseback1 ,theurdank's squire1 ,ernhold4 ,the title of the chapter1 or fytte1 to which this cut is prefixed is to the following effect3 8,how ,frwittig led ,sir ,theurdank into a perilous encounter with a she-bear40 ,the subject of the thirteenth chapter is his perilous encounter with a stag1 and in the fifteenth we are entertained with the narration of one of his adventures when hunting the chamois4 ,illustration ,the opposite cut is a reduced copy of ,no4 #aaa in the ,adventures of ,sir ,theurdank4 ,the title of the chapter to which this cut is prefixed is3 8,how ,unfalo one of ,theurdank's tempters was hung40 ,a monk at the foot of the gallows appears to pray for the culprit just turned off2 while ,ernold seems to be explaining to a group of spectators to the left the reason of the execution4 ,the cut illustrative of the #aajth chapter represents the beheading of 8,frwittig20 and in the #aabth1 8,neydelhart10 the basest of ,theurdank's enemies1 is seen receiving the reward of his perfidy by being thrown into a moat4 ,the two original cuts which have been selected as specimens of the wood engravings in the ,adventures of ,sir ,theurdank1 though not the best1 are perhaps1 in point of design and execution1 rather superior to two-thirds of those contained in the work4 ,the copies1 though less in size1 afford a tolerably correct idea of the style of the originals1 which no one who is acquainted with the best wood-cuts engraved after the designs of ,durer and ,burgmair will assert to be 8chefs-d'uvres0 of the art of wood engraving4 ,illustration ,there are a number of wood-cuts which contain ,hans ,schufflein's mark1 though somewhat different from that which occurs in the ,adventures of ,sir ,theurdank2 the ,s being linked with one of the upright lines of the ,h1 instead of being placed between them4 ,when the letters are combined in this manner1 there are frequently two little shovels crossed1 8in saltire10 as a herald would say1 instead of a single one as in ,sir ,theurdank4 ,the following mark1 ,symbol1 occurs on a series of wood-cuts illustrative of ,christ's ,passion1 printed at ,frankfort by ,c4 ,egenolf1 #aedb2 on the cuts in a ,german almanack1 ,mentz1 #aede1 and #aedg2 and on several single subjects executed about that period4 ,this mark1 it is said1 distinguishes the designs of ,hans ,schaufflein the younger4 ,bartsch1 however1 observes1 that 8what ,strutt has said about there being two persons of this name1 an elder and a younger1 seems to be a mere conjecture40 ,the book entitled ,der ,weiss ,kunig--the ,wise ,king--is another of the works projected by the ,emperor ,maximilian in order to inform the world of sundry matters concerning his father ,frederick ,,iii1 his own education1 warlike and perilous deeds1 government1 wooing1 and wedding4 ,this work is in prose2 and though ,marx ,treitzsaurwein1 the emperor's secretary1 is put forth as the author1 there is little doubt of its having been chiefly composed by ,maximilian himself4 ,about #aeab it appears that the materials for this work were prepared by the emperor1 and that about #aead they were entrusted to his secretary1 ,treitzsaurwein1 to be put in order4 ,it would appear that before the work was ready for the press ,maximilian had died2 and ,charles ,v4 was too much occupied with other matters to pay much attention to the publication of an enigmatical work1 whose chief object was to celebrate the accomplishments1 knowledge1 and adventures of his grandfather4 ,the obscurity of many passages in the emperor's manuscript seems to have1 in a great measure1 retarded the completion of the work4 ,there is now in the ,imperial ,library at ,vienna a manuscript volume of queries respecting the doubtful passages in the ,weiss ,kunig2 and as each had ultimately to be referred to the emperor1 it would seem that1 from the pressure of more important business and his increased age1 he had wanted leisure and spirits to give the necessary explanations4 ,in the sixteenth century1 ,richard ,strein1 an eminent philologer1 began a sort of commentary or exposition of the more difficult passages in the ,wise ,king2 and subsequently his remarks came into the hands of ,george ,christopher von ,schallenberg1 who1 in #afca1 had the good fortune to obtain at ,vienna impressions of most of the cuts which were intended by the emperor to illustrate the work1 together with several of the original drawings4 ,treitzsaurwein's manuscript1 which for many years had been preserved at ,ambras in the ,tyrol1 having been transferred to the ,imperial ,library at ,vienna1 and the original blocks having been discovered in the ,jesuits' ,college at ,gratz in ,stiria1 the text and cuts were printed together1 for the first time1 in a folio volume1 at ,vienna in #agge4,v-#fg ,footnote ,v-#fg3 ,the title of the volume is 8,der ,weiss ,kunig4 ,eine ,erzehlung von den ,thaten ,kaiser ,maximilian des ,ersten4 ,von ,marx ,treitzsaurwein auf dessen ,angeben zusammen getragen1 nebst von ,hannsen ,burgmair dazu verfertigten ,holzschnitten4 ,herausgeben aus dem ,manuscripte der ,kaiserl4 ,knigl4 ,hofbibliothek4 ,wien1 auf ,kosten ,joseph ,kurzbckens1 #agge40 ,it is probable that the greater part1 if not all the cuts1 were finished previous to the emperor's death2 and impressions of them1 very likely taken shortly after the blocks were finished1 were known to collectors long before the publication of the book4 ,the late ,mr4 ,ottley had seventy-seven of the series1 apparently taken as proofs by means of a press4 ,the paper on which these cuts are impressed appears to have consisted of fragments1 on one side of which there had previously been printed certain state papers of the ,emperor ,maximilian1 dated #aead4 ,they were sold at the sale of the late ,mr4 ,ottley's engravings in #ahch1 and are now in the ,print ,room of the ,british ,museum4 ,in the volume printed at ,vienna in #agge1 there are two hundred and thirty-seven,v-#fh large cuts1 of which number ninety-two contain ,burgmair's mark1 ,h4 ,b2 one contains ,schaufflein's mark2 another the mark of ,hans ,springinklee2 and a third1 a modern cut1 is marked 8,f4 ,f4 ,s4 ,v4 #agge40 ,besides the large cuts1 all of which are old except the last noticed1 there are a few worthless tail-pieces of modern execution1 one of which1 a nondescript bird1 has been copied by ,bewick1 and is to be found at page #add of the first edition of his ,quadrupeds1 #agij4 ,footnote ,v-#fh3 ,in the ,imperial ,library at ,vienna there is a series of old impressions of cuts intended for 8,der ,weiss ,kunig10 consisting of two hundred and fifty pieces2 it would therefore appear1 supposing this set to be perfect1 that there are fourteen of the original blocks lost4 ,why a single modern cut has been admitted into the book1 and thirteen of the old impressions not re-engraved1 it perhaps would be difficult to give a satisfactory reason4 ,the cuts in the ,weiss ,kunig1 with respect to the style in which they are designed1 bear considerable resemblance to those in ,sir ,theurdank2 and from their execution it is evident that they have been cut by different engravers2 some of them being executed in a very superior manner1 and others affording proofs of their either being cut by a novice or a very indifferent workman4 ,it has been said that all those which contain the mark of ,hans ,burgmair show a decided superiority in point of engraving2 but this assertion is not correct1 for several of them may be classed with the worst executed in the volume4 ,the unequal manner in which the cuts with ,burgmair's mark are executed is with me an additional reason for believing that he only furnished the designs for professional wood engravers to execute1 and never engraved on wood himself4 ,it seems unnecessary to give any specimens of the cuts in the ,weiss ,kunig1 as an idea of their style may be formed from those given at pages #bhd and #bhe from ,sir ,theurdank2 and as other specimens of ,burgmair's talents as a designer on wood will be given subsequently from the ,triumphs of ,maximilian4 ,the following abstract of the titles of a few of the chapters may perhaps afford some idea of the work1 while they prove that the education of the emperor embraced a wide circle1 forming almost a perfect ,cyclopdia4 ,the first fifteen chapters give an account of the marriage of the ,old ,wise ,king1 ,frederick ,,iii1 the father of ,maximilian1 with ,elenora1 daughter of ,alphonso ,v1 ,king of ,portugal2 his journey to ,rome and his coronation there by the pope2 with the birth1 and christening of ,maximilian1 the ,young ,wise ,king4 ,about thirty-five chapters1 from ,,xv4 to ,l41 are chiefly occupied with an account of ,maximilian's education4 ,after learning to write1 he is instructed in the liberal arts2 and after some time devoted to 8,politik10 or ,king-craft1 he proceeds to the study of the black-art1 a branch of knowledge which the emperor subsequently held to be vain and ungodly4 ,he then commences the study of history1 devotes some attention to medicine and law1 and learns the ,italian and ,bohemian languages4 ,he then learns to paint2 studies the principles of architecture1 and tries his hand at carpentry4 ,he next takes lessons in music2 and about the same time acquires a practical knowledge of the art of cookery3--the ,wise ,king1 we are informed1 was a person of nice taste in kitchen affairs1 and had a proper relish for savoury and well-cooked viands4 ,to the accomplishment of dancing he adds a knowledge of numismatics2 and1 after making himself acquainted with the mode of working mines1 he learns to shoot with the hand-gun and the cross-bow4 ,the chase1 falconry1 angling1 and fowling next occupy his attention2 and about the same time he learns to fence1 to tilt1 and to manage the great horse4 ,his course of education appears to have been wound up with practical lessons in the art of making armour1 in gunnery1 and in fortification4 ,from the fiftieth chapter to the conclusion1 the book is chiefly filled with accounts of the wars and adventures of ,maximilian1 which are for the most part allegorically detailed1 and require the reader to be well versed in the true history of the emperor to be able to unriddle them4 ,kttner says that1 notwithstanding its allegories and enigmatical allusions1 the ,weiss ,kunig is a work which displays much mind in the conception and execution1 and considerable force and elegance of language2 and that it chiefly wants a more orderly arrangement of the events4 8,throughout the whole10 he adds1 8there are evidences of a searching genius1 improved by science and a knowledge of the affairs of the world40,v-#fi ,footnote ,v-#fi3 ,charaktere ,teutscher ,dichter und ,prosaisten1 ,s4 #gj4 ,the series of wood-cuts called the ,triumphs of ,maximilian are1 both with respect to design and engraving1 the best of all the works thus executed by command of the emperor to convey to posterity a pictorial representation of the splendour of his court1 his victories1 and the extent of his possessions4 ,this work appears to have been commenced about the same time as the ,weiss ,kunig2 and from the subject1 a triumphal procession1 it was probably intended to be the last of the series of wood-cuts by which he was desirous of disseminating an opinion of his power and his fame4 ,of those works he only lived to see one published1--the ,adventures of ,sir ,theurdank2 the ,wise ,king1 the ,triumphal ,car1 the ,triumphal ,arch1 and the ,triumphal ,procession1 appear to have been all unfinished at the time of his decease in #aeai4 ,the total number of cuts contained in the latter work1 published under the title of the ,triumphs of ,maximilian1 in #agif1 is one hundred and thirty-five2 but had the series been finished according to the original drawings1 now preserved in the ,imperial ,library at ,vienna1 the whole number of the cuts would have been about two hundred and eighteen4 ,of the hundred and thirty-five published there are about sixteen designed in a style so different from the rest1 that it is doubtful if they belong to the same series2 and this suspicion receives further confirmation from the fact that the subjects of those sixteen doubtful cuts are not to be found among the original designs4 ,it would therefore seem1 that1 unless some of the blocks have been lost or destroyed1 little more than one-half of the cuts intended for the ,triumphal ,procession were finished when the emperor's death put a stop to the further progress of the work4 ,it is almost certain1 that none of the cuts were engraved after the emperor's death2 for the date1 commencing with #aeaf1 is written at the back of several of the original blocks1 and on no one is it later than #aeai4 ,the plan of the ,triumphal ,procession1--consisting of a description of the characters to be introduced1 the order in which they are to follow each other1 their arms1 dress1 and appointments1--appears to have been dictated by the emperor to his secretary ,treitzsaurwein1 the nominal author of the ,weiss ,kunig1 in #aeab4 ,in this manuscript the subjects for the rhyming inscriptions intended for the different banners and tablets are also noted in prose4 ,another manuscript1 in the handwriting of ,treitzsaurwein1 and interlined by the emperor himself1 contains the inscriptions for the banners and tablets in verse2 and a third manuscript1 written after the drawings were finished1 contains a description of the subjects1--though not so much in detail as the first1 and in some particulars slightly differing1--with all the inscriptions in verse except eight4 ,from those manuscripts1 which are preserved in the ,imperial ,library at ,vienna1 the descriptions in the edition of #agif have been transcribed4 ,most of the descriptions and verses were previously given by ,von ,murr1 in #agge1 in the ninth volume of his ,journal4 ,the edition of the ,triumphal ,procession published in #agif also contains a ,french translation of the descriptions1 with numbers referring to those printed at the right-hand corner of the cuts4 ,the numbers1 however1 of the description and the cut in very many instances do not agree2 and it would almost seem1 from the manner in which the text is printed1 that the publishers did not wish to facilitate a comparison between the description and the cut which they have numbered as corresponding with it4 ,the gross negligence of the publishers1 or their editor1 in this respect materially detracts from the interest of the work4 ,to compare the descriptions with the cuts is not only a work of some trouble1 but it is also labour thrown away4 ,von ,murr's volume1 from its convenient size1 is of much greater use in comparing the cuts with the description than the text printed in the edition of #agif2 and though it contains no numbers for reference1--as no complete collection of the cuts had then been printed1--it contains no misdirections3 and it is better to have no guide-posts than such as only lead the traveller wrong4 ,the original drawings for the ,triumphal ,procession1--or as the work is usually called1 the ,triumphs of ,maximilian1--are preserved in the ,imperial ,library at ,vienna4 ,they are painted in water colours1 on a hundred and nine sheets of vellum1 each thirty-four inches long by twenty inches high1 and containing two of the engraved subjects4 ,dr4 ,dibdin1 who saw the drawings in #ahah1 says that they are rather gaudily executed1 and that he prefers the engravings to the original paintings4,v-#gj ,whether those paintings are the work of ,hans ,burgmair1 or not1 appears to be uncertain4 ,from the following extract from the preface to the ,triumphs of ,maximilian1 published in #agif1 it is evident that the writer did not think that the original drawings were executed by that artist4 8,the engravings of this ,triumph1 far from being servile copies of the paintings in miniature1 differ from them entirely1 so far as regards the manner in which they are designed4 ,most all the groups have a different form1 and almost every figure a different attitude2 consequently ,hans ,burgmair appears in his work in the character of author original designer1 and so much the more1 as he has in many points surpassed his model4 ,but whatever may be the difference between the engravings and the drawings on vellum1 the subjects still so far correspond that they may be recognised without the least difficulty4 ,it is1 however1 necessary to except eighteen of the engravings1 in which this correspondence would be sought for in vain4 ,those engravings are1 the twelve from ,no4 #hi to #ajj1 and the six from #acj to #ace40 ,as the cuts appear to have been intentionally wrong numbered1 it is not easy to determine from this reference which are actually the first twelve alluded to1 for in most of the copies which ,i have seen1 the numerals #ia1 #ib1 and #ic occur twice1--though the subjects of the cuts are different4 ,in the copy now before me1 ,i have to observe that there are sixteen,v-#ga cuts designed in a style so different from those which contain ,burgmair's mark1 that ,i am convinced they have not been drawn by that artist4 ,without enquiring whether the subjects are to be found in the paintings or not1 ,i am satisfied that a considerable number of the engravings1 besides those sixteen1 were not drawn on the wood by ,hans ,burgmair4 ,both ,breitkopf and ,von ,murr,v-#gb have asserted that the drawings for the ,triumphs of ,maximilian were made by ,albert ,durer1 but they do not say whether they mean the drawings on vellum1 or the drawings on the blocks4 ,this assertion is1 however1 made without any authority2 and1 whether they meant the drawings on vellum or the drawings on the block1 it is unquestionably incorrect4 ,the drawings on vellum are not by ,durer1 and of the whole hundred and thirty-five cuts there are not more than five or six that can be supposed with any degree of probability to have been of his designing4 ,footnote ,v-#gj3 ,bibliographical ,tour1 vol iii4 p4 #ccj4 ,footnote ,v-#ga3 ,the subjects of those sixteen cuts are chiefly the statues of the emperor's ancestors1 with representations of himself1 and of his family alliances4 ,several of the carriages are propelled by mechanical contrivances1 which for laborious ingenuity may vie with the machine for uncorking bottles in one of the subjects of ,hogarth's ,marriage la ,mode4 ,in the copy before me those engravings are numbered #hi1 #ij1 #ia1 #ia1 #ib1 #ib1 #ic1 #ic1 #id1 #ie1 #if1 #ig1 #ii1 #aja1 #ajb1 #ajc4 ,footnote ,v-#gb3 ,breitkopf1 ,ueber ,bibliographie und ,bibliophile1 ,s4 #d4 ,leipzig1 #agic4 ,von ,murr1 ,journal1 #i;er ,theil1 ,s4 #a4 ,at page #bee ,i have said3 8,though ,i have not been able to ascertain satisfactorily the subject of ,durer's painting in the ,town-hall of ,nuremberg1 ,i am inclined to think that it is the ,triumphal ,car of ,maximilian40 ,since the sheet containing the above passage was printed off ,i have ascertained that the subject is the ,triumphal ,car2 and that it is described in ,von ,murr's ,nrnbergischen ,merkwrdigkeiten1 ,s4 #cie4 ,forty of the blocks from which the ,triumphs of ,maximilian are printed were obtained from ,ambras in the ,tyrol1 where they had probably been preserved since the time of the emperor's death2 and the other ninety-five were discovered in the ,jesuits' ,college at ,gratz in ,stiria4 ,the whole were brought to ,vienna and deposited in the ,imperial ,library in #aggi4 ,a few proofs had probably been taken when the blocks were engraved2 there are ninety of those old impressions in the ,imperial ,library2 ,monsieur ,mariette had ninety-seven2 and ,sandrart had seen a hundred4 ,the latter1 in speaking of those impressions1 expresses a suspicion of the original blocks having been destroyed in a fire at ,augsburg2 their subsequent discovery1 however1 at ,ambras and ,gratz1 shows that his suspicion was not well founded4 ,on the discovery of those blocks it was supposed that the remainder of the series1 as described in the manuscript1 might also be still in existence2 but after a diligent search no more have been found4 ,it is indeed highly probable that the further progress of the work had been interrupted by ,maximilian's death1 and that if any more of the series were finished1 the number must have been few4 ,about #agge1 a few impressions were taken from the blocks preserved at ,ambras1 and also from those at ,gratz2 but no collection of the whole accompanied with text was ever printed until #agif1 when an edition in large folio was printed at ,vienna by permission of the ,austrian government1 and with the name of ,j4 ,edwards1 then a bookseller in ,pall-,mall1 on the title-page1 as the ,london publisher4 ,it is much to be regretted that greater pains were not taken to afford the reader every information that could be obtained with respect to the cuts2 and it says very little for the ,english publisher's patriotism that the translation of the original ,german descriptions should be in ,french2--but perhaps there might be a reason for this1 for1 where no precise meaning is to be conveyed1 ,french is certainly much better than ,english4 ,from the fact of several of the subjects not being contained in the original drawings1 and from the great difference in the style of many of the cuts1 it is by no means certain that they were all intended for the same work4 ,there can1 however1 be little doubt of their all having been designed for a triumphal procession intended to celebrate the fame of ,maximilian4 ,the original blocks1 now preserved in the ,imperial ,library at ,vienna1 are all of pear-tree1 and several of them are partially worm-eaten4 ,at the back of those blocks are written or engraved seventeen names and initials1 which are supposed1 with great probability1 to be those of the engravers by whom they were executed4 ,at the back of ,no4 #ah1 which represents five musicians in a car1 there is written1 8,der kert an die ,elland1--hat ,wilhelm geschnitten30 that is1 8,this follows the ,elks4--,engraved by ,william40 ,in the preceding cut1 ,no4 #ag1 are the two elks which draw the car1 and on one of the traces is ,hans ,burgmair's mark4 ,at the back of ,no4 #bj is written1 8,jobst putavit1 #ad ,aprilis #aeag4 ,die gehert an die bifel1 und die bifel halt ,jos geschnitten40,v-#gc ,this inscription ,mr4 ,ottley1 at page #gef1 volume ii4 of his ,inquiry1 expounds as follows3 8,josse putavit 7perhaps for punctavit71 the #adth of ,april1 #aeag4 ,this block joins to that which represents the ,buffaloes40 ,this translation is substantially correct2 but it is exceedingly doubtful if putavit was written in mistake for punctavit4 ,the proposed substitution indeed seems very like explaining an ignotum per ignotius4 ,the verb punctare is never1 that ,i am aware of1 used by any writer1 either classical or modern1 to express the idea of engraving on wood4 ,a ,german1 however1 who was but imperfectly acquainted with ,latin1 would not be unlikely to translate the ,german verb schneiden1 which signifies to cut generally1 by the ,latin putare1 which is specially applied to the lopping or pruning of trees4 ,i have heard it conjectured that putavit might have been used in the sense of imaginavit1 as if ,jobst were the designer2 but there can be little doubt of its being here intended to express the cutting of the wood-engraver2 for ,burgmair's mark is to be found both on this cut and on the preceding one of the two buffaloes1 ,no4 #ai2 and it cannot for a moment be supposed that he was a mere workman employed to execute the designs of another person4 ,were such a supposition granted1 it would follow that the wood-engraver of that period--at least so far as regards the work in question--was considered as a much superior person to him who drew the designs2 that the workman1 in fact1 was to be commemorated1 but the artist forgotten2 a conclusion which is diametrically opposed to fact1 for so little were the mere wood-engravers of that period esteemed1 that we only incidentally become acquainted with their names2 and from their not putting their marks or initials to the cuts which they engraved has arisen the popular error that ,durer1 ,cranach1 ,burgmair1 and others1 who are known to have been painters of great repute in their day1 were wood-engravers and executed themselves the wood-cuts which bear their marks4 ,footnote ,v-#gc3 ,jobst and ,jos1 in this inscription1 are probably intended for the name of the same person4 ,for the name ,jobst1 ,jost1 ,josse1 or ,jos--for it is thus variously spelled--we have no equivalent in ,english4 ,it is not unusual in ,germany as a baptismal name--it can scarcely be called ,christian--and is ,latinized1 ,i believe1 under the more lengthy form of ,jodocus4 ,the following are the names and initial letters at the back of the blocks4 #a4 ,jerome ,andr1 called also ,jerome ,resch1 or ,rsch1 the engraver of the ,triumphal ,arch designed by ,albert ,durer4 #b4 ,jan de ,bonn4 #c4 ,cornelius4 #d4 ,hans ,frank4 #e4 ,saint ,german4 #f4 ,wilhelm4 #g4 ,corneille ,liefrink4 #h4 ,wilhelm ,liefrink4 #i4 ,alexis ,lindt4 #aj4 ,josse de ,negker4 ,on several of the blocks ,negker is styled1 8engraver on wood1 at ,augsburg40 #aa4 ,vincent ,pfarkecher4 #ab4 ,jaques ,rupp4 #ac4 ,hans ,schaufflein4 #ad4 ,jan ,taberith4 #ae4 ,f4 ,p4 #af4 ,h4 ,f4 #ag4 ,w4 ,r4 ,it is not unlikely that 8,cornelius10 ,no4 #c1 may be the same as ,corneille ,liefrink1 ,no4 #g2 and that 8,wilhelm10 ,no4 #f1 and ,wilhelm ,liefrink1 ,no4 #h1 may also be the same person4 ,at the back of the block which corresponds with the description numbered #abj1 ,hans ,schaufflein's name is found coupled with that of ,cornelius ,liefrink2 and at the back of the cut which corresponds with the description numbered #aba ,schaufflein's name occurs alone4,v-#gd ,the occurrence of ,schaufflein's name at the back of the cuts would certainly seem to indicate that he was one of the engravers2 but his name also appearing at the back of that described under ,no4 #abj1 in conjunction with the name of ,cornelius ,liefrink1 who was certainly a wood-engraver1,v-#ge makes me inclined to suppose that he might only have made the drawing on the block and not have engraved the cut2 and this supposition seems to be partly confirmed by the fact that the cuts which are numbered #ajd1 #aje1 and #ajf1 corresponding with the descriptions ,nos4 #aai1 #abj1 and #aba1 have not ,hans ,burgmair's mark1 and are much more like the undoubted designs of ,hans ,schaufflein than those of that artist4 ,that the cuts published under the title of the ,triumphs of ,maximilian were not all drawn on the block by the same person will1 ,i think1 appear probable to any one who even cursorily examines them2 and whoever carefully compares them can scarcely have a doubt on the subject4 ,footnote ,v-#gd3 ,the printed numbers on those two cuts are #aje and #ajf1 though the descriptions are numbered #abj and #aba in the text4 ,the subjects are1 ,no4 #aje1 two ranks1 of five men each1 on foot1 carrying long lances2 and ,no4 #ajf1 two ranks1 of five men each1 on foot1 carrying large two-handed swords on their shoulders4--,perhaps it may not be out of place to correct here the following passage which occurs at page #bhe of this volume3 8,bartsch1 however1 observes1 that #8what ,strutt has said about there being two persons of this name ,hans ,schaufflein1 an elder and a younger1 seems to be a mere conjecture4'0 ,since the sheet containing this passage was printed off1 ,i have learnt from a paper1 in ,meusel's ,neue ,miscellaneen1 #etes4 ,stck1 ,s4 #baj1 that ,hans ,schufflein had a son of the same name who was also a painter1 and that the elder ,schufflein died at ,nordlingen1 in #aeci4 ,at page #bha1 his death1 on the authority of ,bartsch1 is erroneously placed in #aeej4 ,footnote ,v-#ge3 ,the name of ,cornelius ,liefrink occurs at the back of some of the wood-cuts representing the saints of the family of ,maximilian1 designed by ,burgmair1 mentioned at page #bgh1 note4 ,illustration3 ,from ,no4 #ae4 ,with ,burgmair's mark4 ,illustration3 ,from ,no4 #fe4 ,apparently not drawn by ,burgmair4 ,almost every one of the cuts that contains ,burgmair's mark1 in the ,triumphal ,procession1 is designed with great spirit1 and has evidently been drawn by an artist who had a thorough command of his pencil4 ,his horses are generally strong and heavy1 and the men on their backs of a stout and muscular form4 ,the action of the horses seems natural2 and the indications of the joints and the drawing of the hoofs--which are mostly low and broad--evidently show that the artist had paid some attention to the structure of the animal4 ,there are1 however1 a considerable number of cuts where both men and horses appear remarkable for their leanness2 and in which the hoofs of the horses are most incorrectly drawn1 and the action of the animals represented in a manner which is by no means natural4 ,though it is not unlikely that ,hans ,burgmair was capable of drawing both a stout1 heavy horse1 and a long-backed1 thin-quartered1 lean one1 ,i cannot persuade myself that he would1 in almost every instance1 draw the hoofs and legs of the one correctly1 and those of the other with great inaccuracy4 ,the cut on the opposite page and the five next following1 of single figures1 copied on a reduced scale from the ,triumphs1 will exemplify the preceding observations4 ,the numbers are those printed on the cuts1 and they all1 except one1 appear to correspond with the ,french descriptions in the text4 ,the preceding cut is from that marked ,no4 #ae4 ,the mark of ,hans ,burgmair is on the ornamental breast-plate1 as an ,english saddler would call it1 that passes across the horse's chest4 ,this figure1 in the original cut1 carries a tablet suspended from a staff1 of which the lower part only is perceived in the copy1 as it has not been thought necessary to give the tablet and a large scroll which were intended to contain inscriptions4,v-#gf ,the description of the subject is to the following effect3 8,after the chase1 comes a figure on horseback1 bearing a tablet1 on which shall be written the five charges of the court1--that is1 of the butler1 the cook1 the barber1 the tailor1 and the shoemaker2 and ,eberbach shall be the under-marshal of the household1 and carry the tablet40 ,footnote ,v-#gf3 ,in all the blocks1 the tablets and scrolls1 and the upper part of banners intended to receive verses and inscriptions1 were left unengraved4 ,in order that the appearance of the cuts might not be injured1 the black ground1 intended for the letters1 was cut away in most of the tablets and scrolls1 in the edition of #agif4 ,the cut on page #bie is a reduced copy of a figure1 the last1 in ,no4 #fe1 which is without ,burgmair's mark4 ,in the original the horseman bears a banner1 having on it the arms of the state or city which he represents2 and at the top of the banner a black space whereon a name or motto ought to have been engraved4 ,the original cut contains three figures2 and1 if the description can be relied on1 the banners which they bear are those of ,fribourg1 ,bregentz1 and ,saulgau4 ,the other two horsemen and their steeds in ,no4 #fe are still more unlike those in the cuts which contain ,burgmair's mark4 ,illustration3 ,from ,no4 #cc4 ,with ,burgmair's mark4 ,the above cut is a reduced copy of a figure on horseback in ,no4 #cc4 ,burgmair's mark1 an ,h and a ,b1 may be perceived on the trappings of the horse4 ,this figure1 in the original1 bears a large tablet1 and he is followed by five men on foot carrying flails1 the swingels,v-#gg of which are of leather4 ,the description of the cut1--which forms the first of seven representing the dresses and arms of combatants on foot1--is as follows3 8,then shall come a person mounted and properly habited like a master of arms1 and he shall carry the tablet containing the rhyme4 ,item1 ,hans ,hollywars shall be the master of arms1 and his rhyme shall be this effect3 that he has professed the noble practice of arms at the court1 according to the method devised by the emperor40,v-#gh ,footnote ,v-#gg3 ,that part of the flail which comes in contact with the corn is1 in the ,north of ,england1 termed a swingel4 ,footnote ,v-#gh3 ,the substance of almost every rhyme and inscription is1 that the person who bears the rhyme-tablet or scroll has derived great improvement in his art or profession from the instructions or suggestions of the emperor4 ,huntsmen1 falconers1 trumpeters1 organists1 fencing-masters1 ballet-masters1 tourniers1 and jousters1 all acknowledge their obligations in this respect to ,maximilian4 ,for the wit and humour of the jesters and the natural fools1 the emperor1 with great forbearance1 takes to himself no credit2 and ,anthony von ,dornstett1 the leader of the drummers and fifers1 is one of the few whose art he has not improved4 ,the following is a reduced copy of a figure in the cut erroneously numbered #hc1 but which corresponds with the description that refers to #hd4 ,this figure is the last of the three1 who1 in the original1 are represented bearing banners containing the arms of ,malines1 ,salins and ,antwerp4 ,illustration3 ,from ,no4 #hc4 ,apparently not drawn by ,burgmair4 ,illustration3 ,from ,no4 #bg4 ,with ,burgmair's mark4 ,the following figure1 who is given with his rhyme-tablet in full1 is copied from the cut numbered #bg4 ,this jovial-looking personage1 as we learn from the description1 is the ,will ,somers of ,maximilian's court1 and he figures as the leader of the professed jesters and the natural fools1 who appear in all ages to have been the subjects of 8pleasant mirth40 ,the instructions to the painter are as follows3 8,then shall come one on horseback habited like a jester1 and carrying a rhyme-tablet for the jesters and natural fools2 and he shall be ,conrad von der ,rosen40 ,the fool's cap with the bell at the peak1 denoting his profession1 is perceived hanging on his left shoulder2 and on the breast-plate1 crossing the chest of the horse1 is ,burgmair's mark4 ,illustration3 ,no4 #gd4 ,apparently not drawn by ,burgmair4 ,the figure on page #bii of a horseman1 bearing the banner of ,burgundy1 is from the cut numbered #gd4 ,the drawing both of rider and horse is extremely unlike the style of ,burgmair as displayed in those cuts which contain his mark4 ,burgmair's men are generally stout1 and their attitudes free2 and they all appear to sit well on horseback4 ,the present lean1 lanky figure1 who rides a horse that seems admirably suited to him1 cannot have been designed by ,burgmair1 unless he was accustomed to design in two styles which were the very opposites of each other2 the one distinguished by the freedom and the boldness of the drawing1 the stoutness of the men1 and the bulky form of the horses introduced2 and the other remarkable for laboured and stiff drawing1 gaunt and meagre men1 and leggy1 starved-like cattle4 ,the whole of the cuts from ,no4 #eg to ,no4 #hh1 inclusive1--representing1 except three1,v-#gi men on horseback bearing the banners of the kingdoms and states either possessed or claimed by the emperor1--are designed in the latter style4 ,not only are the men and horses represented according to a different standard1 but even the very ground is indicated in a different manner2 it seems to abound in fragments of stones almost like a ,macadamized road after a shower of rain4 ,there is indeed no lack of stones on ,burgmair's ground1 but they appear more like rounded pebbles1 and are not scattered about with so liberal a hand as in the cuts alluded to4 ,in not one of those cuts which are so unlike ,burgmair's is the mark of that artist to be found2 and their general appearance is so unlike that of the cuts undoubtedly designed by him1 that any person in the least acquainted with works of art will1 even on a cursory examination1 perceive the strongly marked difference4 ,footnote ,v-#gi3 ,those three are the numbers #gg1 #gh1 #gi1 representing musicians on horseback4 ,the same person who drew the standard-bearers has evidently drawn those three cuts also4 ,the following cut is a reduced copy of that numbered #eg2 and which is the first of those representing horsemen bearing the banners of the several kingdoms1 states1 and cities subject to the house of ,austria or to which ,maximilian laid claim4 ,it is one of the most gorgeous of the series2 but1 from the manner in which the horses and their riders are represented1 ,i feel convinced that it has not been drawn by ,burgmair4 ,the subject is thus described in the emperor's directions prefixed to the volume3 8,one on horseback bearing the banner of the arms of ,austria2 another on horseback bearing the old ,austrian arms2 another also on horseback bearing the arms of ,stiria40 ,on the parts which are left black in the banners it had been intended to insert inscriptions4 ,the instructions to the painter for this part of the procession are to the following effect3 8,one on horseback bearing on a lance a rhyme-tablet4 ,then the arms of the hereditary dominions of the house of ,austria on banners1 with their shields1 helms1 and crests1 borne by horsemen2 and the banners of those countries in which the emperor has carried on war shall be borne by riders in armour2 and the painter shall vary the armour according to the old manner4 ,the banners of those countries in which the emperor has not carried on war shall be borne by horsemen without armour1 but all splendidly clothed1 each according to the costume of the country he represents4 ,every one shall wear a laurel wreath40 ,illustration3 ,no4 #eg4 ,apparently not drawn by ,burgmair4 ,the cut on the next page is copied from that numbered #ajg1 but which accords with the description of ,no4 #abb4 ,the subject is described by the emperor as follows3 8,then shall come riding a man of ,calicut1 naked1 except his loins covered with a girdle1 bearing a rhyme-tablet1 on which shall be inscribed these words1 #8,these people are the subjects of the famous crowns and houses heretofore named4'0 ,in this cut the mark of ,burgmair is perceived on the harness on the breast of the elephant4 ,there are two other cuts of ,indians belonging to the same part of the procession1 each of which also contains ,burgmair's mark4 ,illustration3 ,no4 #ajg4 ,with ,burgmair's mark4 ,the cuts which were to follow the ,indians and close the procession were the baggage-waggons and camp-followers of the army4 ,of those there are five cuts in the work published in #agif1 and it is evident that some are wanting1 for the two which may be considered as the first and last of those five1 respectively require a preceding and a following cut to render them complete2 and there are also one or two cuts wanting to complete the intermediate subjects4 ,those cuts are referred to in the ,french description under ,nos4 #abe to #abi1 but they are numbered #abi1 #abh1 #aaj1 #aaa1 #abe4 ,the last three1 as parts of a large subject1 follow each other as the numbers are here placed2 and though the right side of ,no4 #aaj accords with the left of ,no4 #abh1 inasmuch as they each contain the half of a tree which appears complete when they are joined together1 yet there are no horses in ,no4 #abh to draw the waggon which is seen in ,no4 #aaj4 ,the order of ,nos4 #aaj1 #aaa1 and #abe1 is easily ascertained2 a horse at the left of ,no4 #aaj wants a tail which is to be found in ,no4 #aaa2 and the outline of a mountain in the left of ,no4 #aaa is continued in the right of ,no4 #abe4 ,from the back-grounds1 trees1 and figures in those cuts ,i am very much inclined to think that they have been engraved from designs by ,albert ,durer1 if he did not actually draw them on the block himself4 ,there is no mark to be found on any of them2 and they are extremely unlike any cuts which are undoubtedly of ,burgmair's designing1 and they are decidedly superior to any that are usually ascribed to ,hans ,schaufflein4 ,the following1 which is a reduced copy of that numbered #aaj1 will perhaps afford some idea of those cuts1 and enable persons who are acquainted with ,durer's works to judge for themselves with respect to the probability of their having been engraved from his designs4 ,one or two of the other four contain still more striking resemblances of ,durer's style4 ,illustration3 ,no4 #aaj4 ,probably drawn by ,albert ,durer4 ,besides the twelve cuts which1 in the ,french preface to the ,triumphal ,procession of ,maximilian1 are said not to correspond with the original drawings1 there are also six others which the editor says are not to be found in the original designs1 and which he considers to have been additions made to the work while it was in the course of engraving4 ,those six cuts are described in an appendix1 where their numbers are said to be from #acj to #ace4 ,in ,no4 #acj the principal figures are a king and queen1 on horseback1 supposed to be intended for ,philip the ,fair1 son of the ,emperor ,maximilian1 and his wife ,joanna of ,castile4 ,this cut is very indifferently executed1 and has evidently been designed by the artist who made the drawings for the questionable cuts containing the complicated locomotive carriages1 mentioned at page #bij4 ,no4 #aca1 a princess on horseback1 accompanied by two female attendants also on horseback1 and guards on foot1 has evidently been designed by the same artist as ,no4 #acj4 ,these two1 ,i am inclined to think1 belong to some other work4 ,nos4 #acb1 #acc1 and #acd1 are from the designs of ,hans ,burgmair1 whose mark is to be found on each2 and there can be little doubt of their having been intended for ,maximilian's ,triumphal ,procession4 ,they form one continuous subject1 which represents twelve men1 habited in various costume1 leading the same number of horses splendidly caparisoned4 ,a figure on horseback bearing a rhyme-tablet leads this part of the procession2 and above the horses are large scrolls probably intended to contain their names1 with those of the countries to which they belong4 ,the cut on the opposite page is a reduced copy of the last1 numbered #ace1 which is thus described in the appendix3 8,the fore part of a triumphal car1 drawn by four horses yoked abreast1 and managed by a winged female figure who holds in her left hand a wreath of laurel40 ,there is no mark on the original cut2 but from the manner in which the horses are drawn it seems like one of ,burgmair's designing4 ,that the cuts of the ,triumphal ,procession of ,maximilian were engraved by different persons is certain from the names at their backs2 and ,i think the difference that is to be perceived in the style of drawing renders it in the highest degree probable that the subjects were designed1 or at least drawn on the wood1 by different artists4 ,i am inclined to think that ,burgmair drew very few besides those that contain his mark2 the cuts of the banner-bearers ,i am persuaded are not of his drawing2 a third artist1 of inferior talent1 seems to have made the drawings of the fanciful cars containing the emperor and his family2 and the five cuts of the baggage-waggons and camp followers1 appear1 as ,i have already said1 extremely like the designs of ,albert ,durer4 ,the best engraved cuts are to be found among those which contain ,burgmair's mark4 ,some of the banner-bearers are also very ably executed1 though not in so free or bold a manner2 which ,i conceive to be owing to the more laboured style in which the subject has been drawn on the block4 ,the mechanical subjects1 with their accompanying figures1 are the worst engraved as well as the worst drawn of the whole4 ,the five cuts which ,i suppose to have been designed by ,albert ,durer are engraved with great spirit1 but not so well as the best of those which contain the mark of ,burgmair4 ,illustration3 ,no4 #ace4 ,apparently designed by ,burgmair4 ,though there are still in existence upwards of a hundred of the original blocks designed by ,albert ,durer1 and upwards of three hundred designed by the most eminent of his contemporaries1 yet a person who professes to be an instructor of the public on subjects of art made the following statement before the ,select ,committee of the ,house of ,commons on ,arts and their ,connexion with ,manufactures1 appointed in #ahce4 ,he is asked1 8,do you consider that the progress of the arts in this country is impeded by the want of protection for new inventions of importance80 and he proceeds to enlighten the committee as follows4 8,very much impeded4 ,inventions connected with the arts of design1 of new instruments1 or new processes1 for example1 are1 from the ease with which they can be pirated1 more difficult of protection than any other inventions whatever4 ,such protection as the existing laws afford is quite inadequate4 ,i cannot better illustrate my meaning1 than by mentioning the case of engraving in metallic relief1 an art which is supposed to have existed three or four centuries ago2 and the re-discovery of which has long been a desideratum among artists4 ,albert ,durer1 who was both a painter and engraver1 certainly possessed this art1 that is to say1 the art of transferring his designs1 after they had been sketched on paper1 immediately into metallic relief1 so that they might be printed along with letter-press4 ,at present1 the only sort of engravings you can print along with letter-press are wood engravings1 or stereotype casts from wood engravings2 and then those engravings are but copies1 and often very rude copies1 of their originals2 while1 in the case of ,albert ,durer1 it is ,,quite ,,clear that it was his own identical designs that were transferred into the metallic relief4 ,wood engravings1 too1 are limited in point of size1 because they can only be executed on box-wood1 the width of which is very small2 in fact1 we have no wood engravings on a single block of a larger size than octavo3 when the engraving is larger1 two or three blocks are joined together2 but this is attended with so much difficulty and inconvenience1 that it is seldom done4 ,from the specimens of metallic relief engraving1 left us by ,albert ,durer1 there is every reason to infer that he was under no such limitation2 that he could produce plates of any size40,v-#hj ,this statement abounds in errors1 and may justify a suspicion that the person who made it had never seen the cuts designed by ,albert ,durer which he pretends were executed in 8metallic relief40 ,at the commencement he says that the art of engraving in metallic relief is supposed to have existed three or four centuries ago2 and immediately afterwards he asserts that ,albert ,durer 8certainly possessed this art20 as if by his mere word he could convert a groundless fiction into a positive fact4 ,when he made this confident assertion he seems not to have been aware that many of the original pear-tree blocks of the cuts pretendedly executed in metallic relief are still in existence2 and when1 speaking of the difficulty of getting blocks of a larger size than an octavo1 he says1 8,from the specimens of metallic relief engraving1 left us by ,albert ,durer1 there is every reason to infer that he was under no such limitation1--that he could produce plates of any size10 he affords a positive proof that he knows nothing of the subject on which he has spoken so confidently4 ,had he ever examined the large cuts engraved from ,durer's designs1 he would have seen1 in several1 undeniable marks of the junction of the blocks1 proving directly the reverse of what he asserts on this point4 ,what he says with respect to the modern practice of the art is as incorrect as his assertions about ,albert ,durer's engraving in metallic relief4 ,though it is true that there are few modern engravings on box-wood of a larger size than octavo1 it is not true that the forming of a large block of two or more pieces is attended with much difficulty1 and is seldom done4 ,the making of such blocks is now a regular trade2 they are formed without the least difficulty1 and hundreds of cuts on such blocks are engraved in ,london every year4,v-#ha ,when he says that wood engravings 8can only be made on box-wood10 he gives another proof of his ignorance of the subject4 ,most of the earlier wood engravings were executed on blocks of pear-tree or crab2 and even at the present time box-wood is seldom used for the large cuts on posting-bills4 ,in short1 every statement that this person has made on the subject of wood and pretended metallic relief engraving is incorrect2 and it is rather surprising that none of the members of the committee should have exposed his ignorance4 ,when such persons put themselves forward as the instructors of mechanics on the subject of art1 it cannot be a matter of surprise that in the arts as applied to manufactures we should be inferior to our continental neighbours4 ,footnote ,v-#hj3 ,minutes of ,evidence before the ,select ,committee on ,arts and ,manufactures1 p4 #acj4 ,ordered to be printed1 #afth ,august #ahcf4 ,footnote ,v-#ha3 ,among the principal modern wood-cuts engraved on blocks consisting of several pieces the following may be mentioned3 ,the ,chillingham ,bull1 by ,thomas ,bewick1 #aghi2 ,a view of ,st4 ,nicholas' ,church1 ,newcastle-on-,tyne1 by ,charlton ,nesbit1 from a drawing by ,r4 ,johnson1 #agih2 ,the ,diploma of the ,highland ,society1 by ,luke ,clennell1 from a design by ,b4 ,west1 ,p4,r4,a4 #ahjh2 ,the ,death of ,dentatus1 by ,william ,harvey1 from a painting by ,b4 ,r4 ,haydon1 #ahba2 and ,the ,old ,horse waiting for ,death1 left unfinished1 by ,t4 ,bewick1 and published in #ahcb4 ,the art of imitating drawings--called chiaro-scuro--by means of impressions from two or more blocks1 was cultivated with great success in ,italy by ,ugo da ,carpi about #aeah4 ,the invention of this art1 as has been previously remarked1 is ascribed to him by some writers1 but without any sufficient grounds2 for not even the slightest evidence has been produced by them to show that he1 or any other ,italian artist1 had executed a single cut in this manner previous to #aeji1 the date of a chiaro-scuro wood engraving from a design by ,lucas ,cranach4 ,though it is highly probable that ,ugo da ,carpi was not the inventor of this art1 it is certain that he greatly improved it4 ,the chiaro-scuros executed by him are not only superior to those of the ,german artists1 who most likely preceded him in this department of wood engraving1 but to the present time they remain unsurpassed4 ,in the present day ,mr4 ,george ,baxter has attempted to extend the boundaries of this art by calling in the aid of aquatint for his outlines and first ground1 and by copying the positive colours of an oil or water-colour painting4 ,most of ,ugo da ,carpi's chiaro-scuros are from ,raffaele's designs1 and it is said that the great painter himself drew some of the subjects on the blocks4 ,independent of the excellence of the designs1 the characteristics of ,da ,carpi's chiaro-scuros are their effect and the simplicity of their execution2 for all of them1 except one or two1 appear to have been produced from not more than three blocks4 ,the following may be mentioned as the principal of ,da ,carpi's works in this style4 ,a ,sibyl reading with a boy holding a torch1 from two blocks1 said by ,vasari to be the artist's first attempt in this style2 ,jacob's ,dream2 ,david cutting off the head of ,goliah2 the ,death of ,ananias2 ,giving the ,keys to ,peter2 the miraculous ,draught of ,fishes2 the ,descent from the ,cross2 the ,resurrection2 and neas carrying away his father ,anchises on his shoulders from the fire of ,troy2,v-#hb all the preceding from the designs of ,raffaele4 ,among the subjects designed by other masters are ,st4 ,peter preaching1 after ,polidoro2 and ,diogenes showing the plucked cock in ridicule of ,plato's definition of man1 8a two-legged animal without feathers10 after ,parmegiano4 ,the latter1 which is remarkably bold and spirited1 is from four blocks2 and ,vasari says that it is the best of all ,da ,carpi's chiaro-scuros4 ,many of ,da ,carpi's productions in this style were copied by ,andrea ,andreani of ,milan1 about #aehj4 ,that of neas carrying his father on his shoulders was copied by ,edward ,kirkall1 an ,english engraver in #agbb4 ,kirkall's copy is not entirely from wood-blocks1 like the original2 the outlines and the greater part of the shadows are from a copper-plate engraved in mezzotint1 in a manner similar to that which has more recently been adopted by ,mr4 ,baxter in his picture-printing4 ,footnote ,v-#hb3 ,at the foot of this cut1 to the right1 after the name of the designer1--8,,raphael ,,urbinas10--is the following privilege1 granted by ,pope ,leo ,x4 and the ,doge of ,venice1 prohibiting all persons from pirating the work4 8,,quisque ,,has ,,tabellas ,,invito ,,autore ,,imprimet ,,ex ,,divi ,,leonis ,x4 ,,et ,,il,l ,,principis ,,venetiarum ,,decretis ,,excominicationis ,,sententiam ,,et ,,alias ,,penas ,,incurret40 ,below this inscription is the engraver's name with the date3 8,rom apud ,ugum de ,carpi impressum4 ,,mdxviii40 ,lucas ,dammetz1 generally called ,lucas van ,leyden1 from the place of his birth1 was an excellent engraver on copper1 and in this branch of art more nearly approached ,durer than any other of his ,german or ,flemish contemporaries4 ,he is said to have been born at ,leyden in #adif2 and1 if this date be correct1 he at a very early age gave decided proofs of his talents as an engraver on copper4 ,one of his earliest prints1 the monk ,sergius killed by ,mahomet1 is dated #aejh1 when he was only fourteen years of age2 and at the age of twelve he is said to have painted1 in distemper1 a picture of ,st4 ,hubert which excited the admiration of all the artists of the time4 ,of his numerous copper-plate engravings there are no less than twenty-one which1 though they contain no date1 are supposed to have been executed previously to #aejh4 ,as several of those plates are of very considerable merit1 it would appear that ,lucas while yet a boy excelled1 as a copper-plate engraver1 most of his ,german and ,dutch contemporaries4 ,from #aejh to #aecc1 the year of his death1 he appears to have engraved not less than two hundred copper-plates2 and1 as if these were not sufficient to occupy his time1 he in the same period painted several pictures1 some of which were of large size4 ,he is also said to have excelled as a painter on glass2 and like ,durer1 ,cranach1 and ,burgmair1 he is ranked among the wood engravers of that period4 ,the wood-cuts which contain the mark of ,lucas van ,leyden1 or which are usually ascribed to him1 are not numerous2 and1 even admitting them to have been engraved by himself1 the fact would contribute but little to his fame1 for ,i have not seen one which might not have been executed by a professional 8formschneider0 of very moderate abilities4 ,the total of the wood-cuts supposed to have been engraved by him does not exceed twenty4 ,the following is a reduced copy of a wood-cut ascribed to ,lucas van ,leyden1 in the ,print ,room of the ,british ,museum1 but which is not in ,bartsch's ,catalogue1 nor in the list of ,lucas van ,leyden's engravings in ,meusel's ,neue ,miscellaneen4 ,though ,i very much question if the original cut were engraved by ,lucas himself1 ,i have no doubt of its being from his design4 ,it represents the death of ,sisera2 and1 with a noble contempt of the unity of time1 ,jael is seen giving ,sisera a drink of milk1 driving the nail into his head1 and then showing the body1--with herself in the act of driving the nail1--to ,barak and his followers3 the absurdity of this threefold action has perhaps never been surpassed in any cut ancient or modern4 ,sir ,boyle ,roach said that it was impossible for any person1 except a bird or a fish1 to be in two places at once2 but here we have a pictorial representation of a female being in no less than three2 and in one of the localities actually pointing out to certain persons how she was then employed in another4 ,illustration ,heineken1 in his account of engravers of the ,flemish school1 has either committed an egregious mistake1 or expressed himself with intentional ambiguity with respect to a wood-cut printed at ,antwerp1 and which he saw in the collections of the ,abb de ,marolles4 ,his notice of this cut is as follows3 8,i found in the collections of the ,abb de ,marolles1 in the cabinet of the ,king of ,france1 a detached piece1 which1 in my opinion1 is the most ancient of the wood engravings executed in the ,low ,countries which bear the name of the artist4 ,this cut is marked1 ,gheprint t' ,antwerpen by my ,phillery de figursnider--,printed at ,antwerp1 by me ,phillery1 the engraver of figures4 ,it serves as a proof that the engravers of moulds were1 at ,antwerp1 in that ancient time1 also printers40,v-#hc ,footnote ,v-#hc3 8,j'ai trouv dans les ,recueils de l',abb de ,marolles1 au ,cabinet du ,roi de ,france1 une piece dtache1 qui1 suivant mon sentiment1 est la plus ancienne de celles1 qui sont graves en bois dans les ,pas-,bas1 et qui portent le nom de l'artiste4 ,cette estampe est marque3 ,gheprint t' ,antwerpen by my ,phillery de figursnider--,imprim ,anvers1 chez moi ,phillery1 le graveur de figures4 ,elle sert de preuve1 que les graveurs de moules toient aussi1 dans cet ancien tems1 imprimeurs ,anvers40--,ide ,gnrale d'une ,collection complette d',estampes1 p4 #aig4 ,in this vague and ambiguous account1 the writer gives us no idea of the period to which he refers in the words 8cet ancien tems40 ,if he means the time between the pretended invention of ,coster1 and the period when typography was probably first practised in the ,low ,countries1--that is1 from about #adcj to #adgb1--;he is wrong1 and his statement would afford ground for a presumption that he had either examined the cut very carelessly1 or that he was so superficially acquainted with the progressive improvement of the art of wood engraving as to mistake a cut abounding in cross-hatching1 and certainly executed subsequent to #aebd1 for one that had been executed about seventy years previously1 when cross-hatching was never attempted1 and when the costume was as different from that of the figures represented in the cut as the costume of ,vandyke's portraits is dissimilar to ,hogarth's4 ,the words 8graveurs de moules10 ,i have translated literally 8engravers of moulds10 for ,i cannot conceive what else ,heineken can mean2 but this expression is scarcely warranted by the word 8figuersnider0 on the cut1 which is almost the same as the ,german 8formschneider20 and whatever might be the original meaning of the word1 it was certainly used to express merely a wood engraver4 ,compilers of ,histories of ,art1 and ,dictionaries of ,painters and ,engravers1 who usually follow their leader1 even in his slips1 as regularly as a flock of sheep follow the bell-wether through a gap1 have disseminated ,heineken's mistake1 and the antiquity of 8,phillery's0 wood-engraving is about as firmly established as ,lawrence ,coster's invention of typography4 ,one of those 8straightforward0 people has indeed gone rather beyond his authority2 for in a 8,dictionary of the ,fine ,arts10 published in #ahbf1 we are expressly informed that 8,phillery1 who lived near the end of the fourteenth century1 was the first engraver on wood who practised in the ,netherlands40,v-#hd ,it is thus that error on the subject of art1 and indeed on every other subject1 is propagated3 a writer of reputation makes an incorrect or an ambiguous statement2 other writers adopt it without examination1 and not unfrequently one of that class whose confidence in deciding on a question is in the inverse ratio of their knowledge of the subject1 proceeds beyond his original authority1 and declares that to be certain which previously had only been doubtfully or obscurely expressed4 ,in ,heineken's notice of this cut there is an implied qualification under which he might screen himself from a charge of incorrectness with respect to the time of its execution1 though not from a charge of ambiguity4 ,he says that1 in his opinion1 it is 8the most ancient of the wood engravings executed in the ,low ,countries which bear the name of the artist20 and with this limitation his opinion may be correct1 although the cut were only engraved in #aebe or #aebf2 for ,i am not aware of any wood engraving of an earlier date1 executed in the ,low ,countries1 that contains the name of the artist1 though there are several which contain the artist's mark4 ,it also may be argued that the words 8cet ancien tems0 might be about as correctly applied to designate the year #aebe as #adgj3 if1 however1 he meant the first of those dates1 he has expressed himself in an equivocal manner1 for he is generally understood to refer the cut to a considerably earlier period4 ,it has been indeed conjectured that ,heineken1 in speaking of this cut1 might intentionally express himself obscurely1 in order that he might not give offence to his friend ,monsieur ,mariette1 who is said to have considered it to be one of the earliest specimens of wood engravings executed in the ,low ,countries4 ,this is1 however1 without any sufficient reason1 merely shifting the charge of ignorance1 with respect to the difference of style in wood engravings of different periods1 from ,heineken to ,monsieur ,mariette4 ,as there is no evidence to show that the latter ever expressed any such opinion as that ascribed to him respecting the antiquity of the cut in question1 ,heineken alone is answerable for the account contained in his book4 ,impressions of the cut by 8,phillery0 are not of very great rarity2 there are two in the ,print ,room at the ,british ,museum1 and from one of them the reduced copy in the following page has been carefully made4 ,footnote ,v-#hd3 ,in a work of a similar kind1 and of equal authority1 published in #ahcd1 we are informed that ,ugo da ,carpi was a historical painter1 and that he died in #aejj4 ,he was only born in #adhf4 ,illustration ,any person1 however1 slightly acquainted with the progress of wood engraving could scarcely fail to pronounce that the original of this cut must have been executed subsequent to #aejj1 and in all probability subsequent to the cuts of the ,triumphal ,procession of ,maximilian1 to the general style of which1 so far as relates to the manner of engraving1 it bears considerable resemblance4 ,the costume of the figures1 too1 also proves that it does not belong to the fifteenth century2 and on carefully examining the inscription1 a person accustomed to the old ,german or ,dutch characters would be more likely to read 8,willem0 than 8,phillery0 as the name of the artist4 ,to one of the impressions in the ,british ,museum a former owner1 after extracting ,heineken's account1 has appended the following remark3 8,this is the print above described4 ,there seems to be an inconsiderable mistake in the name1 which ,i take to be ,d'villery40 ,it is to be observed that in the original1 as in the preceding copy1 the inscription is engraved on wood1 and not set up in type2 and that consequently the first character of the doubtful name is rather indistinct4 ,it is however most probably a ,w2 and the last is certainly an m1 with a flourish at its tail4 ,the intermediate letters ille are plain enough1 and if the first be supposed to be a ,w1 and the last an m1 we have the name ,willem1--a very probable prenomen for a ,dutch wood engraver of the sixteenth century4 ,the inscription when carefully examined is literally as follows3 8,gheprint ,tantwerpen ,bij mij ,willem de ,figuersnider40 ,heineken's mistake of ,phillery for ,willem1 or ,william1 and thus giving a heretofore unheard-of name to the list of artists1 is not unlike that of ,scopoli the naturalist1 who1 in one of his works1 has commemorated 8,horace ,head0 as a ,london bookseller4,v-#he ,illustration ,footnote ,v-#he3 ,the sign of ,mr4 ,benjamin ,white1 formerly a bookseller in ,fleet ,street1 was ,horace's ,head4 ,in ,scopoli's ,delici1 ,flora1 et ,fauna ,insubri1 plate #bd is thus inscribed3 8,auspiciis ,benjamini ,white et ,horatii ,head1 ,bibliopol4 ,londinensium40 ,the learned naturalist had mistaken ,mr4 ,white's sign for his partner in the business4 ,though the cut which bears the name of the supposed 8,phillery0 contains internal evidence of its not having been engraved in the fifteenth century1 there is yet further reason to believe that it is merely a copy of part of a cut of the same size by a ,swiss artist of the name of ,urse ,graff1 which is dated #aebd4 ,there is an impression of ,urse ,graff's cut ,v-#hf in the ,print ,room of the ,british ,museum2 in the fore-ground are the figures which have obviously been copied by ,willem de ,figuersnider1 alias ,phillery1 and immediately behind the middle figure1 who holds in his right hand a large ,swiss espadon1 is a leafless tree with a figure of ,death clinging to the upper part of the trunk1 and pointing to a hour-glass which he holds in his left hand4 ,a bird1 probably intended for a raven1 is perched above the hour-glass2 and on the trunk of the tree1 near to the figure of ,death1 is ,urse ,graff's mark with the date as is here given4 ,the back-ground presents a view of a lake1 with buildings and mountains on the left4 ,the general character of ,urse ,graff's subject is ,swiss1 both in the scenery and figures2 and the perfect identity of the latter with those in the cut 8printed at ,antwerp by ,william the figure-cutter0 proves1 beyond the possibility of a doubt1 that one of those two artists has copied the work of the other4 ,urse ,graff's subject1 however1 is complete1 and corresponds both in the landscape and in the costume of the figures with the country of the artist2 while the cut of ,william of ,antwerp represents merely an unrelieved group of figures in the costume of ,switzerland4 ,urse ,graff was an artist of reputation in his time2 of 8,willem10 who was probably only an engraver of the designs of others1 nothing more is known beyond what is afforded by the single cut in question4 ,from these circumstances1 though it cannot be positively decided which of those cuts is the original1 it is almost morally certain that the ,flemish figure-cutter has copied the work of the ,swiss artist4--,urse ,graff resided at ,basle1 of which city he was probably a native4 ,in one of his engravings with the date #aebc1 he describes himself as a goldsmith and die-sinker4 ,wood-cuts containing his mark are not very common1 and the most of them appear to have been executed between #aeae and #aebh4 ,a series of wood-cuts of the ,passion of ,christ1 designed in a very inferior manner1 and printed at ,strasburg in #aeji1 are sometimes ascribed to him on account of their being marked with the letters ,v4 ,g41 which some writers have supposed to be the mark of an artist named ,von ,gamperlin4 ,professor ,christ1 in his ,dictionary of ,monograms1 says that he can find nothing to determine him in favour of the name ,gamperlin2 and that he is rather inclined to think that those letters are intended for the name ,von ,goar1 which he believes that he has deciphered on an engraving containing this mark4 ,the mark of ,urse ,graff1 a ,v and a ,g interlaced1 occurs in the ornamented border of the title-page of several books printed at ,basle1 and amongst others on the title of a quarto edition of ,ulrich ,hutten's ,nemo1 printed there by ,frobenius in #aeai4 ,at the end of this edition there is a beautifully-designed cut of the printer's device1 which is probably the work of the same artist4,v-#hg ,footnote ,v-#hf3 ,this cut of ,urse ,graff is described in ,bartsch's ,peintre-,graveur1 tom4 vii4 p4 #dfe1 ,no4 #af4 ,footnote ,v-#hg3 ,the device of ,frobenius at the end of an edition of the same work1 printed by him in #aeah1 is much inferior to that in the edition of #aeai4 ,in both1 the ornamental border of the title-page is the same4 ,a painter1 named ,nicholas ,emanuel ,deutsch1 a contemporary of ,urse ,graff1 and who resided at ,bern1 is said1 by ,sandrart1 to have been of a noble ,english family1 and the same writer adds that he left his own country on account of his religion4 ,the latter statement1 however1 is not likely to be correct1 for there are wood-cuts1 with this artist's mark1 dated 8,bern1 #aeah20 which was before the persecution in ,england on account of the doctrines of ,luther had commenced4 ,in ,j4 ,r4 ,fssli's ,dictionary of ,artists it is stated that he was of a ,french family1 of the name of ,cholard1 but that he was born at ,bern in #adhd1 and died there in #aecj4 ,he was a poet as well as a painter1 and held one of the highest offices in the magistracy of ,bern4 ,within the first thirty years of the sixteenth century the practice of illustrating books with wood-cuts seems to have been more general than at any other period1 scarcely excepting the present2 for though within the last eight or ten years an immense number of wood-cuts have been executed in ,england and ,france1 yet wood engravings at the time referred to were introduced into a greater variety of books1 and the art was more generally practised throughout ,europe4 ,in modern ,german and ,dutch works wood engravings are sparingly introduced2 and in works printed in ,switzerland and ,italy they are still more rarely to be found4 ,in the former period the art seems to have been very generally practised throughout ,europe1 though to a greater extent1 and with greater skill1 in ,germany than in any other country4 ,the wood-cuts which are to be found in ,italian books printed between #aejj and #aecj are mostly meagre in design and very indifferently engraved2 and for many years after the ,german wood engravers had begun to give variety of colour and richness of effect to their cuts by means of cross-hatchings1 their ,italian contemporaries continued to adhere to the old method of engraving their figures1 chiefly in outline1 with the shadows and the folds of the draperies indicated by parallel lines4 ,these observations relate only to the ordinary wood engravings of the period1 printed in the same page with type1 or printed separately in the usual manner of surface printing at one impression4 ,the admirable chiaro-scuros of ,ugo da ,carpi1 printed from two or more blocks1 are for effect and general excellence the most admirable specimens of this branch of the art that ever have been executed2 they are as superior to the chiaro-scuros of ,german artists as the usual wood engravings of the latter excel those executed in ,italy during the same period4 ,in point of drawing1 some of the best wood-cuts executed in ,italy in the time of ,albert ,durer are to be found in a folio work entitled ,triompho di ,fortuna1 written by ,sigismond ,fanti1 and printed at ,venice in #aebg4,v-#hh ,the subject of this work1 which was licensed by ,pope ,clement ,,vii1 is the art of fortune-telling1 or of answering all kinds of questions relative to future events4 ,the volume contains a considerable number of wood-cuts2 some designed and executed in the very humblest style of wood engraving1 and others1 which appear to have been drawn on the block with pen-and-ink1 designed with great spirit4 ,the smallest and most inferior cuts serve as illustrations to the questions1 and an idea may be formed of them from the three here given1 which occur under the question3 8,qual fede o legge sia di queste tre la buona1 o la ,christiana1 l',hebrea1 o quello di ,mahumeto80,v-#hi ,in ,english3 8,which of these three religions is the best1 the ,christian1 the ,jewish1 or the ,mahometan80 ,several larger cuts are executed in a dry hard style1 and evidently drawn by a person very inferior to the artist who designed the cuts executed in the manner of pen-and-ink drawings4 ,the following is a fac-simile of one of the latter4 ,it is entitled 8,fortuna de ,africo10 in a series of twelve1 intended for representations of the winds4 ,footnote ,v-#hh3 ,the title of this book is1 in red letters1 8,triompho di ,fortuna1 di ,sigismondo ,fanti1 ,ferrarese40 ,the title-page is also ornamented with a wood-cut1 representing the ,pope1 with ,virtue on one side1 and ,vice on the other1 seated above the globe1 which is supported by ,atlas1 and provided with an axis1 having a handle at each side1 like a winch4 ,at one of the handles is a devil1 and at the other an angel2 to the left is a naked figure holding a die1 and near to him is an astronomer taking an observation4 ,at the foot of the cut is the mark ,i4 ,m4 or ,t4 ,m41 for ,i cannot positively decide whether the first letter be intended for an ,i or a ,t4 ,the following is the colophon3 8,impresso in la inclita citta di ,venegia per ,agostin da ,portese4 ,nel anno dil virgineo parto ,,md4,,xxvii4 ,nel mese di ,genaro1 ad insttia di ,jacomo ,giunta ,mercatte ,florentino4 ,con il ,privilegio di ,clemente ,papa ,,vii1 et del ,senato ,veneto a requisitione di l',autore40 ,in the ,catalogue of the ,british ,museum this book is erroneously entered as printed at ,rome1 #aebf4 ,the compiler had mistaken the date of the ,pope's licence for the time when the book was printed4 ,this trifling mistake is noticed here1 as from similar oversights bibliographers have sometimes described books as having been twice or thrice printed1 when1 in fact1 there had been only one edition4 ,footnote ,v-#hi3 ,the following questions1 selected from a number of others1 will perhaps afford some idea of this 8,opera utilissima et jocosa10 as it is called by the author4 8,se glie bene a pigliar bella1 o bruta donna2 se'l servo sara fidele al suo signore2 se quest' anno sara carestia o abundantia2 quanti mariti havera la donna2 se glie bene a far viaggio et a che tempo2 se'l parto della donna sara maschio o femina2 se'l sogno fatto sara vero2 se'l fin del huomo sara buono40 ,the three small illustrations of the last query are of evil omen2 in one1 is seen a gallows2 in another1 a man praying2 and in the third1 the quarters of a human body hung up in terrorem4 ,illustration ,illustration ,illustration ,illustration ,the following cut1 which appears in folio #ch1 is intitled 8,michael ,fiorentino10--,michael ,angelo2 and it certainly conveys no bad idea of the energetic manner in which that great artist is said to have used his mallet and chisel when engaged on works of sculpture4 ,this cut1 however1 is made to represent several other sculptors besides the great ,florentine2 it is repeated seven times in the subsequent pages1 and on each occasion we find underneath it a different name4 ,the late ,t4 ,stothard1 ,r4,a4 was of opinion that wood engraving was best adapted to express pen-and-ink drawing1 and that the wood engraver generally failed when he attempted more4 ,his illustrations of ,rogers's poems1 engraved on wood by ,clennell and ,thompson1 are executed in a similar style to that of the following specimen1 though with greater delicacy4 ,illustration ,certain wood-cuts with the mark ,a4 ,g41 executed towards the conclusion of the fifteenth century1 have been ascribed to an artist named ,albert ,glockenton4 ,bartsch1 however1 says that the name of the artist is unknown2 and he seems to consider that ,sandrart had merely conjectured that those letters might represent the name ,albert ,glockenton4 ,for no better reason the letters ,i4 ,v4 on a tablet1 with two pilgrim's-staffs crossed between them1 which are to be found on several old chiaro-scuro wood engravings1 have been supposed to represent the name1 ,john ,ulric ,pilgrim4 ,this name appears to be a pure invention of some ingenious expounder of monograms1 for there is not the slightest evidence1 that ,i am aware of1 to show that any artist of this name ever lived4 ,the chiaro-scuros with this mark were probably executed in the time of ,durer1 but none of them contains a date to establish the fact4 ,heineken considers them to have been the productions of a ,german artist2 and he refers to them in proof of the art of chiaro-scuro having been practised in ,germany long before the time of ,ugo da ,carpi4 ,it is1 however1 highly questionable if they are of an earlier date than #aeah2 and it is by no means certain that the artist was a ,german4 ,by some persons he has been supposed to have been the inventor of chiaro-scuro engraving1 on no better grounds1 it would seem1 than that his pieces are without a date4 ,next to the ,germans1 in the time of ,albert ,durer1 the ,dutch and ,flemings seem to have excelled in the art of wood engraving2 but the cuts executed in ,holland and ,flanders are generally much inferior to those designed and engraved by ,german artists4 ,in a considerable number of ,dutch wood engravings1 of the period under review1 ,i have observed an attempt to combine something like the effect of cross-hatching and of the dotted manner mentioned at page #bcb as having been frequently practised by ,french wood engravers in the early part of the sixteenth century4 ,in a series of cuts from a ,dutch prayer-book1 apparently printed between #aebj and #aecj1 this style of engraving is frequently introduced4 ,where a ,german artist would have introduced lines crossing each other with great regularity1 the ,dutch wood engraver has endeavoured to attain his object by irregularly picking out portions of the wood with the point of his graver2 the effect1 however1 is not good4 ,in the border surrounding those cuts1 a ,dance of ,death is represented1 consisting of several more characters than are to be found in the celebrated work ascribed to ,holbein1 but far inferior in point of design and execution4 ,an artist1 named ,john ,walter van ,assen1 is usually mentioned as one of the best ,dutch wood engravers or designers of this period4 ,nothing further is known of him than that he lived at ,amsterdam about #aeag4 ,the mark supposed to be ,van ,assen's is often ascribed by expounders of monograms to another artist whom they call ,werner or ,waer van ,assanen4 ,a considerable number of ,french works1 printed in the time of ,albert ,durer1 contain wood engravings1 but few of them possess much merit when compared with the more highly finished and correctly drawn productions of the ,german school of the same period4 ,the ornamental borders1 however1 of many missals and prayer-books1 which then issued in great numbers from the ,parisian press1 frequently display great beauty4 ,the taste for surrounding each page with an ornamental border engraved on wood was very generally prevalent in ,germany1 ,france1 and ,flanders at that period1 more especially in devotional works2 and in the former country1 and in ,switzerland1 scarcely a tract was printed--and the ,lutheran controversy gave rise to many hundreds--without an ornamental border surrounding the title4 ,in ,germany such wood engravers as were chiefly employed in executing cuts of this kind were called ,rahmen-schneiders--border-cutters1--as has been previously observed at page #aij4 ,in ,england during the same period wood engraving made but little progress2 and there seems to have been a lack of good designers and competent engravers in this country4 ,the best cuts printed in ,england in the time of ,durer are contained in a manual of prayers1 of a small duodecimo size4 ,on a tablet in the border of one of the cuts--the ,flight into ,egypt,v-#ij--;,i perceive the date #aebc4 ,the total number of cuts in the volume is about a hundred2 and under each of the largest are four verses in ,english4 ,several of the smaller cuts1 representing figures of saints1 and preceding the prayers for their respective days1 have evidently been designed by an artist of considerable talent4 ,as most of the wood-cuts which constitute the ornaments or the illustrations of books printed at this period are without any name or mark1 it is impossible to ascertain the names of the persons by whom they were designed or engraved4 ,footnote ,v-#ij3 ,the following lines descriptive of this cut are printed underneath it3 ,how ,mary and ,joseph with iesu were fayne4 ,in to ,egypte for socour to fle4 ,whan the ,innocentes for his sake wer slayne4 ,by comissyon of ,herodes crueltie4 ,the manner of wood engraving in intaglio so that the figures appear white on a black ground1 so frequently adopted by early ,italian wood engravers1 was sometimes practised in ,germany2 and in one of the earliest works containing portraits of the ,roman emperors1,v-#ia copied from ancient medals1 printed in the latter country1 the cuts are executed in this style4 ,the subject of the work is the lives of the ,roman emperors1 written by ,joannes ,huttichius1 and the portraits with which it is illustrated are copied from medals in a collection which had been formed by the ,emperor ,maximilian1 the great promoter of wood engraving in ,germany4 ,the first edition1 in ,latin1 was printed by ,wolff ,kpffel1 at ,strasburg1 in #aebe2 and a second edition1 in ,german1 was published at the same place in the succeeding year4 ,the cut on the next page1 of the head of ,nero1 will afford an idea of the style in which the portraits are executed1 and of the fidelity with which the artist has in general represented the likeness impressed on the original medals4 ,footnote ,v-#ia3 ,in a folio work entitled 8,epitome ,thesauri ,antiquitatum1 hoc est ,,impp4 ,rom4 ,orientalium et ,occidentalium ,iconum1 ex ,antiquis ,numismatibus quam fidelissime delineatarum4 ,ex ,muso ,jacobi de ,strada ,mantuani ,antiquarii10 ,lyons1 #aeec1 it is stated that the first work containing portraits of the ,roman emperors engraved from their coins was that entitled 8,illustrium ,imagines10 written by ,cardinal ,sadolet1 and printed at ,rome by ,jacobus ,mazochius4--,in ,strada's work the portraits are executed in the same manner as in that of ,huttichius4 ,the wood-cut containing the printer's device1 on the title-page of ,strada's work1 is admirably engraved4 ,besides ,durer1 ,burgmair1 ,cranach1 and ,schaufflein1 there are several other ,german painters of the same period who are also said to have engraved on wood1 and among the most celebrated of this secondary class the following may be mentioned3 ,hans ,sebald ,behaim1 previously noticed at page #bec2 ,albert ,altdorffer2 ,hans ,springinklee2 and ,hans ,baldung ,grn4 ,the marks of all those artists are to be found on wood-cuts executed in the time of ,durer2 but ,i am extremely doubtful if those cuts were actually engraved by themselves4 ,if they were1 ,i can only say that1 though they might be good painters and designers1 they were very indifferent wood engravers2 and that their time in executing the subjects ascribed to them must have been very badly employed4 ,the common working formschneider who could not execute them as well1 must have been a very ordinary wood-cutter1 not to say wood-engraver1--by the latter term meaning one who excels in his profession1 and not a mere cutter of lines1 without skill or taste1 on box or pear-tree4 ,illustration ,albert ,altdorffer was born at ,ratisbon in #adhj1 and afterwards became a magistrate of his native city4 ,the engravings on wood and copper containing his mark are mostly of a small size1 and he is generally known as one of the little masters of the ,german school of engraving4,v-#ib ,hans ,springinklee was a painter of some eminence1 and according to ,doppelmayer1 as referred to by ,bartsch1 was a pupil of ,durer's4 ,his mark is to be found on several wood-cuts2 and it occurs in one of the illustrations in the ,wise ,king4 ,hans ,baldung ,grn was born at ,gemund in ,suabia1 and studied at ,nuremberg under ,albert ,durer4 ,he excelled as a painter2 and the wood-cuts which contain his mark are mostly designed with great spirit4 ,the earliest wood engraving that contains his mark is a frontispiece to a volume of sermons with the date #aejh2 and the latest is a group of horses1 engraved in a hard1 stiff manner1 with the name 8,,baldung0 and the date #aecd4,v-#ic ,he chiefly resided at ,strasburg1 where he died in #aede4 ,he is mentioned by ,durer1 in his ,journal1 by the name of 8,grn ,hannsen40 ,footnote ,v-#ib3 ,heineken ranks the following in the class of little masters3 ,henry ,aldgrever1 ,albert ,altdorffer1 ,bartholomew ,behaim1 ,hans ,sebald ,behaim1 ,hans ,binck1 ,henry ,goerting1 ,george ,penez1 and ,virgil ,solis4 ,most of them were engravers on copper4 ,footnote ,v-#ic3 ,the following curious testimony respecting a lock of ,albert ,durer's hair1 which had formerly been in the possession of ,hans ,baldung ,grn1 is translated from an article in ,meusel's ,neue ,miscellaneen1 #agii4 ,the lock of hair and the document were then in the possession of ,herr ,h4 ,s4 ,hsgen of ,frankfort on the ,mayn3 8,herein is the hair which was cut from the head of that ingenious and celebrated painter ,albert ,durer1 after his death at ,nuremberg1 #hth ,april #aebh1 as a token of remembrance4 ,it afterwards came into the possession of that skilful painter ,hans ,baldung1 burger of this city1 ,strasburg2 and after his death1 in #aede1 my late brother-in-law1 ,nicholas ,krmer1 painter1 of this city1 having bought sundry of his works and other things1 among them found this lock of hair1 in an old letter1 wherein was written an account of what it contained4 ,on the death of my brother-in-law1 in #aeej1 it was presented to me by my sister ,dorothy1 and ,i now enclose it in this letter for a memorial4 #aeei4 ,,sebold ,b,,heler40 ,to this testimony are subjoined two or three others of subsequent date1 showing in whose possession the valued relic had been before it came into the hands of ,herr ,hsgen4 ,illustration ,we may here conveniently introduce fac-similes on a reduced scale of two rather interesting wood engravings given by ,dr4 ,dibdin in his ,bibliomania1 and copied from an early folio volume1 entitled ,revelationes clestes sanct ,brigitt de ,suecia1 printed at ,nuremberg by ,anthony ,kberger1 ,m ,,ccc ,,xxi4 mensis ,septembris1 which some read #aejj1 on the #bast of ,september1 others #aeba1 in the month of ,september4 ,the first of these cuts is curious as representing the simplicity of an ancient reading room1 with its three-legged joint stool1 such as is so prettily described by ,cowper1 ,task1 ,i4 v4 #ai2 the other cut describes a punishment which is said to have been revealed to ,st4 ,bridget against those ladies who have 8ornamenta indecentia capitibus et pedibus1 et reliquis membris1 ad provocandam luxuriam1 et irritandum ,deum1 in strictis vestibus1 ostensione mamillarum1 unctionibus1 c40 ,the artist is unknown1 but seems to be among the best of the ,nuremberg school4 ,illustration ,it cannot be reasonably doubted that ,durer and several other ,german painters of his time were accustomed to engrave their own designs on copper2 for in many instances we have the express testimony of their contemporaries1 and not unfrequently their own1 to the fact4 ,copper-plate engraving for about sixty years from the time of its invention was generally practised by persons who were also painters1 and who usually engraved their own designs4 ,wood engraving1 on the contrary1 from an early period was practised as a distinct profession by persons who are never heard of as painters4 ,that some of the early ,german painters--of a period when 8artists were more of workmen1 and workmen more of artists0,v-#id than in the present day--might engrave some of the wood-cuts which bear their marks1 is certainly not impossible2 but it is highly improbable that all the wood-cuts which are ascribed to them should have been executed by themselves4 ,if any wood-cuts were actually engraved by ,durer1 ,cranach1 ,burgmair1 and other painters of reputation1 ,i conceive that such cuts are not to be distinguished by their superior execution from those engraved by the professional formschneider and brief-maler of the day4 ,the best copper-plates engraved by ,albert ,durer can scarcely be surpassed by the best copper-plate engraver of the present day1--that is1 supposing him to execute his work by the same means2 while the best of the wood-cuts which he is supposed to have engraved himself might be readily executed by a score of modern wood engravers if the subject were drawn for them on the block4 ,in the age of ,durer the best wood-cuts are of comparatively large size1 and are distinguished more from the boldness and freedom of their design than from any peculiar excellence of engraving3 they display1 in fact1 rather the talent of the artist than the skill of the workman4 ,though wood engraving had very greatly improved from about the end of the fifteenth century to the time of ,durer's decease1 yet it certainly did not attain its perfection within that period4 ,in later years1 indeed1 the workman has displayed greater excellence2 but at no time does the art appear to have been more flourishing or more highly esteemed than in the reign of its great patron1 the ,emperor ,maximilian4 ,footnote ,v-#id3 ,evidence of ,dr4 ,g4 ,f4 ,waagen of ,berlin before the ,select ,committee of the ,house of ,commons on ,arts and their ,connexion with ,manufactures1 #ahce4 ,illustration ,,chapter ,,vi4 ,,further ,,progress ,,and ,,decline ,,of ,,wood ,,engraving4 ,the ,dance of ,death -- ,painted in ,several ,old ,churches -- ,two ,paintings of this ,subject at ,basle -- ,old ,editions of ,la ,danse ,macabre1 with ,wood-,cuts -- ,les ,simulachres et ,histories ,faces de la ,mort1 ,usually ,called the ,dance of ,death1 ,printed at ,lyons1 #aech -- ,various ,editions and ,copies of this ,work -- ,icones ,historiarum ,veteris ,testamenti1 or ,bible ,cuts1 ,designed by ,hans ,holbein -- ,similarity ,between these ,cuts and those of the ,lyons ,dance of ,death -- ,cuts of ,both ,works1 ,probably ,designed by the ,same ,person -- ,portrait of ,sir ,t4 ,wyatt -- ,cuts in ,cranmer's ,catechism -- ,and in ,other ,old ,english ,works -- ,wood-,engraving in ,italy -- ,chiaro-,scuro -- ,marcolini's ,sorti -- ,s4 ,munster's ,cosmography -- ,maps -- ,virgil ,solis -- ,bernard ,solomon -- ,jost ,ammon -- ,andrea ,andreani -- ,henry ,goltzius -- ,english ,wood-,cuts -- ,cuts by ,christopher ,jegher from the ,designs of ,rubens -- ,general ,decline of the ,art in the ,seventeenth ,century4 ,the best of the wood-cuts of the time of ,albert ,durer1 more especially those executed by ,german engravers1 are for the most part of rather large size2 the best of those1 however1 which appeared within forty years of his decease are generally small4 ,the art of wood engraving1 both as regards design and execution1 appears to have attained its highest perfection within about ten years of the time of ,durer's decease2 for the cuts which1 in my opinion1 display the greatest excellence of the art as practised in former times1 were published in #aech4 ,the cuts to which ,i allude are those of the celebrated ,dance of ,death1 which were first published in that year at ,lyons4 ,so admirably are those cuts executed1--with so much feeling and with so perfect a knowledge of the capabilities of the art1--that ,i do not think any wood engraver of the present time is capable of surpassing them4 ,the manner in which they are engraved is comparatively simple3 there is no laboured and unnecessary cross-hatching where the same effect might be obtained by simpler means2 no display of fine work merely to show the artist's talent in cutting delicate lines4 ,every line is expressive2 and the end is always obtained by the simplest means4 ,in this the talent and feeling of the engraver are chiefly displayed4 ,he wastes not his time in mere mechanical execution--which in the present day is often mistaken for excellence2--he endeavours to give to each character its appropriate expression2 and in this he appears to have succeeded better1 considering the small size of the cuts1 than any other wood engraver1 either of times past or present4 ,though two or three of the cuts which will subsequently be given may be of rather earlier date than those of the ,dance of ,death1 it seems preferable to give first some account of this celebrated work2 and to introduce the cuts alluded to1 though not in strict chronological order1--which is the less necessary as they do not illustrate the progress of the art1--with others executed in a similar style4 ,long before the publication of the work now so generally known as 8,the ,dance of ,death10 a series of paintings representing1 in a similar manner1 ,death seizing on persons of all ranks and ages1 had appeared on the walls of several churches4 ,a ,dance of ,death was painted in the cloisters of the ,church of the ,innocents at ,paris1 in the cloisters of ,st4 ,paul's1 ,london1 and in the portico of ,st4 ,mary's1 ,lubec4 ,the painting in ,st ,paul's is said to have been executed at the cost of one ,jenkin ,carpenter1 who lived in the reign of ,henry ,,vi1 and who was one of the executors of that famous 8lord-mayor of ,london10 ,richard ,whittington2 and ,dugdale1 in his ,history of ,st4 ,paul's ,cathedral1 says that it was in imitation of that in the cloisters of the ,church of the ,innocents at ,paris4,,vi-#a ,this subject seems to have been usually known in former times by the name of 8,the ,dance of ,machabre10 from a ,french or ,german poet--for this point is not settled by the learned--of the name of ,macaber or ,macabre1 who is said to have written a poem on this subject4,,vi-#b ,the ,dance of ,death1 however1 which as a painting has attained greater celebrity and given rise to much more discussion than any other1 is that which was painted on the wall of a kind of court-house attached to the ,church of the ,dominicans at ,basle4 ,this painting has frequently been ascribed to ,holbein2 but it certainly was executed before he was born2 and there is not the slightest reason to believe that he ever touched it in any of the repairs which it underwent in subsequent years4 ,footnote ,,vi-#a3 ,besides those above mentioned1 there is said to have been a 8,death's ,dance0 at the following places3 in ,hungerford's ,chapel1 ,salisbury ,cathedral2 ,hexham ,church2 at ,fescamp in ,normandy1 carved in stone2 at ,dresden2 ,leipsic2 ,annaberg2 and ,berne in ,switzerland4 ,the last1 painted on the walls of the cloisters of the ,dominican friars1 was the work of ,nicholas ,emanuel ,deutsch1 previously mentioned at page #cad4 ,so early as #aefj this painting was destroyed in consequence of the cloisters being pulled down to widen a street4 ,there are two copies of it in water-colours preserved at ,berne4 ,from one of them a series of lithographic engravings has been made4 ,an ample list of old paintings of this subject will be found in ,mr4 ,douce's ,dance of ,death1 chapters iii4 and iv1 published by ,pickering1 #ahcc1 and republished1 with additions1 by ,h4 ,g4 ,bohn1 #aheh4 ,footnote ,,vi-#b3 ,mr4 ,douce says1 8,macaber was not a ,german or any other poet1 but a nonentity40 ,he supposes that the name ,macaber is only a slight and obvious corruption of ,macarius1 a ,saint who lived as a hermit in ,egypt1 and of whom there is a story of his showing to three kings or noblemen an emblem of mortality in the shape of three skeletons4 8,the word ,macabre10 observes ,mr4 ,douce1 8is found only in ,french authorities2 and the ,saint's name1 which in the modern orthography is ,macaire1 would in many ancient manuscripts be written ,macabre instead of ,macaure1 the letter b being substituted for that of u from the caprice1 ignorance1 or carelessness of transcribers40 ,mr4 ,douce's conjecture would have been more feasible had he produced a single instance from any ancient manuscript of the name having been written ,macabre instead of ,macaure or ,macarius4 ,by a similar process of reasoning1 it would not be difficult to prove a hundred old writers and poets non-entities4 ,in the earliest ,french editions1 the work is intitled 8,la ,danse ,macabre20 and in a ,parisian edition1 8,per ,magistrum ,guidonem ,mercatorem pro ,godefrido de ,marnef10 folio1 #adij1 the title is as follows3 8,chorea ab eximio ,macabro versibus ,alemanicis edita1 et ,petro ,desrey emendata40 ,this seems to prove that ,peter ,desrey knew something of a person named ,macaber who had written a description of the ,dance in ,german4 ,the following particulars respecting this painting are such as seem best authenticated4 ,it is said to owe its origin to a plague which ravaged the city of ,basle in #adci1 during the time of the great council1 which commenced in #adca1 and did not terminate till #addh4 ,a number of persons of almost all ranks1 whom the council had brought to this city1 having fallen victims to the plague1 it is said that the painting was executed in remembrance of the event1 and as a memento of the uncertainty of life4 ,though it may be true that the great mortality at ,basle in #adci might have been the occasion of such a picture in the church-court--,kirchhofe1 as it is called by ,hegner in his ,life of ,holbein--of the ,dominicans in that city1 it is almost certain that the subject must have been suggested by one of much earlier date painted on the walls of an old building which had formerly been the cloisters of a nunnery which stood in that part of ,basle which is called the ,little ,city4 ,this convent was founded in #abge2 and the painting appears to have been executed in #acab1 according to the following date1 which was to be seen above one of the figures1 that of the ,count1 who was also one of the characters in the painting in the church-court of the ,dominicans3 8,dussent jar treihuntert und ,xii20 in ,english3 ,one thousand three hundred and twelve4 ,several of the figures in this old painting were almost the same as in that of the church-court of the ,dominicans1 though executed in a coarser manner2 and1 like the latter1 were accompanied with explanatory inscriptions in verse4 ,this curious old work appears to have remained unnoticed till #agff1 when one ,emanuel ,bchel1 of ,basle1 by trade a baker1 but an admirer of art1 and an industrious draughtsman1 had his attention directed to it4 ,he made a careful copy in colours of all that then remained of it1 and his drawings are now in the public library of ,basle4 8,this oldest ,dance of ,death10 says ,hegner1 writing in #ahbg1 8is almost entirely effaced1 and becomes daily more so1 as well on account of age as from the cloisters of the old nunnery having been for many years used as a warehouse for salt40,,vi-#c ,footnote ,,vi-#c3 ,hans ,holbein der ,jngere4 ,von ,ulrich ,hegner1 ,s4 #cji4 ,berlin1 #ahbg4 ,it is supposed that the ,dance of ,death in the church-court of the ,dominicans at ,basle was originally painted in fresco or distemper4 ,the number of characters1 each accompanied by a figure of ,death1 was originally forty2,,vi-#d but in #aefh1 a painter1 named ,hans ,hugo ,klauber1 who was employed by the magistrates to repair the old painting1 introduced a figure of the reformer ,oecolampadius as if preaching to the characters composing the ,dance1 with portraits of himself1 his wife1 and their little son1 at the end4 ,it is probable that he painted over the old figures in oil-colour1 and introduced sundry alterations1 suggested by other paintings and engravings of the same subject4 ,it appears likely that1 at the same time1 many of the old inscriptions were changed for others more in accordance with the doctrines of the ,reformation1 which then prevailed at ,basle4 ,the verses above the figure of the ,pope were certainly not such as would have been tolerated at the period when the subject is supposed to have been first painted4,,vi-#e ,in #afaf the painting was again repaired2 but1 though a ,latin inscription was then added containing the names of the magistrates who had thus taken care to preserve it1 there is no mention made of any artist by whom the subject had been originally painted or subsequently retouched4 ,had there been any record of ,holbein having been at any time employed on the work1 such a circumstance would most likely have been noticed2 as his memory was then held in the highest estimation1 and ,basle prided herself on having had so eminent an artist enrolled among the number of her citizens4 ,in #afeh the painting was again renewed3 and there seems reason to believe that further alterations were then introduced both in the costume and the colouring4 ,it was retouched in #agjc2 but from that time1 as the paint began to peel off from the decaying walls1 all attempts for its further preservation appear to have been considered hopeless4 ,it would indeed seem to have become in a great measure disregarded by the magistrates1 for a rope-maker used to exercise his trade under the roof that protected it from the weather4 ,as the old wall stood much in the way of new buildings1 it is not unlikely that they might be rather wishful to have it removed4 ,in #ahje the magistrates pronounced sentence against the ,dance of ,death1 and the wall on which it was painted was by their orders pulled down1 though not without considerable opposition on the part of many of the citizens1 more especially those of the suburb of ,st4 ,john1 within which the old church-court of the ,dominicans stood4 ,several pieces of the painting were collected1 and are still preserved at ,basle as memorials of the old 8,todten-tanz10 which was formerly an object of curiosity with all strangers who visited the city1 and which has been so frequently the subject of discussion in the history of art4 ,footnote ,,vi-#d3 ,all the persons introduced were of the size of life4 ,death1 in only one instance1 was represented as a perfect skeleton1 and that was in the subject of the ,doctor1 whom he was supposed to address as follows3 8,herr ,doctor b'schaw die ,anatomey ,an mir1 ob sie recht g'macht sey40 that is3 8,doctor1 take of me a sight1 ,say if the skeleton be right40 ,it has been said that the ,pope1 the ,emperor1 and the ,king1 were intended respectively for portraits of ,pope ,felix ,v1 the ,emperor ,sigismund1 and ,albert ,,ii1 his successor1 as ,king of the ,romans4 ,this1 however1 is merely a conjecture1 and not a very probable one4 ,sigismund died before the commencement of the plague which is said to have been the occasion of the painting4 ,footnote ,,vi-#e3 ,those verses1 as they appeared in later times1 are as follows3 8,heilig war ich auff ,erd genant ,ohn ,gott der hchst fhrt ich mein stand4 ,der ,ablass that mir gar wol lohnen ,doch will der tod mein nicht verschonen40 ,their meaning may be thus expressed in ,english3 8,his ,holiness1 on earth my name2 ,from ,god my power never came2 ,although by pardons wealth ,i got1 ,death1 alas1 will pardon not60 ,mr4 ,douce has given a list of many books containing the figures of a ,dance of ,death printed before the celebrated ,simulachres et ,histories ,faces de la ,mort of ,lyons1 #aech2 and among the principal the following may be here enumerated4--,a ,german edition1 intitled 8,der ,dodtendanz mit figuren4 ,clage und ,antwort schon von allen staten der ,welt40 ,this work1 which is small folio1 is mentioned in ,braun's ,notitia librorum in ,bibliotheca ad ,,ss4 ,udalricum et ,afram ,august1 vol4 ii4 p4 #fb4 ,it is without date1 but ,braun supposes that it may have been printed between #adhj and #aejj4 ,it consists of twenty-two leaves1 with wood-cuts of the ,pope1 ,cardinal1 ,bishop1 ,abbot1 c4 c4 accompanied by figures of ,death4 ,the descriptions are in ,german verse1 and printed in double columns4--,the earliest printed book on this subject with a date is intitled 8,la ,danse ,macabre imprime par ung nomm ,guy ,marchand10 c4 ,paris1 #adhe1 small folio4 ,in #adhf ,guy ,marchand1--or ,guyot ,marchant1 as he is also called1--printed another edition1 8,la ,danse ,macabre nouvelle10 with several additional cuts2 and in the same year he printed 8,la ,danse ,macabre des ,femmes10 a small folio of fifteen leaves4 ,this is the first edition of the ,macaber ,dance of females4 ,thirty-two subjects are described1 but there are only cuts of two1 the ,queen and the ,duchess4 ,in #adij an edition appeared with the following title3 8,chorea ab eximio ,macabro versibus ,alemanicis edita1 et ,petro ,desrey emendata4 ,parisiis1 per magistrum ,guidonem ,mercatorem ,guy ,marchand pro ,godefrido de ,marnef40 ,in the same year ,marchand printed another edition of 8,la nouvelle ,danse ,macabre des ,hommes20 and in the year following there appeared from his press a second edition of 8,la ,danse ,macabre des ,femmes10 with cuts of all the characters and other additions4 ,a ,dance of ,death1 according to ,von der ,hagen1 in his ,deutsche ,poesie1 p4 #dei1 was printed at ,leipsic in #adif2 and in #adii a 8,grande ,danse ,macabre des ,hommes et ,femmes0 was printed in folio at ,lyons4 ,the latter is supposed to be the earliest that contains cuts of both men and women4 ,about #aejj1 ,ant4 ,verard printed an edition1 in folio1 of the ,danse ,macabre at ,paris2 and in various years between #aejj and #aecj a work with the same title and similar cuts was printed at ,paris1 ,troyes1 ,rouen1 ,lyons1 and ,geneva4 ,besides those works1 characters from the ,dance of ,death were frequently introduced as incidental illustrations in books of devotion1 more especially in those usually denominated ,hor or ,hours of the ,virgin1 and printed in ,france4,,vi-#f ,footnote ,,vi-#f3 ,several characters are to be found in those ,dances of ,death which do not occur in the ,simulachres et ,histories ,faces de la ,mort of ,lyons1 #aech4 ,in the preface to the ,emblems of ,mortality1--with wood-cuts by ,john ,bewick1 #aghi1--written by ,john ,sidney ,hawkins1 ,esq41 the following list is given of the cuts in an edition of 8,la grande ,danse de ,macabre des ,hommes et ,femmes10 #dto4 printed at ,troyes for ,john ,garnier1 but without a date4 8,the ,pope1 ,emperor1 ,cardinal1 ,king1 ,legate1 ,duke1 ,patriarch1 ,constable1 ,archbishop1 ,knight1 ,bishop1 ,squire1 ,abbot1 ,bailiff1 ,astrologer1 ,burgess1 ,canon1 ,merchant1 ,schoolmaster1 ,man of ,arms1 ,chartreux1 ,serjeant1 ,monk1 ,usurer1 ,physician1 ,lover1 ,advocate1 ,minstrel1 ,curate1 ,labourer1 ,proctor1 ,gaoler1 ,pilgrim1 ,shepherd1 ,cordelier1 ,child1 ,clerk1 ,hermit1 ,adventurer1 ,fool4 ,the women are the ,queen1 ,duchess1 ,regent's ,wife1 ,knight's ,wife1 ,abbess1 ,squire's ,wife1 ,shepherdess1 ,cripple1 ,burgess's ,wife1 ,widow1 ,merchant's ,wife1 ,bailiff's ,wife1 ,young ,wife1 ,dainty ,dame1 ,female ,philosopher1 ,new-married ,wife1 ,woman with ,child1 ,old ,maid1 ,female ,cordelier1 ,chambermaid1 ,intelligence-,woman1 ,hostess1 ,nurse1 ,prioress1 ,damsel1 ,country ,girl1 ,old ,chambermaid1 ,huckstress1 ,strumpet1 ,nurse for ,lying-in-,woman1 ,young ,girl1 ,religious1 ,sorceress1 ,bigot1 ,fool40 ,nearly the same characters occur in borders of the old ,dutch ,prayer ,book mentioned at page #cah1 though in the latter they are yet more numerous2 among the men there is a fowler--vogelaer--and among the women1 the beauty--scone--and the old woman--alde vrou--which do not occur in the preceding list4 ,the celebrated 8,dance of ,death10 the cuts of which have been so generally ascribed to ,hans ,holbein as the engraver as well as designer1 was first published at ,lyons1 in #aech4 ,it is of small quarto size1 and the title is as follows3 8,les ,simulachres ,histories faces de la ,mort1 autant elegammt pourtraictes1 que artificiellement imagines4 ,a ,lyon1 ,soubz l'escu de ,coloigne4 ,m4,d4,,xxxviii40 ,on the title-page is an emblematic wood-cut1 very indifferently executed1 representing three heads joined together1 with a wreath above them2 the middle one a full face1 and those on each side in profile4 ,instead of shoulders1 the heads1 or busts1 are provided with a pair of wings of peacock's feathers2 they rest on a kind of pedestal1 on which is also an open book inscribed with the maxim1 8 40 ,a large serpent is seen confined by the middle in a hole which must be supposed to pass through the pedestal2 and to it 7the pedestal7 are chained two globes1--one surmounted by a small cross1 like the emblem of imperial authority1 and the other having two wings4 ,this emblematic cut1 which is certainly not 8l'escu de ,coloigne10 is accompanied with the motto 8,usus me ,genuit40,,vi-#g ,at the conclusion of the book is the imprint1 within an ornamental wood-cut border3 8,,excvdebant ,,lvgdvni ,,melchior ,,et ,,gaspar ,,trechsel ,,fratres4 #aech40 ,the title is succeeded by a preface1 of six pages1 which is followed by seven pages more1 descriptive of 8diverses tables de ,mort1 non painctes1 mais extraictes de l'escripture saincte1 colores par ,docteurs ,ecclesiastiques1 et umbrages par ,philosophes40 ,after those verbal sketches of ,death come the cuts1 one on each page2 and they are succeeded by a series of descriptions of death and reflections on mortality1 the general title to which1 commencing at signature ,h1 is1 8,figures de la ,mort moralement descriptes1 depeinctes selon l'authorit de l'scripture1 des sainctz ,peres40 ,footnote ,,vi-#g3 ,it has been thought necessary to be thus particular in describing the title-page of this rare edition1 as it is incorrectly described by ,mr4 ,douce4 ,in the copy in the ,british ,museum the title-page is wanting4 ,by far the most important passage in the book1 at least so far as relates to the designer or engraver of the cuts1 occurs in the preface1 which is written much in the style of a pedantic father-confessor to a nunnery who felt a pleasure in ornamenting his ,christian discourses and exhortations with the flowers of ,pagan eloquence4 ,the preface is addressed1 8,a moult reverende ,abbesse du religieux convent ,s4 ,pierre de ,lyon1 ,madame ,jehanne de ,touszele1 ,salut dun vray ,zele10,,vi-#h and the passage above mentioned is to the following effect4 8,but to return to our figured representations of ,death1 we have greatly to regret the death of him who has imagined such elegant figures as are herein contained1 as much excelling all those heretofore printed1,,vi-#i as the pictures of ,apelles or of ,zeuxis surpass those of modern times2 for1 his funereal histories1 with their gravely versified descriptions1 excite such admiration in beholders1 that the figures of ,death appear to them most life-like1 while those of the living are the very pictures of mortality4 ,it therefore seems to me that ,death1 fearing that this excellent painter would paint him in a manner so lively1 that he should be no longer feared as ,death1 and apprehensive that the artist would thus become immortal1 determined to shorten his days1 and thus prevent him finishing other subjects which he had already drawn4 ,among these is one of a waggoner1 knocked down and crushed under his broken waggon1 the wheels and horses of which appear so frightfully shattered and maimed that it is as fearful to see their overthrow as it is amusing to behold the liquorishness of a figure of ,death1 who is perceived roguishly sucking the wine out of a broken cask1 by means of a reed4 ,to such imperfect subjects1 as to the inimitable heavenly bow named ,iris1,,vi-#aj no one has ventured to put the last hand1 on account of the bold drawing1 perspectives1 and shadows contained in this inimitable chef-d'uvre1 there so gracefully delineated1 that from it we may derive a pleasing sadness and a melancholy pleasure1 as in a thing mournfully delightful40 ,the cut of the waggoner1 described by the ,french euphuist1 was1 however1 afterwards finished1 and1 with others1 inserted in a subsequent edition of the work4 ,it is figured in the present volume at page #cdd4 ,footnote ,,vi-#h3 ,this 8vray ,zele0 having said in the first page of the preface that the name and surname of the revered abbess had the same sound as his own1 with the exception of the letter ,t1 the editor of the ,emblems conjectures 8that his name was ,,jean1 or1 as it was anciently written1 ,,jehan ,,de ,,ouszell1 or ,,ozell as it is now usually spelt40 ,footnote ,,vi-#i3 ,in the original1 8avancantes autt les patrones jusques ici40 ,the word patrones1 ,i conceive to refer to cuts printed from wood-blocks4 ,the editor of the ,emblems1 #afhh1 who is followed by ,mr4 ,ottley1 translated the passage1 8exceeding all the examples hitherto40 ,works executed by means of a stencil were in old ,french said to be patrones1 and the word also appears to have been applied to impressions printed from wood-blocks4 ,the verb patroner is thus explained in ,noel and ,chapsal's ,nouveau ,dictionnaire de la ,langue ,franaise1 ,paris1 #ahbh3 8,terme de cartier3 enduire de couleur1 au moyen du patron vid1 les endroits o cette couleur doit paratre40 ,footnote ,,vi-#aj3 ,mr4 ,douce supposes that the rainbow here alluded to was that which appears in the cut of the ,last ,judgment1 the last but one in the first edition4 ,the writer evidently means the natural rainbow which is mostly seen imperfect4 ,the number of cuts in the first edition1 now under examination1 is forty-one2 above each is a text of ,scripture1 in ,latin2 and below are four verses in ,french--the 8descriptions severement rithmes10 mentioned in the preface--containing some moral or reflection germane to the subject4 ,a few sets of impressions of all those cuts1 except one1 appear to have been taken before the work appeared at ,lyons4 ,they have been printed by means of a press1--not taken by friction in the manner in which wood engravers usually take their proofs1--and at the top of each cut is the name in the ,german language1 but in ,italic type4 8,why those ,german names10 says ,hegner1 8in a work which1 so far as we know1 was first published at ,lyons8 ,they appear to confirm the opinion of the cuts having been actually engraved at ,basle2 and the descriptions correspond with the dialect of that city40 ,the late ,mr4 ,ottley had impressions of forty of those original cuts1 and six of those which were inserted in a later edition4 ,in his ,inquiry into the ,origin and ,early ,history of ,engraving1 ,mr4 ,ottley1 speaking of the ,dance of ,death1 says3 8,it is certain that the cuts had been previously printed at ,basle2 and1 indeed1 some writers assert that the work was published in that city1 with texts of ,scripture1 in the ,german language1 above the cuts1 and verses1 in the same language1 underneath1 as early as #aecj2 although1 hitherto1 ,i have been unable to meet with or hear of any person who had seen a copy of such an edition40 ,in a note upon this passage1 ,jansen1 the compiler of an ,essay on the ,origin of ,engraving1 and the anonymous author of a work entitled ,notices sur les ,graveurs1 ,besanon1 #ahjg1 are cited as mentioning such an edition4 ,to give every one his due1 however1 and to show the original authority for the existence of such an edition1 ,i beg here to give an extract from ,papillon1 who never felt any difficulty in supposing a date1 and whose conjectures such writers as ,jansen have felt as little hesitation in converting into certainties4 ,the substance of ,papillon's observations on this point is as follows3 8,but to return to ,holbein's ,dance of ,death1 which is unquestionably a master-piece of wood engraving4 ,there are several editions2 the first of which1 so far as may be judged1 ought to be about #aecj1 as has been already said1,,vi-#aa and was printed at ,basle or ,zurich1 with a title to each cut1 and1 ,i believe1 verses underneath1 all in the ,german language40 ,what ,papillon puts forth as a matter of conjecture and opinion1 ,von ,murr1 ,jansen1 and the author of the ,notices sur les ,graveurs1 promulgate as facts1 and ,mr4 ,ottley refers to the two latter writers as if he were well inclined to give credit to their assertions4 ,footnote ,,vi-#aa3 ,trait de la ,gravure en ,bois1 tom4 i4 p4 #afh4 ,papillon in a preceding page had observed3 8,these cuts must have been engraved about #aecj1 for we find the four first among the little figures of the ,old ,testament printed in #aeci1 from which it is easy to perceive that many thousand impressions had already been taken from the blocks40--,those four cuts in the first edition of the ,dance of ,death1 have not the slightest appearance of having been from blocks that had already furnished many thousand impressions4 ,in the copy now before me1 ,i cannot perceive a break or an imperfection in the most delicate lines4 ,the first edition of the 8,historiarum ,veteris ,testamenti ,icones10 to which ,papillon alludes1 first appeared in the same year as the ,simulachres1 #aech1 and from the office of the same publishers1 the brothers ,melchior and ,gaspar ,trechsel4 ,from the following passage it would appear that ,mr4 ,ottley had also been willing to believe that those impressions might have been accompanied with explanatory verses and texts of ,scripture4 8,i have only to add1 upon the subject of this celebrated work1 that ,i am myself the fortunate possessor of forty pieces1 7the complete series of the first edition1 excepting one17 which are printed with the greatest clearness and brilliancy of effect1 on one side of the paper only2 each cut having over it its title1 printed in the ,german language with moveable type4 ,it is possible that they may originally have had verses underneath1 and texts of ,scripture above1 in addition to the titles just mentioned3 but as the margins are clipped on the sides and at bottom1 it is now impossible to ascertain the fact40,,vi-#ab ,footnote ,,vi-#ab3 ,inquiry into the ,origin and ,early ,history of ,engraving1 vol4 ii4 p4 #gfb4 ,had the forty impressions in question been accompanied with verses and texts of ,scripture1 they certainly might be considered as having belonged to an earlier edition of the work than that of #aech1 and for the existence of which ,mr4 ,ottley has referred to the testimony of ,jansen and the editor of the ,notices sur les ,graveurs1 printed at ,besanon4 ,there is1 however1 a set of those cuts preserved in the public library at ,basle1 which seems clearly to prove that they had only been taken as specimens without any further accompaniment than the titles4 ,they are printed on four folio leaves1 on only one side of the paper1 and there are ten cuts on each page2 the title1 in the ,german language1 and in ,italic type1 like ,mr4 ,ottley's1 is printed above each2 and the same cut--that of the astrologer--is also wanting4 ,from these circumstances there can scarcely be a doubt that the set formerly belonging to ,mr4 ,ottley,,vi-#ac had been printed in the same manner1 and that each impression had subsequently been cut out1 perhaps for the purpose of mounting them singly4 ,the following are the titles given to those cuts1 and to each is subjoined a literal translation4 ,they are numbered as they follow each other in ,,les ,,simulachres ,,et ,,historiees ,,faces ,,de ,,la ,,mort1 #aech1 which perhaps may not be incorrectly expressed by the ,english title1 8,pictorial and ,historical ,portraits of ,death40 ,footnote ,,vi-#ac3 ,those cuts1 with that of the astrologer and five others1 supplied from a later edition1 were bought1 at the sale of ,mr4 ,ottley's prints1 in #ahcg1 for the ,british ,museum1 for #cg #ajs4 ,in the catalogue1 which1 ,i understand1 was chiefly drawn up from his own memoranda1 they are thus described1 under the head 8,,hans ,,holbein10 ,no4 #deh3 8,,the ,,celebrated ,,dance ,,of ,,death1 first impressions1 printed 7probably at ,basle1 about #aecj17 upon one side only1 with ,german titles at the top in type2 supposed to be ,,unique40 ,that they were printed in #aecj is highly improbable1 and they certainly are ,,not unique4 #a4 ,die schpfung aller ding--,the creation of all things4 #b4 ,adam ,eua im ,paradys--,adam and ,eve in ,paradise4 #c4 ,vertribung ,ade ,eue--,the driving out of ,adam and ,eve4 #d4 ,adam baugt die erden--,adam cultivates the earth4 #e4 ,gebeyn aller menschen--,skeletons of all men4 #f4 ,der ,papst--,the ,pope4 #g4 ,der ,keyser--,the ,emperor4 #h4 ,der ,knig--,the ,king4 #i4 ,der ,cardinal--,the ,cardinal4 #aj4 ,die ,keyserinn4--,the ,empress4 #aa4 ,die ,kniginn--,the ,queen4 #ab4 ,der ,bischoff--,the ,bishop4 #ac4 ,der ,hertzog--,the ,duke4 #ad4 ,der ,apt--,the ,abbot4 #ae4 ,die ,aptissinn--,the ,abbess4 #af4 ,der ,edelman--,the ,nobleman4 #ag4 ,der ,thmherr--,the ,canon4 #ah4 ,der ,richter--,the ,judge4 #ai4 ,der ,frsprch--,the ,advocate4 #bj4 ,der ,rahtsherr--,the ,magistrate4 #ba4 ,der ,predicant--,the ,preaching ,friar4 #bb4 ,der ,pfarrherr--,the ,parish-priest4 #bc4 ,der ,mnch--,the ,monk4 #bd4 ,die ,nunne--,the ,nun4 #be4 ,dass ,altweyb--,the ,old ,woman4 #bf4 ,der ,artzet--,the ,doctor4 #bg4 7,wanting in the specimens47 ,the ,astrologer4 #bh4 ,der ,rychman--,the ,rich ,man4 #bi4 ,der ,kauffman--,the ,merchant4 #cj4 ,der ,schiffman--,the ,sailor4 #ca4 ,der ,ritter--,the ,knight4 #cb4 ,der ,graff--,the ,count4 #cc4 ,der ,alt man--,the ,old ,man4 #cd4 ,die ,greffinn--,the ,countess4 #ce4 ,die ,edelfraw--,the ,lady4 #cf4 ,die ,hertzoginn--,the ,duchess4 #cg4 ,der ,krmer--,the ,pedlar4 #ch4 ,der ,ackerman--,the ,farmer4 #ci4 ,das ,jung ,kint--,the ,young ,child4 #dj4 ,das ,jngst ,gericht--,the ,last ,judgment4 #da4 ,die ,wapen des ,thots--,death's coat-of-arms4 ,in #aedb a second edition of the ,dance of ,death1 with the same cuts as the first1 was published at ,lyons1 8,soubz l'escu de ,coloigne10 by ,john and ,francis ,frellon1 who appear to have succeeded to the business of the brothers ,trechsel1--if1 indeed1 the latter were not merely the printers of the first edition4 ,in a third edition1 with the title ,imagines ,mortis1 #aede1 the verses underneath each cut are in ,latin4,,vi-#ad ,a cut of a lame beggar1 which has no relation to the ,dance of ,death1 is introduced as a tail-piece to one of the discourses on death--,cypriani ,sermo de ,mortalitate--at the end of the volume2 but it is neither designed nor executed in the same style as the others4 ,footnote ,,vi-#ad3 ,the ,french verses were translated into ,latin by ,george mylius1 8an eminent ,german divine of ,mansfelt10 says ,mr4 ,douce1 8and the author of many pious works40 ,in a fourth edition1 with the title 8,imagines ,mortis10,,vi-#ae #aedg1 eleven additional cuts are introduced2 namely3 #a4 ,death fighting with a soldier in ,swiss costume2 #b4 ,gamblers1 with a figure of ,death1 and another of the ,devil2 #c4 ,drunkards1 with a figure of ,death2 #d4 ,the ,fool1 with a figure of ,death playing on the bagpipes2 #e4 ,the ,robber seized by ,death2 #f4 ,the ,blind ,man and ,death2 #g4 ,the ,waggoner and ,death2 #h4 ,children1 one of whom is borne on the shoulders of the others as a conqueror triumphing2 #i4 ,a child with a shield and dart2 #aj4 ,three children2 one riding on an arrow1 another on a bow1 as on a hobby-horse1 the third carrying a hare over his shoulder1 suspended from a hunting pole2 #aa4 ,children as ,bacchanalians4 ,the last four subjects have no relation to a ,dance of ,death1 but have evidently been introduced merely to increase the number of the cuts2 they are1 however1 beautifully designed and well engraved4 ,this edition contains twelve more cuts1 reckoning the tail-piece of the ,lame ,beggar1 than the first4 ,another edition1 forming the fifth1 was also published in #aedg under the title of 8,les ,images de la ,mort10 with ,french verses1 as in the edition of #aech4 ,the number of cuts is the same as in the edition of #aedg with ,latin verses1 and the title 8,imagines ,mortis10 or 8,icones ,mortis40 ,footnote ,,vi-#ae3 ,some copies have the title 8,icones ,mortis20 and though they correspond in every other respect with those of the same year1 intitled ,imagines ,mortis1 ,mr4 ,douce seems to consider that this trifling variation is a sufficient ground for describing them as different editions4 ,in #aedi1 a sixth edition1 with the same number of cuts as the last1 was published1 under the title of 8,simolachri1 ,historie1 e ,figure de la ,morte10 with the letter-press in ,italian1 with the exception of the texts of ,scripture1 which were in ,latin1 as in the others4 ,in the preface1 ,john ,frellon--whose name appears alone in the edition of #aedg1 and in those of subsequent years--complains of a piracy of the book1 which was printed at ,venice in #aede1 with fac-similes of the cuts of the first edition4 8,frellon1 by way of revenge10 says ,mr4 ,douce1 8and to save the trouble of making a new translation of the articles that compose the volume1 made use of that of his ,italian competitor40,,vi-#af ,a seventh edition1 with the title 8,icones ,mortis10 and containing fifty-three cuts1 appeared1 without any printer's name1 in #aeed4 ,footnote ,,vi-#af3 ,dance of ,death1 p4 #ajg1 edit4 #ahcc 7,bohn's edition1 p4 #ie74 ,it is stated in the ,italian piracy that it was printed 8,con gratia e privilegio de l',illustriss4 ,senato ,vinitiano1 per anni dieci4 ,appresso ,vincenzo ,vaugris1 al ,segno d',erasmo4 ,,mdxlv40 ,in an eighth edition1 #aefb1 with the title 8,les ,images de la ,mort1 auxquelles sont adjoustees dix-sept figures10 five additional cuts are introduced1 thus making seventeen more than are contained in the first4 ,the total number of cuts in the edition of #aefb is fifty-eight2 and that of the ,lame ,beggar1 which first appeared as a tail-piece in the edition of #aede1 has now a place among the others in the body of the book4 ,the subjects of the five new cuts are3 #a4 ,the ,husband1 with a figure of ,death2 #b4 ,the ,wife1--,death leading a young woman by the hand1 preceded by a young man playing on a kind of guitar2 #c4 ,children as part of a triumph1 one of them as a warrior on horseback2 #d4 ,three children2 one with a trophy of armour1 another carrying a vase and a shield1 the third seated naked on the ground2 #e4 ,children with musical instruments4 ,the subjects of children are designed and executed in the same style as those first introduced in the edition of #aedg4 ,the last of those five new cuts does not appear in regular order with the other fifty-seven2 but is given as a tail-piece at the end of a preface to a devotional tract--,la ,medicine de l',ame--in the latter part of the book4 ,mr4 ,douce mentions another edition with the date #aegd4 ,he1 however1 observes in a note3 8,this edition is given on the authority of ,peignot1,,vi-#ag page #fb1 but has not been seen by the author of this work4 ,in the year #aedg there were three editions1 and it is not improbable that1 by the transposition of the two last figures1 one of these might have been intended40 ,as one of ,mr4 ,douce's three editions of #aedg differs only from another of the same date by having 8,icones0 instead of 8,imagines0 in the title-page1 he might as consistently have claimed a fourth for the same year on the ground of a probable transposition of #gd for #dg4 ,all the authentic editions of the 8,dance of ,death10 previously noticed1 were published at ,lyons4 ,the first1 as has been already observed1 was in small quarto2 the others are described by ,mr4 ,douce as being in duodecimo4 ,in a ,dutch ,dance of ,death1 intitled 8,de ,doodt vermaskert met swerelts ydelheit10 duodecimo1 ,antwerp1 #afed1 fourteen of the cuts1 according to ,mr4 ,douce1 were from the original blocks which had been used in the ,lyons editions4 ,footnote ,,vi-#ag3 ,author of the work intitled1 8,recherches sur les ,danses des ,morts40 ,dijon et ,paris1 #ahbf4 ,it seems probable that the earliest copies of the cuts in 8,les ,simulachres et ,histories ,faces de la ,mort10 or ,dance of ,death1 as the work is more frequently called1 appeared in a small folio1 intitled 8,todtentantz10 printed at ,augsburg in #aedd1 by 8,jobst ,denecker1 ,formschneyder40 ,as ,i have never seen a copy of this edition1 ,i take the liberty of extracting the following notice of it from ,mr4 ,douce3 8,this edition is not only valuable from its extreme rarity1 but for the very accurate and spirited manner in which the fine original cuts are copied4 ,it contains all the subjects that were then published1 but not arranged as those had been4 ,it has the addition of one singular print1 intitled1 #8,der ,eebrecher1' i4 e4 the ,adulterer1 representing a man discovering the adulterer in bed with his wife1 and plunging his sword through both of them1 ,death guiding his hands4 ,on the opposite page to each engraving there is a dialogue between ,death and the party1 and at bottom a ,latin hexameter4 ,the subject of the ,pleader has the unknown mark ,symbol and on that of the ,duchess in bed1 there is the date #aedb40,,vi-#ah ,mr4 ,douce is of opinion that the 8,jobst ,denecker1 ,formschneyder10 who appears as the printer1 was the same person as ,jobst or ,jost de ,negker1 the wood engraver whose name is at the back of one of the cuts of the ,triumphal ,procession of ,maximilian4--,the next copy of the work is that intitled 8,simolachri1 ,historie1 e ,figure de la ,morte10 ,venice1 #aede1 the piracy complained of by ,frellon in his ,italian edition of #aedi4 ,it contains forty-one cuts1 as in the first ,lyons edition of #aech4 ,there is no variation in the figures2 but the expression of the faces is frequently lost1 and the general execution of the whole is greatly inferior to that of the originals4 ,another edition1 in ,latin1 was published in #aedf2 and ,mr4 ,douce says that there are impressions of the cuts on single sheets1 at the bottom of one of which is the date #aefh4--;,in #aeee1 an edition with the title 8,imagines ,mortis10 with fifty-three cuts1 similar to those in the ,lyons edition of #aedg1 was published at ,cologne by the heirs of ,arnold ,birkman1 ,cologne1 #aeee2 and there are four other editions of the same work1 respectively dated #aeeg1 #aeff1 #aefg1 and #aegb4 ,alterations are made in some of those cuts2 in five of them the mark ,,sa is introduced2 and in the cut of the ,duchess the mark ,symbol1 seen on the bed-frame in the original1 is omitted4 ,all the alterations are for the worse2 some of the figures seem like caricatures of the originals2 and the cuts generally are1 in point of execution1 very inferior to those in the ,lyons editions4 ,the name of the artist to whom the mark ,,sa belongs is unknown4 ,in the preface to the ,emblems of ,mortality1 page xx1 the writer says it is 8that of ,,silvius ,,antonianus1 an artist of considerable merit40 ,this1 however1 is merely one of the blunders of ,papillon1 who1 according to ,mr4 ,douce1 has converted the owner of this mark into a cardinal4 ,papillon1 it would seem1 had observed it on the cuts of an edition of ,faerno's ,fables--printed at ,antwerp1 #aefg1 and dedicated to ,cardinal ,borromeo by ,silvio ,antoniano1 professor of ,belles ,lettres at ,rome1 afterwards a cardinal himself--and without hesitation he concluded that the editor was the engraver4,,vi-#ai ,the last of the editions published in the sixteenth century with wood-cuts copied from the ,lyons work1 appeared at ,wittemberg in #aeij4 ,footnote ,,vi-#ah3 ,dance of ,death1 p4 #aah4 ,edit4 #ahcc4 ,footnote ,,vi-#ai3 ,mr4 ,douce gives another amusing instance of ,papillon's sagacity in assigning marks and names to their proper owners4 8,he 7,papillon7 had seen an edition of the ,emblems of ,sambucus with cuts1 bearing the mark ,,sa1 in which there is a fine portrait of the author with his favourite dog1 and under the latter the word ,,bombo1 which ,papillon gravely states to be the name of the engraver2 and finding the same word on another of the emblems1 which has also the dog1 he concludes that all the cuts which have not the ,,sa were engraved by the same ,,bombo40--,dance of ,death1 p4 #aad1 #ahcc4 ,those blunders of ,papillon are to be found in his ,trait ,historique et ,pratique de la ,gravure en ,bois1 tom4 i4 pp4 #bch et #ebe4 ,various editions of the ,dance of ,death1 with copper-plate engravings generally copied from the work published at ,lyons1 are enumerated by ,mr4 ,douce1 but only one of them seems to require notice here4 ,between #afdg and #afea ,hollar etched thirty subjects from the ,dance of ,death1 introducing occasionally a few alterations4 ,from a careful examination of those etchings1 ,i am inclined to think that most of them were copied not from the cuts in any of the ,lyons editions1 but from those in the edition published by the heirs of ,birkman at ,cologne4 ,the original copper-plates of ,hollar's thirty etchings having come into the possession of ,mr4 ,james ,edwards1 formerly a bookseller in ,pall-,mall1 he published an edition in duodecimo1 without date1 but about #agid1,,vi-#bj with preliminary observations on the ,dance of ,death1 written by the late ,mr4 ,f4 ,douce4 ,those preliminary observations are the germ of ,mr4 ,douce's beautiful and more complete volume1 published by ,w4 ,pickering in #ahcc 7and republished with additions by ,mr4 ,bohn in #aheh74 ,as ,petrarch's amatory sonnets and poems have been called 8a labour of ,love10 with equal propriety may ,mr4 ,douce's last work be intitled 8a labour of ,death40 ,scarcely a cut or an engraving that contains even a death's head and cross-bones appears to have escaped his notice4 ,incorporated is a ,catalogue raisonn which contains an enumeration of all the tomb-stones in ,england and ,wales that are ornamented with those standard 8,emblems of ,mortality10--skull1 thigh-bones in saltire1 and hour-glass4 ,in his last 8,opus ,magnum ,mortis10 the notices of the several ,dances of ,death in various parts of ,europe are very much enlarged1 but he has not been able to adduce any further arguments or evidences beyond what appeared in his first essay1 to show that the cuts in the original edition of the ,dance of ,death1 published at ,lyons1 were not designed by ,holbein4 ,throughout the work there are undeniable proofs of the diligence of the collector2 but no evidences of a mind that could make them available to a useful end4 ,he is at once sceptical and credulous2 he denies that any poet of the name of ,macaber ever lived2 and yet he believes1 on the sole authority of one ,t4 ,nieuhoff ,picard1 whose existence is as doubtful as ,macaber's1 that ,holbein painted a ,dance of ,death as large as life1 in fresco1 in the old palace at ,whitehall4 ,footnote ,,vi-#bj3 ,mr4 ,douce himself says1 8about #agid40 ,a copy in the ,british ,museum1 formerly belonging to the late ,reverend ,c4 ,m4 ,cracherode1 has1 however1 that gentleman's usual mark1 and the date #agic4 ,having now given a list of all the authentic editions of the ,dance of ,death and of the principal copies of it1 ,i shall next1 before saying anything about the supposed designer or engraver1 lay before the reader a few specimens of the original cuts4 ,mr4 ,douce observes1 of the forty-nine cuts given in his ,dance of ,death1 #ahcc1 that 8they may be very justly regarded as scarcely distinguishable from their fine originals40 ,now1 without any intention of depreciating these clever copies1 ,i must pronounce them inferior to the originals1 especially in the heads and hands4 ,in this respect the wood-cuts of the first ,lyons edition of the ,dance of ,death are unrivalled by any other productions of the art of wood engraving1 either in past or present times4 ,in the present day1 when mere delicacy of cutting in the modern ,french taste is often mistaken for good engraving1 there are doubtless many admirers of the art who fancy that there would be no difficulty in finding a wood engraver who might be fully competent to accurately copy the originals in the first edition of the ,dance of ,death4 ,the experiment1 however1 would probably convince the undertaker of such a task1 whoever he might be1 that he had in this instance over-rated his abilities4 ,let the heads in the ,lyons cuts1 and those of any copies of them1 old or recent1 be examined with a magnifying glass1 and the excellence of the former will appear still more decidedly than when viewed with the naked eye4 ,the following cut is a copy of the same size as the original1 which is the second of the ,dance of ,death1 of the edition of #aech4 ,the subject is ,adam and ,eve eating of the forbidden fruit2 and in the series of early impressions1 formerly ,mr4 ,ottley's1 but now in the ,print ,room of the ,british ,museum1 it is intitled 8,adam ,eva im ,paradyss0--,adam and ,eve in ,paradise4 ,the serpent1 as in many other old engravings1 as well as in paintings1 is represented with a human face4 ,in order to convey an idea of the original page1 this cut is accompanied with its explanatory text and verses printed in similar type4 ,illustration3 ,quia auditi vocem vxoris tu1 comediti de ligno ex quo preceperam tibi ne comederes c4 ,,genesis ,,iii ,figure ,,adam fut par ,,eve deceu ,et contre ,,diev mangea la pomm ,dont tous deux out la ,mort receu1 ,et depuis fut mortel tout homme4 ,c ,in the two first cuts1 which represent the ,creation of ,eve1 and ,adam taking the forbidden fruit1 the figure of ,death is not seen4 ,in the third1 ,adam and ,eve driven out of ,paradise1 ,death1 playing on a kind of lyre1 is seen preceding them2 and in the fourth1 ,adam cultivating the earth1 ,death is perceived assisting him in his labour4 ,in the fifth1 intitled ,gebeyn aller menschen--,skeletons of all men--in the early impressions of the cuts1 formerly belonging to ,mr4 ,ottley1 but now in the ,british ,museum1 all the figures are skeletons2 one of them is seen beating a pair of kettle drums1 while others are sounding trumpets1 as if rejoicing in the power which had been given to ,death in consequence of the fall of man4 ,the texts above this cut are1 8,v v v habitantibus in terra4 ,,apocalypsis ,,viii20 and 8,cuncta in quibus spiraculum vit est1 mortua sunt4 ,,genesis ,,vii40 ,in the sixth cut there are two figures of ,death1--one grinning at the pope as he bestows the crown on a kneeling emperor1 and the other1 wearing a cardinal's hat1 as a witness of the ceremony4 ,in the thirty-sixth cut1 the ,duchess1 there are two figures of ,death introduced1 and there are also two in the thirty-seventh1 the ,pedlar2 but in all the others of this edition1 from the seventh to the thirty-ninth1 inclusive1 there is only a single figure of ,death1 and in every instance his action and expression are highly comic1 most distinctly evincing that man's destruction is his sport4 ,in the fortieth cut there is no figure of ,death2 the ,deity seated on a rainbow1 with his feet resting on the globe1 is seen pronouncing final judgment on the human race4 ,the forty-first1 and last cut of the original edition1 represents ,death's coat-of-arms----,die wapen des ,thots4 ,on an escutcheon1 which is rent in several places1 is a death's-head1 with something like a large worm proceeding from the mouth2 above the escutcheon1 a barred helmet1 seen in front like that of a sovereign prince1 is probably intended to represent the power of ,death2 the crest is a pair of fleshless arms holding something like a large stone immediately above an hour-glass2 on the dexter side of the escutcheon stands a gentleman1 who seems to be calling the attention of the spectator to this memento of ,death1 and on the opposite side is a lady2 in the distance are ,alpine mountains1 the top of the highest partly shaded by a cloud4 ,the appropriate text is1 8,memorare novissima1 et in ternum non peccabis4 ,,eccle4 ,,vii20 and the following are the verses underneath3 8,si tu veulx vivre sans pech ,voy ceste imaige a tous propos1 ,et point ne seras empesch ,quand tu t'en iras en repos40 ,illustration ,the total number of cuts of the first edition in which ,death is seen attending on men and women of all ranks and conditions1 mocking them1 seizing them1 slaying them1 or merrily leading them to their end1 is thirty-seven4 ,illustration3 ,spiritus meus attenuabitur1 dies mihi bre- viabuntur1 olum mihi uperet epul- chrum4 ,,iob ,,xvii ,figure ,mes eperitz ont attendriz1 ,et ma uie 'en ua tout beau4 ,las mes longz iours ont amoindriz ,plus ne me rete qu'un tombeau4 ,the above cut is a copy of the thirty-third1 the ,old ,man--,der ,alt man--whom ,death leads in confiding imbecility to the grave1 while he pretends to support him and to amuse him with the music of a dulcimer4 ,the text and verses are given as they stand in the original4 ,the following cut is a copy of the thirty-sixth1 the ,duchess--,die ,hertzoginn4 ,in this cut1 as has been previously observed1 there are two figures of ,death2 one rouses her from the bed--where she appears to have been indulging in an afternoon nap--by pulling off the coverlet1 while the other treats her to a tune on the violin4 ,on the frame of the bed1 or couch1 to the left1 near the bottom of the cut1 is seen the mark ,,hl1 which has not a little increased the difficulty of arriving at any clear and unquestionable conclusion with respect to the designer or engraver of those cuts4 ,the text and the verses are given literally1 as in the two preceding specimens4 ,illustration3 ,de lectulo uper quem acendi- ti non decendes1 ed morte morieris4 ,,iii ,,reg4 ,i ,figure ,du lict us lequel as mont ,ne decendras a ton plaiir4 ,car ,mort t'aura tantot dompt1 ,et en brief te uiendra aiir4 ,the following cut1 the ,child--,das ,iung ,kint--is a copy of the thirty-ninth1 and the last but two in the original edition4 ,death having been represented in the preceding cuts as beguiling men and women in court and council-chamber1 in bed-room and hall1 in street and field1 by sea and by land1 is here represented as visiting the dilapidated cottage of the poor1 and1 while the mother is engaged in cooking1 seizing her youngest child4 ,illustration3 ,homo natus de muliere1 brevi vivens tempore repletur multis mieriis1 qui quai flos egre- ditur1 conteritur1 fugit velut umbra4 ,,iob ,,xiiii ,figure ,tout homme de la femme yant ,remply de miere1 d'encombre1 ,aini que fleur tot finiant1 ,sort puis fuyt comme faict l'umbre4 ,the cut of the ,waggon overturned1 from which the following is copied1 first appeared with ten others in the edition of #aedg4 ,from an inspection of this cut1 which most probably is that mentioned as being left unfinished1 in the prefatory address to ,madame ,jehanne de ,touszele in the first edition1 #aech1 it will be perceived that the description which is there given of it is not correct1 and hence arises a doubt if the writer had actually seen it4 ,he describes the driver as knocked down1 and lying bruised under his broken waggon1 and he says that the figure of ,death is perceived roguishly sucking the wine out of a broken cask by means of a reed4,,vi-#ba ,in the cut itself1 however1 the waggoner is seen standing1 wringing his hands as if in despair on account of the accident1 and a figure of ,death1--for there are two in this cut1--instead of sucking the wine1 appears to be engaged in undoing the rope or chain by which the cask is secured to the waggon4 ,a second figure of ,death is perceived carrying off one of the waggon-wheels4 ,in this cut the subject is not so well treated as in most of those in the edition of #aech2 and it is also not so well engraved4--,the text and verses annexed are from the edition of #aefb4 ,footnote ,,vi-#ba3 ,mr4 ,douce1 when correcting the mistake of the writer of the address1 commits an error himself4 ,he says that 8,death is in the act of untwisting the fastening to one of the hoops40 ,now1 it is very evident that he is undoing the rope or chain that steadies the cask and confines it to the waggon4 ,he has hold of the stake or piece of wood1 which serves as a twitch to tighten the rope or chain1 in the manner in which large timber is secured to the waggon in the present day4 ,illustration3 ,il cheut en son chariot4 ,i4 ,,rois ,,ix4 ,figure ,au passage de ,,mort perverse ,raison1 ,chartier tout esperdu1 ,du corps le char1 chevaux verse1 ,le vin 7sang de vie7 esperdu4 ,of the eleven additional cuts inserted in the edition of #aedg1 there are four of children1 which1 as has already been observed in page #ccd1 have not the slightest connexion with the ,dance of ,death4 ,the following is a copy of one of them4 ,the editor seems to have found no difficulty in providing the subject with a text2 and it serves as a peg to hang a quatrain on as well as the others which contain personifications of ,death4 ,illustration3 ,il sera perc de sagettes4 ,,exod4 ,,xix4 ,figure ,l'eage du sens1 du sang l'ardeur ,est legier dard1 foible escu ,contre ,,mort1 qui un tel dardeur ,de son propre dard rend vaincu4 ,in the edition of #aefb five more cuts are inserted2 but two of them only--the ,bridegroom and the ,bride--have relation to the ,dance of ,death2 the other three are of a similar character to the four cuts of children first inserted in the edition of #aedg4 ,all the seven cuts of children have been evidently designed by the same person4 ,they are well engraved1 but not in so masterly a style as the forty-one cuts of the original edition4 ,the following is a copy of one of the three which were inserted in the edition of #aefb4 ,illustration3 ,il partira les despoilles avec les puissans4 ,,isaie ,,liii4 ,figure ,pour les victoires triumphes ,sur les plus forts des humains curs1 ,les despoilles dresse en trophes ,la ,,mort vaincresse des vainqueurs4 ,having now given what1 perhaps1 may be considered a sufficiently ample account of the ,lyons ,dance of ,death1 it next appears necessary to make some enquiries respecting the designer of the cuts4 ,until the publication of ,mr4 ,douce's observations1 prefixed to the edition of ,hollar's etchings from those cuts1 by ,edwards1 about #agid1 scarcely any writer who mentions them seems to entertain a doubt of their having been designed by ,holbein2 and ,papillon1 in his usual manner1 claims him as a wood engraver1 and unhesitatingly declares that not only the cuts of the ,lyons ,dance of ,death1 but all the other cuts which are generally supposed to have been of his designing1 were engraved by himself4 ,mr4 ,douce's arguments are almost entirely negative1--for he produces no satisfactory evidence to show that those cuts were certainly designed by some other artist1--and they are chiefly founded on the passage in the first ,lyons edition1 where the writer speaks of the death of the person 8qui nous en a icy imagin si elegantes figures40 ,the sum of ,mr4 ,douce's objections to ,holbein being the designer of the cuts in question is as follows4 8,the singularity of this curious and interesting dedication is deserving of the utmost attention4 ,it seems very strongly1 if not decisively1 to point out the edition to which it is prefixed1 as the first2 and what is of still more importance1 to deprive ,holbein of any claim to the invention of the work4 ,it most certainly uses such terms of art as can scarcely be mistaken as conveying any other sense than that of originality of design4 ,there cannot be words of plainer import than those which describe the painter1 as he is expressly called1 delineating the subjects and leaving several of them unfinished3 and whoever the artist might have been1 it clearly appears that he was not living in #aech4 ,now1 it is well known that ,holbein's death did not take place before the year #aeed1 during the plague which ravaged ,london at that time4 ,if then the expressions used in this dedication signify anything1 it may surely be asked what becomes of any claim on the part of ,holbein to the designs of the work in question1 or does it not at least remain in a situation of doubt and difficulty80,,vi-#bb ,with respect to the true import of the passage referred to1 my opinion is almost directly the reverse of that expressed by ,mr4 ,douce4 ,footnote ,,vi-#bb3 ,dance of ,death1 p4 #hh4 ,edit4 #ahcc 7,bohn's edit4 #aheh1 p4 #gg47 ,what the writer of the address to ,madame ,jehanne de ,touszele1 in the ,lyons edition of #aech1 says respecting the unfinished cuts1 taken all together1 seems to relate more properly to the engraver than the designer2 more especially when we find that a cut--that of the ,waggoner1--expressly noticed by him as being then unfinished1 was given with others of a similar character in a subsequent edition4 ,from the incorrect manner in which the cut of the ,waggoner is described1 ,i am very much inclined to think that the writer had neither seen the original nor the other subjects already traced--the 8plusieurs aultres figures j par luy trasses0--of whose 8bold drawing1 perspectives1 and shadows10 he speaks in such terms of admiration4 ,if the writer knew little of the process of wood engraving1 he would be very likely to commit the mistake of supposing that the engraver was also the designer of the cuts4 ,though ,i consider it by no means unlikely that the engraver might have been dead before the publication of the first edition1 yet ,i am very much inclined to believe that the passage in which the cuts are mentioned is purposely involved in obscurity3 the writer1 while he speaks of the deceased artist in terms of the highest commendation1 at the same time carefully conceals his name4 ,if the account in the preface be admitted as correct1 it would appear that the cuts were both designed and engraved by the same person1 and that those already drawn on the block,,vi-#bc remained unfinished in consequence of his decease2 for if he were not the engraver1 what prevented the execution of the other subjects already traced1 and of which the bold drawing1 perspective1 and shadows1 all so gracefully delineated1 are distinctly mentioned8 ,the engraver1 whoever he might be1 was certainly not only the best of his age1 but continues unsurpassed to the present day1 and ,i am satisfied that such precision of line as is seen in the heads could only be acquired by great practice4 ,the designs are so excellent in drawing and composition1 and so admirably are the different characters represented1--with such spirit1 humour1 and appropriate expression1--that to have produced them would confer additional honour on even the greatest painters of that or any other period4 ,are we then to suppose that those excellencies of design and of engraving were combined in an obscure individual whose name is not to be found in the roll of fame1 who lived comparatively unknown1 and whose death is only incidentally noticed in an ambiguous preface written by a nameless pedant1 and professedly addressed to an abbess whose very existence is questionable8,,vi-#bd ,such a supposition ,i conceive to be in the highest degree improbable2 and1 on the contrary1 ,i am perfectly satisfied that the cuts in question were not designed and engraved by the same person4 ,furthermore1 admitting the address to ,madame ,jehanne de ,touszele to be written in good faith1 ,i am firmly of opinion that the person whose death is there mentioned1 was the engraver1 and not the designer of the cuts of the first edition4 ,footnote ,,vi-#bc3 ,the words 8j par luy trasses0 will apply more properly to drawings already made on the block1 but unengraved1 than to unfinished drawings on paper4 ,it is indeed almost certain that the writer meant the former1 for their 8audacieux traicts1 perspectives1 et umbrages0 are mentioned2 they were moreover 8gracieusement delinies40 ,these expressions will apply correctly to a finished1 though unengraved design on the block1 but scarcely to an unfinished drawing on paper4 ,footnote ,,vi-#bd3 ,i am very much inclined to think that ,madame ,jehanne de ,touszele is a fictitious character4 ,i have had no opportunities of learning if such a person were really abbess of the ,convent of ,st4 ,peter at ,lyons in #aech1 and must therefore leave this point to be decided by some other enquirer4 ,the mark ,,hl in the cut of the ,duchess1 is certainly not ,holbein's2 and ,mr4 ,douce says1 8that it was intended to express the name of the designer1 cannot be supported by evidence of any kind40 ,that it is not the mark of the designer1 ,i agree with ,mr4 ,douce1 but my conclusion is drawn from premises directly the reverse of his2 for had ,i not found evidence elsewhere to convince me that this mark can only be that of the engraver1 ,i should most certainly have concluded that it was intended for the mark of the designer4 ,in direct opposition to what ,mr4 ,douce here says1 up to the time of the publication of the ,lyons ,dance of ,death1 the mark on wood-cuts is most frequently that of the designer1 and whenever that of the engraver appears1 it is as an exception to the general custom4 ,it is1 in fact1 upon the evidence of the mark alone that the greater part of the wood-cut designs of ,durer1 ,cranach1 ,burgmair1 ,behaim1 ,baldung1 ,grn1 and other old masters1 are respectively ascribed to them4 ,the cuts of the ,triumphal ,procession of ,maximilian with ,hans ,burgmair's mark in front1 and the names of the engravers written at the back of the blocks1 may serve as an illustration of the general practice1 which is directly the reverse of ,mr4 ,douce's opinion4 ,if the weight of probability be not on the opposite side1 the mark in question ought certainly1 according to the usual practice of the period1 to be considered as that of the designer4 ,in a subsequent page of the same chapter1 ,mr4 ,douce most inconsistently says1 8,there is an unfortunate ambiguity connected with the marks that are found on ancient engravings on wood1 and it has been a very great error on the part of all the writers who treat on such engravings1 in referring the marks that accompany them to the block-cutters1 or as the ,germans properly denominate them the formschneiders1 whilst1 perhaps1 the greatest part of them really belong to the designers40 ,he commits in the early part of the chapter the very error which he ascribes to others4 ,according to his own principles1 as expressed in the last extract1 he was bound to allow the mark ,,hl to be that of the designer until he could show on probable grounds that it was not4 ,but though ,mr4 ,douce might deny that ,holbein were the designer of those cuts1 it seems that he durst not venture to follow up the line of his argument1 and declare that ,hans ,lutzelburger was the designer1 which he certainly might have done with at least as much reason as has led him to decide that ,holbein was not4 ,but he prudently abstained from venturing on such an affirmation1 the improbability of which1 notwithstanding the mark1 might have led his readers to inquire1 how it happened that so talented an artist should have remained so long undiscovered1 and that even his contemporaries should not have known him as the designer of those subjects4 ,though ,i am satisfied that the mark ,,hl is that of the engraver of the cuts in the first edition of the ,lyons ,dance of ,death1 ,i by no means pretend to account for its appearing alone--thus forming an exception to the general rule--without the mark of the designer1 and without any mention of his name either in the title or preface to the book4 ,we have no knowledge of the connexion in the way of business between the working wood engravers and the designers of that period2 but there seems reason to believe that the former sometimes got drawings made at their own expense and risk1 and1 when engraved1 either published them on their own account1 or disposed of them to booksellers and printers4 ,it is also to be observed that about the time of the publication of the first ,lyons edition of the ,dance of ,death1 or a few years before1 wood engravers began to occasionally introduce their name or mark into the cut1 in addition to that of the designer4 ,a cut1 in a ,german translation of ,cicero de ,officiis1 ,frankfort1 #aech1 contains two marks2 one of them being that of ,hans ,sebald ,behaim1 and the other1 the letters ,h4 ,w41 which ,i take to be that of the engraver4 ,at a later period this practice became more frequent1 and a considerable number of wood-cuts executed between #aedj and #aehj contain two marks2 one of the designer1 and the other of the engraver3 in wood-cuts designed by ,virgil ,solis in particular1 double marks are of frequent occurrence4 ,as it seems evident that the publishers of the ,lyons ,dance of ,death were desirous of concealing the name of the designer1 and as it appears likely that they had purchased the cuts ready engraved from a ,swiss or a ,german1--for the designs are certainly not ,french1--it surely cannot be surprising that he should wish to affix his mark to those most admirable specimens of art4 ,moreover1 if those cuts were not executed under the personal superintendence of the designer1 but when he was chiefly resident in a distant country1 the engraver would thus have the uncontrolled liberty of inserting his own mark2 and more especially1 if those cuts were a private speculation of his own1 and not executed for a publisher who had employed an artist to make the designs4 ,another reason1 perhaps equally us good as any of the foregoing1 might be suggested2 as those cuts are decidedly the best executed of any of that period1 the designer--even if he had opportunities of seeing the proofs--might have permitted the mark of the engraver to appear on one of them1 in approbation of his talent4 ,this mark1 ,,hl1 was first assigned to a wood engraver named ,hans ,lutzelburger1 by ,m4 ,christian von ,mechel1 a celebrated engraver of ,basle1 who in #aghj published forty-five copper-plate engravings of a ,dance of ,death from drawings said to be by ,holbein1 and which almost in every respect agree with the corresponding cuts in the ,lyons work1 though of greater size4,,vi-#be ,m4 ,mechel's conjecture respecting the engraver of those cuts appears to have been first published in the sixteenth volume of ,von ,murr's ,journal2 but though ,i am inclined to think that he is correct1 it has not been satisfactorily shown that ,hans ,lutzelburger ever used the mark ,,hl4 ,he1 however1 lived at that period1 and it is almost certain that he executed an alphabet of small initial letters representing a ,dance of ,death1 which appear to have been first used at ,basle by the printers ,bebelius and ,cratander about #aecj4 ,we give 7on the following page7 the entire series4 ,he is also supposed to have engraved two other alphabets of ornamental initial letters1 one representing a dance of peasants1 8intermixed10 says ,mr4 ,douce1 8with other subjects1 some of which are not of the most delicate nature20 the other representing groups of children in various playful attitudes4 ,all those three alphabets are generally described by ,german and ,swiss writers on art as having been designed by ,holbein2 and few impartial persons ,i conceive can have much doubt on the subject1 if almost perfect identity between most of the figures and those in his known productions be allowed to have any weight4 ,footnote ,,vi-#be3 ,mechel's work is in folio1 with four subjects on each full page1 and is entitled 8,oeuvre de ,jean ,holbein1 ou ,receuil de ,gravures d'aprs ses plus beaux ouvrages1 c4 ,premire ,partie4 ,la ,triomphe de ,mort40 ,it is dedicated to ,george ,,iii1 and the presentation copy is in the ,king's ,library at the ,british ,museum4 ,the first part contains1 besides forty-five subjects of the ,dance of ,death1 the design for the sheath of a dagger from a drawing ascribed to ,holbein1 which has been re-engraved in the work of ,mr4 ,douce4 ,it is extremely doubtful if the drawings of the ,dance1 from which ,mechel's engravings are copied1 be really by ,holbein4 ,they were purchased by ,m4 ,fleischmann of ,strasburg1 at ,crozat's sale at ,paris in #agda4 ,it was stated in the catalogue that they had formed part of the ,arundelian collection1 and that they had afterwards come into the possession of ,jan ,bockhorst1 commonly called ,lang ,jan1 a contemporary of ,vandyke4 ,this piece of information1 however1 can only be received as an auctioneer's puff4 ,m4 ,mechel himself1 according to ,mr4 ,douce1 had not been able to trace those drawings previously to their falling into the hands of ,monsieur ,crozat4 ,they were purchased of ,m4 ,fleischmann by ,prince ,gallitzin1 a ,russian nobleman1 by whom they were lent to ,m4 ,mechel4 ,they are now in the ,imperial ,library at ,petersburg4 ,according to ,mr4 ,coxe1 who saw them when in ,m4 ,mechel's possession1 they were drawn with a pen1 and slightly shaded with ,indian ink4 ,hegner1 in his ,life of ,holbein1 speaks slightingly of ,mechel's engravings1 which he says were executed by one of his workmen from copies of the pretended original drawings made by an artist named ,rudolph ,schellenburg of ,winterthur4 ,those copper-plates certainly appear feeble when compared with the wood-cut in the ,lyons work1 and ,hegner's criticism on the figure of ,eve seems just1 though ,mr4 ,douce does not approve of it4 ,hegner says1 8,let any one compare the figure of ,eve under the tree in ,mechel's second plate with the second wood-cut2 in the former she is sitting in as elegant an attitude as if she belonged to a ,french family by ,boucher40--,boucher1 a ,french painter1 who died in #aggj1 was famous in his time for the pretty women introduced into his landscapes4 ,illustration ,there is a set of proofs of the alphabet of the ,dance of ,death1 printed on one sheet1 preserved in the ,public ,library at ,basle1 and underneath is printed in moveable letters the name ,h,anns ,ltzelburger formschnider1 genannt ,franck1--that is1 8,hanns ,lutzelburger1 wood engraver1 named ,franck40 ,the first ,h is an ornamented ,roman capital2 the other letters of the name are in the ,german character4 ,the size of the cuts in this alphabet of the ,dance of ,death is one inch by seven-eighths4 ,the reason for supposing that ,hans ,lutzelburger was the engraver of the cuts in the first edition of the ,lyons ,dance of ,death are3 #a4 ,the similarity of style between the latter and those of the ,basle alphabet of the same subject2 and #b4 ,the correspondence of the mark in the cut of the ,duchess with the initial letters of the name ,hans ,lutzelburger1 and the fact of his being a wood engraver of that period4 ,mr4 ,douce1 in the seventh chapter of his work1 professes to examine the 8claim of ,hans ,lutzelburger as to the design or execution of the ,lyons engravings of the ,dance of ,death10 but his investigations seem very unsatisfactory2 and his chapter is one of those 8in which10 as ,fielding says1 8nothing is concluded40 ,he gives no opinion as to whether ,lutzelburger was the designer of the ,lyons cuts or not1 though this is one of the professed topics of his investigation2 and even his opinion1 for the time being1 as to the engraver1 only appears in the heading of the following chapter1 where it is thus announced3 8,list of several editions of the ,lyons work on the ,dance of ,death1 with the mark of ,lutzenburger40,,vi-#bf ,his mind1 however1 does not appear to have been finally made up on this point2 for in a subsequent page1 #bae1 speaking of the mark ,,hl in the cut of the ,duchess1 which he had previously mentioned as that of ,hans ,lutzelburger1 he says1 8but to whomsoever this mark may turn out to belong1 certain it is that ,holbein never made use of it40 ,his only unalterable decision appears to be that ,holbein did not design the cuts of the ,lyons ,dance of ,death1 and in support of it he puts forth sundry arguments which are at once absurd and inconsistent2 rejects unquestionable evidence which makes for the contrary opinion2 and admits the most improbable that seems to favour his own4 ,footnote ,,vi-#bf3 ,mr4 ,douce in every instance spells the name thus4 ,in the proofs of the alphabet of the ,dance of ,death it is ,ltzelburger1 and below the cut with the date #aebb1 ,leuczellburger4 ,mr4 ,douce1 in his seventh chapter1 also gives a list of cuts1 which he says were executed by ,hans ,lutzelburger2 but out of the seven single cuts and three alphabets which he enumerates1 ,i am inclined to think that ,lutzelburger's name is only to be found attached to one single cut and to one alphabet1--the latter being that of the initial letters representing a ,dance of ,death4 ,the single cut to which ,i allude--and which1 ,i believe1 is the only one of the kind that has his name underneath it1--represents a combat in a wood between some naked men and a body of peasants4 ,within the cut1 to the left1 is the mark1 probably of the designer1 on a reversed tablet1 ,symbol thus2 and underneath is the following inscription1 from a separate block3 ,,hanns 4 ,,leuczellburger 4 ,,furmschnider #a4e4b4b4 ,an impression of this cut is preserved in the ,public ,library at ,basle2 and an alphabet of ,roman capitals1 engraved on wood1 is printed on the same folio1 below ,lutzelburger's name4 ,in not one of the other single cuts does this engraver's name occur1 nor in fact any mark that can be fairly ascribed to him4 ,the seventh cut1 described by ,mr4 ,douce1--a copy of ,albert ,durer's ,decollation of ,john the ,baptist1--is ascribed to ,lutzelburger on the authority of ,zani4 ,according to this writer1--for ,i have not seen the cut myself any more than ,mr4 ,douce1--it has 8the mark ,h4 ,l4 reversed10 which perhaps may prove to be ,l4 ,h4 8,in the index of names10 says ,mr4 ,douce1 8he 7,zani7 finds his name thus written1 ,,hans ,,lutzelburger ,,formschnider ,,genant 7chiamato7 ,,franck1 and calls him the true prince of engravers on wood40 ,in what index ,zani found the reversed mark thus expounded does not appear2 ,i1 however1 am decidedly of opinion that there is no wood-cut in existence with the mark ,h4 ,l4 which can be ascribed with anything like certainty to ,lutzelburger2 and his name is only to be found at length under the cut of the ,fight above mentioned1 and printed in moveable characters on the sheet containing the proofs of the alphabet of the ,dance of ,death4,,vi-#bg ,the title of 8true prince of engravers on wood10 given by ,zani to ,lutzelburger1 can only be admitted on the supposition of his being the engraver of the cuts in the first edition of the ,lyons ,dance of ,death2 but it yet remains to be proved that he ever used the mark ,,hl or the separate letters ,h4 ,l4 on any previous or subsequent cut4 ,though1 from his name appearing on the page containing the alphabet of the ,dance of ,death1 and from the correspondence of his initials with the mark in the cut of the ,duchess in the ,lyons ,dance of ,death1 ,i am inclined to think that he was the engraver of the cuts in the latter work1 yet ,i have thought it necessary to enter thus fully into the grounds of his pretensions to the execution of those1 and other wood engravings1 in order that the reader may judge for himself4 ,footnote ,,vi-#bg3 ,there are proofs of this alphabet in the ,royal ,collection at ,dresden1 as well as in the ,public ,library at ,basle4 ,hegner1 in his ,life of ,holbein1 treats the claims that have been advanced on behalf of ,lutzelburger too lightly4 ,he not only denies that he was the engraver of the cuts in the first edition of the ,lyons work1 but also that he executed the cuts of the alphabet of the ,dance of ,death1 although his name with the addition of 8wood engraver0-- formschnider--be printed on the sheet of proofs4 ,if we cannot admit the inscription in question as evidence of ,lutzelburger being the engraver of this alphabet1 we may with equal reason question if any wood engraver actually executed the cut or cuts under which his name only appears printed in type1 or which may be ascribed to him in the title of a book4 ,mr4 ,douce1 speaking of the three alphabets1--of peasants1 boys1 and a ,dance of ,death1--all of which he supposes to have been engraved by ,lutzelburger1 says that the proofs 8may have been deposited by him in his native city10 meaning ,basle4 ,hegner1 however1 says that there is no trace of him to be found either in registers of baptism or burger-lists of ,basle4 ,he further adds1 though ,i by no means concur with him in this opinion1 8,it is indeed likely that1 as a travelling dealer in works of art--who1 according to the custom of that period1 took up their temporary residence sometimes in one place1 sometimes in another1--he had obtained possession of those blocks1 of the alphabet of ,death's ,dance1 and the ,fight1 with his name1 and that he sold impressions from them in the way of trade40,,vi-#bh ,mr4 ,douce says that it may admit of a doubt whether the alphabets ascribed to ,lutzelburger were cut on metal or on wood4 ,it may admit of a doubt1 certainly1 with one who knows very little of the practice of wood engraving1 but none with a person who is accustomed to see cuts executed in a much more delicate style by wood engravers of very moderate abilities4 ,to engrave them on wood1 would be comparatively easy1 so far as relates to the mere delicacy of the lines2 but it would be a task of great difficulty to engrave them in relief in any metal which should be much harder than that of which types are composed4 ,to suppose that they might have been executed in type-metal1 on account of the delicacy of the lines1 would involve a contradiction2 for not only can finer lines be cut on box-wood than on type-metal1 but also with much greater facility4 ,footnote ,,vi-#bh3 ,hans ,holbein der ,jngere1 ,s4 #ccb4 ,it perhaps may not be unnecessary to give here two instances of the many vague and absurd conjectures which have been propounded respecting the designer or the engraver of the cuts in the ,lyons editions of the ,dance of ,death4 ,in a copy of this work of the edition #aede now in the ,british ,museum1 but formerly belonging to the ,reverend ,c4 ,m4 ,cracherode1 a portrait of a painter or engraver named ,hans ,ladenspelder is inserted opposite to the cut of the ,duchess1 as if in support of the conjecture that he might be the designer of those cuts1 merely from the circumstance of the initial letters of his name corresponding with the mark ,,hl4 ,the portrait is a small oval engraved on copper1 with an ornamental border1 round which is the following inscription3 8,imago ,joannis ,ladenspelder1 ,essendiensis1 ,anno tatis su xxviii4 #aedj40,,vi-#bi ,the mark ,l is perceived on this portrait1 and underneath is written the following ,,ms4 note1 referring to the mark in the cut of the ,duchess3 8,,hl the mark of the designer of these designs of ,death's ,dance1 not ,h4 ,holbein4 ,by several persons that have seen ,holbein's ,death ,dance at ,basil1 it is not like these1 nor in the same manner40 ,this note1 so far as relates to the implied conjecture about ,ladenspelder1 may be allowed to pass without remark for what it is worth2 but it seems necessary to remind the reader that the painting of the ,dance of ,death at ,basle1 here evidently alluded to1 was not the work of ,holbein1 and to observe that this note is not in the handwriting of ,mr4 ,cracherode1 but that it has apparently been written by a former owner of the volume4 ,footnote ,,vi-#bi3 ,hans ,ladenspelder was a native of ,essen1 a frontier town in the duchy of ,berg4 ,the following mark is to be found on his engravings ,symbol1 which ,bartsch thinks may be intended for the single letters ,i4 ,l4 ,v4 ,e4 ,s41--representing the words ,joannes ,ladenspelder ,von ,essen ,sculpsit4 ,in a copy of the first edition1 now lying before me1 a former owner has written on the fly-leaf the following verses from page #aeh of the ,nug--,lyons1 #aedj1--of ,nicholas ,borbonius1 a ,french poet3 8,videre qui vult ,parrhasium cum ,zeuxide1 ,accersat a ,britannia ,hansum ,ulbium1 et ,georgium ,reperdium ,lugduno ab urbe ,galli40 ,the meaning of these verses may be thus expressed in ,english3 ,whoever wishes to behold1 ,painters like to those of old1 ,to ,england straightway let him send1 ,and summon ,holbein to attend2 ,reperdius1,,vi-#cj too1 from ,lyons bring1 ,a city of the ,gallic ,king4 ,footnote ,,vi-#cj3 ,of this ,george ,reperdius1 or his works1 nothing1 ,i believe1 is known beyond the brief mention of his name in conjunction with that of ,holbein in the verses of ,bourbon4 ,to the extract from ,borbonius1--or ,bourbon1 as he is more frequently called1 without the ,latin termination1--the writer has added a note3 8,an ,reperdius harum ,iconum sculptor fuerit80 ,that is3 8,query1 if ,reperdius were the engraver of these cuts80--meaning the cuts contained in the ,lyons ,dance of ,death4 ,mr4 ,douce also cites the preceding verses from ,nicholas ,bourbon2 and upon so slight and unstable a foundation he1 more solito1 raises a ponderous superstructure4 ,he1 in fact1 says1 that 8it is extremely probable that he might have begun the work in question the designs for the ,dance of ,death1 and have died before he could complete it1 and that the ,lyons publishers might have afterwards employed ,holbein to finish what was left undone1 as well as to make designs for additional subjects which appeared in the subsequent editions4 ,thus would ,holbein be so connected with the work as to obtain in future such notice as would constitute him by general report the real inventor of it40 ,perhaps in the whole of the discussion on this subject a more tortuous piece of argument is not to be found4 ,it strikingly exemplifies ,mr4 ,douce's eagerness to avail himself of the most trifling circumstance which seemed to favour his own views2 and his manner of twisting and twining it is sufficient to excite a suspicion even in the mind of the most careless inquirer1 that the chain of argument which consists of a series of such links must be little better than a rope of sand4 ,mr4 ,douce must have had singular notions of probability1 when1 upon the mere mention of the name of ,reperdius1 by ,bourbon1 as a painter then residing at ,lyons1 he asserts that it is extremely probable that he1 ,reperdius1 might have begun the work3 it is evident that he does not employ the term in its usual and proper sense4 ,if for 8extremely probable0 the words 8barely possible0 be substituted1 the passage will be unobjectionable2 and will then fairly represent the value of the conjecture of ,reperdius having designed any of the cuts in question4 ,if it be extremely probable that the cuts of the first edition of the ,lyons ,dance of ,death were designed by ,reperdius1 from the mere occurrence of his name in ,bourbon1 the evidence in favour of their being designed by ,holbein ought with equal reason to be considered as plusquam-perfect2 for the voices of his contemporaries are expressly in his favour1 the cuts themselves bear a strong general resemblance to those which are known to be of his designing1 and some of the figures and details in the cuts of the ,dance of ,death correspond so nearly with others in the ,bible-cuts designed by ,holbein1 and also printed at ,lyons by the brothers ,trechsel1 and in the same year1 that there cannot be a doubt in the mind of any impartial inquirer who shall compare them1 that either both series must have been designed by the same person1 or that ,holbein had servilely copied the works of an unknown artist greater than himself4 ,upon one of the horns of this dilemma1 ,mr4 ,douce1 and all who assert that the cuts of the ,lyons ,dance of ,death were not designed by ,holbein1 must inevitably be fixed4 ,one of the earliest evidences in favour of ,holbein being the designer of the cuts in the ,lyons ,dance of ,death is ,nicholas ,bourbon1 the author of the epigram previously cited4 ,in an edition of his ,nug1 published at ,basle in #aedj1 are the following verses3,,vi-#ca ,footnote ,,vi-#ca3 ,neither these verses1 nor those previously cited1 occur in the first edition of the ,nug1 ,paris1 #aecc4 ,de morte picta ,hanso pictore nobili4 ,dum mortis ,hansus pictor imaginem exprimit1 ,tanta arte mortem retulit ut mors vivere ,videatur ipsa3 et ipse se immortalibus ,parem ,diis fecerit operis hujus gloria4 ,now1--after premising that the term picta was applied to designs engraved on wood1 as well as to paintings in oil or water-colours1,,vi-#cb--;it may be asked to what work of ,holbein's do these lines refer8 ,the painting in the church-court at ,basle was not executed by ,holbein2 neither was it ascribed to him by his contemporaries2 for the popular error which assigns it to him appears to have originated with certain travellers who visited ,basle upwards of a hundred years after ,holbein's decease4 ,it indeed may be answered that ,bourbon might allude to the alphabet of the ,dance of ,death which has been ascribed to ,holbein4 ,a mere supposition of this kind1 however1 would be untenable in this instance2 for there is no direct evidence to show that ,holbein was the designer of this alphabet1 and the principal reason for supposing it to have been designed by him rests upon the previous assumption of his being the designer of the cuts of the ,lyons ,dance of ,death4 ,deny him the honour of this work1 and assert that the last quoted verses of ,bourbon must relate to some other1 and the difficulty of showing by anything like credible evidence1 that he was the designer of any other series of cuts1 or even of a single cut1 or painting1 of the same subject1 becomes increased tenfold4 ,mr4 ,douce1 with the gross inconsistency that distinguishes the whole of his arguments on this subject1 ascribes the alphabet of the ,dance of ,peasants to ,holbein1 and yet cautiously avoids mentioning him as the designer of the alphabet of the ,dance of ,death1 though the reasons for this conclusion are precisely the same as those on which he rests the former assertion4 ,nay1 so confused and contradictory are his opinions on this point1 that in another part of his book he actually describes both alphabets as being the work of the same designer and the same engraver4 ,footnote ,,vi-#cb3 ,at that period a wood-cut1 as well as a painting1 was termed pictura4--,on the title-page of an edition of the ,new ,testament1 with wood-cuts1 ,zurich1 #aeed1 by ,froschover1 we find the following3 8,novi ,testamenti ,editio postrema per ,des4 ,erasmum ,roterodamum4 ,omnia picturis illustrata40 8,some of the writers on engraving10 says ,mr4 ,douce1 8have manifested their usual inaccuracy on the subject of ,holbein's ,dance of ,peasants4 4 4 4 4 4 4 ,there is1 however1 no doubt that his beautiful pencil was employed on this subject in various ways1 of which the following specimens are worthy of being recorded4 ,in a set of initial letters frequently used in books printed at ,basle and elsewhere10 c4 ,after thus having unhesitatingly ascribed the ,dance of ,peasants to ,holbein1 ,mr4 ,douce1 in a subsequent page1--when giving a list of cuts which he ascribes to ,hans ,lutzelburger1--writes as follows3 8#h4 ,an alphabet with a ,dance of ,death1 the subjects of which1 with a few exceptions1 are the same as those in the other ,dance2 the designs1 however1 occasionally vary10 c4 ,on concluding his description of this alphabet1 he thus notices the alphabet of the ,dance of ,peasants1 having apparently forgot that he had previously ascribed the latter to ,holbein4 8#i4 ,another alphabet by the same artists4 ,it is a ,dance of ,peasants1 intermixed with other subjects1 some of which are not of the most delicate nature40,,vi-#cc ,footnote ,,vi-#cc3 ,douce's ,dance of ,death1 pp4 #hj1 #ajj1 and #aja4 ,it is1 however1 uncertain if ,mr4 ,douce really did believe ,holbein to be the designer of the alphabet of the ,dance of ,death1 though from the preceding extracts it is plainly1 though indirectly asserted1 that he was4 ,in his wish to claim the engraving of the ,dance of ,peasants for ,lutzelburger1 ,mr4 ,douce does not seem to have been aware that from the words 8by the same artists10 coupled with his previous assertion1 of ,holbein being the designer of that alphabet1 it followed as a direct consequence that he was also the designer of the alphabet of the ,dance of ,death4 ,putting this charitable construction on ,mr4 ,douce's words1 it follows that his assertion of ,lutzelburger being the engraver of the ,dance of ,peasants is purely gratuitous4 ,if ,mr4 ,douce really believed that ,holbein was the designer of the alphabet of the ,dance of ,death1 he ought in fairness to have expressly declared his opinion2 although such declaration would have caused his arguments1 against ,holbein being the designer of the cuts in the ,lyons ,dance of ,death1 to appear more paradoxical and absurd than they are when unconnected with such an opinion2 for what person1 with the slightest pretensions to rationality1 could assert that ,holbein was the designer of the alphabet of the ,dance of ,death executed in #aecj1 the subjects1 with few exceptions1 the same as those in the ,dance of ,death published at ,lyons in #aech1 and yet in direct opposition to contemporary testimony1 and the internal evidence of the subjects themselves1 deny that he was the designer of the cuts in the latter work1 on the sole authority of the nameless writer of a preface which only appeared in the first edition of the book1 and which1 there seems reason to suspect1 was addressed to an imaginary personage8 ,was ,madame ,jehanne de ,touszele likely to feel herself highly complimented by having dedicated to her a work which contains undeniable evidences of the artist's having been no friend to popery8 ,in one cut a couple of fiends appear to be ridiculing his 8,holiness0 the pope2 and in another is a young gallant with a guitar1 entertaining a nun in her bed-chamber4 ,if a pious abbess of ,st4 ,peter's1 ,lyons1 in #aech1 should have considered that such cuts 8tended to edification10 she must have been an extremely liberal woman for her age4 ,it is exceedingly amusing1 in looking over the cuts of the ,lyons ,dance of ,death1 to contrast the drollery and satire of the designer with the endeavours of the textuary and versifier to give them a devout and spiritual turn4 ,as it is certain from the verses of ,bourbon1 in praise of ,holbein as the painter or designer of a subject1 or a series of subjects1 representing 8,death as if he were alive10--ut mors vivere videatur1--that this celebrated artist had designed a ,dance of ,death1 ,mr4 ,douce1 being unable to deny the evidence thus afforded1 paradoxically proceeds to fit those verses to his own theory2 and after quoting them1 at page #aci1 proceeds as follows3 8,it has already been demonstrated that these lines could not refer to the old painting of the ,macaber ,dance at the ,dominican convent1 whilst from the important dedication to the edition of the wood-cuts first published at ,lyons in #aech1 it is next to impossible that that work could then have been in ,borbonius's contemplation4 ,it appears from several places in his ,nug that he was in ,england in #aece1 at which time ,holbein drew his portrait in such a manner as to excite his gratitude and admiration in another copy of verses 4 4 4 4 4 4 ,he returned to ,lyons in #aecf1 and it is known that he was there in #aech1 when he probably wrote the complimentary lines in ,holbein's ,biblical designs a short time before their publication1 either out of friendship to the painter1 or at the instance of the ,lyons publisher1 with whom he was certainly connected4--,now1 if ,borbonius1 during his residence at ,lyons1 had been assured that the designs in the wood-cuts of the ,dance of ,death were the production of ,holbein1 would not his before-mentioned lines on that subject have been likewise introduced into the ,lyons edition of it1 or at least into some subsequent editions1 in none of which is any mention whatever made of ,holbein1 although the work was continued even after the death of that artist8 ,the application1 therefore1 of ,borbonius's lines must be sought for elsewhere2 but it is greatly to be regretted that he has not adverted to the place where the painting1,,vi-#cd as he seems to call it1 was made40 ,footnote ,,vi-#cd3 ,mr4 ,douce here seems to lay some weight on the word picta1 which1 as has been previously observed1 was applied equally to wood engravings and paintings4 ,mr4 ,douce next proceeds in his search after the 8painting10 and he is not long in finding what he wishes for4 ,according to his statement1 8very soon after the calamitous fire at ,whitehall1 #afig1 which consumed nearly the whole of that palace1 a person1 calling himself ,t4 ,nieuhoff ,piccard1 probably belonging to the household of ,william ,,iii1 and a man who appears to have been an amateur artist10 made etchings after nineteen of the cuts in the ,lyons ,dance of ,death4 ,impressions of those etchings1 accompanied with manuscript dedications1 appear to have been presented by this ,t4 ,nieuhoff ,piccard to his friends or patrons1 and among others to a ,mynheer ,heymans1 and to 8the high1 noble1 and well-born ,lord ,william ,denting1 ,lord of ,rhoon1 ,pendraght10 c4 ,the address to ,mynheer ,heymans contains the following important piece of information respecting a work of ,holbein's1 which appears most singularly to have escaped the notice of every other writer1 whether ,english or foreign4 8,sir1--,the costly palace of ,whitehall1 erected by ,cardinal ,wolsey1 and the residence of ,king ,henry ,,viii1 contains1 among other performances of art1 a ,dance of ,death1 painted by ,holbein1 in its galleries1 which1 through an unfortunate conflagration1 has been reduced to ashes40,,vi-#ce ,in the dedication to the 8high1 noble1 and well-born ,lord ,william ,benting10 the information respecting this curious work of art1--all memory of which would have perished had it not been for the said ,t4 ,nieuhoff ,piccard1--is rather more precise4 8,sir1 not ,my ,lord1--,in the course of my constant love and pursuit of works of art1 it has been my good fortune to meet with that scarce little work of ,hans ,holbein1 neatly engraved on wood1 and which he himself had painted as large as life1 in fresco1 on the walls of ,whitehall40 ,who ,mynheer ,heymans was will probably never be discovered1 but he seems to have been a person of some consequence in his day1 though unfortunately never mentioned in any history or memoirs of the period1 for it appears that the court thought proper1 in consideration of his singular deserts1 to cause a dwelling to be built for him at ,whitehall4 ,my ,lord ,william ,benting1,,vi-#cf--though from his name and titles he might be mistaken for a member of the ,bentinck family1--appears to have been actually born in the palace4 ,it is1 however1 very unfortunate that his name does not occur in the peerage of that time2 and as neither ,rhoon nor ,pendraght are to be found in ,flanders or ,holland1 it is not unlikely that these may be the names of two of his lordship's castles in ,spain4 ,footnote ,,vi-#ce3 ,douce1 ,dance of ,death1 p4 #ada4 ,footnote ,,vi-#cf3 8,the identification of ,william ,benting10 says ,mr4 ,douce with exquisite bon-hommie1 8must be left to the sagacity of others4 ,he could not have been the ,earl of ,portland created in #afhi1 or he would have been addressed accordingly4 ,he is1 moreover1 described as a youth born at ,whitehall1 and then residing there1 and whose dwelling consisted of nearly the whole of the palace that remained after the fire40--,dance of ,death1 p4 #bdd4 ,it appears that these addresses of ,piccard were written in a foreign language1 though1 whether ,dutch1 ,french1 ,german1 or ,latin1 ,mr4 ,douce most unaccountably neglects to say3 he merely mentions that his extracts are translated4 ,t4 ,nieuhoff ,piccard's express testimony of ,holbein having painted a ,dance of ,death in fresco1 at ,whitehall1 is1 in ,mr4 ,douce's opinion1 further corroborated by the following circumstances3 #a4 8,in one of ,vanderdort's manuscript catalogues of the pictures and rarities transported from ,st4 ,james's to ,whitehall1 and placed there in the newly erected cabinet room of ,charles ,i1 and in which several works by ,holbein are mentioned1 there is the following article3 #8,a little piece1 where ,death with a green garland about his head1 stretching both his arms to apprehend a ,pilate in the habit of one of the spiritual ,prince-,electors of ,germany4 ,copied by ,isaac ,oliver from ,holbein4' ,there cannot be a doubt that this refers to the subject of the ,elector as painted by ,holbein in the ,dance of ,death at ,whitehall1 proving at the same time the identity of the painting with the wood-cuts1 whatever may be the inference4 #b4 ,sandrart1 after noticing a remarkable portrait of ,henry ,,viii4 at ,whitehall1 states #8that there yet remains at that palace another work1 by ,holbein1 that constitutes him the ,apelles of his time4' ,this is certainly very like an allusion to a ,dance of ,death4 #c4 ,it is by no means improbable that ,matthew ,prior may have alluded to ,holbein's painting at ,whitehall1 as it is not likely that he would be acquainted with any other4 #8,our term of life depends not on our deed1 ,before our birth our funeral was decreed2 ,nor aw'd by foresight1 nor misled by chance1 ,imperious ,death directs the ebon lance1 ,peoples great ,henry's tombs1 and leads up ,holbein's ,dance4' ,prior1 ,ode to the ,memory of ,george ,villiers40,,vi-#cg ,footnote ,,vi-#cg3 ,douce's ,dance of ,death1 pp4 #add1 #ade4 ,mr4 ,douce having previously proved that ,holbein was not the designer of the cuts in the ,lyons ,dance of ,death1 thus1 in a manner equally satisfactory1 accounts for the verses of ,bourbon1 by showing1 on the unexceptionable evidence of 8a person1 calling himself ,t4 ,nieuhoff ,piccard1 probably belonging to the household of ,william ,,iii10 that the great work of ,holbein--by the fame of which he had made himself equal with the immortal gods--was painted as large as life1 in fresco1 on the walls of ,whitehall4 ,the ingenuity displayed in depriving ,holbein of the honour of the ,lyons cuts is no less exemplified in proving him to be the painter of a similar subject in ,whitehall4 ,the key-stone is worthy of the arch4 ,though the facts and arguments put forth by ,mr4 ,douce1 in proof of ,holbein having painted a ,dance of ,death on the walls of the old palace of ,whitehall1 and of this having been the identical ,dance of ,death alluded to by ,bourbon1 might be summarily dismissed as being of that kind which no objection could render more absurd1 yet it seems necessary to direct the especial attention of the reader to one or two points2 and first to the assertion that 8it is next to impossible that the ,lyons ,dance of ,death of #aech could then have been in ,borbonius's contemplation40 ,now1 in direct opposition to what is here said1 it appears to me highly probable that this was the very work on account of which he addressed his epigram to ,holbein2 and it is moreover evident that ,bourbon expresses in ,latin verse almost precisely the same ideas as those which had previously been expressed in ,french by the writer of the address to ,madame ,jehanne de ,touszele1 when speaking of the merits of the nameless artist who is there alluded to as the designer or engraver of the cuts4,,vi-#ch ,as ,holbein is not certainly known to be the painter or designer of any other ,dance of ,death which might merit the high praise conveyed in ,bourbon's verses1 to what other work of his will they apply8 ,even supposing1 as ,i do1 that the alphabet of the ,dance of ,death was designed by ,holbein1 ,i conceive it 8next to impossible10 to use the words of ,mr4 ,douce1 that ,bourbon should have described ,holbein as having attained immortality through the fame of those twenty-four small letters1 a perfect set of which ,i believe is not to be found in any single volume4 ,that ,bourbon did know who was the designer of the cuts of the ,lyons ,dance of ,death there can scarcely be the shadow of a doubt2 he was at ,lyons in the year in which the work was published2 he was connected with the printers2 and another work1 the ,icones ,historiarum ,veteris ,testamenti1 also published by them in #aech1 has at the commencement a copy of verses written by ,bourbon1 from which alone we learn that ,holbein was the designer of the cuts1--the first four of which cuts1 be it observed1 being from the same blocks as the first four in the ,dance of ,death1 published by the same printers1 in the same year4 ,what might be the motives of the printers for not inserting ,bourbon's epigram in praise of ,holbein in the subsequent editions of the ,dance of ,death1 supposing him to be the designer of the cuts1 ,i cannot tell1 nor will ,i venture to guess4 ,they certainly must have had some reason for concealing the designer's name1 for the writer of the prefatory address to ,madame ,jehanne de ,touszele takes care not to mention it even when speaking in so laudatory a style of the excellence of the designs4 ,among the other unaccountable things connected with this work1 ,i may mention the fact of the ,french prefatory address to the abbess of ,st4 ,peter's appearing only in the first1 and being omitted in every subsequent edition4 ,footnote ,,vi-#ch3 ,that the reader may judge for himself of the similarity of thought in the passages referred to1 they are here given in juxta-position4 8,car ses histoires funebres1 avec leurs descriptions severement rithmes1 aux advisans donnent telle admiration1 qu'ilz en jugent les mortz y apparoistre tresvivement1 et les vifs tresmortement representer4 ,qui me faict penser1 que la ,mort craignant que ce excellent painctre ne la paignist tant vifve qu'elle ne fut plus crainte pour ,mort1 et que pour cela luy mesme n'en devint immortel1 que a ceste cause10 c4--,epistre des ,faces de la ,mort4 8,dum mortis ,hansus pictor imaginem exprimit1 ,tanta arte mortem retulit1 ut mors vivere ,videatur ipsa3 et ipse se immortalibus ,parem ,diis fecerit1 operis hujus gloria40 ,borbonius4 ,with respect to ,t4 ,nieuhoff ,piccard1 whose manuscript addresses to 8,mynheer ,heymans0 and 8,lord ,william ,benting0 are cited to prove that ,bourbon's verses must relate to a painting of the ,dance of ,death by ,holbein in the old palace of ,whitehall1 nothing whatever is known2 and there is not the slightest reason to believe that a ,lord ,william ,benting1 born in the old palace of ,whitehall1 8,lord of ,rhoon1 ,pendraght10 c4 ever existed4 ,i am of opinion that the addresses of the person calling himself ,t4 ,nieuhoff ,piccard are a clumsy attempt at imposition4,,vi-#ci ,though ,mr4 ,douce had seen both those addresses1 and also another of the same kind1 he does not appear to have made any attempt to trace their former owners1 nor does he mention the names of the parties in whose possession they were at the time that he saw them4 ,he had seen the address to 8,lord ,william ,benting0 previous to the publication of his observations on the ,dance of ,death in #agid1 when1 if he had felt inclined1 he might have ascertained from whom the then possessor had received it1 and thus obtained a clue to guide him in his inquiries respecting the personal identity of the ,lord of ,rhoon and ,pendraght4 ,but this would not have suited his purpose2 for he seems to have been conscious that any inquiry respecting such a person would only have tended to confirm the doubts respecting the paper addressed to him by ,piccard4 ,it is also uncertain at what time those pretended addresses were written1 but there are impressions of the etchings which accompanied them with the date #agbj2 and ,i am inclined to think that if the paper and handwriting were closely examined1 it would be found that those pretended presentation addresses were manufactured about the same1 or perhaps at a later period4 ,whoever the person calling himself ,t4 ,nieuhoff ,piccard may have been1 or at whatever time the addresses to ,mynheer ,heymans and others may have been written1 the only evidence of there having been a painting of the ,dance by ,holbein at ,whitehall rests on his unsupported statement4 ,such a painting is not mentioned by any foreign traveller who had visited this country1 nor is it noticed by any ,english writer prior to #afig2 it is not alluded to in any tragedy1 comedy1 farce1 or masque1 in which we might expect that such a painting would have been incidentally mentioned had it ever existed4 ,evelyn1 who must have frequently been in the old palace of ,whitehall1 says not a word of such a painting1 though he mentions the ,lyons ,dance of ,death under the title of ,mortis ,imago1 and ascribes the cuts to ,holbein2,,vi-#dj and not the slightest notice of it is to be found in ,vertue or ,walpole4 ,footnote ,,vi-#ci3 ,hegner1 in his ,life of ,holbein1 speaking of the ,nieuhoff discovery1 says3 8,of this fable no notice would have been taken here had not ,mr4 ,douce ascribed undeserved authority to it1 and had not his superficial investigations found undeserved credit with ,english and other compilers40 ,hans ,holbein der ,jngere1 ,s4 #cch4 ,mr4 ,douce1 at page #bdj of his ,dance of ,death1 complains of ,hegner's want of urbanity and politeness2 and in return calls his account of ,holbein's works superficial1 and moreover says that 8his arguments1 if worthy of the name1 are1 generally speaking1 of a most weak and flimsy texture40 ,he also gives him a sharp rebuff by alluding to him as the 8above gentleman10 the last word1 to give it point1 being printed in ,italics4 ,mr4 ,douce1 when he was thus pelting ,hegner1 does not seem to have been aware that his own anti-,holbenian superstructure was a house of glass4 8,cedimus1 inque vicem dedimus crura sagittis40 ,footnote ,,vi-#dj3 ,evelyn is only referred to here on account of his silence with respect to the pretended painting at ,whitehall4 ,what he says of ,holbein cannot be relied on1 as will be seen from the following passage1 which is a fair specimen of his general knowledge and accuracy4 8,we have seen some few things cut in wood by the incomparable ,hans ,holbein the ,dane1 but they are rare and exceedingly difficult to come by2 as his ,licentiousness of the ,friars and ,nuns2 ,erasmus2 ,the ,dance ,macchabre2 the ,mortis ,imago1 which he painted in great in the ,church of ,basil1 and afterwards graved with no less art40--,evelyn's ,sculpture1 p4 #fi4 ,edition #agfi4 ,the learned ,conrad ,gesner1 who was born at ,zurich in #aeaf1 and died there in #aefe1 expressly ascribes the ,lyons ,dance of ,death to ,holbein2,,vi-#da and1 notwithstanding the contradictory statement in the preface to the first edition of this work1 such appears to have been the general belief of all the artist's contemporaries4 ,van ,mander1 who was born in #aedh1 and who died in #afjf1 appears to have been the first person who gave any account of the life of ,holbein4 ,his work1 entitled ,het ,schilder ,boek1 consisting of biographical notices of painters1 chiefly ,germans and ,flemings1 was first published in #afjd2 and1 when speaking of ,holbein1 he mentions the ,lyons ,dance of ,death among his other works4 ,sandrart1 in common with every other writer on art of the period1 also ascribes the ,lyons work to ,holbein1 and he gives the following account of a conversation that he had with ,rubens respecting those cuts3 8,i remember that in the year #afbg1 when the celebrated ,rubens was proceeding to ,utrecht to visit ,honthorst1 ,i accompanied him as far as ,amsterdam2 and during our passage in the boat ,i looked into ,holbein's little book of the ,dance of ,death1 the cuts of which ,rubens highly praised1 recommending me1 as ,i was a young man1 to copy them1 observing1 that he had copied them himself in his youth40 ,sandrart1 who seems to have been one of the earliest writers who supposed that ,durer1 ,cranach1 and others engraved their own designs1 without any just grounds describes ,holbein as a wood engraver4 ,patin1 in his edition of the 8,stultiti ,laus0 of ,erasmus1 #afgf1 repeats the same story2 and ,papillon in his decisive manner clenches it by asserting that 8most of the delicate wood-cuts and ornamental letters which are to be found in books printed at ,basle1 ,zurich1 and towns in ,switzerland1 at ,lyons1 ,london1 c4 from #aebj to about #aedj1 were engraved by ,holbein himself40 ,papillon also says that it is believed--on croit--that ,holbein began to engrave in #aeaa1 when he was about sixteen4 8,what is extraordinary in this painter10 he further adds1 8is1 that he painted and engraved with the left hand1 so that he consequently engraved the lines on the wood from right to left1 instead of1 as with us1 engraving from left to right40,,vi-#db ,jansen1 and a host of other compilers1 without inquiry1 repeat the story of ,holbein having been a wood engraver1 and that the cuts of the ,lyons ,dance of ,death were engraved by himself4 ,that he was the designer of those cuts ,i am thoroughly convinced1 though ,i consider it 8next to impossible0 that he should have been also the engraver4 ,footnote ,,vi-#da3 8,imagines ,mortis express ab optimo pictore ,johanne ,holbein cum epigrammatibus ,georgii mylii1 excus ,francofurti et ,lugduni apud ,frellonios1 quorum editio plures habet picturas4 ,vidi etiam cum metris ,gallicis et ,germanicis1 si bene memini40 ,mr4 ,douce cites this passage from ,gesner's ,pandect1 8a supplemental volume of great rarity to his well-known ,bibliotheca40 ,the correct title of the volume in which it occurs is 8,partitiones ,theologic1 ,pandectarum ,universalium ,conradi ,gesneri ,liber ,ultimus40 ,folio1 printed by ,christopher ,froschover1 ,zurich 7,tiguri7 #aedi4 ,the notice of the ,dance of ,death is in folio #hf1 a4 ,footnote ,,vi-#db3 ,trait de la ,gravure en ,bois1 tom4 i4 p4 #afe4 ,van ,mander asserts that ,holbein painted with his left hand2 but ,horace ,walpole1 however1 in opposition to this1 refers to a portrait of ,holbein1 formerly in the ,arundelian collection1 where he appears holding the pencil in his right hand4 ,holbein's ,bible ,cuts1 as they are usually called1 were first published at ,lyons1 in #aech1 the same year1 and by the same printers1 as the ,dance of ,death4 ,the book is a small quarto1 and the title is as follows3 8,historiarum ,veteris ,testamenti ,icones ad vivum express4 ,una cum brevi1 sed quoad fieri potuit1 dilucida earundem et ,latina et ,gallica expositione4 ,lugduni sub scuto ,coloniensi4 ,m4,d4,,xxxviii40,,vi-#dc ,on the title-page is an emblematic cut1 with the motto ,usus me genuit1 similar to that on the title-page in the first edition of the ,dance of ,death1 but not precisely the same2 and at the end is the imprint of the brothers ,melchior and ,caspar ,trechsel within an ornamental border1 as in the latter work4 ,i am greatly inclined to think that the brothers were only the printers of the first editions of the ,dance of ,death and the ,bible cuts1 and that the real proprietors were ,john and ,francis ,frellon1 whose names appear as the publishers in subsequent editions4 ,footnote ,,vi-#dc3 ,a copy of this edition is preserved in the ,public ,library at ,basle1 and there is another copy in the ,royal ,collection at ,dresden4 ,another edition1 in every respect similar to the first1 was also printed by the brothers ,trechsel in #aeci4 ,hegner1 in his ,life of ,holbein1 does not seem to have known of this edition2 speaking of that of #aech1 he says1 8,it is probably the same as that to which ,papillon gives the date #aeci40 ,there is a copy of the edition of #aeci in the ,british ,museum4 ,this opinion seems to be corroborated by the fact of there being an address from 8,franciscus ,frellaeus0 to the ,christian ,reader in the ,bible cuts of #aech and #aeci1 which in subsequent editions is altered to 8,franciscus ,frellonius40 ,that the same person is designated by those names1 ,i think there can be little doubt1 as the addresses are literally the same4 ,from adopting the form 8,frellaeus10 however1 in the editions of #aech and #aeci1 it would seem that the writer was not wishful to discover his name4 ,when the work becomes popular he writes it ,frellonius2 and in the second edition of the ,dance of ,death1 when the character of this work is also established1 and there seems no longer reason to apprehend the censures of the church of ,rome1 we find the names of ,john and ,francis ,frellon on the title-page under the 8shield of ,cologne40 ,whatever might be their motives1 it seems certain that the first publishers of the ,dance of ,death were wishful to withhold their names2 and it is likely that the designer of the cuts might have equally good reasons for concealment4 ,had the ,roman ,catholic party considered the cuts of the ,pope1 the ,nun1 and two or three others as the covert satire of a reformed painter1 the publishers and the designer would have been as likely to incur danger as to reap profit or fame4 ,the address of ,franciscus ,frellaeus is followed by a copy of ,latin verses by ,nicholas ,bourbon1 in which ,holbein is mentioned as the designer2 and immediately preceding the cuts is an address 8aux lecteurs10 in ,french verse1 by ,gilles ,corrozet1 who1 perhaps1 might be the poet that supplied the ,french expositions of those cuts1 and the 8descriptions severement rithmes0 of the ,dance of ,death4 ,the following is an extract from ,bourbon's prefatory verses1 the whole of which it appears unnecessary to give4 8,nuper in ,elysio cum fort erraret ,apelles ,una aderat ,zeuxis1 ,parrhasiusque comes4 ,hi duo multa satis fundebant verba2 sed ille ,interea mrens et taciturnus erat4 ,mirantur comites1 farique hortantur et urgent3 ,suspirans imo pectore1 ,cos ait3 ,o fam ignari1 superis qu nuper ab oris 7,vana utinam67 ,stygias venit ad usque domos3 ,scilicet1 esse hodie quendam ex mortalibus unum ,ostendat qui me vosque fuisse nihil3 ,qui nos declaret pictores nomine tantum1 ,picturque omneis ante fuisse rudes4 ,holbius est homini nomen1 qui nomina nostra ,obscura ex claris ac prope nulla facit4 ,talis apud manes querimonia fertur3 et illos ,sic equidem merito censeo posse queri1 ,nam tabulam siquis videat1 quam pinxerit ,hansus ,holbius1 ille artis gloria prima su1 ,protinus exclamet1 ,potuit ,deus edere monstrum ,quod video8 human non potuere manus4 ,icones h sacr tanti sunt1 optime lector1 ,artificis1 dignum quod venereris opus40 ,besides those verses there is also a ,greek distich by ,bourbon1 to which the following translation 8pene ad verbum0 is appended3 8,cernere vis1 hospes1 simulacra simillima vivis8 ,hoc opus ,holbin nobile cerne manus40 ,when ,mr4 ,douce stated that it was 8extremely probable that the anonymous painter or designer of the ,dance might have been employed also by the ,frellons to execute a set of subjects for the ,bible previously to his death1 and that ,holbein was afterwards employed to complete the work10 he seems to have forgot that such a testimony of ,holbein being the designer was prefixed to the ,bible cuts4 ,in answer to ,mr4 ,douce it may be asked1 in his own style1 if the ,frellons knew that another artist was the designer of the cuts of the ,dance of ,death1 and if he also had been originally employed to design the ,bible cuts1 how does it happen that they should allow ,bourbon to give all the honour of the latter to ,holbein1 who1 if the ,dance of ,death be not his1 was certainly much inferior as a designer to the nameless artist whose unfinished work he was employed to complete8 ,the total number of the ,bible cuts in the first edition of the work is ninety1 the first four of which are the same as the first four of the ,dance of ,death2 the other eighty-six are of a different form to the first four1 as will be perceived from the specimens1 which are of the same size as the originals4 ,those eighty-six cuts are generally much inferior in design to those of the ,dance of ,death1 and the style in which they are engraved is very unequal1 some of them being executed with considerable neatness and delicacy1 and others in a much coarser manner4 ,the following cut1 ,abraham about to sacrifice ,isaac1 ,genesis ,,xxii1 is one of those which are the best engraved2 but even these1 so far as regards the expression of the features and the delicate marking of the hands1 are generally much inferior to the cuts of the ,dance of ,death4 ,illustration ,though most of the ,bible cuts are inferior both in design and execution to those of the ,dance of ,death1 and though several of them are rudely drawn and badly engraved1 yet many of them afford points of such perfect identity with those of the ,dance of ,death1 that it seems impossible to come to any other conclusion than that either the cuts of both works have been designed by the same person1 or that the designer of the one series has servilely copied from the designer of the other1 and1 what is most singular1 in many trifling details which seem the least likely to be imitated1 and which usually constitute individual peculiarities of style4 ,for instance1 the small shrubby tree in the preceding cut is precisely of the same species as that seen in the cut of the ,old ,woman in the ,dance of ,death2 and the angel about to stay ,abraham's hand bears a strong general resemblance to the angel in ,adam and ,eve driven out of ,paradise4 ,the cut on the opposite page--the ,fool1 ,psalm ,,liii--is copied from one of those executed in a coarser style than the preceding4 ,the children in this cut are evidently of the same family as those of the ,dance of ,death4 ,in the first cut1 the ,creation1 a crack is perceived running nearly down the middle from top to bottom1 in the edition of the ,dance of ,death of #aede4 ,it is also perceptible in all the subsequent ,lyons editions of this work and of the ,bible cuts4 ,it is1 however1 less obvious in the ,bible cuts of the edition #aedi than in some of the preceding1 probably in consequence of the block having been cramped to remedy the defect4 ,mr4 ,douce speaks1 at page #aje1 as if the crack were not discernible in the ,bible cuts of #aedi2 it is1 however1 quite perceptible in every copy that has come under my notice4 ,some of the latter editions of this work contain four additional cuts1 which are all coarsely executed4 ,in the edition of #aedg they form the illustrations to ,ezekiel ,,xl2 ,ezekiel ,,xliii2 ,jonah ,i1 ,,ii1 and ,,iii2 and ,habakkuk4 ,the ,bible cuts were also printed with explanations in ,english4 ,the title of a copy now before me is as follows3 8,the ,images of the ,old ,testament1 lately expressed1 set forthe in ,ynglishe and ,frenche vuith a playn and brief exposition4 ,printed at ,lyons by ,johan ,frellon1 the yere of our ,lord ,god1 #aedi10 #dto4 ,in the latter editions there are wood-cuts of the four ,evangelists1 each within an oval border1 on the last leaf4 ,they bear no tokens of ,holbein's style4 ,illustration ,among the many instances of resemblance which are to be perceived on comparing the ,dance of ,death with the ,bible cuts1 the following may be enumerated as the most remarkable4 ,the peculiar manner in which fire with smoke1 and the waves of the sea1 are represented in the ,dance of ,death can scarcely fail to strike the most heedless observer2 for instance1 the fire in the cut of ,death seizing the child1 and the waves in the cut of the ,seaman4 ,in the ,bible cuts we perceive the same peculiarity2 there is the same kind of fire in ,moses directing the manner of burnt offerings1 ,leviticus ,i2 in the burning of ,nadab and ,abihu1 ,leviticus ,x2 and in every other one of those cuts where fire is seen4 ,in the destruction of ,pharaoh and his host1 ,exodus ,,xiv1 are the same kind of curling waves4 ,except in the ,dance of ,death and the ,bible cuts1 ,i have never seen an instance of fire or water represented in such a manner4 ,if those cuts were designed by two different artists1 it is certainly singular that in this respect they should display so perfect a coincidence of idea4 ,the sheep in the cut of the ,bishop in the ,dance of ,death are the same as those in the ,bible cut of ,moses seeing ,god in the burning bush1 ,exodus ,,iii2 and the female figure in the cut of the ,elector in the former work is perceived in the ,bible cut of the captive ,midianites1 ,numbers ,,xxxi4 ,the children introduced in both works are almost perfectly identical1 as will be perceived on comparing the cut of ,little ,children mocking ,elijah1 chapter ,,ii1 ,kings ,,ii1 with those of the ,elector1 and ,death seizing the child1 in the ,dance of ,death4 ,the face of the ,duchess in the latter work is the same as that of ,esther in the ,bible cut1 ,esther1 chapter ,,ii2 and in this cut ornaments on the tapestry1 like fleurs-de-lis1 behind the throne of ,ahasuerus1 are the same as those on the tapestry behind the ,king in the ,dance of ,death4 ,the latter coincidence has been noticed by ,mr4 ,douce1 who1 in direct opposition to the evidence of the ,german or ,swiss costume of the living characters of the ,dance of ,death1 considers it as contributing to demonstrate that both the series of those cuts are of ,gallic origin4,,vi-#dd ,it is needless to enumerate more instances of almost complete identity of figures and details in the cuts of the ,dance of ,death and those of the ,bible illustrations2 they are too frequent to have originated from a conventional mode of representing certain objects and persons2 and they are most striking in minor details1 where one artist would be least likely to imitate another1 but where the same individual designer would be most likely to repeat himself4 8,as to the designs of these truly elegant prints10 says ,mr4 ,douce1 speaking of the cuts of the ,dance of ,death1 8no one who is at all skilled in the knowledge of ,holbein's style and manner of grouping his figures would hesitate immediately to ascribe them to that artist40,,vi-#de ,as this opinion is corroborated by a comparison of the ,dance of ,death with the ,bible cuts1 and as the internal evidence of the cuts of the ,dance of ,death in favour of ,holbein is confirmed by the testimony of his contemporaries1 the reader can decide for himself how far ,holbein's positive claims to the honour of this work ought to be affected by the passage in the anonymous address to ,madame ,jehanne de ,touszele1 which forms the groundwork of ,mr4 ,douce's theory4 ,footnote ,,vi-#dd3 8,a comparison of the #hth subject of the ,simulachres10 says ,mr4 ,douce1 8with that of the ,bible for ,esther ,i1 ,,ii1 where the canopy ornamented with fleurs-de-lis is the same in both1 will contribute to strengthen the above conjecture1 as will both the cuts to demonstrate their ,gallic origin4 ,it is most certain that the ,king sitting at table in the ,simulachres is intended for ,francis ,i1 which if any one should doubt1 let him look upon the miniature of that king1 copied at p4 #bad1 in ,clarke's #8,repertorium ,bibliographicum4'0 ,the 8above conjecture0 referred to in this extract is that previously cited at page #cfg1 where ,mr4 ,douce conjectures that ,holbein might have been employed to complete the ,bible cuts which might have been left unfinished in consequence of the death of ,mr4 ,douce's 8great unknown0 designer of the ,dance of ,death4--,dance of ,death1 p4 #if4 ,mr4 ,douce1 not being able to deny the similarity of many of the cuts1 says it is highly probable that ,holbein was merely employed to finish the ,bible cuts1 without ever considering that it is prim facie much more probable that ,holbein was the designer of the cuts in both works4 ,footnote ,,vi-#de3 ,dance of ,death1 p4 #hb4 ,having now examined the principal arguments which have been alleged to show that ,holbein was not the designer of the ,dance of ,death1 and having endeavoured to justify his claims to that honour by producing the evidences on which they rest1 ,i shall now take leave of this subject1 feeling thoroughly assured that ,,holbein ,,was ,,the ,,designer ,,of ,,the ,,cuts ,,of ,,the ,,first ,,edition ,,of ,,the ,,lyons ,,dance ,,of ,,death2 and trusting1 though with no overweening confidence1 that the preceding investigation will render it necessary for the next questioner of his title to produce stronger objections than the solitary ambiguous passage in the preface to the first edition of the work1 and to support them with more forcible and consistent arguments than have been put forth by ,mr4 ,douce4 ,m4 ,t4 ,nieuhoff ,piccard1 ,i am inclined to think1 will never again be called as a witness in this cause2 and before the passage in the preface can be allowed to have any weight1 it must be shown that such a personage as ,madame ,jehanne de ,touszele was prioress of the convent of ,st4 ,peter at ,lyons at the time of the first publication of the work3 and even should such a fact be established1 the ambiguity of the passage--whether the pretendedly deceased artist were the engraver or designer1 or both1--and the obvious desire to conceal his name1 remain to be explained4 ,in #aech1 the year in which the ,dance of ,death and the ,bible cuts were first published at ,lyons1 ,holbein was residing in ,england under the patronage of ,henry ,,viii2 though it is also certain that about the beginning of ,september in that year he returned to ,basle and he remained there a few weeks4,,vi-#df ,footnote ,,vi-#df3 8,venit nuper ,basileam ex ,anglia ,ioannes ,holbein1 adeo felicem ejus regni statum prdicans1 qui aliquot septimanis exactis rursum eo migraturus est40 ,from a letter written by ,rudolph ,gualter to ,henry ,bullinger1 of ,zurich1 about the middle of ,september #aech4--,quoted by ,hegner1 ,s4 #bdf4 ,as the productions of this distinguished painter occupy so large a portion of this chapter1 it perhaps may not be unnecessary to give here a few particulars of his life1 chiefly derived from ,hegner's work1 previous to his coming to ,england4 ,hans ,holbein1 the ,younger1 as he is often called by ,german writers to distinguish him from his father1 was the son of ,hans ,holbein1 a painter of considerable reputation4 ,the year and place of his birth have not been positively ascertained1 but there seems reason to believe that he was born in #adih1 at ,augsburg1,,vi-#dg of which city his father was a burgher1 and from whence he appears to have removed with his family to ,basle1 about the end of the fifteenth or the beginning of the sixteenth century4 ,young ,holbein was brought up to his father's profession1 and at an early age displayed the germ of his future excellence4 ,there is a portrait in oil by young ,holbein of the date of #aeac1 which1 according to ,hegner1 though rather weak in colour and somewhat hard in outline1 is yet clearly and delicately painted4 ,from the excellence of his early productions1 ,patin1 in his ,life of ,holbein1 prefixed to an edition of the ,laus ,stultiti of ,erasmus,,vi-#dh thinks that he must have been born in #adie4 ,that he was born in #adih there can1 however1 be little doubt1 for ,hegner mentions a portrait of him1 at ,basle1 when in the forty-fifth year of his age1 with the date #aedc4 ,several anecdotes are told of ,holbein as a jolly fellow1 and of his twice or thrice discharging his account at a tavern by painting a ,dance of ,peasants4 ,though there seems reason to believe that ,holbein was a free liver1 and that he did paint such a subject in a house at ,basle1 the stories of his thus settling for his liquor are highly improbable4 ,he appears to have married young1 for in a painting of his wife and two children1 executed before he left ,basle for ,england in #aebf1 the eldest child1 a boy1 appears to be between four and five years old4,,vi-#di ,footnote ,,vi-#dg3 ,dr4 ,dibdin1 in his ,bibliographical ,tour vol4 iii4 pp4 #hj1 #ha1 ,edit4 #ahbi1 mentions two paintings at ,augsburg by the elder ,holbein1 one dated #adii and the other #aeja4 ,the elder ,holbein had a brother named ,sigismund1 who was also a painter1 and who appears to have established himself at ,berne4 ,papillon1 in his usual manner1 makes ,sigismund ,holbein a wood engraver4 ,by his will1 dated #aedj1 he appoints his nephew ,hans the heir of all his property in ,berne4 ,footnote ,,vi-#dh3 ,patin's edition of this work was published in octavo1 at ,basle1 in #afgf4 ,it contains eighty-three copper-plate engravings1 from pen-and-ink sketches1 drawn by ,holbein1 in the margin of a copy of an edition printed by ,frobenius1 in #aead1 and still preserved 7#ahfj7 in the ,public ,library at ,basle4 ,it is said that ,erasmus1 when looking over those sketches1 exclaimed1 when he came to that intended for himself1 8,oho1 if ,erasmus were now as he appears here1 he would certainly take a wife40 ,above another of the sketches1 representing a man with one of his arms about a woman's neck1 and at the same time drinking out of a bottle1 ,erasmus is said to have written the name 8,holbein40 ,in an edition of the ,laus ,stultiti1 edited by ,g4 ,g4 ,becker1 ,basle1 #aghj1 #hvo4 those sketches are engraved 7very indifferently7 on wood4 ,footnote ,,vi-#di3 ,hegner1 ,hans ,holbein der ,jngere1 ,s4 #aaj4 ,the name of ,holbein's wife is unknown2 but it is said that1 like ,durer's1 she was of an unhappy temper1 and that he enjoyed no peace with her4 ,it is not1 however1 unlikely that his own unsettled disposition and straitened circumstances also contributed to render his home uncomfortable4 ,like most other artists of that period1 he appears to have frequently travelled2 but his journeys do not seem to have extended beyond ,switzerland and ,suabia1 and they were for the most part confined to the former country4 ,he seems to have travelled rather in search of employment than to improve himself by studying the works of other masters4 ,perhaps of all the eminent painters of that period there is no one whose style is more original than ,holbein's1 nor one who owes less to the study of the works of his contemporaries or predecessors4 ,though there can be no doubt of his talents being highly appreciated by his fellow-townsmen1 yet his profession during his residence at ,basle appears to have afforded him but a scanty income4 ,the number of works executed by him between #aeag and #aebf sufficiently testify that he was not deficient in industry1 and the exercise of his art seems to have been sufficiently varied3--he painted portraits and historical subjects2 decorated the interior walls of houses1 according to the fashion of that period1 with fanciful and historical compositions2 and made designs for goldsmiths and wood-engravers4 ,it is said that so early as #aebj1 the ,earl of ,arundel1,,vi-#ej an ,english nobleman1 having seen some of his works in passing through ,basle1 advised him to try his fortune in ,england4 ,if such advice were given to ,holbein at that period1 it is certain that it was not adopted until several years after1 for he did not visit this country till #aebf4 ,footnote ,,vi-#ej3 ,it is conjectured by ,walpole that this might be ,henry ,fitz-,alan1 ,earl of ,arundel4 ,illustration3 ,,the ,,sheath ,,of ,a ,,dagger1 ,,intended ,,as ,a ,,design ,,for ,a ,,chaser4,,vi-#ea ,footnote ,,vi-#ea3 ,it is impossible to exceed the beauty and skill that are manifested in this fine piece of art4 ,the figures are1 a king1 queen1 and a warrior2 a young woman1 a monk1 and an infant2 all of whom most unwillingly accompany ,death in the ,dance4 ,the despair of the king1 the dejection of the queen1 accompanied by her little dog1 the terror of the soldier who hears the drum of ,death1 the struggling of the female1 the reluctance of the monk1 and the sorrow of the poor infant1 are depicted with equal spirit and veracity4 ,the original drawing is in the public library at ,basle1 and ascribed to ,holbein4 ,before he left ,basle he had painted two or three portraits of ,erasmus1 and there is a large wood-cut of that distinguished scholar which is said not only to have been painted1 but also engraved by ,holbein4 ,this cut is of folio size1 and the figure of ,erasmus is a whole length4 ,his right arm rests upon a terminus1 and from a richly ornamented arch is suspended a tablet1 with the inscription1 ,,er4 ,,rot4 ,some old impressions have two verses printed underneath1 which merely praise the likeness without alluding to the painter1 while others have four which contain a compliment to the genius of ,erasmus and to the art of ,holbein4,,vi-#eb ,the original block is still preserved in the ,public ,library at ,basle2 but there is not the slightest reason for believing that it was engraved by ,holbein4 ,in #aebf ,holbein left ,basle for ,england3 ,patin says1 because he could no longer bear to live with his imperious wife4 ,though this might not be the chief cause1 it is easy to conceive that a person of ,holbein's character would feel but little regret at parting from such a helpmate4 ,van ,mander says that he took with him a portrait which he had painted of ,erasmus1 with a letter of recommendation from the latter to ,sir ,thomas ,more1 wherein it was observed that this portrait #8was much more like him than any of ,albert ,durer's4' ,hegner1 however1 thinks that what ,van ,mander says about the contents of this letter is not correct1 as no such passage is to be found in the published correspondence of ,erasmus with ,sir ,thomas ,more4 ,erasmus had already sent two portraits of himself to ,england2,,vi-#ec and as ,sir ,thomas ,more was personally acquainted with him1 ,hegner is of opinion that it would be unnecessary to mention that the portrait was a better likeness than any of those painted by ,albert ,durer4 ,it is1 however1 by no means unlikely that ,erasmus in speaking of a portrait of himself by ,holbein--whether forwarded by the latter or not--might give his own opinion of it in comparison with one from the pencil of ,durer4 ,footnote ,,vi-#eb3 ,the verses underneath the impressions which are supposed to be the earliest1 are as follows3 8,corporis effigiem si quis non vidit ,erasmi1 ,hunc scite ad vivum picta tabella dabit40 ,the others3 8,pallas ,apellam nuper mirata tabellam1 ,hanc1 ait1 ternum ,bibliotheca colat4 ,ddaleam monstrat musis ,holbeinnius artem1 ,et summi ingenii ,magnus ,erasmus opes40 ,footnote ,,vi-#ec3 ,erasmus1 writing to ,bilibald ,pirkheimer1 in #aebd1 says1 8,rursus nuper misi in ,angliam ,erasmum bis pictum ab artifice satis eleganti40 ,hegner thinks that this artist was ,holbein4 ,in #aeag a portrait of ,erasmus1 with that of his friend ,petrus ,aegidius1 was painted at ,antwerp by ,quintin ,matsys4 ,it was intended by ,erasmus as a present to ,sir ,thomas ,more4 ,this painting came subsequently into the possession of ,dr4 ,mead1 at whose sale it was purchased1 as the production of ,holbein1 by ,lord ,radnor1 for #aaj4 ,it would appear that in #aebe ,erasmus had already mentioned ,holbein's desire of trying his fortune in ,england to ,sir ,thomas ,more1 for in a letter written by ,sir ,thomas to ,erasmus1 dated from the court at ,greenwich1 #ahth of ,december #aebe1 there is a passage to the following effect3 8,your painter1 dear ,erasmus1 is an excellent artist1 but ,i am apprehensive that he will not find ,england so fruitful and fertile as he may expect4 ,i will1 however1 do all that ,i can in order that he may not find it entirely barren40,,vi-#ed ,from a letter1 dated #bith of ,august #aebf1 written by ,erasmus to his friend ,petrus ,aegidius at ,antwerp1 it seems reasonable to conclude that ,holbein left ,basle for ,england about the beginning of ,september4 ,though ,holbein's name is not expressly mentioned in this letter1 there cannot be a doubt of his being the artist who is thus introduced to ,aegidius3 8,the bearer of this is he who painted my portrait4 ,i will not annoy you with his praises1 although he is indeed an excellent artist4 ,should he wish to see ,quintin1 and you not have leisure to go with him1 you can let a servant show him the house4 ,the arts perish here2 he proceeds to ,england to gain a few angels2 if you wish to write to ,england you can send your letters by him40,,vi-#ee ,in this extract we discover a trait of the usual prudence of ,erasmus1 who1 in introducing his humbler friends to persons of power or influence1 seems to have been particularly careful not to give annoyance from the warmth of his recommendations4 ,how gently1 yet significantly1 does he hint to ,aegidius that the poor painter who brings the letter is a person about whom he need give himself no trouble3 if he has not leisure to introduce him personally to ,quintin--that is1 ,quintin ,matsys--he can send a servant to show him his house4 ,the suggestion of the servant was a hint from ,erasmus that he did not expect the master to go with ,holbein himself4 ,footnote ,,vi-#ed3 8,pictor tuus1 ,erasme carissime1 mirus est artifex1 sed vereor ne non sensurus sit ,angliam tam fcundam ac fertilem quam sperarat4 ,quanquam ne reperiat omnino sterilem1 quoad per me fieri potest1 efficiam4 ,ex aula ,grenwici4 #ah ,dec4 #aebe40 ,footnote ,,vi-#ee3 8,qui has reddit1 est is qui me pinxit4 ,ejus commendatione te non gravabo1 quanquam est insignis artifex4 ,si cupiet visere ,quintinum1 nec tibi vacabit hominem adducere1 poteris per famulum commonstrare domum4 ,hic frigent artes3 petit ,angliam ut corradat aliquot angelatos3 per eum poteris qu voles scribere40--,erasmi ,epist4 ,holbein on his arrival in ,england appears to have been well received by ,sir ,thomas ,more2 and it is certain that he resided for some time with the learned and witty chancellor in his house at ,chelsea4 ,it is indeed said that he continued with him for three years1 but ,walpole thinks that this is very unlikely4 ,whether he may have resided during the whole of the intermediate time with ,sir ,thomas ,more or not1 there seems reason to believe that ,holbein entered the service of ,henry ,,viii4 in #aebh4 ,about the autumn of #aebi,,vi-#ef1 he paid a short visit to ,basle1 probably to see his family1 which he had left in but indifferent circumstances1 and to obtain permission from the magistracy for a further extension of his leave of absence1 for no burgher of the city of ,basle was allowed to enter into the service of a foreign prince without their sanction4 ,patin1 in his ,life of ,holbein1 says that during his visit he spent most of his time with his old tavern companions1 and that he treated the more respectable burghers1 who wished to cultivate his friendship1 with great disrespect4 ,hegner1 however1 considers all those accounts which represent ,holbein as a man of intemperate habits and dissolute character1 as unworthy of credit2 in his opinion it seems impossible that he who was a favourite of ,henry ,,viii1 and so long an inmate of ,sir ,thomas ,more's house1 should have been a dissolute person4 ,m4 ,hegner throughout his work shows a praiseworthy regard for ,holbein's moral character1 but his presumption in this instance is not sufficient to counterbalance the unfavourable reports in the opposite scale4 ,footnote ,,vi-#ef3 ,erasmus1 in a letter to ,sir ,thomas ,more1 written from ,freyburg in ,brisgau1 #eth ,september1 #aebi1 alludes to a picture of ,more and his family which had been brought over by ,holbein2 and ,margaret ,roper1 the eldest daughter of ,sir ,thomas ,more1 writing to ,erasmus in the following ,november1 says1 that she is pleased to hear of the painter's arrival with the family picture1--8utriusque mei parentis nostrumque omnium effigiem depictam40 ,hegner thinks that those portraits of ,sir ,thomas ,more and his family was only a drawing in pen-and-ink1 which is now in the ,public ,library at ,basle4 ,the figures in this drawing are3 ,sir ,thomas and his wife1 his father1 his son1 and a young lady1 three daughters1 a servant1 and ,sir ,thomas's jester4 ,over and under the figures are written the name and age of each4 ,the drawing is free and light2 and the faces and hands are very distinctly expressed4--,hans ,holbein der ,jngere1 ,s4 #bjb-bce-bcg4 ,the drawing in the ,public ,library at ,basle was probably a sketch of ,holbein's large picture of the family of ,sir ,thomas ,more4 ,about the latter end of #aecb1 or the beginning of #aecc1 ,holbein again visited ,basle2 and his return appears to have been chiefly influenced by an order of the magistracy1 which was to the following effect3 8,to ,m4 ,hans ,holbein1 painter1 now in ,england4 ,we ,jacob ,meier1 burgomaster and councillor1 herewith salute you our beloved ,hans ,holbein1 fellow-burgher1 and give you to understand that it is our desire that you return home forthwith4 ,in order that you may live easier at home1 and provide for your wife and child1,,vi-#eg we are pleased to allow you the yearly sum of thirty guilders1 until we can obtain for you something better4 ,that you may make your arrangements accordingly1 we acquaint you with this resolution4 ,given1 ,monday1 #bnd ,september #aecb40,,vi-#eh ,it is uncertain how long ,holbein remained at ,basle on his second visit1 but it was probably of short duration4 ,though he obeyed the summons of the magistracy to return1 he seems to have had sufficient interest to obtain a further extension of his leave of absence4 ,for the third and last time he revisited ,basle in #aech2 and from a licence1 signed by the burgomaster ,jacob ,meier1 dated #afth ,november in that year1 it appears that he obtained permission to return to ,england and remain there for two years longer4 ,in this licence fifty guilders per annum are promised to ,holbein on his return to ,basle1 and till then the magistrates further agree to allow his wife forty guilders per annum to be paid quarterly1 and the first quarter's payment to commence on the eve of ,st4 ,lucia next ensuing1--that is1 on the #abth of ,december4 ,as the mention of the allowance to ,holbein's wife would seem to imply that she was not very well provided for by her husband1 ,hegner attempts to excuse his apparent neglect by suggesting 8that the great sometimes forget to pay1 and will not bear dunning20 and in illustration of this he refers to the passage in ,albert ,durer's ,journal which has been previously given at page #bfi4 ,footnote ,,vi-#eg3 ,holbein's wife and child only1 not children1 are mentioned in this licence4 ,it is not known what became of ,holbein's children1 as there are no traces of his descendants to be found at ,basle4 ,merian1 a clergyman of ,basle1 in a letter to ,mechel on this subject1 in #aggi1 writes to this effect3 8,according to a pedigree of the ,merian family1 printed at ,regensburg in #agbg1 ,christina ,syf1 daughter of ,rodolph ,syf and ,judith ,weissin1 and grand-daughter of ,hans ,holbein the unequalled painter1 7born #aeig17 was married on the #agth of ,november #afaf to ,frederick ,merian40 ,perhaps it is meant that ,judith ,weissin was ,holbein's grand-daughter3 there is evidently an error in the pedigree2 and if it be wrong in this respect1 it is not entitled to much credit in another4 ,footnote ,,vi-#eh3 ,hegner1 ,s4 #bdb4 ,holbein's three visits to ,basle have been here especially noticed in order that the reader might judge for himself as to the probability of his making the drawings for the ,lyons ,dance of ,death on any of those occasions4 ,as this work was published in #aech1 and as ,holbein on his last visit appears to have arrived at ,basle about the beginning of ,september in that year1 it is impossible that he should have made the drawings then2 for if the forty-one cuts were executed by one person--as from the similarity and excellence of the style there seems every reason to believe--it would require at the least half a year to engrave them1 supposing that the artist worked as expeditiously as a wood engraver of modern times4 ,as it is highly probable that ,holbein both made designs and painted on his former visits1 in #aebi1 and in #aecb or #aecc1 ,i think it most likely that they were made on the latter occasion1--that is1 supposing them to have been designed on one of those visits4 ,it is1 however1 just as probable that the designs were made in ,england1 and forwarded to a wood engraver at ,basle4 ,of the various paintings executed by ,holbein during his residence in ,england it is not necessary to give any account here2 those who wish for information on this point are referred to ,walpole's ,anecdotes of ,painting4,,vi-#ei ,of his life in ,england there are few particulars4 8,in some household accounts of ,henry ,,viii10 says ,mr4 ,douce1 8there are payments to him in #aech1 #aeci1 #aedj1 and #aeda1 on account of his salary1 which appears to have been thirty pounds per annum4 ,from this time little more is recorded of him till #aeec1 when he painted ,queen ,mary's portrait1 and shortly afterwards died of the plague in #aeed40 ,thomas ,howard1 ,earl of ,arundel1 the great patron of artists1 in the time of ,charles ,i1 was desirous of erecting a monument to the memory of ,holbein1 but gave up the intention as he was unable to discover the place of the artist's interment4 ,as ,holbein seems to have left no will1 and as his death appears to have excited no notice1 it is likely that he died poor1 and in comparative obscurity4 ,if his satirical drawings,,vi-#fj of ,christ's ,passion1 ridiculing the ,pope and the popish clergy1 were known to ,mary1 or any of her spiritual advisers1 it could not be expected that he should find favour at her court4 ,footnote ,,vi-#ei3 ,see ,dallaway's edition1 revised by ,r4 ,n4 ,wornum4 ,london1 ,bohn1 #ahdi1 #c vols4 #hvo4 ,vol4 i4 pp4 #ff et seq4 ,footnote ,,vi-#fj3 ,those designs were engraved on sixteen small plates by ,hollar1 but without his name4 ,the enemies of ,christ are represented in the dress of monks and friars1 and instead of weapons they bear croziers1 large candlesticks1 and other church ornaments2 ,judas appears as a capucin1 ,annas as a cardinal1 and ,caiaphas as a bishop4 ,in the subject of ,christ's ,descent to ,hades1 the gates are hung with papal bulls and dispensations2 above them are the ,pope's arms1 and the devil as keeper of the gate wears a triple crown4 ,underneath this engraving are the following verses1 which are certainly not of the period of ,holbein3 8,lo6 the ,pope's kitchin1 where his soles are fried1 ,called ,purgatorie2 see his pardons tied ,on strings2 his triple crown the ,divell weares1 ,and o'er the door the ,pope's own arms he beares40 ,in the subject of ,christ before ,caiaphas is the following inscription in ,german3 8,wer wider die ,rmischen1 der soll sterben10--that is1 8,he who is against the ,romans shall die40 ,wood engraving in ,england during the time of ,holbein's residence in this country appears to have been but little cultivated2 but though there cannot be a doubt that the art was then practised here by native wood engravers1 yet ,i very much question if it were practised by any person in ,england as a distinct profession4 ,it is not unlikely that many of the wood-cuts which appear in books printed in this country about that period were engraved by the printers themselves4 ,it has indeed been supposed that most of the wood-cuts in ,english books printed at that period were engraved on the continent2 but this opinion seems highly improbable--there could be no occasion to send abroad to have wood-cuts so rudely executed4 ,perhaps the difficulty1 or rather the impossibility of finding a wood engraver in ,england capable of doing justice to his designs might be one reason why ,holbein made so few for the booksellers of this country during his long residence here4 ,the following portrait of ,sir ,thomas ,wyatt1 the poet1 who died in #aeda1 was probably drawn on the block by ,holbein4 ,it is given on the reverse of the title of a small work in quarto1 printed at ,london1 #aedb1 and entitled 8,nni in mortem ,thom ,viati equitis incomparabilis4 ,joanne ,lelando antiquario autore40 ,the verses1 which are printed underneath the cut1 seem decisive of the drawing having been made by ,holbein4 ,there is a drawing of ,sir ,thomas ,wyatt by ,holbein1 in the ,royal ,collection1 which is engraved in ,chamberlain's work1 entitled 8,imitations of ,original ,drawings by ,hans ,holbein10 folio1 #agib4 ,there is little similarity between the drawing and the cut1 though on comparison it is evident that both are intended for the same person4 ,illustration3 ,in effigiem ,thom ,viati4 ,holbenus nitida pingendi maximus arte ,effigiem expressit graphic3 sed nullus ,apelles ,exprimet ingenium felix animumque ,viati4 ,it has been supposed that the original cut1 of which the preceding is a fac-simile1 was engraved by ,holbein himself3 if this were true1 and the cut itself taken as a specimen of his abilities in this department of art1 there could not be a doubt of his having been a very indifferent wood engraver1 for though there be considerable expression of character in the drawing of the head1 the cut is executed in a very inferior style of art4 ,the cuts in ,cranmer's ,catechism1 a small octavo1 printed in #aedh1,,vi-#fa have been ascribed to ,holbein2 but out of the whole number1 twenty-nine1 including the cut on the reverse of the title1 there are only two which contain his mark4 ,in the others the manner of pencilling is so unlike that of these two1 and the drawing and composition bear so little resemblance to ,holbein's usual style1 that ,i do not believe them to have been of his designing4 ,in the cut on the reverse of the title1 the subject is ,cranmer presenting the ,bible to ,edward ,,vi42 the others1 twenty-eight in number1 but containing only twenty-six different subjects1--as two of them are repeated1--are illustrative of different passages of ,scripture cited in the work4 ,the following cut is one of those designed by ,holbein4 ,it occurs at folio ,,cl as an illustration of 8the fyrst sermon4 ,a declaration of the fyrst peticion0 of the ,lord's ,prayer4 ,holbein's initials1 ,h4 ,h4--though the cross stroke of the first ,h is broken away--are perceived on the edge of what seems to be a book1 to the left of the figure praying4 ,illustration ,footnote ,,vi-#fa3 ,the following is the title of this scarce little volume4 8,catechismus1 that is to say1 a shorte instruction into ,christian religion for the singuler commoditie and profyte of childr and yong people4 ,set forth by the mooste reverende father in ,god1 ,thomas ,archbyshop of ,canterbury1 primate of all ,englande and ,metropolitane4--,gualterus ,lynne excudebat1 #aedh40 ,at the end of the book1 under a cut of ,christ with a child before him1 is the colophon3 8,imprynted at ,london1 in ,s4 ,jhones ,streete1 by ,nycolas ,hyll1 for ,gwalter ,lynne dwellyng on ,somers kaye1 by ,byllynges gate40 ,mr4 ,douce1 at page #if1 mentions a cut with the name ,hans ,holbein at the bottom1 as occurring in the title-page of 8,a lytle treatise after the manner of an ,epystle wryten by the famous clerk ,doctor ,urbanus ,regius10 c4 also published by ,walter ,lynne1 #aedh4 ,the other cut1 designed by ,holbein1 and which contains his name at full length1,,vi-#fb occurs at folio ,,cci4 ,the subject is ,christ casting out ,devils1 in illustration of the seventh petition of the ,lord's ,prayer1--8,deliver us from evil40 ,the following is a fac-simile4 ,illustration3 ,,hans,,holben ,footnote ,,vi-#fb3 ,mr4 ,douce1 in his observations prefixed to ,hollar's etchings of the ,dance of ,death1 published by ,edwards in #agid1 says1 8,a set of cuts with the latter mark ,hans ,holben occurs in ,archbishop ,cranmer's ,catechism1 printed by ,walter ,lyne1 in #aedh20 and in the same page he commits another mistake by describing the mark on the cut of the ,duchess in the ,lyons ,dance of ,death as ,,hb1 instead of ,,hl4 ,it has been considered necessary to notice these errors1 as it is probable that many persons who possess the work in which they occur1 but who never may have seen a copy of the ,lyons ,dance of ,death1 nor of ,cranmer's ,catechism1 may have been misled in those matters by implicitly relying on ,mr4 ,douce's authority4 ,a certain class of compilers are also extremely liable to transmit such mistakes1 and1 to borrow an expression of ,hegner's1 to give currency to them1 as if they stood ready for use 8in stereotype40 ,for the purpose of showing the difference of style between those two cuts and the others contained in the same work1 the three given on the following page have been selected4 ,the first1 illustrating the ,creation1 occurs at the folio erroneously numbered ,,cxcv1 properly ,,cix1 ,no4 #a2 the second1 illustrating the sermon of our redemption1 at folio ,,cxxi1 ,no4 #b2 and the third1 illustrating the third petition of the ,lord's ,prayer1--8,thy will be done10--at folio ,,clxviii1 ,no4 #c4 ,the following are the introductory remarks to the explanation of what the archbishop calls the third petition3 8,ye have herde how in the former petycions1 we require of our ,lorde ,god to gyve us al thinges that perteyne to his glorye and to the kyngdom of heaven1 whereof he hath gyven us commaundemente in the three preceptes written in the first table4 ,nowe folowethe the thirde peticyon1 wherein we praye ,god to grate us that we may fulfyll the other seven commadementes also1 the whiche intreat of matiers concerning this worldly kingdome and transitorye lyfe1 that is to saye1 to honoure our parentes and gouernours1 to kyl no man1 to committe none adulterye1 to absteyne from thefte and lyinge1 and to behave our selfes in all thinges obedientlye1 honestlye1 peaceably1 and godly40 ,illustration3 ,no4 #a4 ,illustration3 ,no4 #b4 ,illustration3 ,no4 #c4 ,the feebleness of the drawing and the want of distinctness in these three cuts1 are totally unlike the more vigorous delineation of ,holbein1 as exemplified1 though but imperfectly1 in the two which are doubtlessly of his designing4 ,none of them have the slightest pretensions to delicacy or excellence of engraving1 though they may be considered as the best that had been executed in this country up to that time4 ,those which1 in my opinion1 were not designed by ,holbein have the appearance of having been engraved on a frushy kind of wood1 of comparatively coarse grain4 ,it is not1 however1 unlikely that this appearance might result from the feebleness of the drawing1 conjoined with want of skill on the part of the engraver4 ,the following cut will not perhaps form an inappropriate termination to the notice of the principal wood engravings which have been ascribed to ,holbein4 ,it occurs as an illustration of the generation of ,christ1 ,matthew1 chapter ,i1 in an edition of the ,new ,testament1 printed at ,zurich1 by ,froschover1 in #aeed1,,vi-#fc the year of ,holbein's death4 ,though there be no name to this cut1 yet from the great resemblance which it bears to ,holbein's style1 ,i have little doubt of the design being his4 ,illustration ,footnote ,,vi-#fc3 ,the title-page of this book--which has previously been referred to at page #ceg1 in illustration of the word picta--is as follows3 8,novi ,testamenti ,editio postrema per ,des4 ,erasmum ,roterodamum4 ,omnia picturis illustrata4 ,accesserunt ,capitum argumenta ,elegiaco carmine1 ,rudolpho ,gualtero authore1 conscripta4 ,tiguri1 in ,officina ,froschoviana4 ,anno ,m4,d4,,liiii40 #hvo4 ,the three following specimens of the cuts in ,tindale's ,translation of the ,new ,testament1 printed at ,antwerp in #aecd1,,vi-#fd ought1 in strict chronological order1 to have preceded those of the ,dance of ,death2 but as ,holbein holds the same rank in this chapter as ,durer in the preceding1 it seemed preferable to give first a connected account of the principal wood-cuts which are generally ascribed to him1 and which there is the strongest reason to believe were actually of his designing4 ,the celebrity of ,tindale's translation1 as the earliest ,english version of the ,new ,testament which appeared in print1 and the place which his name occupies in the earlier part of the history of the ,reformation in ,england1 will give an interest to those cuts to which they could have no pretensions as mere works of art4 ,it is probable that they were executed at ,antwerp1 where the book was printed2 and the drawing and engraving will afford some idea of the style of most of the small cuts which are to be found in works printed in ,holland and ,flanders about that period4 ,the first of the preceding cuts represents ,st4 ,luke employed in painting a figure of the ,virgin1 and it occurs at the commencement of the ,gospel of that ,evangelist4 ,the second1 which occurs at the commencement of the ,general ,epistle of ,james1 represents that ,saint in the character of a pilgrim4 ,the third1 ,death on the ,pale ,horse1 is an illustration of the sixth chapter of ,revelations4 ,footnote ,,vi-#fd3 ,the volume is of octavo size1 and the title is as follows3 8,the ,newe ,testament4 ,imprinted at ,antwerp by ,marten ,emperour4 ,anno ,m4,d4,,xxxiiii40 ,the letters on the wood-cut of the printer's device1 seen in the copies on paper1 are ,m4 ,k4 ,the first edition of ,tindale's ,translation was printed in #aebf4 ,william ,tindale1 otherwise ,hitchins1 was born on the borders of ,wales1 but was of a ,northumberland family1 being descended from ,adam de ,tindale of ,langley1 near ,haydon ,bridge1 in that county4 ,he was strangled1 and his body was afterwards burnt as that of a heretic by the popish party1 at ,vilvorde1 near ,brussels1 in #aecf4 ,illustration3 ,no4 #a4 ,illustration3 ,no4 #b4 ,illustration3 ,no4 #c4 ,there is a beautiful copy1 printed on vellum1 of this edition of ,tindale's ,translation of the ,new ,testament in the ,library of the ,british ,museum4 ,it appears to have formerly belonged to ,queen ,anne ,boleyn1 and was probably a presentation copy from the translator4 ,the title-page is beautifully illuminated2 the whole of the ornamental border1 which is seen in the copies on paper1 is covered with gilding and colour1 and the wood-cut of the printer's mark is covered with the blazoning of the royal arms4 ,on the edges1 which are gilt1 there is inscribed1 in red letters1 ,,anna ,,regina ,,angli4 ,this beautiful volume formerly belonged to the ,reverend ,c4 ,m4 ,cracherode1 by whom it was bequeathed to the ,museum4 ,the first complete ,english translation of the ,old and ,new ,testaments was that of ,miles ,coverdale1 which appeared in folio1 #aece1,,vi-#fe without the name or residence of the printer1 but supposed to have been printed at ,zurich by ,christopher ,froschover4 ,the dedication is addressed to ,henry ,,viii1 by 8his ,graces humble subjecte and daylie oratour1 ,myles ,coverdale20 and in the copy in the ,british ,museum the commencement is as follows3 8,unto the most victorious ,prynce and our most gracyous soveraigne ,lorde1 kynge ,henry the eyght1 kynge of ,englonde and of ,fraunce1 lorde of ,irlonde1 c4 ,defendour of the ,fayth1 and under ,god the chefe and supreme heade of the churche of ,englonde4 ,the ryght and just administracyon of the laws that ,god gave unto ,moses and unto ,josua3 the testimonye of faythfulnes that ,god gave of ,david3 the plenteous abundance of wysdome that ,god gave unto ,salomon3 the lucky and prosperous age with the multiplicacyon of sede which ,god gave unto ,abraham and ,sara his wyfe1 he gev unto you most ,gracyous ,prynce1 with your dearest just wyfe and most virtuous ,pryncesse1 ,quene ,anne4 ,amen40 ,in most copies1 however1 8,quene ,jane0 is substituted for 8,quene ,anne10 which proves that the original dedication had been cancelled after the disgrace and execution of ,anne ,boleyn1 and that1 though the colophon is dated #dth ,october #aece1 the work had not been generally circulated until subsequent to #bjth ,may #aecf1 the date of ,henry's marriage with ,jane ,seymour4 ,footnote ,,vi-#fe3 ,the title of this edition is as follows3 8,,biblia4 ,the ,bible1 that is1 the holy ,scripture of the ,olde and ,newe ,testaments1 faithfully translated out of ,douche and ,latyn in to ,englishe4 ,m4,d4,,xxxv40 ,this title is surrounded with an ornamental wood-cut border of ten compartments3 #a4 ,adam and ,eve4 #b4 ,the name of ,jehovah in ,hebrew characters in the centre at the top4 #c4 ,christ with the banner of the cross trampling on the serpent1 sin1 and death4 #d4 ,moses receiving the tables of the law4 #e4 ,jewish ,high ,priest1--,esdras4 #f4 ,christ sending his disciples to preach the ,gospel4 #g4 ,paul preaching4 #h4 ,david playing on the harp4 #i4 ,in the centre at the bottom1 ,king ,henry ,,viii4 on his throne giving a book--probably intended for the ,bible--to certain abbots and bishops4 #aj4 ,st4 ,paul with a sword4 ,the day of the month mentioned in the colophon was probably the date of the last sheet being sent to press3 8,prynted in the yeare of our ,lorde ,m4,d4,,xxxv1 and fynished the fourth daye of ,october40 ,copies of this edition with the title-page are extremely rare4 ,some copies have a modern lithographed title prefixed1 which is not exactly correct1 though professedly a fac-simile3 in one of the scrolls it has 8telius meus0 for 8filius meus40 ,in the corresponding scroll in a copy in the ,british ,museum the words are in ,english3 8,this is my deare ,son in whom ,i delyte1 heare him10--above the figure of ,christ with the banner of the cross4 ,i have not the least doubt of this title-page having been designed by ,holbein4 ,this edition contains a number of wood-cuts1 all rather coarsely engraved1 though some of them are designed with such spirit as to be not unworthy of ,holbein himself1 as will be apparent from two or three of the following specimens4 ,in the first1 ,cain killing ,abel1 the attitude of ,abel1 and the action of ,cain1 sufficiently indicate that the original designer understood the human figure well1 and could draw it with great force in a position which it is most difficult to represent4 ,illustration3 ,no4 #a4 ,the figure of ,abraham in ,no4 #b bears in some parts considerable resemblance to that of the same subject given as a specimen of ,holbein's ,bible cuts at page #cfh2 but there are several others in the work which are much more like his style2 and which1 perhaps1 might be copied from earlier cuts of his designing4 ,the two preceding may be considered as specimens of the best designed cuts in the ,old ,testament2 and the following1 the return of the ,two ,spies1 is given us one of the more ordinary4 ,illustration3 ,no4 #b4 ,illustration3 ,no4 #c4 ,the three next cuts are from the ,new ,testament4 ,the first forms the head-piece to the ,gospel of ,st4 ,matthew2 the second1 which occurs on the title-page1 and displays great power of drawing in the figure1 is ,john the ,baptist2 and the third represents ,st4 ,paul writing1 with his sword before him1 and a weaver's loom to his left3 the last incident1 which is frequently introduced in old wood-cuts of this ,saint1 is probably intended to designate his business as a tentmaker1 and also to indicate that1 though zealously engaged in disseminating the doctrines of ,christ1 he had not ceased to 8work with his hands40 ,illustration3 ,no4 #a4 ,illustration3 ,no4 #b4 ,illustration3 ,no4 #c4 ,many of the cuts in this work are copied in a subsequent edition1 also in folio1 printed in #aecg2 and some of the copies are so extremely like the originals--every line being retained--as to induce a suspicion that the impressions of the latter had been transferred to the blocks by means of what is technically termed 8rubbing down40 ,about #aecj the art of chiaro-scuro engraving on wood1 which appears to have been first introduced into ,italy by ,ugo da ,carpi1 was practised by ,antonio ,fantuzzi1 called also ,antonio da ,trente4 ,most of this engraver's chiaro-scuros are from the designs of ,parmegiano4 ,it is said that ,fantuzzi was employed by ,parmegiano for the express purpose of executing chiaro-scuro engravings from his drawings1 and that1 when residing with his employer at ,bologna1 he took an opportunity of robbing him of all his blocks1 impressions1 and designs4 ,between #aecj and #aedj ,joseph ,nicholas ,vincentini da ,trente engraved several chiaro-scuros1 most of which1 like those executed by ,fantuzzi1 are from the designs of ,parmegiano4 ,from the number of chiaro-scuros engraved after drawings by this artist1 ,i think it highly probable that the most of them were executed under his own superintendence and published for his own benefit4 ,baldazzar ,peruzzi and ,domenico ,beccafumi1 both painters of repute at that period1 are said to have engraved in chiaro-scuro2 but the prints in this style usually ascribed to them are not numerous1 and ,i consider it doubtful if they were actually of their own engraving4 ,from about #aecj1 the art of wood engraving1 in the usual manner1 began to make considerable progress in ,italy1 and many of the cuts executed in that country between #aedj and #aehj may vie with the best wood engravings of the same period executed in ,germany4 ,instead of the plain and simple style1 which is in general characteristic of ,italian wood-cuts previous to #aecj1 the wood engravers of that country began to execute their subjects in a more delicate and elaborate manner4 ,in the period under consideration1 we find cross-hatching frequently introduced with great effect2 there is a greater variety of tint in the cuts2 the texture of different substances is indicated more correctly2 the foliage of trees is more natural2 and the fur and feathers of animals are discriminated with considerable ability4 ,the following cut will afford perhaps some idea of the best ,italian wood-cuts of the period under consideration4 ,it is a reduced copy of the frontispiece to ,marcolini's ,sorti1,,vi-#ff folio1 printed at ,venice in #aedj4 ,there is an impression of this cut on paper of a greenish tint in the ,print ,room of the ,british ,museum1 and from this circumstance it is placed1 though improperly1 in a volume1 marked ,i4 ,w4 #d1 and lettered 8,italian chiaro-scuros40 ,underneath this impression the late ,mr4 ,ottley has written1 8,not in ,bartsch20 and from his omitting to mention the work for which it was engraved1 ,i am inclined to think that he himself was not aware of its forming the frontispiece to ,marcolini's ,sorti4 ,papillon1 speaking of the supposed engraver1 ,joseph ,porta ,garfagninus1 whose name is seen on a tablet near the bottom towards the right1 says1 8,j'ai de lui une fort belle ,acadmie des ,sciences10,,vi-#fg but seems not to have known of the work to which it belonged4 ,this cut is merely a copy1 reversed1 of a study by ,raffaele for his celebrated fresco1 usually called the ,school of ,athens1 in the ,vatican4 ,it is engraved in a work entitled 8,vies et ,oeuvres des ,peintres les plus clbres10 #dto4 ,paris1 #ahac2 and in the ,table des ,planches at the commencement of the volume in which it occurs1 the subject is thus described3 8,pl4 ,,ccccv4 ,etude pour le tableau de l',ecole d',athnes4 ,ces diffrens episodes ne se retrouvant pas dans le tableau qui a t excut des mains de ,raphal1 ne doivent tre considres que comme des essais ou premires penses4 ,grav4 ,m4 ,ravignano40 ,from this description it appears that the same subject had been previously engraved on copper by ,marco da ,ravenna1 who flourished about the year #aecj4 ,though ,i have never seen an impression of ,marco's engraving of this subject1 and though it is not mentioned in ,heineken's catalogue of the engraved works of ,raffaele1,,vi-#fh ,i have little doubt that ,porta's wood-cut is copied from it4 ,footnote ,,vi-#ff3 ,the following is the title of this curious and scarce work3 8,le ,sorti di ,francesco ,marcolini da ,forli1 intitolate ,giardino di ,pensieri40 ,dedicated1 8,allo ,illustrissimo ,signore ,hercole ,estense1 ,duca di ,ferrara40 ,at the conclusion is the colophon3 8,in ,venetia per ,francesco ,marcolini da ,forli1 ne gli anni del ,signore ,,mdxxxx4 ,del mese di ,ottobre40 ,in a proemio1 or preface1 the author explains the manner of applying his 8piacevole inventione10 which is nothing more than a mode of resolving questions by cards1 and was probably suggested by ,fanti's ,triompho di ,fortuna1 of which some account is given at page #cae4 ,footnote ,,vi-#fg3 ,papillon1 ,trait de la ,gravure en ,bois1 tom4 i4 p4 #acg4 ,footnote ,,vi-#fh3 ,this catalogue is printed in the second volume of ,heineken's ,nachrichten von ,knstlern und ,kunst-,sachen1 #hvo4 ,leipzig1 #agfh-agfi4 ,this work1 which appeared two years before his ,ide ,gnrale d'une ,collection complette d',estampes1 contains much information on the early history of art1 which is not to be found in the latter4 ,all the fac-similes of old engravings in the ,ide ,gnrale originally appeared in the ,nachrichten4 ,heineken1 in the first volume of this work1 p4 #cdj1 mentions ,porta's cut1 but says nothing of its being copied from a design by ,raffaele4 ,illustration ,joseph ,porta1 frequently called ,joseph ,salviati by ,italian authors1 was a painter1 and he took the surname of ,salviati from that of his master1 ,francesco ,salviati4,,vi-#fi ,there are a few other wood-cuts which contain his name2 but whether he was the designer1 or the engraver only1 is extremely uncertain4 ,footnote ,,vi-#fi3 ,heineken1 in his ,nachrichten1 #a;er4 ,theil1 ,s4 #cdj1 says that ,joseph ,porta 8was a pupil of ,cecchino ,salviati1 who is not to be confounded with ,francesco ,salviati20 and yet in his ,ide ,gnrale1 published subsequently1 page #acd1 we find 8,francesco del ,salviati1 autrement ,rossi1 de ,florence1 et son disciple ,giuseppe ,porta1 appell communment ,giuseppe ,salviati40 ,heineken1 in his first work1 committed the mistake of supposing that ,francesco ,salviati's to-name was the ,christian name of another person4 ,in ,huber's ,notice ,gnrale des ,graveurs et ,peintres1 ,francis ,salviati appears as 8,franois ,cecchini1 dit ,salviati40 ,marcolini's work contains nearly a hundred wood-cuts besides the frontispiece1 but1 though several of them are designed with great spirit1 no one is so well engraved4,,vi-#gj ,the following is a fac-simile of one which occurs at page #ce4 ,the relentless-looking old woman is a personification of ,punitione--,punishment--holding in her right hand a tremendous scourge for the chastisement of evil-doers4 ,though this cut be but coarsely engraved1 the domestic ,nemesis1 who here appears to wield the retributive scourge1 is designed with such spirit that if the figure were executed in marble it might almost pass for one of ,michael ,angelo's4 ,the drapery is admirably cast2 the figure is good2 and the action and expression are at once simple and severe4 ,footnote ,,vi-#gj3 ,the first forty-six cuts are the best1 generally1 both in design and execution4 ,the others1 commencing at page #ajh1 are illustrative of the sayings and doctrines of ancient philosophers and moralists1 and one or two of the cuts are repeated4 ,in this portion of the work1 each page1 except what is occupied by the cut1 is filled with explanatory or illustrative verses arranged in triplets4 ,illustration ,illustration ,the preceding cut1 also a fac-simile1 occurs at page #ha as an illustration of ,matrimony4 ,the young man1 with his legs already tied1 seems to be deliberating on the prudence of making a contract which may possibly add a yoke to his shoulders4 ,the ring which he holds in his hand appears to have given rise to his cogitations4 ,the following small cuts of cards--8,il ,re1 ,fante1 ,cavallo1 e ,sette di denari0--are copied from the instructions in the preface2,,vi-#ga and the beautiful design of ,truth rescued by ,time--,,veritas ,,filia ,,temporis--occurs as a tail-piece on the last page of the work4 ,this cut occurs not unfrequently in works published by ,giolito1 by whom ,i believe the ,sorti was printed2 and two or three of the other cuts contained in the volume are to be found in a humorous work of ,doni's1 entitled 8,i ,marmi10 printed by ,giolito in #aeeb4 ,illustration ,illustration ,illustration ,footnote ,,vi-#ga3 ,the first hundred and seven pages of the work are chiefly filled with similar figures of cards variously combined1 with short references4 ,how ,marcolini's pleasant invention is to be applied to discover the secrets of ,fate1 ,i have not been able to comprehend4 ,the wood engravers of ,venice about the middle of the sixteenth century appear to have excelled all other ,italian wood engravers1 and for the delicacy of their execution they rivalled those of ,lyons1 who at that period were chiefly distinguished for the neat and delicate manner of their engraving small subjects4 ,in the pirated edition of the ,lyons ,dance of ,death1 published at ,venice in #aede by ,v4 ,vaugris1 the cuts are more correctly copied and more delicately engraved than those in the edition first published at ,cologne by the heirs of ,arnold ,birkman in #aeee4 ,in fact1 the wood engravings in books printed at ,lyons and ,venice from about #aedj to #aehj are in general more delicately engraved than those executed in ,germany and the ,low ,countries during the same period4 ,among all the ,venetian printers of that age1 ,gabriel ,giolito is entitled to precedence from the number and comparative excellence of the wood-cuts contained in the numerous illustrated works which issued from his press4 ,in several of the works printed by him every cut is surrounded by an ornamental border2 and this border1 not being engraved on the same block as the cut1 but separately as a kind of frame1 is frequently repeated3 sixteen different borders1 when the book is of octavo size and there is a cut on every page1 would suffice for the whole work1 however extensive it might be4 ,the practice of ornamenting cuts in this manner was very prevalent about the period under consideration1 and at the present time some publishers seem inclined to revive it4 ,i should1 however1 be sorry to see it again become prevalent1 for though to some subjects1 designed in a particular manner1 an ornamental border may be appropriate1 yet ,i consider the practice of thus framing a series of cuts as indicative of bad taste1 and as likely to check the improvement of the art4 ,highly ornamented borders have1 in a certain degree1 the effect of reducing a series of cuts1 however different their execution1 to a standard of mediocrity2 for they frequently conceal the beauty of a well-engraved subject1 and serve as a screen to a bad one4 ,in ,ludovico ,dolce's ,transformationi--a translation1 or rather paraphrase of ,ovid's ,metamorphoses--first printed by ,giolito in #aeec1 and again in #aeeg1 the cuts1 instead of having a border all round1 have only ornaments at the two vertical sides4 ,the preceding is a fac-simile of one of those cuts1 divested of its ornaments1 from the edition of #aeeg4 ,the subject is the difficult labour of ,alcmena1--a favourite with ,italian artists4 ,this is the cut previously alluded to at page #bag4 ,a curious book1 of which an edition1 in quarto1 was printed at ,rome in #aefa1 seems deserving of notice here1 not on account of any merit in the wood-cuts which it contains1 but on account of the singularity of four of them1 which are given as a specimen of a 8,sonetto figurato10 in the manner of the cuts in a little work entitled 8,a curious ,hieroglyphick ,bible10 first printed in ,london1 in duodecimo1 about #aghb4 ,the ,italian work in question was written by 8,messer ,giovam ,battista ,palatino1 ,cittadino ,romano10 and from the date of the ,pope's grant to the author of the privilege of exclusively printing it for ten years1 it seems likely that the first edition was published about #aedj4 ,the work is a treatise on penmanship2 and the title-page of the edition of #aefa--which is embellished with a portrait of the author--may be translated as follows3 8,the ,book of ,m4 ,giovam ,battista ,palatino1 citizen of ,rome1 in which is taught the manner of writing all kinds of characters1 ancient and modern1 of whatever nation1 with ,rules1 ,proportions1 and ,examples4 ,together with a short and useful ,discourse on ,cyphers4 ,newly revised and corrected by the ,author4 ,with the addition of fifteen beautiful cuts40,,vi-#gb ,in ,astle's ,origin and ,progress of ,writing1 page #bbg1 second edition1 ,palatino's work is thus noticed3 8,in #aefa1 ,valerius ,doricus printed at ,rome a curious book on all kinds of writing1 ancient and modern4 ,this book contains specimens of a great variety of writing practised in different ages and countries2 some of these specimens are printed from types to imitate writing1 and others from carved wood-blocks4 ,this book also contains a treatise on the art of writing in cipher1 and is a most curious specimen of early typography40 ,footnote ,,vi-#gb3 ,the following is a literal copy of the title3 8,libro di ,m4 ,giovam ,battista ,palatino1 ,cittadino ,romano1 ,nelqual s'insegna ,scriver ogni sorte lettera1 ,antica ,moderna1 di qualunque natione1 con le sue regole1 misure1 essempi3 ,et con un breve1 et util ,discorso de le ,cifre3 ,riveduto novamente1 corretto dal proprio ,autore4 ,con la giunta di quindici tavole bellissime40 ,at the end of the work is the imprint3 8,in ,roma per ,valerio ,dorico alla ,chiavica de ,santa ,lucia4 ,ad ,instantia de ,m4 ,giovan della ,gatta4 ,l',anno ,m4,d4,,lxi40 #dto4 ,papillon says that the work first appeared in #aedj1 and was reprinted in #aede1 #aedg1 #aedh1 #aeej1 #aeec1 and #aeef4 ,an edition was also published at ,venice in #aehh4 ,after his specimens of 8,lettere ,cifrate10 ,palatino devotes a couple of pages to 8,cifre quadrate1 et ,sonetti figurati10 two modes of riddle-writing which1 it appears1 are solely employed for amusement4 ,the 8,cifro quadrato0 is nothing more than a monogram1 formed of a cluster of interwoven capitals1 but in which every one of the letters of the name is to be found4 ,in the following specimen the name thus ingeniously disguised is ,,lavinia4 ,illustration ,the following is a slightly reduced copy of the first four lines of the 8,sonetto figurato20 the other ten lines are expressed by figures in a similar manner4 8,as to figured sonnets10 says the author1 8no better rule can be given1 than merely to observe that the figures should clearly and distinctly correspond with the matter1 and that there should be as few supplementary letters as possible4 ,of course1 orthography and pure ,italian are not to be looked for in such exercises2 and it is no objection that the same figure be used for the beginning of one word1 the middle of another1 or the end of a third4 ,it is the chief excellence of such compositions that there should be few letters to be supplied40 ,illustration ,the 8interpretatio0 of the preceding figured text is as follows3 8,dove son gli occhi1 et la serena forma ,del santo alegro et amoroso aspetto8 ,dov' la man eburna ov' e 'l bel petto ,ch' appensarvi hor' in fonte mi transforma80 ,this figured sonnet is a curious specimen of hieroglyphic and 8phonetic0 writing combined4 ,for those who do not understand ,italian1 it seems necessary to give the following explanation of the words1 and point out their phonetic relation to the things4 ,dove1 where1 is composed of ,d1 and ove1 eggs1 as seen at the commencement of the first line4 ,son1 are1 is represented by a man's head and a trumpet1 making a sound1 son4 ,the preceding figures are examples of what is called 8phonetic0 writing1 by modern expounders of ,egyptian antiquities1--that is1 the figures of things are not placed as representatives of the things themselves1 but that their names when pronounced may form a word or part of a word1 which has generally not the least relation to the thing by which it is phonetically1 that is1 vocally1 expressed4 ,occhi1 eyes1 is an instance of hieroglyphic writing2 the figure and the idea to be represented agree4 ,la1 the1 is represented by the musical note la2 serena1 placid1 by a ,siren1--,sirena1-- orthography1 as the author says1 is not to be expected in figured sonnets2 and forma1 shape1 by a shoemaker's last1 which is called forma in ,italian4 ,in the second line1 ,santo1 holy1 is represented by a ,saint1 ,santo2 allegro1 cheerfulness1 by a pair of wings1 ale1 and grue1 a crane1 the superfluous e forming1 with the ,t following1 the conjunction et1 and4 ,the words amoroso aspetto are formed of amo1 a hook1 rosa1 a rose1 and petto1 the breast1 with a supplementary s between the rose and the breast4 ,in the third line we have ove1 eggs1 and the musical la again2 man1 the hand1 is expressed by its proper figure2 eburna1 ivory-like1 is composed of the letters ,,eb and an urn1 urna2 and in the latter part of the line the eggs1 ov'1 and the breast1 petto1 are repeated4 ,at the commencement of the fourth line1 a couple of cloaks1 cappe1 stand for ch' appe in the compound word ch' appensarvi2 hor'1 now1 is represented by an hour-glass1 hora1 literally1 an hour2 fonte1 a fountain1 is expressed by its proper figure2 and the words mi transforma1 are phonetically expressed by a mitre1 mitra1 the supplementary letters ,,ns1 and the shoemaker's last1 forma4 ,in the reign of ,queen ,elizabeth1 a taste for inventing devices in this manner seems to have been fashionable among professed wits2 and the practice of expressing a name by a rebus was not unfrequent in an earlier age4 ,it is probable that the old sign of the ,bolt-in-,tun in ,fleet ,street derives its origin from ,bolton1 a prior of ,st4 ,bartholomew's in ,smithfield1 who gave a bird-bolt in the bung-hole of a tun as the rebus of his name4 ,the peculiarities of the ,italian figured sonnet are not unaptly illustrated in ,camden's ,remains1 in the chapter entitled 8,rebus1,,vi-#gc or ,name-,devises30 8,did not that amorous youth mystically expresse his love to ,rose ,hill1 whom he courted1 when in a border of his painted cloth he caused to be painted as rudely as he devised grossely1 a rose1 a hill1 an eye1 a loafe1 and a well1--that is1 if you will spell it1 ,rose ,hill ,i love well40,,vi-#gd ,footnote ,,vi-#gc3 ,there is a curious allusion to a ,rebus in ,horace1 ,satyr4 ,lib4 ,i4 ,sat4 ,v41 ,vers4 #hh1 which has escaped the notice of all his commentators3 8,quatuor hinc rapimur viginti et millia rhedis1 ,mansuri oppidulo1 quod versu dicere non est1 ,signis perfacile est40 ,the place which he did not think proper to name was undoubtedly ,asculum1 whose situation exactly corresponds with the distance from ,trivicum1 where he rested the preceding night4 ,from the manner in which ,horace alludes to the signa-- as and culum-- of which the name is composed1 it seems likely that a certain vulgar benison was not unknown at ,rome in the age of ,augustus4 ,footnote ,,vi-#gd3 ,remaines concerning ,britaine1 with additions by ,john ,philpot1 ,somerset ,herald1 p4 #afd4 ,edit4 #afcf4 ,among the wood engravers of ,lyons who flourished about the middle of the sixteenth century1 the only one whose name has come down to modern times is ,bernard ,solomon2 and if he were actually the engraver of the numerous cuts which are ascribed to him1 he must have been extremely industrious4 ,i am not1 however1 aware of any cut which contains his mark2 and it is by no means certain whether he were really a wood engraver1 or whether he only made the designs for wood engravers to execute4 ,papillon1 who has been blindly followed by most persons who have either incidentally or expressly written on wood engraving1 unhesitatingly claims him as a wood engraver2 but looking at the inequality in the execution of the cuts ascribed to him1 and regarding the sameness of character in the designs1 ,i am inclined to think that he was not an engraver1 but that he merely made the drawings on the wood4 ,sir ,e4 ,l4 ,bulwer has committed a mistake of this kind in his ,england and the ,english3 8,this country10 says he in his second volume1 page #bje1 edition #ahcc1 8may boast of having1 in ,bewick of ,newcastle1 brought wood engraving to perfection2 his pupil1 ,harvey1 continues the profession with reputation40 ,the writer here evidently speaks of that which he knows very little about1 for at the time that his book was published1 ,harvey1 though originally a wood engraver1 and a pupil of ,bewick1 had abandoned the profession for about eight years1 and had devoted himself entirely to painting and drawing for copper-plate and wood engravers4 ,indeed ,i very much question if ,sir ,edward ,lytton ,bulwer ever saw a cut--except1 perhaps1 that of ,dentatus1--which was actually engraved by ,harvey4 ,with about equal propriety1 a writer1 speaking of wood engraving in ,england twenty years ago1 might have described the late ,john ,thurston as 8continuing the profession with reputation10 merely because he was one of the principal designers of wood engravings at that period4 ,bernard ,solomon1 whether a designer or engraver on wood1 is justly entitled to be ranked among the 8little masters0 in this branch of art4 ,all the cuts ascribed to him which have come under my notice are of small size1 and most of them are executed in a delicate manner2 they are1 however1 generally deficient in effect1,,vi-#ge and may readily be distinguished by the tall slim figures which he introduces4 ,he evidently had not understood the 8capabilities0 of his art1 for in none of his productions do we find the well-contrasted 8black-and-white10 which1 when well managed1 materially contributes to the excellence of a well-engraved wood-cut4 ,the production of a good black is1 indeed1 one of the great advantages1 in point of conventional colour1 which wood possesses over copper2 and the wood engraver who neglects this advantage1 and labours perhaps for a whole day to cut with mechanical precision a number of delicate but unmeaning lines1 which a copper-plate engraver would execute with facility in an hour1 affords a tolerably convincing proof of his not thoroughly understanding the principles of his art4 ,in ,bernard's cuts1 and in most of those executed at ,lyons about the same period1 we find much of this ineffective labour2 we perceive in them many evidences of the pains-taking workman1 but few traits of the talented artist4 ,from the time that a taste for those little and laboriously executed1 but spiritless cuts1 began to prevail1 the decline of wood engraving may be dated4 ,instead of confining themselves within the legitimate boundaries of their own art1 wood engravers seem to have been desirous of emulating the delicacy of copper-plate engraving1 and1 as might naturally be expected by any one who understands the distinctive peculiarities of the two arts1 they failed4 ,the book-buyers of the period having become sickened with the glut of tasteless and ineffective trifles1 wood engraving began to decline3 large well-engraved wood-cuts executed between #aehj and #afjj are comparatively scarce4 ,footnote ,,vi-#ge3 ,papillon1 who speaks highly of the execution of the cuts ascribed to ,bernard ,solomon1 admits that they want effect4 8,la gravure10 says he1 speaking of the cuts contained in #8,quadrins ,historiques de la ,bible1' 8est fort belle1 except qu'elle manque de clair obscur1 parce que les tailles sont presque toutes de la mme teinte1 ce qui fait que les lointains ne fuyent pas assez4 ,c'est le seul defaut des gravures de ,bernard ,salomon2 ce qui lui a t commun avec plus de quarante autres graveurs en bois de son temps40--,trait de la ,gravure en ,bois1 tom4 i4 p4 #bji4 ,bernard ,solomon1 or1 as he is frequently called1 ,little ,solomon1 from the smallness of his works1 is said to have been born in #aeab1 and the most of the cuts which are ascribed to him appeared in works printed at ,lyons between #aede and #aehj4 ,perhaps more books containing small wood-cuts were printed at ,lyons between those years than in any other city or town in ,europe during the corresponding period4 ,it appears to have been the grand mart for ,scripture cuts1 emblems1 and devices2 but out of the many hundreds which appear to have been engraved there in the period referred to1 it would be difficult to select twenty that can be considered really excellent both in execution and design4 ,one of the principal publishers of ,lyons at that time was ,jean de ,tournes2 many of the works which issued from his press display great typographic excellence1 and in almost all the cuts are engraved with great neatness4 ,the following cut is a fac-simile of one which appears in the title-page of an edition of ,petrarch's ,sonnetti1 ,canzoni1 e ,trionfi1 published by him in a small octodecimo volume1 #aede4 ,illustration ,the design of the cut displays something of the taste for emblem and device,,vi-#gf which was then so prevalent1 and which became so generally diffused by the frequent editions of ,alciat's ,emblems1 the first of which was printed about #aeca4 ,the portraits of ,petrarch and ,laura1 looking not unlike 8,philip and ,mary on a shilling10 are seen enclosed within a heart which ,cupid has pierced to the very core with one of his arrows4 ,the volume contains seven other small cuts1 designed and engraved in a style which very much resembles that of the cuts ascribed to ,bernard ,solomon2 and as there is no mark by which his productions are to be ascertained1 ,i think they are as likely to be of his designing as three-fourths of those which are generally supposed to be of his engraving4 ,footnote ,,vi-#gf3 ,several editions of ,alciat's ,emblems and ,claude ,paradin's ,devises ,heroques were published at ,lyons in the sixteenth century4 ,the first edition of the latter work was printed there by ,jean de ,tournes1 in #aeeg1 #hvo4 ,the work entitled 8,quadrins ,historiques de la ,bible10 with wood-cuts1 ascribed to ,bernard ,solomon1 and printed at ,lyons by ,jean de ,tournes1 was undoubtedly suggested by the 8,historiarum ,veteris ,testamenti ,icones0--,holbein's ,bible-cuts--first published by the brothers ,frellon in #aech4 ,the first edition of the ,quadrins ,historiques was published in octavo about #aeej1 and was several times reprinted within the succeeding twenty years4 ,the total number of cuts in the edition of #aefj is two hundred and twenty-nine1 of which no less than one hundred and seventy are devoted to the illustration of ,exodus and ,genesis4 ,at the top of each is printed the reference to the chapter to which it relates1 and at the bottom is a 8,quadrin potique1 tir de la ,bible1 pour graver en la table des affeccions l'amour des sacrees ,histories40 ,those 8,quadrins0 appear to have been written by ,claude ,paradin4 ,the composition of several of the cuts is good1 and nearly all display great neatness of execution4 ,the following is a fac-simile of the seventh1 ,adam and ,eve driven out of ,paradise4 ,it is1 however1 necessary to observe that this is by no means one of the best cuts either in point of design or execution4 ,illustration ,a similar work1 entitled 8,figures du ,nouveau ,testament10 with cuts1 evidently designed by the person who had made the drawings for those in the 8,quadrins ,historiques de la ,bible10 was also published by ,jean de ,tournes about #aeec1 and several editions were subsequently printed4 ,the cuts are rather less in size than those of the ,quadrins1 and are1 on the whole1 rather better engraved4 ,the total number is a hundred and four1 and under each are six explanatory verses1 composed by ,charles ,fonteine1 who1 in a short poetical address at the commencement1 dedicates the work 8,a ,tres-illustre et ,treshaute ,princesse1 ,madame ,marguerite de ,france1 ,duchesse de ,berri40 ,the following1 ,christ tempted by ,satan1 is a copy of the sixteenth cut1 but like that of the expulsion of ,adam and ,eve1 it is not one of the best in the work4 ,illustration ,old engravings and paintings illustrative of manners or of costume are generally interesting2 and on this account a set of large wood-cuts designed by ,peter ,coeck of ,alost1 in ,flanders1 is deserving of notice4 ,the subjects of those cuts are the manners and costumes of the ,turks2 and the drawings were made on the spot by ,coeck himself1 who visited ,turkey in #aecc4 ,it is said that he brought from the east an important secret relative to the art of dyeing silk and wool for the fabrication of tapestries1 a branch of manufacture with which he appears to have been connected1 and for which he made a number of designs4 ,he was also an architect and an author2 and published several treatises on sculpture1 geometry1 perspective1 and architecture4 ,the cuts illustrative of the manners and costume of the ,turks were not published until #aeec1 three years after his decease1 as we learn from an inscription on the last4,,vi-#gg ,they are oblong1 of folio size2 and the seven of which the set consists are intended to be joined together1 and thus to form one continuous subject4 ,the figures1 both on foot and horseback1 are designed with great spirit1 but they want relief1 and the engraving is coarse4 ,one of the customs which he has illustrated in the cut ,no4 #c is singular2 and though this orientalism has been noticed by a ,scottish judge--,maclaurin of ,dreghorn--,peter ,coeck appears to be the only traveller who has graphically represented 8quo modo ,turci mingunt10 i4 e4 sedentes4 ,succeeding artists have availed themselves liberally of those cuts4 ,as the ,turks in the sixteenth century were much more formidable as a nation than at present1 and their manners and customs objects of greater curiosity1 wood engravings illustrative of their costume and mode of living appear to have been in considerable demand at that period1 for both in books and as single cuts they are comparatively numerous4 ,footnote ,,vi-#gg3 ,the following explanatory title occurs on the first cut3 8,ces moeurs et fachons de faire de ,turcz avecq' les ,regions y appartenantes1 ont este au vif contrefactez par ,pierre ,coeck d',alost1 luy estant en ,turquie1 l'an de ,jesu ,christ ,m4,d4 #cc4 ,lequel assy de sa main propre a pourtraict ces figures duysantes l'impression d'ycelles40 ,from another of the cuts we thus learn the time of his death3 8,marie ,verhulst vefue du dict ,pierre d',alost1 trespasse en l'anne ,,mdl1 a faict imprimer les dicts figures soubz ,grace et ,privilege de l',imperialle ,maiestie4 ,en l',ann ,,mcccccliii40 ,though chiaro-scuro engraving on wood was1 in all probability1 first practised in ,germany1 yet the art does not appear to have been so much cultivated nor so highly prized in that country as in ,italy4 ,between #aecj and #aeej1 when ,antonio ,fantuzzi1 ,j4 ,n4 ,vincentini1 and other ,italians1 were engaged in executing numerous chiaro-scuros after the designs of such masters as ,raffaele1 ,corregio1 ,parmegiano1 ,polidoro1 ,beccafumi1 and ,f4 ,salviati1 the art appears to have been comparatively abandoned by the wood engravers of ,germany4 ,the chiaro-scuros executed in the latter country cannot generally for a moment bear a comparison1 either in point of design or execution1 with those executed in ,italy during the same period4 ,i have1 however1 seen one ,german cut executed in this style1 with the date #aedc1 which1 for the number of the blocks from which it is printed1 and the delicacy of the impression in certain parts1 is1 if genuine1 one of the most remarkable of that period4 ,as the paper1 however1 seems comparatively modern1 ,i am induced to suspect that the date may be that of the painting or drawing1 and that this picture-print--for1 though executed by the same process1 it would be improper to call it a chiaro-scuro--may have been the work of ,ungher1 a ,german wood engraver1 who executed some chiaro-scuros at ,berlin about seventy years ago4 ,whatever may be the date1 however1 or whoever may have been the artist1 it is one of the best executed specimens of coloured block printing that ,i have ever seen4 ,this curious picture-print1 including the border1 is ten inches and three quarters high by six inches and three quarters wide4 ,the subject is a figure of ,christ2 in his left hand he holds an orb emblematic of his power1 while the right is elevated as in the act of pronouncing a benediction4 ,his robe is blue1 with the folds indicated by a darker tint1 and the border and lighter parts impressed with at least two lighter colours4 ,above this robe there is a large red mantle1 fastened in front with what appears to be a jewel of three different colours1 ruby1 yellow1 and blue2 the folds are of a darker colour2 and the lights are expressed by a kind of yellow1 which has evidently been either impressed1 or laid on the paper with a brush1 before the red colour of the mantle1 and which1 from its glistening1 seems to have been compounded with some metallic substance like fine gold-dust4 ,the border of the print consists of a similar yellow1 between plain black lines4 ,the face is printed in flesh colour of three tints1 and the head is surrounded with rays of glory1 which appear like gilding4 ,the engraving of the face1 and of the hair of the head and beard1 is extremely well executed1 and much superior to anything that ,i have seen in wood-cuts containing ,ungher's mark4 ,the globe is blue1 with the lights preserved1 intersected by light red and yellow lines2 and the small cross at the top is also yellow1 like the light on the red mantle4 ,the hands and feet are expressed in their proper colours2 the ground on which the ,redeemer stands is something between a lake and a fawn colour2 and the ground of the print1 upwards from about an inch above the bottom1 is of a lighter blue than the robe4 ,to the right1 near the bottom1 are the date and mark1 thus3 #aedc ,the figure like a winged serpent resembles a mark which was frequently used by ,lucas ,cranach1 except that the serpent or dragon of the latter appears less crooked1 and usually has a ring in its mouth4 ,the letter underneath also appears rather more like an ,i than an ,l4 ,the drawing of the figure of ,christ1 however1 is very much in the style of ,lucas ,cranach1 and ,i am strongly inclined to think that the original painting or drawing was executed by him1 whoever may have been the engraver4 ,there must have been at least ten blocks required for this curious print1 which1 for clearness and distinctness in the colours1 and for delicacy of impression1 more especially in the face1 may challenge a comparison not only with the finest chiaro-scuros of former times1 but also with the best specimens of coloured block-printing of the present day4,,vi-#gh ,illustration ,footnote ,,vi-#gh3 ,this interesting specimen of the combined arts of wood engraving and printing formerly belonged to the late ,mr4 ,robert ,branston1 wood engraver1 who executed several of the chiaro-scuros1 and imitations of coloured drawings1 in ,savage's work on ,decorative ,printing4 ,it is now in the possession of his son1 ,mr4 ,frederick ,branston1 who is of the same profession as his father4 ,in #aeeg1 ,hubert ,goltzius1 a painter1 but better known as an author than as an artist1 published at ,antwerp1 in folio1 a work containing portraits1 executed in chiaro-scuro1 of the ,roman emperors1 from ,julius ,csar to ,ferdinand ,i4,,vi-#gi ,descamps1 in his work entitled 8,la ,vie des ,peintres ,flamands1 ,allemands et ,hollandois10 says that those portraits1 which are all copied from medals1 were 8engraved on wood by a painter of ,courtrai1 named ,joseph ,gietleughen20,,vi-#hj and ,papillon1 who had examined the work more closely1 but not closely enough1 says that the outlines are etched1 and that the two rentres--the subsequent impressions which give to the whole the appearance of a chiaro-scuro drawing--are from blocks of wood engraved in intaglio4 ,what ,papillon says about the outlines being etched is true2 but a close inspection of those portraits will afford any person acquainted with the process ample proof of the 8rentres0 being also printed from plates of metal in the same manner as from engraved wood-blocks4 ,footnote ,,vi-#gi3 ,the title-page of this work is printed in three colours1--black1 sepia1 and green4 ,the black ornamental outlines are from an etched plate2 the sepia and green colours are printed from wood-blocks4 ,an edition of this work1 enlarged by ,gevartius1 with portraits in two colours1 and entirely engraved on wood1 was printed at ,antwerp in #afde4 ,footnote ,,vi-#hj3 ,tom4 i4 p4 #abi4 ,paris1 #agec4 ,each of those portraits appears like an enlarged copy of a medal1 and is the result of three separate impressions2 the first1 containing the outlines of the head1 the ornaments1 and the name1 has been printed from an etched plate of copper or some other metal1 by means of a copper-plate printing-press2 and the two other impressions1 over the first1 have also been from plates of metal1 mounted on blocks of wood1 and printed by means of the common typographic printing-press4 ,the outlines of the head and of the letters forming the legend are black2 the field of the medal is a muddy kind of sepia2 and the head and the border1 printed from the same surface and at the same time1 are of a lighter shade4 ,the lights to be preserved have been cut in intaglio in the plates for the two 8rentres0 in the same manner as on blocks of wood for printing in chiaro-scuro4 ,the marks of the pins by which the two plates for the 8rentres0 have been fastened to blocks of wood1 to raise them to a proper height1 are very perceptible2 in the field of the medal they appear like circular points1 generally in pairs2 while round the outer margin they are mostly of a square form4 ,it is difficult to conceive what advantage ,goltzius might expect to derive by printing the 8rentres0 from metal plates2 for all that he has thus produced could have been more simply effected by means of wood-blocks1 as practised up to that time by all other chiaro-scuro engravers4 ,though those portraits possess but little merit as chiaro-scuros1 they are yet highly interesting in the history of art1 as affording the first instances of etching being employed for the outlines of a chiaro-scuro1 and of the substitution1 in surface-printing1 of a plate of metal for a wood-block4 ,goltzius's manner of etching the outlines of a chiaro-scuro print was frequently practised both by ,french and ,english artists about the middle of the last century2 and about #agbb1 ,edward ,kirkall engraved the principal parts of his chiaro-scuros in mezzo-tint1 and afterwards printed a tint from a metal plate mounted on wood4 ,in the present day ,mr4 ,george ,baxter has successfully applied the principle of engraving the ground and the outlines of his subjects in aqua-tint2 and1 as in the case of ,hubert ,goltzius and ,kirkall1 he sometimes uses a metal-plate instead of a wood-block in surface-printing4 ,in the picture-prints executed by ,mr4 ,baxter for the ,pictorial ,album1 #ahcg1 the tint of the paper on which each imitative painting appears to be mounted1 is communicated from a smooth plate of copper1 which receives the colour1 and is printed in the same manner as a wood-block4 ,among the ,german artists who made designs for wood engravers from the time of ,durer to about #aeij1 ,erhard ,schn1 ,virgil ,solis1 ,melchior ,lorich1 and ,jost ,amman may be considered as the principal4 ,they are all frequently described as wood engravers from the circumstance of their marks being found on the cuts which they undoubtedly designed1 but most certainly did not engrave4 ,erhard ,schn chiefly resided at ,nuremberg2 and some of the earliest cuts of his designing are dated #aebh4 ,in #aech he published at ,nuremberg a small treatise1 in oblong quarto1 on the proportions of the human figure1 for the use of students and young persons4,,vi-#ha ,this work contains several wood-cuts1 all coarsely engraved1 illustrative of the writer's precepts2 two or three of them--where the heads and bodies are represented by squares and rhomboidal figures--are extremely curious1 though apparently not very well adapted to improve a learner in the art of design4 ,another of the cuts1 where the proportions are illustrated by means of a figure inscribed within a circle1 is very like one of the illustrations contained in ,flaxman's ,lectures on ,sculpture4 ,some cuts of playing-cards1 designed by ,schn1 are in greater request than any of his other works engraved on wood1 which1 for the most part1 have but little to recommend them4 ,he died about #aeej4 ,footnote ,,vi-#ha3 ,the following is a copy of the title3 8,underweisung der ,proportzion und ,stellung der ,possen1 liegent und stehent2 abgestochen wie man das vor augen sieht1 in dem puchlein1 durch ,erhart ,schon von ,norrenberg2 fr die ,jungen gesellen und ,jungen zu unterrichtung die zu der ,kunst lieb tragen4 ,in den druck gepracht1 #aech40 ,virgil ,solis1 a painter1 copper-plate engraver1 and designer on wood1 was born at ,nuremberg about #aead4 ,the cuts which contain his mark are extremely numerous2 and1 from their being mostly of small size1 he is ranked by ,heineken with the 8,little ,masters40 ,several of his cuts display great fertility of invention2 but though his figures are frequently spirited and the attitudes good1 yet his drawing is generally careless and incorrect4 ,as a considerable number of his cuts are of the same kind as those of ,bernard ,solomon1 it seems as if there had been a competition at that time between the booksellers of ,nuremberg and those of ,lyons for supplying the ,european market with illustrations of two works of widely different character1 to wit1 the ,bible1 and ,ovid's ,metamorphoses1--,virgil ,solis being retained for the ,german1 and ,bernard ,solomon for the ,french publishers4 ,he designed the cuts in a ,german edition of the ,bible1 printed in #aefj2 most of the portraits of the ,kings of ,france in a work published at ,nuremberg in #aeff2 a series of cuts for ,esop's fables2 and the illustrations of an edition of ,reusner's ,emblems4 ,several cuts with the mark of ,virgil ,solis are to be found in the first edition of ,archbishop ,parker's ,bible1 printed by ,richard ,jugge1 folio1 ,london1 #aefh4 ,in the second edition1 #aegb1 there are two ornamented initial letters1 apparently of his designing1 which seem to show that his sacred and profane subjects were liable to be confounded1 and that cuts originally designed for an edition of ,ovid might by some singular oversight be used in an edition of the ,bible1 although printed under the especial superintendence of a ,right ,reverend ,archbishop4 ,in the letter ,g1 which forms the commencement of the first chapter of ,st4 ,paul's ,epistle to the ,hebrews1 the subject represented by the artist is ,leda caressed by ,jupiter in the form of a swan2 and in the letter ,t at the commencement of the first chapter of the ,epistle ,general of ,st4 ,john1 the subject is ,venus before ,jove1 with ,cupid1 ,juno1 ,mars1 ,neptune1 and other ,heathen deities in attendance4,,vi-#hb ,footnote ,,vi-#hb3 ,this last letter contains the mark ,,sa1 which is to be found on some of the cuts in the editions of the ,dance of ,death printed at ,cologne1 #aeee-aegb4 ,a series of wood-cuts designed by ,virgil ,solis1 illustrative of ,ovid's ,metamorphoses1 was published at ,frankfort1 in oblong quarto1 by ,george ,corvinus1 ,sigismund ,feyerabend1 and the heirs of ,wigand ,gallus1 in #aefi4 ,each cut is surrounded by a heavy ornamental border2 above each are four verses in ,latin1 and underneath four in ,german1 composed by ,johannes ,posthius1 descriptive of the subject4 ,in the title-page1,,vi-#hc which is both in ,latin and in ,german1 it is stated that they are designed--gerissen--by ,virgil ,solis for the use and benefit of painters1 goldsmiths1 and statuaries4 ,it is thus evident that they were not engraved by him2 and in corroboration of this opinion it may be observed that several of them1 in addition to his mark1 ,symbol1 also contain another1 ,symbol1 which is doubtless that of the wood engraver4 ,the latter mark occurs frequently in the cuts designed by ,virgil ,solis1 in the first edition of ,archbishop ,parker's ,bible4 ,footnote ,,vi-#hc3 ,the title is as follows3 8,johan4 ,posthii ,germershemii ,tetrasticha in ,ovidii ,metam4 ,lib4 xv4 ,quibus accesserunt ,vergilii ,solis figur elegantissim1 primum in lucem edit4--,schne ,figuren1 auss dem frtrefflichen ,poeten ,ovidio1 allen ,malern1 ,goldtschmiden1 und ,bildthauern1 zu nutz und gutem mit fleiss gerissen durch ,vergilium ,solis1 und mit ,teutschen ,reimen krtzlich erklret1 dergleichein vormals im ,druck nie aussgangen1 ,durch ,johan4 ,posthium von ,germerssheim4 ,m4,d4,,lxix40 ,evelyn1 in his ,sculptura1 has the following notice of this artist3 8,virgilius ,solis graved also in wood ,the story of the ,bible and ,the mechanic arts in little2 but for imitating those vile postures of ,aretine had his eyes put out by the sentence of the magistrate40 ,there is scarcely a page of this writer's works on art which does not contain similar inaccuracies1 and yet he is frequently quoted and referred to as an authority4 ,the 8mechanic arts0 to which ,evelyn alludes were probably the series of cuts designed by ,jost ,amman1 and first published in quarto1 at ,frankfort1 in #aefd2 and the improbable story of ,virgil ,solis having had his eyes put out for copying ,julio ,romano's obscene designs1 engraved by ,marc ,antonio1 and illustrated with sonnets by the scurrilous ribald1 ,pietro ,aretine1 is utterly devoid of foundation4 ,no such copies have ever been mentioned by any well-informed writer on art1 and there is not the slightest evidence of ,virgil ,solis ever having been punished in any manner by the magistrates of his native city1 ,nuremberg1 where he died in #aegj4 ,wood-cuts with the mark of ,melchior ,lorich are comparatively scarce4 ,he was a native of ,flensburg in ,holstein1 and was born in #aebg4 ,he obtained a knowledge of painting and copper-plate engraving at ,leipsic1 and afterwards travelled with his master through some of the northern countries of ,europe4 ,he afterwards visited ,vienna1 and subsequently entered into the service of the ,palsgrave ,otho1 in whose suite he visited ,holland1 ,france1 and ,italy4 ,in #aeeh he went with the ,imperial ambassador to ,constantinople1 where he remained three years4 ,his principal works engraved on wood consist of a series of illustrations of the manners and customs of the ,turks1 published about #aegj4 ,there is a very clever cut1 a ,lady splendidly dressed1 with his mark and the date #aeea2 it is printed on what is called a 8broadside10 and underneath is a copy of verses by ,hans ,sachs1 the celebrated shoemaker and meistersnger of ,nuremberg1,,vi-#hd entitled 8,eer und ,lob einer schn wolgezierten ,frawen0--,the ,honour and ,praise of a beautiful well-dressed woman4 ,a large cut of the ,deluge1 in two sheets1 is considered one of the best of his designing4 ,among the copper-plates engraved by ,melchior ,lorich1 a portrait of ,albert ,durer1 and two others1 of the ,grand ,signior and his favourite ,sultana1 are among the most scarce4 ,the time of his death is uncertain1 but ,bartsch thinks that he was still living in #aehc1 as there are wood-cuts with his mark of that date4 ,footnote ,,vi-#hd3 ,hans ,sachs1 whose poetical works might vie in quantity with those of ,lope ,vega1 was born at ,nuremberg in #adid4 ,notwithstanding the immense number of verses which he composed1 he did not trust to his profession of ,meistersnger for the means of living1 but continued to carry on his business as a shoemaker till his death1 which happened in #aegf4 ,his verses were much admired by his contemporaries2 and between #aegj and #aegi1 a collection of his works was published in five volumes folio4 ,several short pieces by him were originally printed as 8broadsides10 with an ornamental or illustrative cut at the top4 ,jost ,amman1 one of the best designers on wood of the period in which he lived1 was born at ,zurich in #aeci1 but removed to ,nuremberg about #aefj4,,vi-#he ,his designs are more bold1 and display more of the vigour of the older ,german masters1 than those of his contemporary ,virgil ,solis4 ,a series of cuts designed by him1 illustrative of professions and trades1 was published in #aefd1 quarto1 with the title 8,hans ,sachse eigentliche ,beschreibung aller ,stnde auf ,erden--aller ,knste und ,handwerker10 c4--that is1 ,hans ,sachs's correct ,description of all ,ranks1 ,arts1 and ,trades2 and another edition in duodecimo1 with the descriptions in ,latin1 appeared in the same year4,,vi-#hf ,for the correctness of the date of those editions ,i am obliged to rely on ,heineken1 as ,i have never seen a copy of either2 the earliest edition with ,hans ,sachs's descriptions that has come under my notice is dated #aegd4 ,in a duodecimo edition1 #aefh1 and another of the same size1 #aegd1 the descriptions1 by ,hartman ,schopper1 are in ,latin verse4,,vi-#hg ,this is perhaps the most curious and interesting series of cuts1 exhibiting the various ranks and employments of men1 that ever was published4 ,among the higher orders1 constituting what the ,germans call the 8,lehre und ,wehr ,stande0--teachers and warriors--are the ,pope1 ,emperor1 ,king1 ,princes1 ,nobles1 ,priests1 and ,lawyers2 while almost every branch of labour or of trade then known in ,germany1 from agriculture to pin-making1 has its representative4 ,there are also not a few which it would be difficult to reduce to any distinct class1 as they are neither trades nor honest professions4 ,of those heteroclytes is the 8,meretricum procurator--der ,hurenweibel0--or1 as ,captain ,dugald ,dalgetty says1 8the captain of the ,queans40 ,footnote ,,vi-#he3 ,papillon1 who appears to have been extremely wishful to swell his catalogue of wood engravers1 describes ,jost ,amman of ,zurich and ,jost ,amman of ,nuremberg as two different persons4 ,footnote ,,vi-#hf3 ,heineken1 ,ide ,gnrale1 p4 #bdd4 ,footnote ,,vi-#hg3 ,the following is the title of the edition of #aefh2--that of #aegd is somewhat different4 8 omnium ,illiberalium mechanicarum aut sedentariarum artium1 continens quotquot unquam vel a veteribus1 aut nostri etiam seculi celebritate excogitari potuerunt1 breviter et dilucide confecta3 carminum liber primus1 tum mira varietate rerum vocabulorumque novo more excogitatorum copia perquam utilis1 lectuque jucundus4 ,accesserunt etiam venustissim ,imagines omnes omnium artificum negociantes ad vivum lectori representantes1 antehac nec vis nec unquam dit3 per ,hartman ,schopperum1 ,novoforens4 ,noricum4 --,frankofurti ad ,moenum1 cum privelegio ,csario1 ,m4,d4,,lxviii40 ,the subject of the following cut1 which is of the same size as the original1 is a ,briefmaler1--literally1 a card-painter1 the name by which the ,german wood engravers were known before they adopted the more appropriate one of ,formschneider4 ,it is evident1 that1 at the time when the cut was engraved1 the two professions were distinct3,,vi-#hh we here perceive the ,briefmaler employed1 not in engraving cuts1 but engaged in colouring certain figures by means of a stencil1--that is1 a card or thin plate of metal1 out of which the intended figure is cut4 ,a brush charged with colour being drawn over the pierced card1 as is seen in the cut1 the figure is communicated to the paper placed underneath4 ,the little shallow vessels perceived on the top of the large box in front are the saucers which contain his colours4 ,near the window1 immediately to his right1 is a pile of sheets which1 from the figure of a man on horseback seen impressed upon them1 appear to be already finished4 ,illustration ,footnote ,,vi-#hh3 ,the ,briefmalers1 though at that time evidently distinct from the ,formschneiders1 still continued to print wood-cuts4 ,on several large wood-cuts with the dates #aeec and #aeed we find the words1 8,gedrukt zu ,nrnberg durch ,hanns ,glaser1 ,brieffmaler40 ,the subject of the following cut1 from the same work1 is a ,formschneider1 or wood engraver proper4 ,he is apparently at work on a block which he has before him2 but the kind of tool which he employs is not exactly like those used by ,english wood engravers of the present day4 ,it seems to resemble a small long-handled desk-knife2 while the tool of the modern wood engraver has a handle which is rounded at the top in order to accommodate it to the palm of the hand4 ,it is also never held vertically1 as it appears in the hand of the ,formschneider4 ,it is1 however1 certain1 from other woodcuts1 which will be subsequently noticed1 that the wood engravers of that period were accustomed to use a tool with a handle rounded at the top1 similar to the graver used in the present day4,,vi-#hi--,the verses descriptive of the annexed cut are translated from ,hans ,sachs4 ,illustration ,i am a wood-engraver good1 ,and all designs on blocks of wood ,i with my graver cut so neat1 ,that when they're printed on a sheet ,of paper white1 you plainly view ,the very forms the artist drew3 ,his drawing1 whether coarse or fine1 ,is truly copied line for line4 ,footnote ,,vi-#hi3 ,see the mark ,c4 ,s4 at page #dac4 ,jost ,amman died in #aeia1 and from the time of his settling at ,nuremberg to that of his decease he seems to have been chiefly employed in making designs on wood for the booksellers of ,nuremberg and ,frankfort4 ,he also furnished designs for goldsmiths2 and it is said that he excelled as a painter on glass4 ,the works which afford the best specimens of his talents as a designer on wood are those illustrative of the costume of the period1 first published between #aehj and #aehe by ,s4 ,feyerabend at ,frankfort4 ,one of those works contains the costumes of men of all ranks1 except the clergy1 interspersed with the armorial bearings of the principal families in ,germany2 another contains the costume of the different orders of the priesthood of the church of ,rome2 and a third1 entitled ,gynceum sive ,theatrum ,mulierum1 is illustrative of the costume of women of all ranks in ,europe4 ,a work on hunting and fowling1 edited by ,j4 ,a4 ,lonicerus1 and printed in #aehb1 contains about forty excellent cuts of his designing4 ,a separate volume1 consisting of cuts selected from the four preceding works1 and of a number of other cuts chiefly illustrative of mythological subjects and of the costume of ,turkey1 was published by ,feyerabend about #aeij4 ,in a subsequent edition of this work1 printed in #aeii1 it is stated that the collection is published for the especial benefit of painters and amateurs4,,vi-#ij ,among the numerous other cuts designed by him1 the following may be mentioned3 illustrations for a ,bible published at ,frankfort #aefe2 a series of subjects from ,roman ,history1 entitled ,icones ,livian1 #aegb2 and the cuts in an edition of ,reynard the ,fox4 ,the works of ,jost ,amman have proved a mine for succeeding artists2 his figures were frequently copied by wood engravers in ,france1 ,italy and ,flanders2 and even some modern ,english paintings contain evidences of the artist having borrowed something more than a hint from the figures of ,jost ,amman4 ,footnote ,,vi-#ij3 ,this work is entitled 8,kunstbchlein10 and consists entirely of cuts without any explanatory letter-press4 ,the first cut consists of a group of heads1 drawn and engraved with great spirit4 ,on what appears something like a slab of stone or wood--most unmeaningly and awkwardly introduced--are ,jost ,amman's initials1 ,i4,a41 towards the top1 and lower down the mark1 ,,mf which is doubtless that of the engraver4 ,this mark1 with a figure of a graver underneath1 occurs on several of the other cuts4 ,the three following marks1 with a graver underneath each1 also occur3 ,l4 ,f4 ,c4,s4 ,g4 ,h4 ,these facts are sufficient to prove that ,jost ,amman was not the engraver of the cuts which he designed4 ,in the edition of #aeii the cuts are said to have been drawn by 8the late most excellent and celebrated artist1 ,jost ,amman of ,nuremberg40 ,jost ,amman was undoubtedly one of the best professional designers on wood of his time2 and his style bears considerable resemblance to that of ,hans ,burgmair as exemplified in the ,triumphs of ,maximilian4 ,many of his figures are well drawn2 but even in the best of his subjects the attitudes are somewhat affected and generally too violent2 and this1 with an overstrained expression1 makes his characters appear more like actors in a theatre than like real personages4 ,in the cuts of the horse in the 8,kunstbchlein0 the action of the animal is frequently represented with great spirit3 but in points of detail the artist is as frequently incorrect4 ,some of his very best designs are to be found among his equestrian subjects4 ,his men generally have a good 8seat10 and his ladies seem to manage their heavy long-tailed steeds with great ease and grace4 ,several of the views of cities1 in ,sebastian ,munster's ,cosmography-- first published in folio1 at ,basle1 #aeej--;contain two marks1 one of the designer1 and the other of the person by whom the subject was engraved1 the latter being frequently accompanied by a graver1 thus3 ,h,h2 or with two gravers of different kinds1 thus3 ,c,s ,this last mark1 which also occurs in ,jost ,amman's ,kunstbchlein1 is said to be that of ,christopher ,stimmer1 a brother of ,tobias ,stimmer1 a ,swiss artist1 who is generally described as a designer and engraver on wood4 ,the cuts with the former mark have been ascribed to ,hans ,holbein1 but they bear not the least resemblance to his style of design1 and they have been assigned to him solely on account of the letters corresponding with the initials of his name4 ,professor ,christ's ,dictionary of ,monograms1 and ,papillon's ,treatise on ,wood-engraving1 afford numerous instances of marks being assigned to persons on no better grounds4 ,a writer1 in discussing the question1 8,were ,albert ,durer1 ,lucas ,cranach1 ,hans ,burgmair1 and other old ,german artists1 the engravers or only the designers of the cuts which bear their mark80 has been pleased to assert that the mark of the actual engraver is usually distinguished by the graver with which it is accompanied4 ,this statement has been adopted and further disseminated by others2 and many persons who have not an opportunity of judging for themselves1 and who receive with implicit credit whatever they find asserted in a ,dictionary of ,engravers1 suppose that from the time of ,albert ,durer1 or even earlier1 the figure of a graver generally distinguishes the mark of the formschneider or engraver on wood4 ,so far1 however1 from this being a general rule1 ,i am not aware of any wood-cut which contains a graver in addition to a mark of an earlier date than those in ,munster's ,cosmography1 and the practice which appears to have been first introduced about that time never became generally prevalent4 ,when the graver is thus introduced there can be no doubt that it is intended to distinguish the mark of the engraver2 but as at least ninety-nine out of every hundred marks on cuts executed between #aeej and #afjj are unaccompanied with a graver1 it is exceedingly doubtful in most cases whether the mark be that of the engraver or the designer4 ,the wood-cuts in ,munster's ,cosmography are generally poor in design and coarse in execution4 ,one of the best is that representing an encounter of two armed men on horseback with the mark ,symbol1 which also occurs in some of the cuts in ,gesner's ,history of ,animals1 printed at ,zurich1 #aeea-aeeh4 ,this cut1 as well as several others1 is repeated in another part of the book1 in the manner of the ,nuremberg ,chronicle1 where the same portrait or the same view is used to represent several different persons or places4 ,the cuts are not precisely the same in every edition of ,munster's work1 which was several times reprinted between #aeej and #aegj4 ,those which are substituted in the later editions are rather more neatly engraved4 ,the present cut is copied from one at page #di of the first edition1 where it is given as an illustration of a wonderful kind of tree said to be found in ,scotland1 and from the fruit of which it was believed that geese were produced4 ,munster's account of this wonderful tree and its fruit is as follows2 8,in ,scotland are found trees1 the fruit of which appears like a ball of leaves4 ,this fruit1 falling at its proper time into the water below1 becomes animated1 and turns to a bird which they call the tree goose4 ,this tree also grows in the island of ,pomona the largest of the ,orkneys1 not far distant from ,scotland towards the north4 ,as old cosmographers--especially ,saxo ,grammaticus--mention this tree1 it is not to be considered as a fiction of modern authors4 ,aeneas ,sylvius also notices this tree as follows3 #8,we have heard that there was a tree formerly in ,scotland1 which1 growing by the margin of a stream1 produced fruit of the shape of ducks2 that such fruit1 when nearly ripe1 fell1 some into the water and some on land4 ,such as fell on land decayed1 but such as fell into the water quickly became animated1 swimming below1 and then flying into the air with feathers and wings4 ,when in ,scotland1 having made diligent inquiry concerning this matter of ,king ,james1 a square-built man1 and very fat1,,vi-#ia we found that miracles always kept receding2--this wonderful tree is not found in ,scotland1 but in the ,orcades4'0 ,footnote ,,vi-#ia3 ,it is uncertain if ,james ,i4 or ,james ,,ii4 be meant4 ,according to ,sir ,walter ,scott1 ,aeneas ,sylvius1 afterwards ,pope ,pius ,,ii1 visited ,scotland in #addh1 when ,james ,,ii4--if ,chalmers be correct1 ,caledonia1 vol4 i4 p4 #hca1--was scarcely nineteen1 and when his appearance was not likely to correspond with the learned prelate's description1--8hominem quadratum et multa pinguedine gravem40 ,illustration ,the bird said to be the produce of this tree is the 8,bernacle ,goose1 ,clakis1 or ,tree ,goose0 of ,bewick2 and the pretended tree from which it was supposed to be produced was undoubtedly a testaceous insect1 a species of which1 frequently found adhering to ships' bottoms1 is described under the name of 8,lepas ,anatifera0 by ,linnus1 who thus commemorates in the trivial name the old opinion respecting its winged and feathered fruit4 ,william ,turner1 a native of ,morpeth in ,northumberland1 one of the earliest writers on ,british ,ornithology1 notices the story of the ,bernacle ,goose being produced from 8something like a fungus proceeding from old wood lying in the sea40 ,he says it is mentioned by ,giraldus ,cambrensis in his description of ,ireland1 and that the account of its being generated in this wonderful manner is generally believed by the people inhabiting the sea-coasts of ,england1 ,scotland1 and ,ireland4 8,but10 says ,turner1 8as it seemed not safe to trust to popular report1 and as1 on account of the singularity of the thing1 ,i could not give entire credit to ,giraldus1 ,i1 when thinking of the subject of which ,i now write1 asked a certain clergyman1 named ,octavianus1 by birth an ,irishman1 whom ,i knew to be worthy of credit1 if he thought the account of ,giraldus was to be believed4 ,he1 swearing by the ,gospel1 declared that what ,giraldus had written about the generation of this bird was most true2 that he himself had seen and handled the young unformed birds1 and that if ,i should remain in ,london a month or two1 he would bring me some of the brood40,,vi-#ib ,in ,lobel and ,pena's ,stirpium ,adversaria ,nova1 folio1 ,london1 #aegj1 there is a cut of the 8,britannica ,concha ,anatifera10 growing on a stalk from a rock1 with figures of ducks or geese in the water below4 ,in the text the popular belief of a kind of goose being produced from the shell of this insect is noticed1 but the writer declines pronouncing any opinion till he shall have had an opportunity of visiting ,scotland and judging for himself4 ,gerard1 in his ,herbal1 ,london1 #aeig1 has an article on the ,goose-tree2 and he says that its native soil is a small island1 called the ,pile of ,fouldres1 half a mile from the main land of ,lancashire4 ,ferrer de ,valcebro1 a ,spanish writer1 in a work entitled 8,el ,gobierno general hallado en las ,aves10 with coarse wood-cuts1 quarto1 printed about #afhj1 repeats1 with sundry additions1 the story of the ,bernacle1 or1 as he calls it1 the ,barliata1 being produced from a tree2 and he seems rather displeased that his countrymen are not disposed to yield much faith to such singularities1 merely because they do not occur in their own country4 ,footnote ,,vi-#ib3 8,avium prcipuarum1 quarum apud ,plinium et ,aristotelem mentio est1 brevis et succincta historia4 ,per ,dn4 ,gulielmum ,turnerum1 artium et medicin doctorem10 #hvo4 ,coloni1 ,m4,d4,,xliiii1 fol4 #i b4 ,illustration ,there are two portraits of ,erasmus in the first edition of ,munster's ,cosmography1 one at page #acj1 and the other1 with the mark ,,hrmd1 at page #djg4 ,the latter1 as the author especially informs the reader1 was engraved after a portrait by ,holbein in the possession of ,bonifacius ,amerbach4 ,the present is a reduced copy of a cut at page #cfa of ,henry ,petri's edition1 #aeed4 ,on a stone1 near the bottom1 towards the left1 is seen a mark,,vi-#ic--probably that of the artist who made the drawing on the block--consisting of the same letters as the double mark just noticed as occurring in the portrait of ,erasmus1 ,h4,r4 ,m4,d4 ,a cut of the same subject1 ,william ,tell about to shoot at the apple on his son's head1 was given in the first edition1 but the design is somewhat different and the execution more coarse4 ,the cut from which the preceding is copied may be ranked among the best in the work4 ,footnote ,,vi-#ic3 ,in ,professor ,christ's ,dictionary of ,monograms this mark is ascribed1 though doubtfully1 to 8,manuel ,deutsch40 ,it is certainly not the mark of ,nicholas ,emanuel ,deutsch of ,bern1 for he died several years before #aedh1 the date on several of the cuts with the mark ,h4,r4 ,m4,d4 in ,munster's ,cosmography1 and which date evidently relates to the year in which the artist made the drawing4 ,there can be no doubt that those four letters belong to a single name1 for some of the cuts in which they occur also contain the mark of an engraver4 ,though ,sebastian ,munster1 in a letter1 probably written in #aech1 addressed to ,joachim ,vadianus1 alludes to an improvement which he and his printer had made in the mode of printing maps1 and to a project for casting complete words1 yet the maps which appear in his ,cosmography1 with the outlines1 rivers1 and mountains engraved on wood1 and the names inserted in type1 are certainly not superior to the generality of other maps executed wholly on wood about the same period4,,vi-#id ,joachim ,vadianus1 to whom ,munster writes1 and of whose assistance he wished to avail himself in a projected edition of ,ptolemy1 was an eminent scholar of that period1 and had published an edition1 in #aebb1 of ,pomponius ,mela1 with a commentary and notes4 ,the passage in ,munster's letter1 wherein maps are mentioned1 is to the following effect3 8,i would have sent you an impression of one of the ,swiss maps which ,i have had printed here1 if ,froschover had not informed me of his having sent you one from ,zurich4 ,if this mode of printing should succeed tolerably well1 and when we shall have acquired a certain art of casting whole words1 ,henri ,petri1 ,michael ,isengrin1 and ,i have thought of printing ,ptolemy's ,cosmography2 not of so great a size as it has hitherto been frequently printed1 but in the form in which your ,annotations on ,pomponius appear4 ,in the maps we shall insert only the names of the principal cities1 and give the others alphabetically in some blank space1--for instance1 in the margin or any adjoining space beyond the limits of the map40,,vi-#ie ,the art of casting whole words1 alluded to in this passage1 appears to have been something like an attempt at what has been called 8logographic printing20,,vi-#if though it is not unlikely that those 8whole words0 might be the names of countries and places intended to be inserted in a space cut out of the block on which the map was engraved4 ,by thus inserting the names1 either cast as complete words1 or composed of separate letters1 the tedious process of engraving a number of letters on wood was avoided1 and the pressman enabled to print the maps at one impression4 ,in some of the earlier maps where the names are printed from types1 the letters were not inserted in spaces cut out of the block1 but were printed from a separate form by means of a 8re-iteration0 or second impression4,,vi-#ig ,in illustration of what ,munster says about a certain art of casting whole words1--8artem aliquam fundendarum integrarum dictionum10--the following extract is given from ,dr4 ,dibdin's ,bibliographical ,tour1 volume iii4 page #ajb1 second edition4 8,what think you of undoubted proofs of ,,stereotype ,,printing in the middle of the sixteenth century8 ,it is even so4 ,what adds to the whimsical puzzle is1 that these pieces of metal1 of which the surface is composed of types1 fixed and immovable1 are sometimes inserted in wooden blocks1 and introduced as titles1 mottoes1 or descriptions of the subjects cut upon the blocks4 ,professor ,may of ,augsburg begged my acceptance of a specimen or two of the types thus fixed upon plates of the same metal4 ,they rarely exceeded the height of four or five lines of text1 by about four or five inches in length4 ,i carried away1 with his permission1 two proofs 7not long ago pulled7 of the same block containing this intermixture of stereotype and wood-block printing40 ,footnote ,,vi-#id3 ,a map of ,russia1 engraved wholly on wood1 in a work entitled 8,commentari della ,moscovia e parimente della ,russia10 c4 translated from the ,latin of ,sigmund1 ,baron von ,herberstein1 printed at ,venice1 #dto4 #aeej1 is much superior in point of appearance to the best in the work of ,munster4 ,this map1 which is of folio size1 appears to have been constructed by 8,giacomo ,gastaldo1 ,piamontese1 ,cosmographo in ,venetia40 ,the work also contains six wood-cuts1 which afford some curious specimens of ,russian and ,tartar arms and costume4 ,footnote ,,vi-#ie3 ,philologicarum ,epistolarum ,centuria una1 ex ,bibliotheca ,m4 ,h4 ,goldasti1 p4 #afe4 #hvo4 ,francofurti1 #afaj4 ,footnote ,,vi-#if3 ,according to this method1 certain words1 together with radices and terminations of frequent occurrence1 were cast entire1 and not in separate letters1 and placed in cases in such an order that the compositor could as 8readily possess himself of the ,type of a word as of the ,type of a single letter40 ,this method1 for which a patent was obtained1 is explained in a pamphlet entitled 8,an ,introduction to ,logography3 or the ,art of ,arranging and ,composing for ,printing with ,words entire1 their ,radices and ,terminations1 instead of single ,letters4 ,by ,henry ,johnson3 ,london1 printed ,logographically1 and sold by ,j4 ,walter1 bookseller1 ,charing ,cross1 and ,j4 ,sewell1 ,cornhill1 ,m4,,dcc4,,lxxxiii40 ,several works were printed in this manner1 and among others an edition of ,anderson's ,history of ,commerce1 #d vols4 #dto4 #aghg-aghi1 by ,john ,walter1 at the ,logographic ,press1 ,printing-,house-,square1 ,blackfriars4 ,logography has long been abandoned4 ,the following account of this art is given in ,h4 ,g4 ,bohn's ,lecture on ,printing1 pp4 #hh1 #hi4 8,something akin to stereotyping is another mode of printing called ,logography1 invented by the late ,mr4 ,walter1 of the ,times1 in #aghc1 and for which he took out a patent4 ,this means a system of printing from type cast in words instead of single letters1 which it was thought would save time and corrections when applied to newspapers1 but it was not found to answer4 ,a joke of the time was a supposed order to the typefounder for some words of frequent occurrence1 which ran thus3--#8,please send me a hundred-weight1 sorted1 of murder1 fire1 dreadful robbery1 atrocious outrage1 fearful calamity1 alarming explosion1 melancholy accident2 an assortment of honourable member1 whig1 tory1 hot1 cold1 wet1 dry2 half-a-hundred weight1 made up in pounds1 of butter1 cheese1 beef1 mutton1 tripe1 mustard1 soap1 rain1 c42 and a few devils1 angels1 women1 groans1 hisses1 c4' ,this method of printing did not succeed3 for if twenty-four letters will give six hundred sextillions of combinations1 no printing office could keep a sufficient assortment of even popular words40 ,footnote ,,vi-#ig3 ,see an edition of ,ptolemy1 printed at ,venice by ,jacobus ,pentius de ,leucho1 in #aeaa1 previously noticed at page #bjc4 ,as the engraving of the letters in maps executed on wood--or indeed on any other material--is1 when the names of many places are given1 by far the most tedious and costly part of the process1 the plan of inserting them in type by means of holes pierced in the block1 as adopted in ,munster's ,cosmography1 was certainly a great saving of labour2 yet on comparing the maps in this work with those in ,ptolemy's ,cosmography1 printed by ,leonard ,holl1 at ,ulm1 #adhb1 and with others engraved in the early part of the sixteenth century1 it is impossible not to perceive that the art of wood engraving1 as applied to the execution of such works1 had undergone no improvement3 with the exception of the letters1 the maps in ,holl's ,ptolemy--the earliest that were engraved on wood--are1 in point of appearance1 equal to those in the work of ,munster1 published about eighty years later4 ,considering that the earliest printed maps--those in an edition of ,ptolemy1 printed by ,arnold ,bukinck1 at ,rome1 #adgh,,vi-#ih--;are from copper-plates1 it seems rather surprising that1 until about #aegj1 no further attempt should have been made to apply the art of engraving on copper to this purpose4 ,in the latter year a collection of maps1 engraved on copper1,,vi-#ii was published at ,antwerp under the superintendence of ,abraham ,ortelius2 and so great was their excellence when compared with former maps executed on wood1 that the business of map engraving was within a few years transferred almost exclusively to engravers on copper4 ,in #aegb a map engraved on copper was printed in ,england1 in the second edition of ,archbishop ,parker's ,bible4 ,it is of folio size1 and the country represented is the ,holy ,land4 ,within an ornamented tablet is the following inscription3 8,graven bi ,humfray ,cole1 goldsmith1 an ,english man born in ye north1 and pertayning to ye mint in the ,tower4 #aegb40 ,in ,walpole's ,catalogue of ,engravers the portraits engraved on copper of ,queen ,elizabeth1 the ,earl of ,leicester1 and ,lord ,burleigh1 which appear in the first edition of ,archbishop ,parker's ,bible1 #aefh1,,vi-#ajj are ascribed to ,humphrey ,cole1 apparently on no better ground than that his name appears as the engraver of the map1 which is given in the second4 ,if ,cole were really the engraver of those portraits1 he was certainly entitled to a more favourable notice,,vi-#aja than he receives from the fastidious compiler of the 8,catalogue of ,engravers who have been born or resided in ,england20 for1 considering when and where they were executed1 the engraver is entitled to rank at least as high as ,george ,vertue4 ,in fact1 the portrait of ,leicester1 considered merely as a specimen of engraving1 without regard to the time and place of its execution1 will bear a comparison with more than one of the portraits engraved by ,vertue upwards of a hundred and fifty years later4 ,footnote ,,vi-#ih3 ,some account of this work is given at page #bjj4 ,footnote ,,vi-#ii3 ,at page #bjd it is stated1 on the authority of ,breitkopf1 that those maps were engraved by gidius ,diest4 ,ortelius himself says in the preface that they were engraved by 8,francis ,hogenberg1 ,ferdinand and ,ambrose ,arsens1 and others40 ,footnote ,,vi-#ajj3 ,the portrait of ,queen ,elizabeth appears on the title2 the ,earl of ,leicester's is prefixed to the ,book of ,joshua2 and ,lord ,burleigh's is given1 with a large initial ,b1 at the beginning of the first psalm4 ,in the second edition1 #aegb1 the portrait of ,lord ,burleigh is omitted1 and the impressions of the other two are much inferior to those in the first edition in consequence of the plates being worn4 ,many of the cuts in the second edition are quite different from those in the first1 and generally inferior to the cuts for which they are substituted4 ,footnote ,,vi-#aja3 8,humphrey ,cole1 as he says himself1 was born in the ,north of ,england1 and pertayned to the mint in the ,tower1 #aegb4 ,i suppose he was one of the engravers that pertayned to ,archbishop ,parker1 for this edition was called ,matthew ,parker's ,bible4 ,i hope the flattery of the favourites was the incense of the engraver60 ,catalogue of ,engravers1 p4 #af4 ,edit4 #agid4--,walpole does not appear to have paid the least attention to the engraver's merits--supposing1 as he does1 the portraits to have been executed by him3--he sneers at him because he had engraved certain portraits for a ,bible1 and because he was supposed to have been patronised by a bishop4 ,a more liberal writer on art would have praised ,parker1 although he were an archbishop1 for his patronage of a native engraver4 ,the advantages of copper-plate engraving for the purpose of executing maps1 as exemplified in the work of ,ortelius1 appear to have been immediately appreciated in ,england1 and this country is one of the first that can boast of a collection of provincial or county maps engraved on copper4 ,a series of maps of all the counties of ,england and ,wales1 and of the adjacent islands1 were engraved1 under the superintendence of ,christopher ,saxton1 between #aegc and #aegi1 and published at ,london1 in a folio volume1 in the latter year4 ,though the greater number of those maps were the work of ,flemish engravers1 eight1 at least1 were engraved by two ,englishmen1 ,augustine ,ryther and ,nicholas ,reynolds4,,vi-#ajb ,they appear to have been all drawn by ,christopher ,saxton1 who lived at ,tingley1 near ,leeds4 ,walpole says1 that 8he was servant to ,thomas ,sekeford1 ,esq4 ,master of the ,court of ,wards10 the gentleman at whose expense they were engraved4 ,he also states that many of them were engraved by ,saxton himself2 but this ,i consider to be extremely doubtful4 ,in his account of early ,english copper-plate engravers1 ,walpole is frequently incorrect3 he mentions ,humphrey ,lhuyd--an author who wrote a short description of ,britain1 printed at ,cologne in #aegb,,vi-#ajc--;as the engraver of the map of ,england in the collection of ,ortelius2 and he includes ,dr4 ,william ,cuningham1 a physician of ,norwich1 in his catalogue of engravers1 without the slightest reason beyond the mere fact1 that a book entitled 8,the ,cosmographical ,glasse10 written by the ,doctor1 and printed in #aeei1 contains several wood-cuts4 ,he might1 with equal justice1 have placed ,archbishop ,parker in his catalogue1 and asserted that some of the plates in the ,bible were 8engraved by his own hand40 ,footnote ,,vi-#ajb3 8,augustinus ,ryther1 ,anglus10 occurs on the maps of ,cumberland and ,westmorland1 ,gloucester1 and ,yorkshire4 ,ryther afterwards kept a bookseller's shop in ,leadenhall-street4 ,he engraved some maps and charts1 which were published about #aehh4 ,on the map of the county of ,hertford1 ,reynolds's name occurs thus3 8,nicholas ,reynoldus1 ,londinensis1 sculpsit40 ,several of those maps were engraved by ,remigius ,hogenberg1 one of the engravers who are said to have been employed by ,archbishop ,parker in his palace at ,lambeth4 ,footnote ,,vi-#ajc3 ,this little work1 entitled 8,commentarioli ,britannic ,descriptionis ,fragmentum10 was sent by the author to ,ortelius1 and the prefatory address is dated ,denbigh1 in ,north ,wales1 #cjth ,august #aefh4 ,a translation of it1 under the title of a 8,breviary of ,britain10 was printed at ,london in #aegc4--,lhuyd had only furnished ,ortelius with materials for the construction of the map of ,england4 ,in connexion with the preceding account of the earliest maps executed in ,england on copper1 it perhaps may not be unnecessary to briefly notice here the introduction of copper-plate engraving into this country4 ,according to ,herbert1 in his edition of ,ames's ,typographical ,antiquities1 the frontispiece of a small work entitled 8,galenus de ,temperamentis10 printed at ,cambridge1 #aeba1 is the earliest specimen of copper-plate engraving that is to be found in any book printed in ,england4 ,the art1 however1 supposing that the plate was really engraved and printed in this country1 appears to have received no encouragement on its first introduction1 for after this first essay it seems to have lain dormant for nearly twenty years4 ,the next earliest specimens appear in the first edition of a work usually called 8,raynalde's ,birth of ,mankind10 printed at ,london in #aedj4,,vi-#ajd ,this work1 which is a treatise on the obstetric art1 contains1 when perfect1 three plates1 illustrative of the subject4 ,not having had an opportunity of seeing any one of these three plates nor the frontispiece to 8,galenus de ,temperamentis10 ,i am obliged to trust to ,herbert for the fact of their being engraved on copper4 ,in the third volume of his edition of ,ames1 page #adaa1 there is a fac-simile of the frontispiece to the ,cambridge book2 and in the ,preliminary ,disquisition on ,early ,engraving and ,ornamental ,printing1 prefixed to ,dr4 ,dibdin's edition of the ,typographical ,antiquities1 will be found a fac-simile1 engraved on wood1 of one of the plates in ,raynalde's ,birth of ,mankind4 ,in an edition of the latter work1 printed in #aefe1 the 8byrthe figures0 are not engraved on copper1 but on wood4 ,footnote ,,vi-#ajd3 ,the name of 8,thomas ,raynalde1 ,physition10 is not to be found in the edition of #aedj4 ,the title of the work is1 8,the byrth of ,mankynd1 newly translated out of ,latin into ,englysshe4 ,in the which is entreated of all suche thynges the which chaunce to women in theyr labor10 c4 ,at folio vi4 there is an address from ,richard ,jonas1 8,unto the most gracious1 and in all goodnesse most excellent vertuous ,lady ,quene ,katheryne1 wyfe and most derely belovyd spouse unto the moste myghty sapient ,christen prynce1 ,kynge ,henry the ,,viii40--,this 8most excellent vertuous lady0 was ,catherine ,howard4 ,the imprint at the end of the work is as follows3 8,imprynted at ,london1 by ,t4 ,r1 ,anno ,domini1 ,m4,,ccccc4,,xl40 ,raynalde's name first appears in the second edition1 #aede4 ,between #aedj and #afjj there were at least eight editions of this work printed in ,london4 ,a work printed in ,london by ,john ,hereford1 #aede1 contains several unquestionable specimens of copper-plate engraving4 ,it is of folio size1 and the title is as follows3 8,compendiosa totius ,anatomi delineatio re exarata1 per ,thomam ,geminum40 ,the ornamental title-page1 with the arms of ,henry ,,viii4 towards the centre1 is engraved on copper1 and several anatomical subjects are executed in the same manner4 ,gemini1 who is believed to have been the engraver of those plates1 was not a native of this country4,,vi-#aje ,in a dedication to ,henry ,,viii1 he says that in his work he had followed ,andrew ,vesalius of ,brussels2 and he further mentions that in the year before he had received orders from the ,king to have the plates printed off excudendas4 ,a second edition1 dedicated to ,edward ,,vi1 appeared in #aeec2 and a third1 dedicated to ,queen ,elizabeth1 in #aeei4,,vi-#ajf ,in the last edition the ,royal ,arms on the title-page are effaced1 and the portrait of ,queen ,elizabeth engraved in their stead4 ,traces of the former subject are1 however1 still visible1 and the motto1 8,dieu et mon ,droit10 has been allowed to remain4 ,one of the engravings in this work affords a curious instance of the original plate of copper having been either mended or enlarged by joining another piece to it4 ,even in the first edition1 the zigzag line where the two pieces are joined1 and the forms of the little cramps which hold them together1 are visible1 and in the last they are distinctly apparent4 ,footnote ,,vi-#aje3 ,at the end of the dedication to ,henry ,,viii4 he signs himself 8,thomas ,geminus1 ,lysiensis40 ,footnote ,,vi-#ajf3 ,in the edition of #aeei there is a large wood-cut--8,interiorum corporis humani partium viva delineatio0--with the mark ,r4 ,s4 and a graver underneath4 ,in this cut the interior parts of the body are impressed on separate slips1 which are pasted1 by one edge1 at the side of the figure4 ,those slips on being raised show the different parts as they occur on dissection4 ,the earliest portrait engraved on copper1 printed singly1 in this country1 and not as an illustration of a book1 is that of ,archbishop ,parker engraved by ,remigius ,hogenberg4 ,it is a small print four and a half inches high by three and a half wide4 ,at the corners are the arms of ,canterbury1 impaled with those of ,parker2 the archbishop's arms separately2 a plain shield1 with a cross and the letters ,,ix2 and the arms of ,archbishop ,cranmer4 ,the portrait is engraved in an oval1 round the border of which is the following inscription3 8,mdus transit1 et cupisctia ejus4 ,anno ,domini #aegb1 tatis su ,anno #fi4 ,die mensis ,augusti sexto40 ,in an impression1 now before me1 from the original plate1 the date and the archbishop's age are altered to #aegc and #gj1 but the marks of the ciphers erased are quite perceptible4 ,the portrait of the archbishop is a half-length2 he is seated at a table1 on which are a bell1 a small coffer1 and what appears to be a stamp4 ,a ,bible is lying open before him1 and on one of the pages is inscribed in very small letters the following passage from the ,,vi4 chapter of ,micah1 verse #h3 8,indicabo tibi1 o homo1 quid sit bonum1 et quid ,deus requirat a te1 utique facere judicium1 et diligere misericordiam1 et solicitum ambulare cum ,deo tuo40 ,the engraver's name1 8,r4 ,berg f410 appears at the bottom of the print to the right3 a cross line from the ,r to the ,b indicates the abbreviation of the surname1 which1 written at length1 was ,hogenberg4 ,caulfield1 speaking of this engraving in his ,calcographiana1 page #d1 #ahad1 says1--8,the only impression supposed to be extant is in the library at ,lambeth ,palace2 but within the last two years1 ,mr4 ,woodburn1 of ,st4 ,martin's ,lane1 purchased a magnificent collection of portraits1 among which was a very fine one of ,parker40 ,the number of books1 containing copper-plate engravings1 published in ,england between #aeei and #afjj1 is extremely limited2 and the following list will perhaps be found to contain one or two more than have been mentioned by preceding writers3 #a4 ,pena and ,lobel's ,stirpium ,adversaria ,nova1 folio1 #aegj1--ornamented title-page1 with the arms of ,england at the top1 and a small map towards the bottom3--the ornaments surrounding the map are very beautifully engraved4 #b4 ,archbishop ,parker's ,bible1 #aefh-aegb1 with the portraits1 previously noticed at page #dai4 #c4 ,saxton's ,maps1 with the portrait of ,queen ,elizabeth on the title1 #aegi4 #d4 ,broughton's ,concent of ,scripture1 #aeia1--;engraved title1 and four other plates4 #e4 ,translation of ,ariosto by ,sir ,john ,harrington1 #aeia1--;engraved title-page1 containing portraits of the author and translator1 and forty-six other plates4 #f4 ,r4 ,haydock's ,translation of ,lomazzo's ,treatise on ,painting and ,architecture1 ,oxford1 #aeih1--;engraved title-page1 containing portraits of ,lomazzo and ,haydock1 and several very indifferent plates1 chiefly of architecture and figures in outline4 ,walpole mentions a plate of the arms of ,sir ,christopher ,hatton on the title-page of the second part of ,wagenar's ,mariner's ,mirrour1 printed in #aehh1 and the plates in a work entitled 8,a ,true ,report of the ,newfoundland of ,virginia10 all engraved by ,theodore de ,bry4 ,the first of these works ,i have not been able to obtain a sight of2,,vi-#ajg and the second cannot properly be included in a list of works containing copper-plates published in ,england previous to #afjj2,,vi-#ajh for though it appeared in #aeia1 it was printed at ,frankfort4 ,in the reigns of ,james and ,charles ,i1 copper-plate engraving was warmly patronised in ,england1 and several foreign engravers1 as in the reign of ,elizabeth1 were induced to take up their abode in this country4 ,in the first edition of ,chambers' ,cyclopedia1 it is stated that the art of copper-plate engraving was brought to this country from ,antwerp by ,speed the historian1--an error which is pointed out by ,walpole3 the writer it seems had not been aware of any earlier copper-plates printed in ,england than ,speed's maps1 which were chiefly executed by ,flemish engravers4 ,footnote ,,vi-#ajg3 ,in ,herbert's edition of the ,typographical ,antiquities1 vol4 iii4 p4 #afha1 both parts of this work are said to have engraved titles1 and the arms of ,sir ,c4 ,hatton are said to occur at the back of the title to the first part4 ,the work contains twenty-two maps and charts1 probably copied from the original ,dutch edition of ,wagenar1 who was a native of ,enchuysen4 ,there is no printer's name in the ,english edition4 ,footnote ,,vi-#ajh3 ,walpole erroneously states that 8,broughton's book was not printed till #afjj10 and he says that 8the cuts were probably engraved by an ,english artist named ,william ,rogers40 ,the mark ,,wr is to be found on some of the plates of the edition of #afjj1 but it is to be observed that they are not the same as those in the edition of #aeia4 ,the first edition of the work was printed in #aehh4 ,illustration3 _/ ,,tatis #bh ,dr4 ,william ,cuningham1 whom ,walpole describes as an engraver1 was a physician practising at ,norwich2 and his book1 entitled ,the ,cosmographical ,glasse1,,vi-#aji some of the plates of which are said to have been 8engraved by the doctor's own hand10 was printed at ,london by ,john ,day in #aeei4 ,it contains no plates1 properly speaking1 for the engravings are all from wood-blocks4 ,at the foot of the ornamental title-page1 and in a large bird's-eye view of ,norwich1 is the mark ,i4 ,b4 ,f1 which1 from something like a tool for engraving1 between the ,b4 and ,f in the original1 is most likely that of the engraver4 ,the principal cut is a portrait of the author1 a fac-simile of which is given in the opposite page4 ,footnote ,,vi-#aji3 ,the following is the title of this work3 8,the ,cosmographical ,glasse1 conteinyng the pleasant ,principles of ,cosmographie1 ,geographie1 ,hydrographie or ,navigation4 ,compiled by ,william ,cuningham1 ,doctor in ,physicke4 ,excussum ,londini in officina ,joan4 ,daii1 ,anno #aeei4 ,in this ,glasse1 if you will beholde ,the starry skie and yearth so wide1 ,the seas also1 with the windes so colde1 ,yea1 and thy selfe all these to guide3 ,what this ,type mean first learne a right1 ,so shall the gayne thy travaill quight40 ,the 8,type0 mentioned in these verses relates to the various allegorical and other figures in the engraved title-page4 ,illustration ,illustration3 ,a ,it is much more likely that some of those cuts were engraved by the printer of the book1 ,john ,day1 than by the author1 ,dr4 ,cuningham2 for the initials ,i4 ,d4 appear on a cut at the end of the book1--a skeleton extended on a tomb1 with a tree growing out of it--and also on two or three of the large ornamental letters4 ,john ,day1 in a book printed by him in #aefg1 says that the ,saxon characters used in it were cut by himself4 ,the cut on page #dbe and the three following are specimens of some of the large ornamental letters which occur in the ,cosmographical ,glasse4 ,the first1 the letter ,d1 inclosing the arms of ,lord ,robert ,dudley1 afterwards ,earl of ,leicester1 to whom the work is dedicated4 ,the second1 the letter ,a1 ,silenus on an ass1 accompanied by satyrs2 the mark1 a ,c with a small ,i within the curve1 is perceived near the bottom1 to the right4,,vi-#aaj ,the third1 the letter ,i1 with a military commander taking the angles between three churches2 and the mark ,i4 ,d4 at the bottom to the left4 ,the fourth1 the letter ,t1 a ship with a naked figure as pilot1 preceded by ,neptune on a dolphin4 ,a mark1 ,h1 is perceived in the right-hand corner1 at the bottom4 ,footnote ,,vi-#aaj3 ,this mark1 which occurs in two other cuts of large letters in the ,cosmographical ,glasse1 is also to be found on a large ornamented letter in ,robert ,record's ,castle of ,knowledge1 folio1 printed at ,london1 by ,reginald ,wolfe1 #aeef4 ,this work1 like that of ,cuningham1 is a treatise on ,geography4 ,a mark1 ,i4 ,c41 with a graver between the letters1 occurs frequently in cuts which ornament the margins of a work entitled 8,a ,book of ,christian ,prayers10 c4 #dto4 first printed by ,john ,day in #aefi4 ,it is usually called 8,queen ,elizabeth's ,prayer ,book40 ,in ,herbert's edition of the ,typographical ,antiquities it is erroneously stated that such of the cuts as relate to the ,history of ,christ are 8after ,albert ,durer and his wife1 ,agnes ,frey40 ,they are not copied from any cuts designed by ,albert ,durer1 and his wife most certainly neither drew nor engraved on wood4 ,it is also incorrectly stated 8that a ,dance of ,death1 in the same work1 is after ,hans ,holbein40--,the cuts in this work are very unequal in point of execution4 ,the best are those of the ,senses--without any mark--,sight1 ,hearing1 ,taste1 ,smelling1 and ,touch4 ,a mark not unlike that in the letter ,a1 from ,cuningham's ,cosmographical ,glass1 occurs on several of the smaller cuts4 ,illustration3 ,i ,illustration3 ,t ,of all the books printed in ,england in the reigns of ,queen ,mary and ,queen ,elizabeth1 those from the press of ,john ,day generally contain the best executed wood-cuts2 and even though he might not be the engraver of the cuts which contain his initials1 yet it cannot be doubted that he possessed a much better taste in such matters than any other ,english printer of his age4 ,some of the large ornamental letters in works printed by him are much superior to anything of the kind that had previously appeared in ,england4 ,in the 8,booke of ,christian ,prayers0 printed by ,john ,daye #aefi1 which goes by the name of 8,queen ,elizabeth's ,prayer ,book10 there is a portrait of her ,majesty1 kneeling upon a superb cushion1 with elevated hands1 in prayer1 of which the following is a fac-simile4 ,the book is decorated with wood-cut borders of considerable spirit and beauty1 representing1 among other things1 some of the subjects of ,holbein's ,dance of ,death4 ,illustration ,our next cut is a copy1 slightly reduced1 of a large letter1 ,c1 at the commencement of the dedication of ,fox's ,acts and ,monuments to ,queen ,elizabeth1 in the edition printed by ,day in #aegf4 ,the ,queen1 appearing more juvenile than she is usually represented1 is seen seated on a throne1 attended by three persons1 supposed to be intended for one of her council1 ,john ,day1 the printer1 and ,john ,fox1 the author of the work4 ,a cherub1 with an immense cornucopia over his shoulder1 holds a rose and a lily in one hand1 and with the other supports the arms of ,england2 while underneath a representation of the ,pope is introduced1 holding in his hands the broken keys4,,vi-#aaa ,illustration ,footnote ,,vi-#aaa3 ,this work contains a considerable number of wood-cuts1 all undoubtedly designed and engraved in ,england4 ,two of the best are ,henry ,,viii1 attended by his council1 giving his sanction to the publication of the ,bible in ,english1 with the mark ,i4 ,f42 and a view of ,windsor ,castle1 with the mark ,m4 ,d4 ,both these cuts are in the second volume of the edition of #aegf4 ,though it be beyond the plan of the present work to trace the progress of the various kinds of large ornamental letters engraved on wood that have been from time to time introduced by the principal ,german1 ,french1 ,italian1 and ,english printers from the invention of typography1 it may not be unnecessary to say a few words on this subject4 ,in the earliest works of the ,german printers1 as the type was a close imitation of the handwriting of the period1 as used in ,bibles and ,missals1 the large ornamental letters occasionally introduced are distinguished by their flourishes and grotesque work extending on the margin both above and below the body of the letter1 as is frequently seen in illumined manuscripts of the period4 ,large initial letters of this kind are not unfrequent in early ,french works2 but are comparatively scarce in books printed in ,england1 where a letter1 engraved on a square block1 appearing1 with the ornaments1 white on a black ground1 was adopted shortly after the introduction of printing by ,caxton4,,vi-#aab ,as the capitals of the ,roman character used in ,italy did not admit of the flourishes which accorded so well with the curves of ,gothic or ,german capitals1 the printers of that country1 towards the end of the fifteenth century1 began to introduce flowers1 figures of men1 birds1 and quadrupeds1 as back-grounds to their large initial letters4 ,between #aebj and #aecj this mode of ornamenting their large ,roman letters was in great repute with the printers of ,basle1 ,geneva1 and ,zurich1 and to this taste we owe the small alphabet of the ,dance of ,death4 ,subsequently the ,italian wood engravers1 employed by the printers1 carried this style of ornament a step further by introducing landscapes as well as figures to form a back-ground to the letter4 ,the following specimen of letter thus ornamented is from a work printed by ,giolito at ,venice about #aeej4 ,the large capitals1 in ,cuningham's ,cosmographical ,glasse1 were doubtless suggested by ,italian letters in the same taste4 ,illustration ,footnote ,,vi-#aab3 ,dr4 ,dibdin1 in his ,preliminary ,disquisition on ,early ,engraving and ,ornamental ,printing1 in his edition of ,ames and ,herbert's ,typographical ,antiquities1 has given several curious specimens of large ornamented capitals4 ,the borders which appear in the title-pages of ,italian books of this period1 and more especially in those printed at ,venice1 frequently display considerable excellence both in design and execution4 ,they are generally much lighter and more varied in design than the borders in ,german books2 and cross-hatching1 which is seldom seen in ,italian wood-cuts executed previous to #aebj1 is so frequently introduced that it would seem that this mode of producing a certain effect--which might often have been accomplished by simpler means--was then considered as a proof of the engraver's talent4 ,some of the ,italian printers' marks and devices1 on the title-page1 or at the end of a work1 are drawn and engraved with great spirit4 ,the following devices occur in a folio edition of ,dante--known to bibliographers as the cat edition-- published by the brothers ,sessa1 at ,venice1 in #aegh4 ,the smaller cut--with ornamental work on each side1 occupying nearly the width of a page1 but omitted in the copy--is several times repeated2 the larger--where ,grimalkin 8sits like an eastern monarch upon his throne0,,vi-#aac--;forms the tail-piece at the end of the volume4 ,illustration ,footnote ,,vi-#aac3 ,bibliographical ,decameron1 vol4 i4 p4 #bhi4 ,illustration3 ,,dissimilivm ,,in _/ ,,fida ,,sotietas ,in the latter part of the sixteenth and the beginning of the seventeenth century1 an ,italian artist named ,andrea ,andreani executed a considerable number of chiaro-scuros on wood4 ,he was born at ,mantua in #aedj1 and one of his earliest and largest works in this style is dated #aehf4 ,the subject is the ,history of ,abraham1 from the pavement of the cathedral of ,siena2,,vi-#aad the first compartment consists of twelve pieces1 printed in three colours1 forming1 when joined together1 a large composition about five feet six inches wide by about two feet six inches high4 ,the second compartment1 ,moses breaking the ,tables of the ,law1 is not properly a chiaro-scuro1 but a large wood-cut1 consisting of several pieces1 printed in ink in the usual manner4 ,it is about six feet wide by about four feet high4 ,another large work of ,andreani's is the ,triumphs of ,julius ,csar1 from the designs of ,andrea ,mantegna1 dedicated to ,vincentius ,gonzaga1 ,duke of ,mantua1 and published in a folio volume in #aeih4 ,andreani having obtained the blocks of several of the chiaro-scuros executed by ,ugo da ,carpi1 ,antonio da ,trente1 ,nicholas da ,vincenza1 and others1 reprinted them with the addition of his own mark2 and from this circumstance he frequently obtains the credit of having engraved many pieces which were really executed by his predecessors and superiors in the art4 ,the chiaro-scuros which he reprinted are generally superior to those pieces which were engraved by himself from original designs1 and in the execution of which he had to depend on his own judgment and taste4 ,he continued to engrave in this manner till he was upwards of seventy years old1 for there are one or two subjects by him dated #afab4 ,bartsch says that he died in #afbc1 but observes that some writers place his death in #afbf4 ,footnote ,,vi-#aad3 8,the pavement of this cathedral is the work of a succession of artists from ,duccio down to ,meccarino1 who have produced the effect of the richest mosaic1 merely by inserting grey marble into white1 and hatching both with black mastic4 ,the grandest composition is the ,history of ,abraham1 a figure which is unfortunately multiplied in the same compartments2 but1 when grasping the knife1 the patriarch is truly sublime4 ,these works lay exposed at least for a hundred years to the general tread1 and have been rather improved than defaced by the attrition2 for one female figure which had never been trodden looks harsher than the rest4 ,those of the choir were opportunely covered two centuries ago40--,forsyth's ,italy1 p4 #ajb1 #bnd ,edit4 ,henry ,goltzius1 a painter and engraver1 born in #aeeh1 near ,venloo1 in ,flanders1 executed several chiaro-scuros1 chiefly from his own designs4 ,the most of them are from three blocks2 and among the best executed are ,hercules and ,cacus1 and four separate pieces representing the four elements4 ,like most of the other productions of this artist1 whether paintings or copper-plate engravings1 his chiaro-scuros are designed with great spirit1 though the action of the figures is frequently extravagant4 ,he imitated ,michael ,angelo1 but not with success2 he too frequently mistakes violence of action for the expression of intellectual grandeur1 and displays the 8contortions of the pythoness without her inspiration40 ,the cut in the opposite page is a reduced copy of the subject intended to represent the element of water4 ,in the original the impression is from four blocks2 one with the outlines and shaded parts black1 as in the copy here given2 the other three communicating different tints of sepia4 ,henry ,goltzius died in #afag4 ,his mark1 an ,h combined with a ,g1 is seen at the bottom of the cut4 ,illustration ,the cuts contained in a work on ancient and modern costume1 printed at ,venice in #aeij1,,vi-#aae are frequently described as having been drawn by ,titian and engraved by his brother1 ,cesare ,vecellio4 ,that this person might have been a relation of ,titian1 whose family name was ,vecelli1 is not unlikely1 but it is highly improbable that he was his brother2 for ,titian died in #aegf1 aged ninety-nine1 and the dedication of the work to ,pietro ,montalbano by ,cesare ,vecellio is dated ,october1 #aehi4 ,in the title it is stated that the costumes in question were 8done0-- fatti-- by ,vecellio himself2 but whether this word relates to the drawing or the engraving1 or to both1 it would be exceedingly difficult to ascertain4 ,those cuts have the appearance of having been drawn on the block with pen-and-ink2 and some of the best display so much 8character0 that they look like portraits of individuals freely sketched by the hand of a master4 ,it was first stated in an edition of the work1 printed in #affd1 that the cuts were drawn by ,titian and engraved by ,cesare ,vecellio1 his brother4 ,the improbable assertion was merely a bookseller's trick to attract purchasers4 ,it has also been frequently asserted1 that the cuts in ,vesalius's ,anatomy1 printed at ,basle in #aedh1 were drawn by ,titian4 ,the ,abb ,morelli has1 however1 shown that they were not drawn by him1 but by ,john ,calcar1 a ,flemish painter1 who had been one of his pupils4 ,footnote ,,vi-#aae3 ,the following is the title of this work1 which is a large octavo3 8,de gli ,habiti ,antichi et ,moderni di diverse ,parti del ,mondo ,libri due1 fatti da ,caesare ,vecellio1 con ,discorsi da lui dichiriati4 ,in ,venetia1 ,,md4,,xc40 ,this work is thus mentioned in the notes to ,rogers's ,italy3 8,among the ,habiti ,antichi1 in that admirable book of wood-cuts ascribed to ,titian1 7,a4 ,d4 #aeij17 there is one entitled ,sposa ,venetiana ,castello4 ,it was taken from an old painting in the ,scuola di ,s4 ,giovanni ,evangelista1 and by the writer is believed to represent one of the brides here described40--,italy1 p4 #beg1 note4 ,edit4 #ahcj4 ,papillon1 who in his desire to dignify his art claims almost every eminent painter as a wood engraver1 pretends that ,titian executed several large cuts from his own designs4 ,he says that ,titian began to engrave on wood when he was twenty-five years old in #aejb1 and he mentions a cut of the ,virgin and the infant ,christ1 with other figures1--probably intended to represent the marriage of ,st4 ,catherine1--as one of the earliest specimens of his talents as a wood engraver4 ,papillon also informs us that ,titian engraved a large cut of the ,triumph of ,christ1 or of ,faith1 in #aejh2 and in another part of his work he describes several others as engraved by ,titian himself4 ,several of the cuts after designs by ,titian1 but which were certainly not of his engraving1 are of large size1 and executed in a free1 coarse manner1 as if they were rather intended to paste against a wall than to be inserted in a portfolio4 ,one of the largest is the destruction of ,pharaoh and his host2 it consists of several pieces1 which1 when united1 form a complete subject about four and a half feet wide by about three feet high4 ,a dog1 which the painter has introduced in a peculiar attitude1,,vi-#aaf gives to the whole the air of burlesque4 ,the person by whom it was engraved styles himself 8depintore10 a word perhaps intended to imply that he was a brother of the guild1 or society of painter-stainers1 stencillers1 and wood engravers4,,vi-#aag ,his name1 with the date1 is engraved thus at the bottom of the cut1 which is one of those which ,papillon says were executed by ,titian himself3 8,in ,venetia p4 dominico dalle greche depintore venetiano4 ,m4,,dxlix40 ,footnote ,,vi-#aaf3 ,a dog performing the same act occurs as a tail-piece in the first edition of ,bewick's ,quadrupeds1 #agij1 page #caj4 ,footnote ,,vi-#aag3 ,i have seen a large head1 which at first sight might be mistaken for an impression from a wood-block1 executed by means of a stencil after a design of ,correggio4 ,it was unquestionably old1 and was about three feet high by two and a half wide4 ,the following is a reduced copy of a cut designed by ,titian1 and said to have been intended by him to ridicule those painters who1 not being able to succeed in colouring1 recommended ancient sculptures1 on account of the correctness of the forms1 as most deserving of a painter's diligent study4 ,the subject is a caricature of the ,laocoon2 and the professed admirers of antiquity1 who1 above all1 insisted on correct drawing1 and thought slightly of colouring1 are represented by the old ape wanting a tail1 seen in the distance1 attended by three of her young ones4 ,the original cut is fifteen inches and seven-eighths wide by ten inches and a half high4 ,it is coarsely engraved1 and contains neither name nor date4,,vi-#aah ,there are several chiaro-scuros after designs by ,titian1 engraved by ,boldrini1 ,andreani1 and others4 ,illustration ,footnote ,,vi-#aah3 ,the following is ,papillon's description of this cut3 8,une ,estampe que je possede1 et que l'on regarde assez indiffrement1 est le ,laocoon grav en bois par le ,titien1 reprsent sous la figure d'un singe et ses deux petits entours de serpens4 ,il fit ce morceau pour railler les ,peintres de son temps qui tudoient cette figure et les ,statues antiques2 et il prtendit dmontrer par cette ,estampe qu'ils ressembloient aux singes1 lesquels ne font qu'imiter ce qu'ils voyent1 sans rien inventer d'eux mmes40--,trait de la ,gravure en ,bois1 tom4 i4 p4 #afj4 ,wood engraving in ,germany at the close of the sixteenth century appears to have greatly declined2 the old race of artists who furnished designs for the wood engraver had become extinct1 and their places were not supplied by others4 ,the more expensive works were now illustrated with copper-plates2 and the wood-cuts which appeared in the commoner kinds of books were in general very indifferent both in design and execution4 ,as ,germany was the country in which wood engraving was first encouraged and fostered1 so was it also the country in which the art earliest declined and subsequently became most thoroughly neglected4 ,in ,france and ,italy1 wood engraving had also by this time experienced a considerable decline1 but not to such an extent as in ,germany4 ,between #aeij and #afaj1 when the art was rapidly declining in other countries1 the wood-cuts which are to be met with in ,english books are generally better executed than at any preceding period4 ,engraved title-pages were then frequent1 and several of them are executed with considerable skill4 ,a large wood-cut1 with the date #afjg1 in particular displays great merit both in design and engraving4 ,the following is a reduced copy of an impression preserved in the ,print ,room of the ,british ,museum4,,vi-#aai ,the original1 exclusive of the verses1 and the ornaments at each side of them1 is about fourteen inches high by about fourteen and a half wide4 ,footnote ,,vi-#aai3 ,there is also in the ,print ,room of the ,british ,museum a curious wood-cut1 of large size1 engraved on several blocks1 apparently of the time of ,james ,i4 ,the title at the top1 in ,latin and ,english1 is as follows3 8,,human ,,vit ,,imago ,,olim ,,ab ,,apelle ,,in ,,tabula ,,quadam ,,depicta4 ,the image of the lyfe of man that was painted in a table by ,apelles40 ,the subject1 however1 is not so much a general representation of the life of man in its several stages1 as an allegorical representation of the evils attendant on sensual indulgence4 ,several of the figures are designed with great spirit1 and the explanations underneath the principal are engraved on the same block1 in ,latin and ,english4 ,it seems likely that this cut was engraved for the purpose of being pasted or hung against a wall4 ,it is about five feet four inches wide by about three feet high4 ,some of the figures are engraved with considerable spirit1 but the groups want that well-contrasted light and shade which give such effect to the large cuts of ,durer and ,burgmair4 ,it is likely that large cuts of this kind were intended to be pasted on the walls of rooms1 to serve at once for instruction and ornament1 like 8,king ,charles's ,golden ,rules and the ,royal ,game of ,goose0 in later times4--,to this note ,mr4 ,jackson adds in his annotated copy3 8,the drawing appears to have been executed by an artist who was rather partial to cross-hatching1 and the engraving by one who knew how to render every line before him with a degree of sharpness and delicacy by no means common at that period40 ,illustration3 ,the good _/ ,how-holder ,the good ,how-holder1 that his ,howe may hold1 ,firt builds it on the ,rock1 not on the ,sand4 ,then1 with a warie head and charie hand ,provides 7in tyme7 for ,hunger and for ,cold3 ,not daintie ,fare and ,furniture of ,gold1 ,but handom-holom 7as with ,health dooth tand74 ,not for the ,rich that can as much command ,but the poor ,stranger1 th',orfan the ,old4 ,,printed ,,at ,,london ,,in ,,the ,,blacke ,,friers4 #afjg ,the following are the six concluding lines of the sonnet underneath the cut3 in the original they are printed in smaller type than the others1 and in a double column4 ,in the copy they are merely indicated to show the relative size of the type to that of the first eight lines4 ,and 7thus7 to these to stand still open wide1 ,he neither wrings with ,wrongs nor racks his ,rents2 ,but saves the charge of wanton ,waste ,pride3 ,for1 ,thrift's right ,fuel of ,magnificence3 ,as ,protean ,fashions of new ,prodigalitie ,have quight worn out all ancient ,hospitalitie4 ,the flowers at each side of the verses are1 in the original1 very coarsely executed4 ,they are merely printers' ornaments1 engraved on separate pieces of wood1 and not on the same block as the cut above them4 ,from one or two worm-holes1 which have been in the block when it was printed in #afjg1 and which are apparent in the impression1 it seems probable that this cut had been engraved some time previous to the date which appears at the bottom4 ,as it is1 however1 very likely that the block was of pear-tree1 which is extremely liable to the attacks of the worm1 it is possible that it might have been injured in this manner within a year or two of its being finished4 ,the bold1 cleanly cut lines of the original are very much like the work of ,christopher ,jegher1 one of the best wood engravers of that period4 ,he resided at ,antwerp1 but he is said to have been born in ,germany in #aegh4 ,his best works are several large cuts which he engraved for ,rubens from drawings made on the block by ,rubens himself1 who appears to have originally published them on his own account4 ,from the manner in which the great painter's name is introduced at the bottom of each--8,p4 ,p4 ,rub4 delin4 excud40--it would appear that they were both designed and printed by him4 ,impressions of those cuts sometimes occur with a tint printed over them1 in sepia1 from a second block1 in the manner of chiaro-scuros4 ,we here give a reduced copy of one of the largest4,,vi-#abj ,illustration ,footnote ,,vi-#abj3 ,the original cut is twenty-three inches and a half wide by eighteen inches high4 ,as profit could not have been ,rubens's motive for having these cuts engraved1 it is not unlikely that his object was to compare his designs when executed in this manner with those of the older ,german masters--,durer1 ,burgmair1 and ,cranach4 ,the best1 however1 differ considerably in the manner of their execution from the best old ,german wood-cuts1 for the lines are too uniform and display too much of art2 in looking at those which consist chiefly of figures1 attention is first called to the means by which an effect is produced1 rather than to the effect itself in connexion with the entire subject4 ,this objection applies most forcibly to the cut which represents the ,virgin crowned by the ,almighty and ,jesus ,christ4 ,the design displays much of ,rubens's grandeur1 with not less of his extravagance in the attitude of the figures2 but he seems to have studied less the effect of the whole1 than to have endeavoured to express certain parts by a peculiar arrangement of lines und hatchings4 ,the subject does not produce that feeling1 which it is the great object of art to excite1 in consequence of the attention being diverted from the contemplation of the whole to the means by which it is executed4 ,in such impressions1 however1 as have a tint of sepia printed over them from a second block1 the hardness of the lines and heaviness in the hatchings are less apparent4 ,the following is a reduced copy of another of those cuts1 which1 for the beautiful simplicity of the design1 is perhaps the most pleasing of the whole4 ,the execution of the original is1 however1 coarse1 a defect which is not so apparent in the copy in consequence of the small scale on which it is engraved4,,vi-#aba ,illustration3 ,,cvm ,,privilegiis ,footnote ,,vi-#aba3 ,the original is eighteen inches wide by thirteen inches and a half high1 including the margin with the inscription 8,cum privilegiis10 which is engraved on the same block4 ,cornelius van ,sichem1,,vi-#abb a contemporary of ,christopher ,jegher1 appears to have been one of the most industrious wood engravers of his time4 ,he was a native of ,holland1 and is supposed to have resided at ,amsterdam4 ,one of his best cuts is a large head1 engraved from a drawing by ,henry ,goltzius1 with the date #afjg4 ,this and several other large cuts1 which he probably engraved about the same time1 are so much superior to the smaller cuts1 with his mark1 which appear in books1 that ,i am inclined to think that most of the latter must have been engraved by his pupils2 they are indeed so numerous that it seems almost impossible that he should have engraved them all himself4 ,he seems at first to have worked for fame1 and afterwards to have turned a manufacturer of wood-cuts for money4 ,the cuts with his mark contained in a quarto book entitled 8,bibels ,tresoor10 printed at ,amsterdam in #afdf1 by no means afford an idea of his ability as a wood-engraver2 many of them are wretched copies of old wood-cuts designed by ,albert ,durer and other old masters1 discreditable alike to the engraver and to the originals4 ,the following is a slightly reduced copy of a cut1 engraved by ,van ,sichem1 from a design by ,henry ,goltzius4 ,the original1 which was probably engraved about #afjg1 may be considered as an average specimen of the engraver's talents2 it is not so well executed as some of his best large cuts1 while it is much superior to the greater number of the small cuts which contain his mark4 ,the subject is ,judith with the head of ,holofernes4 ,illustration ,footnote ,,vi-#abb3 ,papillon1 tom4 i4 p4 #bgd-bgf1 calls this engraver ,c4 ,s4 ,vichem2 and charges ,professor ,christ with confounding three ,sichems with three ,vichems4 ,the name at the bottom of the cut1 in the following page1 is most certainly intended for ,c4 ,v4 ,sichem4 ,about #afbe a ,french wood engraver of the name of ,businck executed several chiaro-scuros chiefly from designs by ,lalleman and ,bloemart2 and between #afcj and #afdg1 ,bartolomeo ,coriolano1 who sometimes styles himself 8,romanus ,eques10 practised the same art at ,bologna with great reputation4,,vi-#abc ,in an edition of ,hubert ,goltzius's ,lives of the ,roman ,emperors1 enlarged by ,casper ,gevartius1 folio1 printed at ,antwerp in #afde1 the portraits1 in the manner of chiaro-scuros1 from two blocks1 are executed with great spirit4 ,the name of the engraver is not mentioned1 but from the mark ,i4 ,c4 ,i4 on a tail-piece at the end of the work1 ,i am inclined to think that he was the same person who engraved the cuts in a little book of devotion1 first printed in ,latin1 ,french1 ,spanish1 and ,flemish1 at ,antwerp1 about #afdf4,,vi-#abd ,the number of cuts in this little work is forty1 and most of them contain the mark of the designer1 ,,as1 as well as that of the engraver4 ,from the drawing of these cuts it would seem that the designer was either a pupil of ,rubens1 or had closely copied his manner4 ,in ,professor ,christ's ,dictionary of ,monograms the mark ,,as is ascribed to ,andrea ,salmincio1 8an engraver and pupil of ,valesius40 ,papillon1 ,trait de la ,gravure en ,bois1 tom4 i4 p4 #bgd1 adopting ,professor ,christ's explanation of the mark1 mentions 8,andrea ,salmincio0 as the designer of those cuts2 but in page #dfa of the same volume1 he says1 referring to his former statement1 that he had since been informed by ,m4 ,eisen1 a painter1 and a native of ,valenciennes1 that they were designed by 8a famous ,flemish painter and engraver on wood1 named ,sallarte1 a contemporary of ,rubens1 and who is supposed to have assisted the latter in some of his great works40 ,those cuts may perhaps be considered as the last series that were expressly designed by an artist of talent in the seventeenth century1 for the purpose of being engraved on wood4 ,the style in which they are executed is not worthy of the designs1 though1 considering the period1 they are not without merit4 ,the engraver appears to have been extremely partial to a kind of cross-hatching1 in which the interstices are more like squares than acute-angled lozenges1 thus giving to the figures and draperies a hard and unpliable appearance4 ,footnote ,,vi-#abc3 ,the twelfth volume of ,bartsch's ,peintre-,graveur contains an ample list of ,italian chiaro-scuros1 together with the names of the painters and engravers4 ,footnote ,,vi-#abd3 ,the only perfect copy which ,i have seen of this little work is in ,spanish4 ,the title is as follows3 8,la ,perpetua ,cruz1 o ,passion de ,jesu ,christo ,nuestro ,seor1 desde el principio de su encarnacion hasta su muerte4 ,representada en quarenta estampas que se reparten de balde1 y explicada con differentes razones y oraciones de devocion4 ,en ,amberes1 en la emprenta de ,cornelio ,woons1 #afej40 ,the cuts were engraved at the instance of the ,archbishop of ,malines4 ,before the ,spanish edition appeared1 thirty thousand copies of the work in ,flemish and ,latin had already been circulated4 ,though several ,english wood engravings of the reigns of ,james ,i4 and ,charles ,i4 have evidently been executed by professed wood engravers1 yet a great proportion of those contained in ,english books and pamphlets printed in this country during the seventeenth century appear to have been the work of persons who had not learnt and did not regularly practise the art4 ,the cuts of those occasional wood engravers1 who were most likely printers1 are as rude in design as they are coarse in execution1 frequently displaying something like the fac-simile of a boy's drawing in his first attempts to sketch 8the human form divine40 ,such cuts1 evidently executed on the spur of the moment1 are of frequent occurrence in tracts and pamphlets published during the time of the war between ,charles ,i4 and the ,parliament4 ,evelyn1 in the first edition of his ,sculptura1 published in #affb1 thus mentions ,switzer as a wood engraver of that period3 8,we have likewise ,switzer for cutting in wood1 the son of a father,,vi-#abe who sufficiently discovered his dexterity in the ,herbals set forth by ,mr4 ,parkinson1 ,lobel1 and divers other works40 ,the cuts of plants in the work1 usually called ,lobel's ,botany1 were most certainly not engraved by the elder ,switzer2 they are much superior to the cuts of the same kind which are undoubtedly of his engraving1 and the work in which they first appeared was printed in ,london in #aega4 ,he engraved the cuts in ,speed's ,history of ,britain1 folio1 #afaa2 and1 though the author calls him 8the most exquisite and curious hand of that age10 they abundantly testify that he was a very ordinary workman4 ,they are executed in a meagre1 spiritless manner2 the best are those which represent the portraitures of the ancient ,britons4 ,the cuts in ,parkinson's ,paradisus ,terrestris1 folio1 #afbi1 were also undoubtedly engraved by him2 his name1 8,a4 ,switzer10 with a graver underneath1 occurs at the bottom of the very indifferent cut which forms the title-page4 ,the portrait of the author is scarcely superior to the title-page2 and the cuts of plants are the most worthless that are to be found in any work of the kind4 ,it is not unlikely that the cuts in ,topsell's ,history of ,four-footed ,beasts1 #afjg1 and in ,moffet's ,theatre of ,insects1 #afcd1 were also engraved by the elder ,switzer4 ,the taste for wood-cuts must have been low indeed when such an engraver was considered one of the best of his age4 ,of the younger ,switzer's abilities ,i have had no means of judging1 never having seen a single cut which was known to be of his engraving4 ,footnote ,,vi-#abe3 ,in ,walpole's ,catalogue of ,engravers there is the following notice of the elder ,switzer3 8,in the ,harleian ,library was a set of wooden cuts1 representing the broad seals of ,england from the conquest to ,james ,i4 inclusive1 neatly executed4 ,vertue says this was the sole impression he had seen1 and believed that they were cut by ,chr4 ,switzer1 and that these plates were copied by ,hollar for ,sandford4 ,switzer also cut the coins and seals in ,speed's ,history of ,britain1 #afad #afaa1 from the originals in the ,cottonian ,collection4 ,speed calls him the most exquisite and curious hand of that age4 ,he probably engraved the botanic figures for ,lobel's ,observations1 and the plates cuts for ,parkinson's ,paradisus ,terrestris1 #afbi4 ,chr4 ,switzer's works have sometimes been confounded with his son's1 who was of both his names40--,catalogue of ,engravers1 p4 #ah note1 ,edit4 #agid4 ,it is doubtful if the elder ,switzer's ,christian name were ,christopher4 ,the initial in ,parkinson's ,paradisus ,terrestris is an ,a4 ,it is1 however1 possible that this letter may be intended for a ,latin preposition1 and not for the first letter of the engraver's ,christian name4 ,between #afej and #agjj wood engraving1 as a means of multiplying the designs of eminent artists1 either as illustrations of books or as separate cuts1 may be considered as having reached its lowest ebb4 ,a few tolerably well executed cuts of ornaments are occasionally to be found in ,italian1 ,french1 and ,dutch books of this period2 but though they sufficiently attest that the race of workmen was not wholly extinct1 they also afford ample proof that artists like those of former times had ceased to furnish designs for the wood engraver4 ,the art of design was then1 however1 in a languishing condition throughout ,europe2 and even supposing that wood engraving had been as much in fashion as copper-plate printing then was for the purpose of illustrating books1 it would be vain to expect in wood-cuts that excellence of composition and drawing which is not to be found in the works of the best painters of the time4 ,wood engravings to please must possess some merit in the design--must show some trait of feeling for his subject on the part of the designer4 ,deficiency in this respect can never be compensated by dexterity of execution3 in anything that approaches to fine art1 mere workmanship1 the result of laborious application1 can never atone for want of mind4 ,the man who drew a portrait of ,queen ,anne with a pen1 and wrote the ,psalms in the lines of the face1 and in the curls of the hair1 in characters so small that it required a glass to read them1 does not rank with a ,vandyke or a ,reynolds1 nor even with a ,lely or a ,kneller4 ,at the period of the greatest decline of wood engraving1 the want that was felt was not of working engravers to execute cuts1 but of talented artists to design them4 ,the principal ,french wood engravers about the end of the seventeenth century were3 ,peter ,le ,sueur1--born in #afcf1 died #agaf2 his two sons1 ,peter and ,vincent2 ,john ,papillon the elder--who died in #agaj2 and his son1 of the same name1 who was born in #affa1 and died in #agbc4 ,though ,john ,michael ,papillon1 son of ,john ,papillon the younger1 and author of the ,trait de la ,gravure en ,bois1 speaks highly of the talents of the aforesaid members of the families of ,le ,sueur and ,papillon as wood engravers1 yet1 from his account of their productions1 it would seem that they were chiefly employed in engraving subjects which scarcely allowed of any display of excellence either in design or execution4 ,their fine works were ornamental letters1 flowered vignettes1 and tail-pieces for the booksellers2 while their staple productions appear to have been blocks for card-makers and paper-stainers1 with patterns for embroiderers1 lace-workers1 and ribbon-manufacturers4 ,in the succeeding century1 ,j4 ,m4 ,papillon1 grandson of the first ,john ,papillon1 and ,nicholas le ,sueur1 grandson of the elder ,peter ,le ,sueur1 fully supported the character of their respective families as wood engravers4 ,some account of their works will be given in the proper place4 ,the tail-piece at the conclusion of this chapter will afford some idea of the primitive style of the wood-cuts previously mentioned as occurring in tracts and pamphlets printed in ,england during the civil war4 ,it is a fac-simile of a cut which originally appeared on the title-page to the first known edition of ,robin ,hood's ,garland1 printed in #afgj4,,vi-#abf ,the original block is now in the possession of ,mr4 ,william ,garret of ,newcastle-on-,tyne1 and was frequently used by the late ,mr4 ,george ,angus of that town1 as it had also been by his predecessors in the same business1 to decorate the title-pages of the penny histories and garlands1 which they supplied in such abundance for the winter-evenings' entertainment of the good folks of ,northumberland and the 8,bishoprick40 ,mr4 ,douce1 in the second volume of his ,illustrations of ,shakspeare1 also gives a fac-simile of this cut2 and the following is his explanation of the subject4 ,footnote ,,vi-#abf3 ,the cuts in an edition of 8,the most ,delightful ,history of ,reynard the ,fox10 #dto4 ,london1 printed for ,thomas ,passinger1 #afha1 are scarcely superior to this cut in point of execution1 though it must be confessed that the figures are generally in better 8keeping40 8,mr4 ,ritson has taken notice of an old wooden cut #8preserved on the title-page of a penny history 7,adam ,bell1 c471 printed at ,newcastle in #aggb1' and which represents1 in his opinion1 a morris dance1 consisting of the following personages3 #a4 ,a bishop4 #b4 ,robin ,hood4 #c4 ,the potter or beggar4 #d4 ,little ,john4 #e4 ,friar ,tuck4 #f4 ,maid ,marian4 ,he remarks that the whole is too rude to merit a copy1 a position that is not meant to be controverted2 but it is necessary to introduce the cut in this place for the purpose of correcting an error into which the above ingenious writer has fallen4 ,it is proper to mention that it originally appeared on the title-page to the first known edition of ,robin ,hood's ,garland1 printed in #afgj1 #ahmo4 ,now1 this cut is certainly not the representation of a morris dance1 but merely of the principal characters belonging to the ,garland4 ,these are ,robin ,hood1 ,little ,john1 ,queen ,catherine1 the bishop1 the curtal frier1 7not ,tuck17 and the beggar4 ,even though it were admitted that ,maid ,marian and ,friar ,tuck were intended to be given1 it could not be maintained that either the bishop or the beggar made part of a morris40 ,to give more specimens of wood engraving when in its lowest state of declension has not been thought necessary2 for even at this period it would not be difficult to produce cuts which in point of mere execution are superior to many which appeared when the art was at its height4 ,it is sufficient to have stated that1 towards the end of the seventeenth century1 wood engraving for the higher purposes of the art had sunk into utter neglect2 that the best productions of the regular wood engravers of the period mostly consist of unmeaning ornaments which neither excite feeling nor suggest a thought2 and that the wood-cuts which appear to have been engraved by persons not instructed in the business partake generally of the character of the following tail-piece4 ,having now brought down the history of the art of wood engraving to the end of the seventeenth century1 its revival in the eighteenth1 with some account of the works of ,thomas ,bewick and the principal ,english wood engravers of his time1 will form the subject of the next chapter4 ,illustration ,,chapter ,,vii4 ,,revival ,,of ,,wood ,,engraving4 ,english ,wood-,cuts in #agab -- ,howel's ,medulla ,histori ,anglican -- ,maittaire's ,classics #agac -- ,e4 ,kirkall -- ,his ,chiaro-,scuros -- ,cuts in ,croxall's sop1 #agbb -- ,j4 ,b4 ,jackson -- ,chiaro-,scuros ,engraved by ,him at ,venice1 #agch-agdb -- ,french ,wood ,engravers1 #agaj-agfh2 ,j4 ,m4 ,papillon1 ,m4 ,le ,sueur1 and ,p4 ,s4 ,fournier -- ,english ,wood-,cuts1 #agfj-aggb -- ,cuts in ,sir ,john ,hawkins's ,history of ,music1 #aggf -- ,thomas ,bewick -- ,his ,first ,wood-,cuts1 in ,hutton's ,mensuration1 #agfh-aggj -- ,cuts by ,him in a ,hieroglyphic ,bible -- ,in ,fables1 #aggi-aghd -- ,his ,cut of the ,chillingham ,bull -- ,his ,quadrupeds1 ,british ,birds1 and ,fables -- ,john ,bewick -- ,cuts by ,him in ,emblems of ,mortality1 and ,other ,books -- ,poems by ,goldsmith and ,parnell -- ,somerviles's ,chase -- ,robert ,johnson1 ,designer of ,several of the ,tail-,pieces in ,bewick's ,works -- ,charlton ,nesbit -- ,luke ,clennell -- ,william ,harvey -- ,robert ,branston -- ,john ,thompson1 and ,others4 ,although wood engraving had fallen into almost utter neglect by the end of the seventeenth century1 and continued in a languishing state for many years afterward1 yet the art was never lost1 as some persons have stated2 for both in ,england and in ,france a regular succession of wood engravers can be traced from #agjj to the time of ,thomas ,bewick4 ,the cuts which appear in books printed in ,germany1 ,holland1 and ,italy during the same period1 though of very inferior execution1 sufficiently prove that the art continued to be practised in those countries4 ,the first ,english book of this period which requires notice is an edition of ,howel's ,medulla ,histori ,anglican1 octavo1 printed at ,london in #agab4,,vii-#a ,there are upwards of sixty wood-cuts in this work1 and the manner in which they are executed sufficiently indicates that the engraver must have either been self-taught or the pupil of a master who did not understand the art4 ,the blocks have1 for the most part1 been engraved in the manner of copper-plates2 most of the lines1 which a regular wood engraver would have left in relief1 are cut in intaglio1 and hence in the impression they appear white where they ought to be black4 ,the bookseller1 in an address to the reader1 thus proceeds to show the advantages of those cuts1 and to answer any objection that might be urged against them on account of their being engraved on wood4 8,the cuts added in this edition are intended more for use than show4 ,the utility consists in these two particulars4 #a4 ,to make the better impression on the memory4 #b4 ,to show more readily when the notable passages in our history were transacted2 which1 without the knowledge of the names of the persons1 are not to be found out1 by even the best indexes4 ,as for example3 ,in what reign was it that a rebellious rout1 headed by a vile fellow1 made great ravage1 and appearing in the ,king's presence with insolence1 their captain was stabbed upon the spot by the ,lord-,mayor8 ,here1 without knowing the names of some of the parties1 which a world of people are ignorant of1 the story is not to be found by an index2 but by the help of the cut1 which catches the eye1 is soon discovered4 ,we all have heard of the piety of one of our queens who sucked the poison out of her husband's wound1 but very few remember which of them it was1 which the cut presently shows4 ,the same is to be said of all the rest1 since we have chosen only such things as are ,,notabilia in the history to describe in our sculptures4--,and if it be objected that the graving is in wood1 and not in copper1 which would be more beautiful2 we answer1 that such would be much more expensive too4 ,and we were willing to save the buyer's purse2 especially since even the best engraving would not better serve the purposes above-said40 ,footnote ,,vii-#a3 ,small wood-cuts appear to have been frequently used about this time in newspapers1 for what the ,americans call a 8caption0 to advertisements4 8,the great art in writing advertisements is the finding out a proper method to catch the reader's eye1 without which many a good thing may pass over unobserved1 or be lost among commissions of bankrupts4 ,asterisks and hands were formerly of great use for this purpose4 ,of late years the ,n4,b4 has been much in fashion1 as also little cuts and figures1 the invention of which we must ascribe to the author of spring trusses40--,tatler1 ,no4 #bbd1 #adth ,september #agaj4 ,the practice is not yet obsolete4 ,cuts of this kind are still to be found in country newspapers prefixed to advertisements of quack medicines1 horse-races1 coach and steam-boat departures1 sales of ships1 and the services of equi admissorii4 ,though no mark is to be found on any of those cuts1 ,i am inclined to think that they were executed by ,edward ,kirkall1 whose name appears as the engraver of the copper-plate frontispiece to the book4 ,the accounts which we have of ,kirkall are extremely unsatisfactory4 ,strutt says that he was born at ,sheffield in #afie2 and that1 visiting ,london in search of improvement1 he was for some time employed in graving arms1 stamps1 and ornaments for books4 ,it is1 however1 likely that he was born previous to #afie2 for the frontispiece to ,howel's ,medulla is dated #agab1 when1 if ,strutt be correct1 ,kirkall would be only seventeen4 ,that he engraved on wood1 as well as on copper1 is unquestionable2 and ,i am inclined to think that he either occasionally engraved small ornaments and head-pieces on type-metal for the use of printers1 or that casts in this kind of metal were taken from some of his small cuts4,,vii-#b ,footnote ,,vii-#b3 ,some of the cuts in an edition of ,dryden's plays1 #f vols4 #abmo4 published by ,tonson and ,watts in #agag1 have evidently been either engraved on some kind of soft metal or been casts from a wood block4 ,in the corner of such cuts1 the marks of the pins1 which have fastened the engraved metal-plate to a piece of wood below1 are quite apparent4 ,the head-pieces and ornaments in ,maittaire's ,latin ,classics1 duodecimo1 published by ,tonson and ,watts1 #agac1 were probably engraved on wood by ,kirkall1 as his initials1 ,e4 ,k41 are to be found on one of the tail-pieces4 ,papillon speaks rather favourably of those small cuts1 though he objects to the uniformity of the tint and the want of precision in the more delicate parts of the figures1 such as the faces and hands4 ,he notices the tail-piece with the mark ,e4 ,k4 as one of the best executed2 and he suspects that these letters were intended for the name of an ,english painter--called ,ekwits1 to the best of his recollection1--who 8taught the arts of painting and of engraving on wood to ,j4 ,b4 ,jackson1 so well known to the printers of ,paris about #agcj from his having supplied them with so large a stock of indifferent cuts40,,vii-#c ,footnote ,,vii-#c3 ,papillon1 ,trait de la ,gravure en ,bois1 tom4 i4 p4 #cbc4 ,the cuts in ,croxall's edition of sop's ,fables1 first published by ,j4 and ,r4 ,tonson and ,j4 ,watts1 in #agbb1 were1 in all probability1 executed by the same person who engraved the head-pieces and other ornaments in ,maittaire's ,latin ,classics1 printed for the same publishers about nine years before2 and there is reason to believe that this person1 as has been previously observed1 was ,e4 ,kirkall4 ,bewick1 in the introduction prefixed to his 8,fables of sop and others10 first printed in #ahah1 says that the cuts in ,croxall's edition were 8on metal1 in the manner of wood40 ,he1 however1 gives no reason for this opinion1 and ,i very much question its correctness4 ,after a careful inspection ,i have not been able to discover any peculiar mark which should induce me to suppose that they had been engraved on metal2 and without some such mark indicating that the engraved surface had been fastened to the block to raise it to the height of the type1 ,i consider it impossible for any person to decide merely from the appearance of the impressions that those cuts were printed from a metallic surface4 ,the difference1 in point of impression1 between a wood-cut and an engraving on type-metal in the same manner1 or a cast in type-metal from a wood-cut1 is not to be distinguished4 ,a wood engraver of the present day1 when casts from wood-cuts are so frequently used instead of the original engraved block1 decides that a certain impression has been from a cast1 not in consequence of any peculiarity in its appearance denoting that it is printed from a metallic surface1 but from certain marks--little flaws in the lines and minute 8picks0--which he knows are characteristic of a 8cast40 ,when a cast1 however1 has been well taken1 and afterwards carefully cleared out with the graver1 it is frequently impossible to decide that the impression has been taken from it1 unless the examiner have also before him an impression from the original block with which it may be compared2 and even then1 a person not very well acquainted with the practice of wood engraving and the method of taking casts from engraved wood-blocks1 will be extremely liable to decide erroneously4 ,though it is by no means improbable that a person like ,kirkall1 who had been accustomed to engrave on copper1 might attempt to engrave on type-metal in the same manner as on wood1 and that he might thus execute a few small head-pieces and flowered ornaments1 yet ,i consider it very unlikely that he should continue to prefer metal for the purpose of relief engraving after he had made a few experiments4 ,the advantages of wood over type-metal are indeed so great1 both as regards clearness of line and facility of execution1 that it seems incredible that any person who had tried both materials should hesitate to give the preference to wood4 ,if1 however1 the cuts in ,croxall's sop were really engraved on metal in the manner of wood1 they are1 as a series1 the most extraordinary specimens of relief engraving for the purpose of printing1 that have ever been executed4 ,when ,bewick stated that those cuts were engraved on metal1 ,i am inclined to think that he founded his opinion rather on popular report than on close and impartial examination of the cuts themselves2 and it is further to be observed that ,thomas ,bewick1 with all his merits as a wood engraver1 was not without his weaknesses as a man2 he was not unwilling that people should believe that the art of wood engraving was lost in this country1 and that the honour of its re-discovery1 as well as of its subsequent advancement1 was due to him4 ,though he was no doubt sincere in the opinion which he gave1 yet those who know him are well aware that he would not have felt any pleasure in calling the attention of his readers to a series of wood-cuts executed in ,england upwards of thirty years before he was born1 and which are not much inferior--except as regards the animals--to the cuts of fables engraved by himself and his brother previous to #aghj4,,vii-#d ,the cuts in ,croxall's sop not only display great improvement in the engraver1 supposing him to be the same person that executed the head-pieces and ornaments in ,maittaire's ,latin ,classics printed in #agac1 but are very much superior to any cuts contained in works of the same kind printed in ,france between #agjj and #agfj4,,vii-#e ,footnote ,,vii-#d3 8,the ,fables of ,mr4 ,john ,gay10 with cuts by ,thomas and ,john ,bewick1 was published in #aggi4 8,select ,fables1 a new edition improved10 with cuts by the same1 appeared in #aghd2 both in duodecimo1 printed by ,t4 ,saint1 ,newcastle-on-,tyne4 ,the cuts in the latter work are considerably better than those in the former4 ,several of the cuts which originally appeared in those two works are to be found in 8,select ,fables2 with cuts designed and engraved by ,thomas and ,john ,bewick1 and others10 octavo1 printed for ,emerson ,charnely1 ,newcastle-on-,tyne1 #ahbj4 ,footnote ,,vii-#e3 ,the cuts in two different editions of sop's ,fables1 published at ,paris1--the one by ,charles ,le ,clerc in #agca1 and the other by ,j4 ,barbou in #ageh1--;are most wretchedly executed4 ,the mark of ,vincent ,le ,sueur appears on the frontispiece to ,le ,clerc's edition4 ,illustration3 ,,from ,a ,,copper-,,plate ,,by ,s4 ,,le ,,clerc4 ,illustration3 ,,from ,a ,,wood-,,cut ,,in ,,croxall',s ,,sop4 ,many of the subjects in ,croxall are merely reversed copies of engravings on copper by ,s4 ,le ,clerc1 illustrative of a ,french edition of sop's ,fables published about #afid4 ,the first of the preceding cuts is a fac-simile of one of ,le ,clerc's engravings2 and the second is a copy of the same subject as it appears in ,croxall4 ,the fable to which they both relate is the ,fox and the ,goat4 ,the above cut is by no means one of the best in ,croxall3 it has not been selected as a specimen of the manner in which those cuts are executed1 but as an instance of the closeness with which the ,english wood-cuts have been copied from the ,french copper-plates4 ,in several of the cuts in ,bewick's ,fables of sop and others1 the arrangement and composition appear to have been suggested by those in ,croxall2 but in every instance of this kind the modern artist has made the subject his own by the superior manner in which it is treated3 he restores to the animals their proper forms1 represents them acting their parts as described in the fable1 and frequently introduces an incident or sketch of landscape which gives to the whole subject a natural character4 ,the following copy of the ,fox and ,goat1 in the ,fables of sop and others1 #ahah-ahbc1 will serve to show how little the modern artist has borrowed in such instances from the cuts in ,croxall1 and how much has been supplied by himself4 ,illustration ,between #agbb and #agbd1 ,kirkall published by subscription twelve chiaro-scuros engraved by himself1 chiefly after designs by old ,italian masters4 ,in those chiaro-scuros the outlines and the darker parts of the figures are printed from copper-plates1 and the sepia-coloured tints afterwards impressed from wood-blocks2 though they possess considerable merit1 they are deficient in spirit1 and will not bear a comparison with the chiaro-scuros executed by ,ugo da ,carpi and other early ,italian wood engravers4 ,most of them are too smooth1 and want the bold outline and vigorous character which distinguish the old chiaro-scuros3 what ,kirkall gained in delicacy and precision by the introduction of mezzotint1 he lost through the inefficient engraving of the wood-blocks4 ,one of the largest of those chiaro-scuros is a copy of one of ,ugo da ,carpi's--neas carrying his father on his shoulders--after a design by ,raffaele4 ,in ,walpole's ,catalogue of ,engravers1 a notice of ,kirkall's 8new method of printing1 composed of etching1 mezzotinto1 and wooden stamps10 concludes with the following passage3 8,he performed several prints in this manner1 and did great justice to the drawing and expression of the masters he imitated4 ,this invention1 for one may call it so1 had much success1 much applause1 no imitators4--,i suppose it is too laborious and too tedious4 ,in an opulent country where there is great facility of getting money1 it is seldom got by merit4 ,our artists are in too much hurry to gain it1 or deserve it40 ,about #agbd ,kirkall published seventeen views of shipping1 from designs by ,w4 ,vandevelde1 which he also called 8prints in chiaro-scuro40 ,they have1 however1 no just pretensions to the name as it is usually understood when applied to prints1 for they are merely tinted engravings worked off in a greenish-blue ink4 ,these so-called chiaro-scuros are decided failures4 ,kirkall engraved1 on copper1 the plates in ,rowe's translation of ,lucan's ,pharsalia1 folio1 published by ,tonson1 #agah2 the plates for an edition of ,inigo ,jones's ,stonehenge1 #agbe2 and a frontispiece to the works of ,mrs4 ,eliza ,haywood1 which is thus alluded to in the ,dunciad3 8,see in the circle next ,eliza placed1 ,two babes of love close clinging to her waist2 ,fair as before her works she stands confest1 ,in flowers and pearls by bounteous ,kirkall drest40 ,a considerable number of rude and tasteless ornaments and head-pieces1 with the mark ,f4 ,h41 engraved on wood1 are to be found in ,english books printed between #agbj and #agdj4 ,several of them have been cast in type-metal1,,vii-#f as is evident from the marks of the pins1 in the impressions1 by which they have been fastened to the blocks2 the same head-piece or ornament is also frequently found in books printed in the same year by different printers4 ,some of the best headings and tail-pieces of this period occur in a volume of 8,miscellaneous ,poems1 original and translated1 by several hands4 ,published by ,mr4 ,concanen10 ,london1 printed for ,j4 ,peele1 octavo1 #agbd4 ,the subjects are1 ,apollo with a lyre2 ,minerva with a spear and shield2 two men sifting corn2 ,hercules destroying the hydra2 and a man with a large lantern4 ,they are much superior to any cuts of the same kind with the mark ,f4 ,h42 and from the manner in which they are executed1 ,i am inclined to think that they are the work of the person who engraved the cuts in ,croxall's sop4 ,the following is a fac-simile of one of the best of the cuts that ,i have ever seen with the mark ,f4 ,h4 ,it occurs as a tail-piece at the end of the preface to 8,strephon's ,revenge3 ,a ,satire on the ,oxford ,toasts10 octavo1 ,london1 #agbd4,,vii-#g ,footnote ,,vii-#f3 ,it is not unlikely that the frequency of such casts has induced many persons to suppose that most of the cuts of this period were 8engraved on metal in the manner of wood40 ,illustration3 ,,legent ,h,c ,,nostra ,,nepotes4 ,john ,baptist ,jackson1 an ,english wood engraver1 was1 according to ,papillon1 a pupil of the person who engraved the small head-pieces and ornaments in ,maittaire's ,latin ,classics1 published by ,tonson and ,watts in #agac2 and as the cuts in ,croxall's sop were probably engraved by the same person1 as has been previously observed1 it is not unlikely that ,jackson1 as his apprentice1 might have some share in their execution4 ,though these cuts were much superior to any that had appeared in ,england for about a hundred years previously1 wood engraving seems to have received but little encouragement4 ,probably from want of employment in his own country1 ,jackson proceeded to ,paris1 where he remained several years1 chiefly employed in engraving head-pieces and ornaments for the booksellers4 ,papillon1 who seems to have borne no good-will towards ,jackson1 thus speaks of him in the first volume of his 8,trait de la ,gravure en ,bois40 ,footnote ,,vii-#g3 ,two cuts1 with the same mark1 are to be found in ,thoresby's ,vicaria ,leodinensis1 #hvo4 ,london1 #agbd2 one at the commencement of the preface1 and the other at the end of the work4 8,j4 ,jackson1 an ,englishman1 who resided several years in ,paris1 might have perfected himself in wood engraving1 which he had learnt of an ,english painter1 as ,i have previously mentioned1 if he had been willing to follow the advice which it was in my power to give him4 ,having called on me1 as soon as he arrived in ,paris1 to ask for work1 ,i for several months gave him a few things to execute in order to afford him the means of subsistence4 ,he1 however1 repaid me with ingratitude2 he made a duplicate of a flowered ornament of my drawing1 which he offered1 before delivering to me the block1 to the person for whom it was to be engraved4 ,from the reproaches that ,i received1 on the matter being discovered1 ,i naturally declined to employ him any longer4 ,he then went the round of the printing-offices in ,paris1 and was obliged to engrave his cuts without order1 and to offer them for almost nothing2 and many of the printers1 profiting by his distress1 supplied themselves amply with his cuts4 ,he had acquired a certain insipid taste which was not above the little mosaics on snuff-boxes2 and with ornaments of this kind1 after the manner of several other inferior engravers1 he surcharged his works4 ,his mosaics1 however delicately engraved1 are always deficient in effect1 and display the engraver's patience rather than his talent2 for the other parts of the cut1 consisting of delicate lines without tints or a gradation of light and shade1 want that force which is necessary to render the whole striking4 ,such wood engravings1 however deficient in this respect1 are yet admired by printers of vulgar taste1 who foolishly pretend that they most resemble copper-plates1 and that they print better than cuts of a picturesque character1 and containing a variety of tints4 8,jackson1 being obliged1 through destitution1 to leave ,paris1 where he could get nothing more to do1 travelled in ,france2 and afterwards1 being disgusted with his profession1 he accompanied a painter to ,rome1 from whence he went to ,venice1 where1 as ,i am informed1 he married1 and subsequently returned to ,england1 his native country40,,vii-#h ,footnote ,,vii-#h3 ,trait de la ,gravure en ,bois1 tom4 i4 pp4 #cbg1 #cbh4 ,though ,papillon speaks disparagingly of ,jackson1 the latter was at least as good an engraver as himself4 ,jackson appears to have visited ,paris not later than #agbf1 for ,papillon mentions a vignette and a large letter engraved by him in that year for a ,latin and ,french dictionary1 printed in #agbg by the brothers ,barbou2 and it is likely that he remained there till about #agca4 ,in an ,italian translation of the ,lives of the ,twelve ,csars1 printed there in quarto #agch1 there is a large ornamental title-page of his engraving2 and in the same year he engraved a chiaro-scuro of ,christ taken down from the cross1 from a painting by ,rembrandt1,,vii-#i in the possession of ,joseph ,smith1 ,esq4 the ,british consul at ,venice1 a well-known collector of pictures and other works of art4 ,between #agch and #agdb1 when residing at ,venice1 he also engraved twenty-seven large chiaro-scuros1--chiefly after pictures by ,titian1 ,g4 ,bassano1 ,tintoret1 and ,p4 ,veronese1--which were published in a large folio volume in the latter year4 ,they are very unequal in point of merit2 some of them appearing harsh and crude1 and others flat and spiritless1 when compared with similar productions of the old ,italian wood engravers4 ,one of the best is the ,martyrdom of ,st4 ,peter ,dominicanus1 after ,titian1 with the date #agci2 the manner in which the foliage of the trees is represented is particularly good4 ,on his return to ,england he seems to have totally abandoned the practice of wood engraving in the ordinary manner for the purpose of illustrating or ornamenting books2 for ,i have not been able to discover any ,english wood-cut of the period that either contains his mark1 or seems1 from its comparative excellence1 to have been of his engraving4 ,finding no demand in this country for wood-cuts1 he appears to have tried to render his knowledge of engraving in chiaro-scuro available for the purpose of printing paper-hangings4 ,in an 8,essay on the ,invention of ,engraving and ,printing in ,chiaro ,oscuro10,,vii-#aj published in his name in #aged1 we learn that he was then engaged in a manufacture of this kind at ,battersea4 ,the account given in this essay of the origin and progress of chiaro-scuro engraving is frequently incorrect2 and from several of the statements which it contains1 it would seem that the writer was very imperfectly acquainted with the works of his predecessors and contemporaries in the same department of wood engraving4 ,from the following passage1 which is to be found in the fifth page1 it is evident that the writer was either ignorant of what had been done in the sixteenth and seventeenth centuries1 and even in his own age1 or that he was wishful to enhance the merit of ,mr4 ,jackson's process by concealing what had recently been done in the same manner by others4 8,after having said all this1 it may seem highly improper to give to ,mr4 ,jackson the merit of inventing this art2 but let me be permitted to say1 that an art recovered is less little than an art invented4 ,the works of the former artists remain indeed2 but the manner in which they were done is entirely lost3 the inventing then the manner is really due to this latter undertaker1 since no writings1 or other remains1 are to be found by which the method of former artists can be discovered1 or in what manner they executed their works2 nor1 in truth1 has the ,italian method since the beginning of the sixteenth century been attempted by any one except ,mr4 ,jackson40 ,what is here called the 8,italian method10 that is1 the method of executing chiaro-scuros entirely on wood1 was practised in ,france at the end of the seventeenth century3 and ,nicholas ,le ,sueur had engraved several cuts in this manner about #agcj1 the very time when ,jackson was living in ,paris4 ,the principles of the art had also been applied in ,france to the execution of paper-hangings upwards of fifty years before ,jackson attempted to establish the same kind of manufacture in ,england4 ,not a word is said of the chiaro-scuros of ,kirkall1,,vii-#aa from whom it is likely that ,jackson first acquired his knowledge of chiaro-scuro engraving3 with the exception of the outlines and some other parts in these chiaro-scuros being executed in mezzotint1 the printing of the rest from wood-blocks is precisely the same as in the ,italian method4 ,footnote ,,vii-#i3 ,this painting1 which is wholly in chiaro-scuro1 is now in the ,national ,gallery1 to which it was presented by the late ,sir ,george ,beaumont4 ,footnote ,,vii-#aj3 ,the title at length is as follows3 8,an ,essay on the ,invention of ,engraving and ,printing in ,chiaro ,oscuro1 as practised by ,albert ,durer1 ,hugo di ,carpi1 c41 and the ,application of it to the making ,paper ,hangings of taste1 duration1 and elegance1 by ,mr4 ,jackson of ,battersea4 ,illustrated with ,prints in proper colours40 #dto4 ,london1 #aged4 ,footnote ,,vii-#aa3 ,there can be no doubt that the mention of ,kirkall's name is purposely avoided4 ,the 8attempts0 of ,count ,caylus1 who executed several chiaro-scuros by means of copper-plates and wood-blocks subsequent to ,kirkall1 are noticed2 but the name of ,nicholas ,le ,sueur1 who assisted the ,count and engraved the wood-blocks1 is never mentioned4 ,it is also stated in the ,essay1 page #f1 that some of the subjects begun by ,count ,caylus were finished by ,mr4 ,jackson1 and 8approved by the lovers and promoters of that art in ,paris40 ,the ,essay contains eight prints illustrative of ,mr4 ,jackson's method2 four are chiaro-scuros1 and four are printed in 8proper colours10 as is expressed in the title1 in imitation of drawings4 ,they are very poorly executed1 and are very much inferior to the chiaro-scuros engraved by ,jackson when residing at ,venice4 ,the prints in 8proper colours0 are egregious failures4 ,the following notices respecting ,mr4 ,jackson are extracted from the ,essay in question4 8,certainly ,mr4 ,jackson1 the person of whom we speak1 has not spent less time and pains1 applied less assiduity1 or travelled to fewer distant countries in search of perfecting his art1 than other men2 having passed twenty years in ,france and ,italy to complete himself in drawing after the best masters in the best schools1 and to see what antiquity had most worthy the attention of a student in his particular pursuits4 ,after all this time spent in perfecting himself in his discoveries1 like a true lover of his native country1 he is returned with a design to communicate all the means which his endeavours can contribute to enrich the land where he drew his first breath1 by adding to its commerce1 and employing its inhabitants2 and yet1 like a citizen of it1 he would willingly enjoy some little share of those advantages before he leaves this world1 which he must leave behind him to his countrymen when he shall be no more40 8,during his residence at ,venice1 where he made himself perfect in the art which he professes1 he finished many works well known to the nobility and gentry who travelled to that city whilst he lived in it4--,mr4 ,frederick1 ,mr4 ,lethuillier1 and ,mr4 ,smith1 the ,english consul at ,venice1 encouraged ,mr4 ,jackson to undertake to engrave in chiaro-oscuro1 blocks after the most capital pictures of ,titian1 ,tintoret1 ,giacomo ,bassano1 and ,paul ,veronese1 which are to be found in ,venice1 and to this end procured him a subscription4 ,in this work may be seen what engraving on wood will effectuate1 and how truly the spirit and genius of every one of those celebrated masters are preserved in the prints4 8,during his executing this work he was honoured with the encouragement of the ,right ,honourable the ,marquis of ,hartington1 ,sir ,roger ,newdigate1 ,sir ,bouchier ,wrey1 and other ,english gentlemen on their travels at ,venice1 who saw ,mr4 ,jackson drawing on the blocks for the print after the famous picture of the ,crucifixion painted by ,tintoret in the albergo of ,st4 ,roche4 ,those prints may now be seen at his house at ,battersea4--,not content with having brought his works in chiaro-oscuro to such perfection1 he attempted to print landscapes in all their original colours2 not only to give to the world all the outline light and shade1 which is to be found in the paintings of the best masters1 but in a great degree their very manner and taste of colouring4 ,with this intent he published six landscapes1,,vii-#ab which are his first attempt in this nature1 in imitation of painting in aquarillo or water-colours2 which work was taken notice of by the ,earl of ,holderness1 then ambassador extraordinary to the republic of ,venice2 and his excellency was pleased to permit the dedication of those prints to him1 and to encourage this new attempt of printing pictures with a very particular and very favourable regard1 and to express his approbation of the merit of the inventor40 ,footnote ,,vii-#ab3 ,i have only seen one of these landscapes2 and from it ,i form no very high opinion of the others4 ,it is scarcely superior in point of execution to the prints in 8proper colours0 contained in the ,essay4 ,john ,michael ,papillon1 one of the best ,french wood engravers of his age1 was born in #afih4 ,his grandfather and his father1 as has been previously observed1 were both wood engravers4 ,in #agjf1 when only eight years old1 he secretly made his first essay in wood engraving2 and when only nine1 his father1 who had become aware of his amusing himself in this manner1 gave him a large block to engrave1 which he appears to have executed to his father's satisfaction1 though he had previously received no instructions in the art4,,vii-#ac ,the block was intended for printing paper-hangings1 the manufacture of which was his father's principal business4 ,though until the time of his father's death1 which happened in #agbc1 ,papillon appears to have been chiefly employed in such works1 and in hanging the papers which he had previously engraved1 he yet executed several vignettes and ornaments for the booksellers1 and sedulously endeavoured to improve himself in this higher department of his business4 ,footnote ,,vii-#ac3 ,papillon1 in the ,supplement to his 8,trait de la ,gravure en ,bois10 page #f1 gives a small cut--a copy of a figure in a copper-plate by ,callot--engraved by himself when nine years old4 ,if the cut be genuine1 the engraver had improved but little as he grew older4 ,shortly after the death of his father he married2 and1 having given up the business of engraving paper-hangings1 he laboured so hard to perfect himself in the art of designing and engraving vignettes and ornaments for books1 that his head became affected2 and he sometimes displayed such absence of mind that his wife became alarmed1 fancying that 8he no longer loved her40 ,on his assuring her that his behaviour was the result of his anxiety to improve himself in drawing and engraving on wood1 and to write something about the art1 she encouraged him in his purpose1 and aided him with her advice1 for1 as she was the daughter of a clever man1 ,m4 ,chaveau1 a sculptor1 and had herself made many pretty drawings on fans1 she had some knowledge of design4 ,papillon's fits of absence1 however1 though they may have been proximately induced by close application and anxiety about his success in the line to which he intended to apply himself in future1 appear to have originated in a tendency to insanity1 which at a later period displayed itself in a more decided manner4 ,in #agei1 in consequence of a determination of blood to the head1 as he says1 through excessive joy at seeing his only daughter1 who had lived from the age of four years with her uncle1 combined with a recollection of his former sorrows1 his mind became so much disordered that it was necessary to send him to an hospital1 where1 through repeated bleedings and other remedies1 he seems to have speedily recovered4 ,he mentions that in the same year1 four other engravers were attacked by the same malady1 and that only one of them regained his senses4,,vii-#ad ,footnote ,,vii-#ad3 ,trait de la ,gravure en ,bois1 ,supplement1 tom4 iii4 p4 #ci4 ,in the first volume1 page #cce1 he alludes to the disorder as 8un accident et une fatalit commune plusieurs graveurs1 aussi bien que moi40 ,has the practice of engraving on wood or on copper a tendency to induce insanity8 ,three distinguished engravers1 all from the same town1 have in recent times lost their reason2 and several others1 from various parts of the country1 have been afflicted with the same distressing malady4 ,these facts deserve the consideration of parents who design to send their sons as pupils to engravers4 ,when there is the least reason to suspect a hereditary taint of insanity in the constitution of the youth1 it perhaps would be safest to put him to some other business or profession where close attention to minute objects is less required4 ,papillon's endeavours to improve himself were not unsuccessful2 the cuts which he engraved about #agbd1 though mostly small1 possess considerable merit2 they are not only designed with much more feeling than the generality of those executed by other ,french engravers of the period1 but are also much more effective1 displaying a variety of tint and a contrast of light and shade which are not to be found in the works of his contemporaries4 ,in #agbf1 in order to divert his anxiety and to bring his cuts into notice1 he projected ,le petit ,almanach de ,paris1 which subsequently was generally known as 8,le ,papillon40 ,the first that he published was for the year #agbg2 and the wood-cuts which it contained equally attracted the attention of the public and of connoisseurs4 ,monsieur ,colombat1 the editor of the ,court ,calendar1 spoke highly of the cut for the mouth of ,january2 the cross-hatchings1 he said1 were executed in the first style of wood engraving1 and he kindly predicted to ,papillon that he would one day excel in his art4 ,from this time he seems to have no longer had any doubt of his own abilities1 but1 on the contrary1 to have entertained a very high opinion of them4 ,he appears to have considered wood engraving as the highest of all the graphic arts1 and himself as the greatest of all its professors1 either ancient or modern4 ,from this1 to him1 memorable epoch1--the publication of 8,le petit ,almanach de ,paris10 with cuts by ,,papillon1--he appears to have been seldom without employment1 for in the ,supplement to the 8,trait de la ,gravure en ,bois10 he mentions that in #agfh1 the 8,collection of the ,works of the ,papillons10 presented by him to the ,royal ,library1 contained upwards of five thousand pieces of his own engraving4 ,this 8,recueil des ,papillons10 which he seems to have considered as a family monument 8re perennius10 is perpetually referred to in the course of his work4 ,it consisted of four large folio volumes containing specimens of wood engravings executed by the different members of the ,papillon family for three generations--his grandfather1 his father1 his uncle1 his brother1 and himself4 ,papillon was employed not only by the booksellers of his own country1 but also by those of ,holland4 ,a book1 entitled 8,historische ,school en ,huis-,bybel10 printed at ,amsterdam in #agdc1 contains two hundred and seventeen cuts1 all of which appear to have been either engraved by ,papillon himself1 or under his superintendence4 ,his name appears on several of them1 and they are all engraved in the same style4 ,from a passage in the dedication1 it seems likely that they had appeared in a similar work printed at the same place a few years previously4 ,they are generally executed in a coarser manner than those contained in ,papillon's own work1 but the style of engraving and general effect are the same4 ,the cut on the next page is a copy of the first1 which is one of the best in the work4 ,to the left is ,papillon's name1 engraved1 as was customary with him1 in very small letters1 with the date1 #agcd4 ,illustration ,papillon's ,history of ,wood ,engraving1 published in #agff1 in two octavo volumes1 with a ,supplement1,,vii-#ae under the title of 8,trait ,historique et ,pratique de la ,gravure en ,bois10 is said to have been projected1 and partly written1 upwards of thirty years before it was given to the public4 ,shortly after his being admitted a member of the ,society of ,arts1 in #agcc1 he read1 at one of the meetings1 a paper on the history and practice of wood engraving2 and in #agce the ,society signified their approbation that a work written by him on the subject should be printed4 ,it appears that the first volume of such a work was actually printed between #agcf and #agch1 but never published4 ,he does not explain why the work was not proceeded with at that time2 and it would be useless to speculate on the possible causes of the interruption4 ,he mentions that a copy of this volume was preserved in the ,royal ,library2 and he charges ,fournier the younger1 who between #ageh and #agfa published three tracts on the invention of wood engraving and printing1 with having availed himself of a portion of the historical information contained in this volume4 ,the public1 however1 according to his own statement1 gained by the delay2 as he grew older he gained more knowledge of the history of the art1 and 8invented0 several important improvements in his practice1 all of which are embodied in his later work4 ,in #ageh he also discovered the memoranda which he had made at ,monsieur ,de ,greder's1 in #agai or #agbj1 relative to the interesting twins1 ,alexander ,alberic ,cunio and his sister ,isabella1 who1 about #abhd1 between the fourteenth and sixteenth years of their age1 executed a series of wood engravings illustrative of the history of ,alexander the ,great4,,vii-#af ,however the reader may be delighted or amused by the romantic narrative of the ,cunio1 ,papillon's reputation as the historian of his art would most likely have stood a little higher had he never discovered those memoranda4 ,they have very much the character of ill-contrived forgeries2 and even supposing that he believed them1 and printed them in good faith1 his judgment must be sacrificed to save his honesty4 ,footnote ,,vii-#ae3 ,the ,supplement1 or 8,tome troisime10 as it is also called1 though dated #agff1 was not printed until #agfh1 as is evident from a 8,discours ,nuptial10 at page #ig1 pronounced on #acth ,june #agfh4 ,two of the cuts also contain the date #agfh4 ,footnote ,,vii-#af3 ,papillon's account of the ,cunio1 with an examination of its credibility1 will be found in chapter i4 pp4 #bf-ci4 ,the first volume of ,papillon's work contains the history of the art2 it is divided into two parts1 the first treating of wood engraving for the purpose of printing in the usual manner from a single block1 and the second treating of chiaro-scuro4 ,he does not trace the progress of the art by pointing out the improvements introduced at different periods2 he enumerates all the principal cuts that he had seen1 without reference to their execution as compared with those of an earlier date2 and1 from his desire to enhance the importance of his art1 he claims almost every eminent painter whose name or mark is to be found on a cut1 as a wood engraver4 ,he is in this respect so extremely credulous as to assert that ,mary de ,medici1 ,queen of ,henry ,,iv4 of ,france1 had occasionally amused herself with engraving on wood2 and in order to place the fact beyond doubt he refers to a cut representing the bust of a female1 with the following inscription3 8,,maria ,,medici4 ,f4 ,m4,d4,,lxxxvii40 8,the engraving10 he observes1 with his usual bonhomie1 8is rather better than what might be reasonably expected from a person of such quality2 it contains many cross-hatchings1 somewhat unequal indeed1 and occasionally imperfect1 but1 notwithstanding1 sufficiently well engraved to show that she had executed several wood-cuts before she had attempted this4 ,i know more than one wood engraver--or at least calling himself such--who is incapable of doing the like40 ,in #aehg1 the date of this cut1 ,mary de ,medici was only fourteen years old2 and since its execution1 according to ,papillon1 shows that she was then no novice in the art1 she must have acquired her practical knowledge of wood engraving at rather an early age1--at least for a princess4 ,papillon never seems to have considered that ,f is the first letter of 8,,filia0 as well as of 8,,fecit10 nor to have suspected that the cut was simply a portrait of ,mary de ,medici1 and not a specimen of her engraving4 ,from the following passage in the preface1 he seems to have been aware that his including the names of many eminent painters in his list of wood engravers would be objected to4 8,some persons1 who entertain a preconceived opinion that many painters whom ,i mention have not engraved on wood1 may perhaps dispute the works which ,i ascribe to them4 ,of such persons ,i have to request that they will not condemn me before they have acquainted themselves with my researches and examined my proofs1 and that they will judge of them without prejudice or partiality40 ,the 8researches0 to which he alludes1 appear to have consisted in searching out the names and marks of eminent painters in old wood-cuts1 and his 8proofs0 are of the same kind as that which he alleges in support of his assertion that ,mary de ,medici had engraved on wood1--a fact which1 as he remarks1 8was unknown to ,rubens40 ,the historical portion of ,papillon's work is indeed little more than a confused catalogue of all the wood-cuts which had come under his observation2 it abounds in errors1 and almost every page affords an instance of his credulity4 ,in the second volume1 which is occupied with details relative to the practice of the art1 ,papillon gives his instructions and enumerates his 8inventions0 in a style of complacent self-conceit4 ,the most trifling remarks are accompanied by a reference to the 8,recueil des ,papillons20 and the most obvious means of effecting certain objects1--such means as had been regularly adopted by wood engravers for upwards of two hundred years previously1 and such as in succeeding times have suggested themselves to persons who never received any instructions in the art1--are spoken of as important discoveries1 and credit taken for them accordingly4 ,one of his fancied discoveries is that of lowering the surface of a block towards the edges in order that the engraved lines in those parts may be less subject to the action of the plattin in printing1 and consequently lighter in the impression4 ,the ,lyons ,dance of ,death1 #aech1 affords several instances of blocks lowered in this manner1 not only towards the edges1 but also in the middle of the cut1 whenever it was necessary that certain delicately engraved lines should be lightly printed1 and thus have the appearance of gradually diminishing till their extremities should scarcely be distinguishable from the paper on which they are impressed4 ,numerous instances of this practice are frequent in wood-cuts executed from #aedj to the decline of the art in the seventeenth century4 ,lowering was also practised by the engraver of the cuts in ,croxall's sop2 by ,thomas ,bewick1 who acquired a knowledge of wood engraving without a master2 and by the self-taught artist who executed the cuts in ,alexander's ,expedition down the ,hydaspes1 a poem by ,dr4 ,thomas ,beddoes1 printed in #agib1 but never published4,,vii-#ag ,as the same practice has recently been claimed as an 8invention10 it would seem that some wood engravers are either apt to ascribe much importance to little things1 or are singularly ignorant of what has been done by their predecessors4 ,such an 8invention10 though unquestionably useful1 surely does not require any particular ingenuity for its discovery2 such 8discoveries0 every man makes for himself as soon as he feels the want of that which the so-called invention will supply4 ,the man who pares the cork of a quart bottle in order to make it fit a smaller one is1 with equal justice1 entitled to the name of an inventor1 provided he was not aware of the thing having been done before3 such an 8adaptation of means to the end0 cannot1 however1 be considered as an effort of genius deserving of public commendation4 ,footnote ,,vii-#ag3 ,this poem was privately printed and never published4 ,it was written expressly in imitation of ,dr4 ,darwin1 some of whose friends had contended that his style was inimitable1 but were deceived into a belief that this poem was written by him1 until the real author avowed himself4 ,in the ,advertisement prefixed to it ,dr4 ,beddoes speaks thus of the engraver of the cuts3 8,the engravings in the following pages will be praised or excused when it is known that they are the performance of an uneducated and uninstructed artist1 if such an application be not a profanation of the term1 in a remote village4 ,all the assistance he received was from the example of ,mr4 ,bewick's most masterly engravings on wood40 ,the name of this self-taught artist was ,edward ,dyas1 who was parish-clerk at ,madeley1 ,shropshire1 where the book was printed4 ,the compositor1 as is stated in the same ,advertisement1 was a young woman4--,see ,bibliotheca ,parriana1 p4 #eac4 ,in ,papillon's time it was not customary with ,french engravers on wood to have the subject perfectly drawn on the block1 with all the lines and hatchings pencilled in1 and the effect and the different tints indicated either in pencil or in ,indian ink1 as is the usual practice in the present day4 ,the design was first drawn on paper2 from this1 by means of tracing paper1 the engraver made an outline copy on the block2 and1 without pencilling in all the lines or washing in the tints1 he proceeded to 8translate0 the original1 to which he constantly referred in the progress of his work1 in the same manner as a copper-plate engraver does to the drawing or painting before him4 ,papillon perceived the disadvantages which resulted from this mode of proceeding2 and though he still continued to make his first drawing on paper1 he copied it more carefully and distinctly on the block than was usual with his contemporaries4 ,he was thus enabled to proceed with greater certainty in his engraving2 what he had to effect was immediately before him1 and it was no longer necessary to refer so frequently to the original4 ,to the circumstance of the drawings being perfectly made on the block1 ,papillon ascribes in a great measure the excellence of the old wood engravings of the time of ,durer and ,holbein4 ,papillon1 although always inclined to magnify little things connected with wood engraving1 and to take great credit to himself for trifling 8inventions10 was yet thoroughly acquainted with the practice of his art4 ,the mode of thickening the lines in certain parts of a cut1 after it has been engraved1 by scraping them down1 was frequently practised by him1 and he explains the manner of proceeding1 and gives a cut of the tools required in the operation4,,vii-#ah ,as ,papillon1 previous to the publication of his book1 had contributed several papers on the subject of wood engraving to the famed ,encyclopdie1 he avails himself of the second volume of the ,trait to propose several additions and corrections to those articles4 ,the following definition proposed to be inserted in the ,encyclopdie1 after the article ,,gratuit1 will afford some idea of the manner in which he is accustomed to speak of his 8inventions40 ,the term which he explains is 8,,gratture ou ,,grattage10 literally1 8,,scraping10 the practice just alluded to4 8,this is1 according to the new manner of engraving on wood1 the operation of skilfully and carefully scraping down parts in an engraved block which are not sufficiently dark1 in order to give them1 as may be required1 greater strength1 and to render the shades more effective4 ,this admirable plan1 utterly unknown before1 was accidentally discovered in #agca by ,m4 ,papillon1 by whom the art of wood engraving is advanced to a state tending to perfection1 and approaching more and more towards the beauty of engraving on copper40 ,the tools used by ,papillon to scrape down the lines of an engraved block1 and thus render them thicker and1 consequently1 the impression darker1 differ considerably in shape from those used for the same purpose by modern wood engravers in ,england4 ,this tool now principally used is something like a copper-plate engraver's burnisher1 and occasionally a fine and sharp file is employed4 ,footnote ,,vii-#ah3 8,manire de ,gratter les tailles dj graves pour les rendre plus fortes1 afin de les faire ombrer davantage40--,supplment du ,trait de la ,gravure en ,bois1 p4 #ej4 ,in ,papillon's time the ,french wood engravers appear to have held the graver in the manner of a pen1 and in forming a line to have cut towards them as in forming a down-stroke in writing1 and to have engraved on the longitudinal1 and not the cross section of the wood4 ,modern ,english wood engravers1 having the rounded handle of the graver supported against the hollow of the hand1 and directing the blade by means of the fore-finger and thumb1 cut the line from them2 and always engrave on the cross section of the wood4 ,papillon mentions box1 pear-tree1 apple-tree1 and the wood of the service-tree1 as the best for the purposes of engraving3 box was generally used for the smaller and finer cuts intended for the illustration or ornament of books2 the larger cuts1 in which delicacy was not required1 were mostly engraved on pear-tree wood4 ,apple-tree wood was principally used by the wood engravers of ,normandy4 ,next to box1 ,papillon prefers the wood of the service-tree4 ,the box brought from ,turkey1 though of larger size1 he considers inferior to that of ,provence1 ,italy1 or ,spain4 ,although ,papillon's modus operandi differs considerably from that of ,english wood engravers of the present day1 ,i am not aware of any supposed discovery in the modern practice of the art that was not known to him4 ,the methods of lowering a block in certain parts before drawing the subject on it1 and of thickening the lines1 and thus getting more colour1 by scraping the surface of the cut when engraved1 were1 as has been observed1 known to him2 he occasionally introduced cross-hatchings in his cuts2,,vii-#ai and in one of his chapters he gives instructions how to insert a plug in a block1 in order to replace a part which had either been spoiled in the course of engraving or subsequently damaged4 ,one of the improvements which he suggested1 but did not put in practice1 was a plan for engraving the same subject on two1 three1 or four blocks1 in order to obtain cross-hatchings and a variety of tints with less trouble than if the subject were entirely engraved on the same block4 ,such cuts were not to be printed as chiaro-scuros1 but in the usual manner1 with printer's ink4 ,it is worthy of observation that ,bewick in the latter part of his life had formed a similar opinion of the advantages of engraving a subject on two or more blocks1 and thus obtaining with comparative ease such cross-lines and varied tints as could only be executed with great difficulty on a single block4 ,he1 however1 proceeded further than ,papillon1 for he began to engrave a large cut which he intended to finish in this manner2 and he was so satisfied that the experiment would be successful1 that when the pressman handed to him a proof of the first block1 he exclaimed1 8,i wish ,i was but twenty years younger60 ,footnote ,,vii-#ai3 ,several cuts in which cross-hatching is introduced occur in the 8,trait de la ,gravure en ,bois20 and the author refers to several others in the 8,recueil des ,papillons0 as displaying the same kind of work4 ,he considers the execution of such hatchings as the test of excellence in wood engraving2 8for10 he observes1 8when a person has learnt to execute them he may boast of having mastered one of the most difficult parts of the art1 and may justly assume the name of a wood engraver40--,tom4 ii4 p4 #ij4 ,papillon1 in his account of the practice of the art1 explains the manner of engraving and printing chiaro-scuros2 and in illustration of the process he gives a cut executed in this style1 together with separate impressions from each of the four blocks from which it is printed4 ,there is also another cut of the same kind prefixed to the second part of the first volume1 containing the history of engraving in chiaro-scuro4 ,scarcely anything connected with the practice of wood engraving appears to have escaped his notice4 ,he mentions the effect of the breath in cold weather as rendering the block damp and the drawing less distinct2 and he gives in one of his cuts the figure of a 8mentonnire10--that is to say1 a piece of quilted linen1 like the pad used by women to keep their bonnets cocked up1--which1 being placed before the mouth and nostrils1 and kept in its place by strings tied behind the head1 screened the block from the direct action of the engraver's breath4 ,he frequently complains of the careless manner in which wood-cuts were printed2,,vii-#bj but from the following passage we learn that the inferiority of the printed cuts when compared with the engraver's proofs did not always proceed from the negligence of the printer4 8,some wood engravers have the art of fabricating proofs of their cuts much more excellent and delicate than they fairly ought to be2 and the following is the manner in which they contrive to obtain tolerably decent proofs from very indifferent engravings4 ,they first take two or three impressions1 and then1 to obtain one to their liking1 and with which they may deceive their employers1 they only ink the block on those places which ought to be dark1 leaving the distances and lighter parts without any ink1 except what remained after taking the previous impressions4 ,the proof which they now obtain appears extremely delicate in those parts which were not properly inked2 but when they come to be printed in a page with type1 the impression is quite different from the proof which the engraver delivers with the blocks2 there is no variety of tint1 all is hard1 and the distance is sometimes darker than objects in the fore-ground4 ,i run no great risk in saying that all the three ,le ,sueurs have been accustomed to practise this deception40,,vii-#ba ,footnote ,,vii-#bj3 ,he complains in another part of the work that many printers1 both compositors and pressmen1 by pretending to engrave on wood1 had brought the art into disrepute4 ,they not only spoiled the work of regular engravers1 but dared to engrave wood-cuts themselves4 ,footnote ,,vii-#ba3 ,trait de la ,gravure en ,bois1 tom4 ii4 p4 #cfe4 ,all the cuts in ,papillon's work1 except the portrait prefixed to the first volume1,,vii-#bb are his own engraving1 and1 for the most part1 from his own designs4 ,the most of the blocks were lent to the author by the different persons for whom he had engraved them long previous to the appearance of his work4,,vii-#bc ,they are introduced as ornaments at the beginning and end of the chapters2 but though they may enable the reader to judge of ,papillon's abilities as a designer and engraver on wood1 beyond this they do not in the least illustrate the progress of the art4 ,the execution of some of the best is extremely neat2 and almost all of them display an effect--a contrast of black and white--which is not to be found in any other wood-cuts of the period4 ,a few of the designs possess considerable merit1 but in by far the greater number simplicity and truth are sacrificed to ornament and ,french taste4 ,whatever may be ,papillon's faults as a historian of the art1 he deserves great credit for the diligence with which he pursued it under unfavourable circumstances1 and for his endeavours to bring it into notice at a time when it was greatly neglected4 ,his labours in this respect were1 however1 attended with no immediate fruit4 ,he died in #aggf1 and his immediate successors do not appear to have profited by his instructions4 ,the wood-cuts executed in ,france between #aggf and #ahae are generally much inferior to those of ,papillon2 and the recent progress which wood engraving has made in that country seems rather to have been influenced by ,english example than by his precepts4 ,footnote ,,vii-#bb3 ,the portrait was engraved 8in venerationis testimonium10 and presented to ,papillon by ,nicholas ,caron1 a bookseller and wood engraver of ,besanon4 ,the following complimentary verses are engraved below the portrait3 8,tu vois ici les traits d'un ,artiste fameux ,dont la savante main enfanta des merveilles2 ,par ses travaux et par ses veilles ,il resuscita l',art qui le trace tes yeux40 ,papillon speaks favourably of ,caron as a wood engraver2 he says that 8he is much superior to ,nioul1 ,jackson1 ,contat1 ,lefevre1 and others his contemporaries1 and would at least have equalled the ,le ,sueurs had he applied himself to drawing the figure40 ,footnote ,,vii-#bc3 ,from several of those blocks not less than sixty thousand impressions had been previously taken1 and from one of them four hundred and fifty-six thousand had been printed4 ,nicholas ,le ,sueur--born #afia1 died #agfd1--was1 next to ,papillon1 the best ,french wood engraver of his time4 ,his chiaro-scuros1 printed entirely from wood-blocks1 are executed with great boldness and spirit1 and partake more of the character of the earlier ,italian chiaro-scuros than any other works of the same kind engraved by his contemporaries4,,vii-#bd ,he chiefly excelled in the execution of chiaro-scuros and large cuts2 his small cuts are of very ordinary character2 they are generally engraved in a hard and meagre style1 want variety of tint1 and are deficient in effect4 ,illustration ,footnote ,,vii-#bd3 ,in the chiaro-scuros from original drawings in the collection of ,monsieur ,crozat1 with the figures etched by ,count ,caylus1 the wood-blocks from which the sepia-coloured tints were printed were engraved by ,nicholas ,le ,sueur4--,about the same period ,arthur ,pond and ,george ,knapton in ,england1 and ,count ,m4 ,a4 ,zanetti in ,italy1 executed in the same manner several chiaro-scuros in imitation of drawings and sketches by eminent painters4 ,the taste for chiaro-scuros seems to have been revived in ,france by the ,regent-,duke of ,orleans1 who declared that ,ugo da ,carpi's chiaro-scuros afforded him more pleasure than any other kind of prints4 ,p4 ,s4 ,fournier1 the younger1 a letter-founder of considerable reputation1--born at ,paris #agab1 died #agfh1--occasionally engraved on wood4 ,papillon says that he was self-taught2 and that he certainly would have made greater progress in the art had he not devoted himself almost exclusively to the business of type-founding4 ,monsieur ,fournier is1 however1 better known as a writer on the history of the art than as a practical wood engraver4 ,between #ageh and #agfa he published three tracts relating to the origin and progress of wood engraving1 and the invention of typography4,,vii-#be ,from these works it is evident that1 though he takes no small credit to himself for his practical knowledge of wood engraving and printing1 he was very imperfectly acquainted with his subject4 ,they abound in errors which it is impossible that any person possessing the knowledge he boasts of should commit1 unless he had very superficially examined the books and cuts on which he pronounces an opinion4 ,he seems indeed to have thought that1 from the circumstance of his being a wood engraver and letter-founder1 his decisions on all doubtful matters in the early history of wood engraving and printing should be received with implicit faith4 ,looking at the comparatively small size of his works1 no writer1 not even ,papillon himself1 has committed so many mistakes2 and his decisions are generally most peremptory when utterly groundless or evidently wrong4 ,he asserts that ,faust and ,scheffer's ,psalter1 #adeg-adei1 is printed from moveable types of wood1 and that the most of the earliest specimens of typography are printed from the same kind of types2 and in the fulness of his knowledge he also declares that the text of the ,theurdank is printed not from types1 but from engraved wood-blocks4 ,like ,papillon1 he seems to have possessed a marvellous sagacity in ferreting out old wood engravers4 ,he says that ,andrea ,mantegna engraved on wood a grand triumph in #adhf2 that ,sebastian ,brandt engraved in #adij the wood-cuts in the ,ship of ,fools1,,vii-#bf after the designs of ,j4 ,locher2 and that ,parmegiano executed several wood-cuts after designs by ,raffaele4 ,he decides positively that ,albert ,durer1 ,lucas ,cranach1 ,titian1 and ,holbein were wood engravers1 and1 like ,papillon1 he includes ,mary de ,medici in the list4 ,papillon appears to have had good reason to complain that ,fournier had availed himself of his volume printed in #agch4 ,his taste appears to have been scarcely superior to his knowledge and judgment3 he mentions a large and coarsely engraved cut of the head of ,christ as one of the best specimens of ,albert ,durer's engraving2 and he says that ,papillon's cuts are for excellence of design and execution equal to those of the greatest masters6 ,footnote ,,vii-#be3 ,the following are the titles of those tracts1 which are rather scarce4 ,they are all of small octavo size1 and printed by ,j4 ,barbou4 #a4 ,dissertation sur l',origine et les ,progrs de l',art de ,graver en ,bois1 pour claircir quelques traits de l',histoire de l',imprimerie1 et prouver que ,guttemberg n'en est pas l',inventeur4 ,par ,mr4 ,fournier le ,jeune1 ,graveur et ,fondeur de ,caractres d',imprimerie1 #ageh4 #b4 ,de l',origine et des productions de l',imprimerie primitive en taille en ,bois1 #agei4 #c4 ,remarques sur un ,ouvrage intitul1 ,lettre sur l',origine de l',imprimerie1 c4 #agfa4 ,this last was an answer to a letter written by ,m4 ,br1 almoner of the ,swedish chapel in ,paris1 in which the two former tracts of ,fournier were severely criticised4--,fournier was also the author of a work in two small volumes1 entitled 8,manuel ,typographique1 utile aux ,gens de lettres1 et ceux qui exercent les differentes parties de l',art de l',imprimerie40 ,footnote ,,vii-#bf3 ,the cut here introduced is the first in the ,stultifera ,navis1 or 8,ship of ,fools10 and is copied from ,pyason's edition of #aeji4 ,the following lines accompany it3 8----this is my mynde1 this one pleasoure have ,i1 ,of bokes to have great plenty and aparayle4 ,i take no wysdome by them2 nor yet avayle ,nor them perceyve not3 ,and then ,i them despyse4 ,thus am ,i a foole and all that serve that guyse40 ,from a passage in one of ,fournier's tracts--,remarques ,typographiques1 #agfa1--;it is evident that wood engraving was then greatly neglected in ,germany4 ,it relates to the following observation of ,m4 ,br's1 almoner of the ,swedish chapel at ,paris1 on the length of time necessary to engrave a number of wooden types sufficient to print such a work as ,faust and ,scheffer's ,psalter3 8,m4 ,schpflin declares that1 by the general admission of all experienced persons1 it would require upwards of six years to complete such a work in so perfect a manner40 ,the following is ,fournier's rejoinder3 8,to understand the value of this remark1 it ought to be known that1 so far from there being many experienced wood engravers to choose from1 ,m4 ,schpflin would most likely experience some difficulty in finding one to consult40 ,the wood-cuts which occur in ,german books printed between #agjj and #agfj are certainly of the most wretched kind2 contemptible alike in design and execution4 ,some of the best which ,i have seen--and they are very bad--are to be found in a thin folio entitled 8,orbis ,literatus ,germanico-,europaeus10 printed at ,frankfort in #agcg4 ,they are cuts of the seals of all the principal colleges and academical foundations in ,germany4 ,the art in ,italy about the same period was almost equally neglected4 ,an ,italian wood engraver1 named ,lucchesini1 executed several cuts between #agfj and #aggj4 ,most of the head-pieces and ornaments in the ,popes' ,decretals1 printed at ,rome at this period1 were engraved by him2 and he also engraved the cuts in a ,spanish book entitled 8,letania ,lauretana de la ,virgen ,santissima10 printed at ,valencia in #agfh4 ,it is scarcely necessary to say that these cuts are of the humblest character4 ,though wood engraving did not make any progress in ,england from #agbb to the time of ,thomas ,bewick1 yet the art was certainly never lost in this country2 the old stock still continued to put forth a branch--non deficit alter--although not a golden one4 ,two wood-cuts tolerably well executed1 and which show that the engraver was acquainted with the practice of 8lowering10 occur in a thin quarto1 ,london1 printed for ,h4 ,payne1 #agfj4 ,the book and the cuts are thus noticed in ,southey's ,life of ,cowper1 volume ,i4 page #ej4 ,the writer is speaking of the ,nonsense ,club1 of which ,cowper was a member4 8,at those meetings of ,jest and youthful ,jollity1 ,sport that wrinkled ,care derides1 ,and ,laughter holding both his sides1 there can be little doubt that the two odes to ,obscurity and ,oblivion originated1 joint compositions of ,lloyd and ,colman1 in ridicule of ,gray and ,mason4 ,they were published in a quarto pamphlet1 with a vignette1 in the title-page1 of an ancient poet safely seated and playing on his harp2 and at the end a tail-piece representing a modern poet in huge boots1 flung from a mountain by his ,pegasus into the sea1 and losing his tie-wig in the fall40 ,the following is a fac-simile of the cut representing the poet's fall4 ,he seems to have been tolerably confident of himself1 for1 though the winged steed has no bridle1 he is provided with a pair of formidable spurs4 ,illustration ,the cuts in a collection of humorous pieces in verse1 entitled 8,the ,oxford ,sausage10 #agfd1 are evidently by the same engraver1 and almost every one of them affords an instance of 8lowering40 ,at the foot of one of them1 at page #hi1 the name 8,lister0 is seen2 the subject is a bacchanalian figure mounted on a winged horse1 which has undoubtedly been drawn from the same model as the ,pegasus in ,colman and ,lloyd's burlesque odes4 ,in an edition of the ,sausage1 printed in #aggb1 the name of 8,t4 ,lister0 occurs on the title-page as one of the publishers1 and as residing at ,oxford4 ,although those cuts are generally deficient in effect1 their execution is scarcely inferior to many of those in the work of ,papillon2 the portrait indeed of 8,mrs4 ,dorothy ,spreadbury1 ,inventress of the ,oxford ,sausage10 forming the frontispiece to the edition of #aggb1 is better executed than ,monsieur ,nicholas ,caron's votive portrait of ,papillon1 8the restorer of the art of wood engraving40 ,in #agfc1 a person named ,s4 ,watts engraved two or three large wood-cuts in outline1 slightly shaded1 after drawings by ,luca ,cambiaso4 ,impressions of those cuts are most frequently printed in a yellowish kind of ink4 ,about the same time ,watts also engraved1 in a bold and free style1 several small circular portraits of painters4 ,in ,sir ,john ,hawkins's ,history of ,music1 published in #aggf1 there are four wood-cuts2 and at the bottom of the largest--,palestrini presenting his work on ,music to the ,pope--is the name of the engraver thus3 ,t4 ,hodgson4 ,sculp4 ,dr4 ,dibdin1 in noticing this cut1 in his ,preliminary ,disquisition on ,early ,engraving and ,ornamental ,printing1 prefixed to his edition of the ,typographical ,antiquities1 says that it was 8done by ,hodgson1 the master of the celebrated ,bewick40,,vii-#bg ,if by this it is meant that ,bewick was the apprentice of ,hodgson1 or that he obtained from ,hodgson his knowledge of wood engraving1 the assertion is incorrect4 ,it is1 however1 almost certain that ,bewick1 when in ,london in #aggf1 was employed by ,hodgson1 as will be shown in its proper place4 ,footnote ,,vii-#bg3 ,dr4 ,dibdin adds3 8,mr4 ,douce informs me that ,sir ,john ,hawkins told him of the artist's obtaining the prize for it from the ,society for the ,encouragement of ,arts40 ,having now given some account of wood engraving in its languishing state--occasionally showing symptoms of returning vigour1 and then almost immediately sinking into its former state of depression--we at length arrive at an epoch from which its revival and progressive improvement may be safely dated4 ,the person whose productions recalled public attention to the neglected art of wood engraving was ,illustration3 ,,thomas ,,bewick ,this distinguished wood engraver1 whose works will be admired as long as truth and nature shall continue to charm1 was born on the #ajth or #aath of ,august1 #agec1 at ,cherry-burn1 in the county of ,northumberland1 but on the south side of the ,tyne1 about twelve miles westward of ,newcastle4 ,illustration3 ,,the ,,house ,,in ,,which ,,bewick ,,was ,,born4 ,his father rented a small land-sale colliery at ,mickley-bank1 in the neighbourhood of his dwelling1 and it is said that when a boy the future wood engraver sometimes worked in the pit4 ,at a proper age he was sent as a day-scholar to a school kept by the ,rev4 ,christopher ,gregson at ,ovingham1 on the opposite side of the ,tyne4 ,the ,parsonage ,house1 in which ,mr4 ,gregson lived1 is pleasantly situated on the edge of a sloping bank immediately above the river2 and many reminiscences of the place are to be found in ,bewick's cuts2 the gate at the entrance is introduced1 with trifling variations1 in three or four different subjects2 and a person acquainted with the neighbourhood will easily recognise in his tail-pieces several other little local sketches of a similar kind4 ,in the time of the ,rev4 ,james ,birkett1 ,mr4 ,gregson's successor1 ,ovingham school had the character of being one of the best private schools in the county2 and several gentlemen1 whose talents reflect credit on their teacher1 received their education there4 ,in the following cut1 representing a view of ,ovingham from the south-westward1 the ,parsonage ,house1 with its garden sloping down to the ,tyne1 is perceived immediately to the right of the clump of large trees4 ,the bank on which those trees grow is known as the crow-tree bank4 ,the following lines1 descriptive of a view from the ,parsonage ,house1 are from 8,the ,school ,boy10 a poem1 by ,thomas ,maude1 ,a4,m41 who received his early education at ,ovingham under ,mr4 ,birkett4 ,illustration3 ,,parsonage ,,at ,,ovingham4 8,but can ,i sing thy simpler pleasures flown1 ,loved ,,ovingham6 and leave the chief unknown1-- ,thy annual ,fair1 of every joy the mart1 ,that drained my pocket1 ay1 and took my childish heart8 ,blest morn6 how lightly from my bed ,i sprung1 ,when in the blushing east thy beams were young2 ,while every blithe co-tenant of the room ,rose at a call1 with cheeks of liveliest bloom4 ,then from each well-packed drawer our vests we drew1 ,each gay-frilled shirt1 and jacket smartly new4 ,brief toilet ours6 yet1 on a morn like this1 ,five extra minutes were not deemed amiss4 ,fling back the casement6--,sun1 propitious shine6 ,how sweet your beams gild the clear-flowing ,tyne1 ,that winds beneath our master's garden-brae1 ,with broad bright mazes o'er its pebbly way4 ,see ,prudhoe6 lovely in the morning beam3-- ,mark1 mark1 the ferry-boat1 with twinkling gleam1 ,wafting fair-going folks across the stream4 ,look out6 a bed of sweetness breathes below1 ,where many a rocket points its spire of snow2 ,and from the ,crow-tree ,bank the cawing sound ,of sable troops incessant poured around6 ,well may each little bosom throb with joy6 ,on such a morn1 who would not be a boy80 ,bewick's school acquirements probably did not extend beyond ,english reading1 writing1 and arithmetic2 for1 though he knew a little ,latin1 he does not appear to have ever received any instructions in that language4 ,in a letter dated #ahth ,april1 #ahjc1 addressed to ,mr4 ,christopher ,gregson1,,vii-#bh ,london1 a son of his old master1 introducing an artist of the name of ,murphy1 who had painted his portrait1 ,bewick humorously alludes to his beauty when a boy1 and to the state of his coat-sleeve1 in consequence of his using it instead of a pocket-handkerchief4 ,bewick1 it is to be observed1 was very hard-featured1 and much marked with the small-pox4 ,after mentioning ,mr4 ,murphy as 8a man of worth1 and a first-rate artist in the miniature line10 he thus proceeds3 8,i do not imagine1 at your time of life1 my dear friend1 that you will be solicitous about forming new acquaintances2 but it may not1 perhaps1 be putting you much out of the way to show any little civilities to ,mr4 ,murphy during his stay in ,london4 ,he has1 on his own account1 taken my portrait1 and ,i dare say will be desirous to show you it the first opportunity3 when you see it1 you will no doubt conclude that ,t4 ,b4 is turning bonnyer and bonnyer,,vii-#bi in his old days2 but indeed you cannot help knowing this1 and also that there were great indications of its turning out so long since4 ,but if you have forgot our earliest youth1 perhaps your brother ,p4,,vii-#cj may help you to remember what a great beauty ,i was at that time1 when the grey coat-sleeve was glazed from the cuff towards the elbows40 ,the words printed in ,italics are those that are underlined by ,bewick himself4 ,footnote ,,vii-#bh3 ,mr4 ,christopher ,gregson1 who was an apothecary1 lived in ,blackfriars4 ,he died about the year #ahac4 ,as long as he lived1 ,bewick maintained a friendly correspondence with him4 ,footnote ,,vii-#bi3 ,prettier and prettier4 ,footnote ,,vii-#cj3 ,philip4 ,bewick1 having shown a taste for drawing1 was placed by his father as an apprentice with ,mr4 ,ralph ,beilby1 an engraver1 living in ,newcastle1 to whom on the #ast of ,october #agfg he was bound for a term of seven years4 ,mr4 ,beilby was not a wood engraver2 and his business in the copper-plate line was of a kind which did not allow of much scope for the display of artistic talent4 ,he engraved copper-plates for books1 when any by chance were offered to him2 and he also executed brass-plates for doors1 with the names of the owners handsomely filled up1 after the manner of the old 8niellos10 with black sealing-wax4 ,he engraved crests and initials on steel and silver watch-seals2 also on tea-spoons1 sugar-tongs1 and other articles of plate2 and the engraving of numerals and ornaments1 with the name of the maker1 on clock-faces1--which were not then enamelled1--seems to have formed one of the chief branches of his very general business4,,vii-#ca ,footnote ,,vii-#ca3 8,while with ,,beilby he was employed in engraving clock-faces1 which1 ,i have heard him say1 made his hands as hard as a blacksmith's1 and almost disgusted him with engraving40--,sketch of the ,life and ,works of the late ,thomas ,bewick1 by ,george ,c4 ,atkinson4 ,printed in the ,transactions of the ,natural ,history ,society1 ,newcastle1 #ahcj4 ,bewick's attention appears to have been first directed to wood engraving in consequence of his master having been employed by the late ,dr4 ,charles ,hutton1 then a schoolmaster in ,newcastle1 to engrave on wood the diagrams for his ,treatise on ,mensuration4 ,the printing of this work was commenced in #agfh1 and was completed in #aggj4 ,the engraving of the diagrams was committed to ,bewick1 who is said to have invented a graver with a fine groove at the point1 which enabled him to cut the outlines by a single operation4 ,illustration ,the above is a fac-simile of one of the earliest productions of ,bewick in the art of wood engraving4 ,the church is intended for that of ,st4 ,nicholas1 ,newcastle4 ,subsequently1 and while he was still an apprentice1 ,bewick undoubtedly endeavoured to improve himself in wood engraving2 but his progress does not appear to have been great1 and his master had certainly very little work of this kind for him to do4 ,he appears to have engraved a few bill-heads on wood2 and it is not unlikely that the cuts in a little book entitled 8,youth's ,instructive and ,entertaining ,story ,teller10 first published by ,t4 ,saint1 ,newcastle1 #aggd1 were executed by him before the expiration of his apprenticeship4 ,bewick1 at one period during his apprenticeship1 paid ninepence a week for his lodgings in ,newcastle1 and usually received a brown loaf every week from ,cherry-burn4 8,during his servitude10 says ,mr4 ,atkinson1 8he paid weekly visits to ,cherry-burn1 except when the river was so much swollen as to prevent his passage of it at ,eltringham1 when he vociferated his inquiries across the stream1 and then returned to ,newcastle40 ,this account of his being accustomed to shout his enquiries across the ,tyne first appeared in a ,memoir prefixed to the ,select ,fables1 published by ,e4 ,charnley1 #ahbj4 ,mr4 ,william ,bedlington1 an old friend of ,bewick1 once asked him if it were true8 8,babbles and nonsense60 was the reply4 8,it never happened but once1 and that was when the river had suddenly swelled before ,i could reach the top of the allers1,,vii-#cb and yet folks are made to believe that ,i was in the habit of doing it40 ,footnote ,,vii-#cb3 ,alders--the name of a small plantation above ,ovingham1 which ,bewick had to pass through on his way to ,eltringham ferry-boat4 ,on the expiration of his apprenticeship he returned to his father's house at ,cherry-burn1 but still continued to work for ,mr4 ,beilby4 ,about this time he seems to have formed the resolution of applying himself exclusively in future to wood engraving1 and with this view to have executed several cuts as specimens of his ability4 ,in #agge he received a premium of seven guineas from the ,society of ,arts for a cut of the ,huntsman and the ,old ,hound1 which he probably engraved when living at ,cherry-burn after leaving ,mr4 ,beilby4,,vii-#cc ,the following is a fac-simile of this cut1 which was first printed in an edition of ,gay's ,fables1 published by ,t4 ,saint1 ,newcastle1 #aggi4 ,mr4 ,henry ,bohn1 the publisher of the present edition1 happening to be in possession of the original cut1 it is annexed on the opposite page4 ,illustration ,footnote ,,vii-#cc3 ,the ,reverend ,william ,turner1 of ,newcastle1 in a letter printed in the ,monthly ,magazine for ,june #ahja1 says that ,bewick obtained this premium 8during his apprenticeship40 ,this must be a mistake2 as his apprenticeship expired in ,october #aggd1 and he obtained the premium in #agge4 ,it is possible1 however1 that the engraving may have been executed during that period4 ,in #aggf1 when on a visit to some of his relations in ,cumberland1,,vii-#cd he availed himself of the opportunity of visiting the ,lakes2 and in after-life he used frequently to speak in terms of admiration of the beauty of the scenery1 and of the neat appearance of the white-washed1 slate-covered cottages on the banks of some of the lakes4 ,his tour was made on foot1 with a stick in his hand and a wallet at his back2 and it has been supposed that in a tail-piece1 to be found at page #agg of the first volume of his ,british ,birds1 first edition1 #agig1 he has introduced a sketch of himself in his travelling costume1 drinking out of what he himself would have called the flipe of his hat4 ,the figure has been copied in our ornamental letter ,t at page #dga4 ,illustration ,footnote ,,vii-#cd3 ,bewick's mother1 ,jane ,wilson1 was a daughter of ,thomas ,wilson of ,ainstable in ,cumberland1 about five miles north-north-west of ,kirk-,oswald4 ,in the same year1 #aggf1 he went to ,london1 where he arrived on the #ast of ,october4 ,he certainly did not remain more than a twelvemonth in ,london1,,vii-#ce for in #aggg he returned to ,newcastle1 and entered into partnership with his former master1 ,mr4 ,ralph ,beilby4 ,bewick--who does not appear to have been wishful to undeceive those who fancied that he was the person who rediscovered the 8long-lost art of engraving on wood0,,vii-#cf--would never inform any of the good-natured friends1 who fished for intelligence with the view of writing his life1 of the works on which he was employed when in ,london4 ,the faith of a believer in the story of ,bewick's re-discovering 8the long-lost art0 would have received too great a shock had he been told by ,bewick himself that on his arrival in ,london he found professors of the 8long-lost art0 regularly exercising their calling1 and that with one of them he found employment4 ,footnote ,,vii-#ce3 ,bewick1 in ,london1 in #ahbh1 observed to one of his former pupils1 that it was then fifty-one years since he left ,london1 on his first visit1 to return to ,newcastle4 ,footnote ,,vii-#cf3 ,mr4 ,atkinson talks about wood engraving having taken a nap for a century or two 8after the time of ,durer and ,holbein10 and of ,bewick being the restorer of the 8long-lost art20 and yet1 with singular inconsistency1 in another part of his ,sketch1 he refers to ,papillon1 whose work1 containing a minute account of the art as then practised1 was published about two years before ,bewick began to engrave on wood4--,the ,reverend ,william ,turner1 who ought to have known better1 also speaks of the 8long-lost art10 in his ,memoir of ,thomas ,bewick4 ,there is every reason to believe that ,bewick1 when in ,london1 was chiefly employed by ,t4 ,hodgson1 most likely the person who engraved the four cuts in ,sir ,john ,hawkins's ,history of ,music4 ,it is at any rate certain that several cuts engraved by ,bewick appeared in a little work entitled 8,a curious ,hieroglyphick ,bible10 printed by and for ,t4 ,hodgson1 in ,george's ,court1 ,st4 ,john's ,lane1 ,clerkenwell4,,vii-#cg ,proofs of three of the principal cuts are now lying before me4 ,the subjects are3 ,adam and ,eve1 with the ,deity seen in the clouds1 forming the frontispiece2 the ,resurrection2 and a cut representing a gentleman seated in an arm-chair1 with four boys beside him3 the border of this cut is of the same kind as that of the large cut of the ,chillingham ,bull engraved by ,bewick in #aghi4 ,these proofs appear to have been presented by ,bewick to an eminent painter1 now dead1 with whom either then1 or at a subsequent period1 he had become acquainted4 ,not one of ,bewick's biographers mentions those cuts1 nor seems to have been aware of their existence4 ,the two memoirs of ,bewick1 written by his 8friends0 ,g4 ,c4 ,atkinson and ,john ,f4 ,m4 ,dovaston1,,vii-#ch sufficiently demonstrate that neither of them had enjoyed his confidence in matters relative to his progress in the art of wood engraving4 ,footnote ,,vii-#cg3 ,i have not been able to discover the date of the first edition of this work4 ,the third edition is dated #aghe4 ,footnote ,,vii-#ch3 8,some ,account of the ,life1 ,genius1 and ,personal ,habits of the late ,thomas ,bewick1 the celebrated ,artist and ,engraver on ,wood4 ,by his ,friend ,john ,f4 ,m4 ,dovaston1 ,esq4 ,a4,m410 was published in ,loudon's ,magazine of ,natural ,history1 #ahbi-ahcj4 ,mr4 ,dovaston seems to have caught a knowledge of ,bewick's personal habits at a glance2 and a considerable number of his observations on other matters appear to have been the result of a peculiar quickness of apprehension4 ,what he says about the church of ,ovingham not being 8parted into proud pews10 when ,bewick was a boy1 is incorrect4 ,it had1 in fact1 been pewed from an early period2 for1 on the #bnd of ,september1 #agfc1 ,dr4 ,sharp1 ,archdeacon of ,northumberland1 on visiting the church1 notices the pews as being 8very bad and irregular20 and on a board over the vestry-door is the following inscription3 8,this ,church was new pewed1 ,a4 ,d4 #agff40 ,no boards from this church containing specimens of ,bewick's early drawing were ever in the possession of the ,duke of ,northumberland4 ,mr4 ,dovaston is frequently imaginative1 but seldom correct4 ,his personal sketch of ,bewick is a ridiculous caricature4 ,mr4 ,atkinson1 in his ,sketch of the ,life and ,works of ,bewick1 says that when in ,london he worked with a person of the name of ,cole4 ,of this person1 as a wood engraver1 ,i have not been able to discover any trace4 ,bewick did not like ,london2 and he always advised his former pupils and north-country friends to leave the 8province covered with houses0 as soon as they could1 and return to the country to there enjoy the beauties of ,nature1 fresh air1 and content4 ,in the letter to his old schoolfellow1 ,mr4 ,christopher ,gregson1 previously quoted1 he thus expresses his opinion of ,london life4 8,ever since you paid your last visit to the north1 ,i have often been thinking upon you1 and wishing that you would lap up1 and leave the metropolis1 to enjoy the fruits of your hard-earned industry on the banks of the ,tyne1 where you are so much respected1 both on your own account and on that of those who are gone4 ,indeed1 ,i wonder how you can think of turmoiling yourself to the end of the chapter1 and let the opportunity slip of contemplating at your ease the beauties of ,nature1 so bountifully spread out to enlighten1 to captivate1 and to cheer the heart of man4 ,for my part1 ,i am still of the same mind that ,i was in when in ,london1 and that is1 ,i would rather be herding sheep on ,mickley bank top than remain in ,london1 although for doing so ,i was to be made the premier of ,england40 ,bewick was truly a country man2 he felt that it was better 8to hear the lark sing than the mouse cheep20 for1 though no person was capable of closer application to his art when within doors1 he loved to spend his hours of relaxation in the open air1 studying the character of beasts and birds in their natural state2 and diligently noting those little incidents and traits of country life which give so great an interest to many of his tail-pieces4 ,when a young man1 he was fond of angling2 and1 like ,roger ,ascham1 he 8dearly loved a main of cocks40 ,when annoyed by street-walkers in ,london1 he used to assume the air of a stupid countryman1 and1 in reply to their importunity1 would ask1 with an expression of stolid gravity1 if they knew 8,tommy ,hummel o' ,prudhoe1 ,willy ,eltringham o' ,hall-,yards1 or ,auld ,laird ,newton o' ,mickley80,,vii-#ci ,he thus1 without losing his temper1 or showing any feeling of annoyance1 soon got quit of those who wished to engage his attention1 though sometimes not until he had received a hearty malediction for his stupidity4 ,footnote ,,vii-#ci3 ,humble1 ,eltringham1 and ,newton were the names of three of his country acquaintances2 ,prudhoe1 ,hall-,yards1 and ,mickley are places near ,ovingham4 ,in #aggg1 on his return to ,newcastle1 he entered into partnership with ,mr4 ,beilby2 and his younger brother1 ,john ,bewick1 who was then about seventeen years old1 became their apprentice4 ,from this time ,bewick1 though he continued to assist his partner in the other branches of their business1,,vii-#dj applied himself chiefly to engraving on wood4 ,the cuts in an edition of ,gay's ,fables1 #aggi1,,vii-#da and in an edition of ,select ,fables1 #aghd1 both printed by ,t4 ,saint1 ,newcastle1 were engraved by ,bewick1 who was probably assisted by his brother4 ,several of those cuts are well engraved1 though by no means to be compared to his later works1 executed when he had acquired greater knowledge of the art1 and more confidence in his own powers4 ,he evidently improved as his talents were exercised2 for the cuts in the ,select ,fables1 #aghd1 are generally much superior to those in ,gay's ,fables1 #aggi2 the animals are better drawn and engraved2 the sketches of landscape in the back-grounds are more natural2 and the engraving of the foliage of the trees and bushes is1 not unfrequently1 scarce inferior to that of his later productions4 ,such an attention to nature in this respect is not to be found in any wood-cuts of an earlier date4 ,the following impressions from two of the original cuts in the ,select ,fables are fair specimens2 one is interesting1 as being ,bewick's first idea of a favourite vignette in his ,british ,land ,birds2 the other as his first treatment of the lion and the four bulls1 afterwards repeated in his ,quadrupeds4 ,in the best cuts of the time of ,durer and ,holbein the foliage is generally neglected2 the artists of that period merely give general forms of trees1 without ever attending to that which contributes so much to their beauty4 ,the merit of introducing this great improvement in wood engraving1 and of depicting quadrupeds and birds in their natural forms1 and with their characteristic expression1 is undoubtedly due to ,bewick4 ,though he was not the discoverer of the art of wood engraving1 he certainly was the first who applied it with success to the delineation of animals1 and to the natural representation of landscape and woodland scenery4 ,he found for himself a path which no previous wood engraver had trodden1 and in which none of his successors have gone beyond him4 ,for several of the cuts in the ,select ,fables1 ,bewick was paid only nine shillings each4 ,illustration ,illustration ,footnote ,,vii-#dj3 ,bewick could engrave on copper1 but did not excel in this branch of engraving4 ,the following are the principal copper-plates which are known to be of his engraving4 ,plates in ,consett's ,tour through ,sweden1 ,swedish ,lapland1 ,finland1 and ,denmark1 #dto4 ,stockton1 #aghi2 ,the ,whitley large ,ox1 #aghi2 and the remarkable ,kyloe ,ox1 bred in the ,mull1 ,argyleshire1 #agij--;,a set of silver buttons1 containing sporting devices1 engraved by ,bewick for the late ,h4 ,u4 ,reay1 ,esq4 of ,killingworth1 which passed into the possession of ,mr4 ,reay's son-in-law1 ,matthew ,bell1 ,esq4 of ,wolsingham4 ,footnote ,,vii-#da3 ,mr4 ,atkinson says that 8about the same time he executed the cuts sixty-two in number for a small child's book1 entitled #8,a pretty ,book of ,pictures for little ,masters and ,misses1 or ,tommy ,trip's ,history of ,beasts and ,birds4'0--,an edition of the ,select ,fables1 with very bad wood-cuts1 was printed by ,mr4 ,saint in #aggf4 ,the person by whom they were engraved is unknown4 ,bewick always denied that any of them were of his engraving4 ,in #aghi he drew and engraved his large cut of the ,chillingham ,bull1,,vii-#db which many persons suppose to be his master-piece2 but though it is certainly well engraved1 and the character of the animal is well expressed1 yet as a wood engraving it will not bear a comparison with several of the cuts in his ,history of ,british ,birds4 ,the grass and the foliage of the trees are most beautifully expressed2 but there is a want of variety in the more distant trees1 and the bark of that in the fore-ground to the left is too rough4 ,this exaggeration of the roughness of the bark of trees is also to be perceived in many of his other cuts4 ,the style in which the bull is engraved is admirably adapted to express the texture of the short white hair of the animal2 the dewlap1 however1 is not well represented1 it appears to be stiff instead of flaccid and pendulous2 and the lines intended for the hairs on its margin are too wiry4 ,on a stone in the fore-ground he has introduced a bit of cross-hatching1 but not with good effect1 for it causes the stone to look very much like an old scrubbing-brush4 ,bewick was not partial to cross-hatching1 and it is seldom to be found in cuts of his engraving4 ,he seems to have introduced it in this cut rather to show to those who knew anything of the matter that he could engrave such lines1 than from an opinion that they were necessary1 or in the slightest degree improved the cut4 ,this is almost the only instance in which ,bewick has introduced black lines crossing each other1 and thus forming what is usually called 8cross-hatchings40 ,from the commencement of his career as a wood engraver1 he adopted a much more simple method of obtaining colour4 ,he very justly considered1 that1 as impressions of wood-cuts are printed from lines engraved in relief1 the unengraved surface of the block already represented the darkest colour that could be produced2 and consequently1 instead of labouring to produce colour in the same manner as the old wood engravers1 he commenced upon colour or black1 and proceeded from dark to light by means of lines cut in intaglio1 and appearing white when in the impression1 until his subject was completed4 ,this great simplification of the old process was the result of his having to engrave his own drawings2 for in drawing his subject on the wood he avoided all combinations of lines which to the designer are easy1 but to the engraver difficult4 ,in almost every one of his cuts the effect is produced by the simplest means4 ,the colour which the old wood engravers obtained by means of cross-hatchings1 ,bewick obtained with much greater facility by means of single lines1 and masses of black slightly intersected or broken with white4 ,footnote ,,vii-#db3 ,this cut was executed for ,marmaduke ,tunstall1 ,esq4 of ,wycliffe1 near ,greta ,bridge1 in ,yorkshire4 ,when only a few impressions of the ,chillingham ,bull had been taken1 and before he had added his name1 the block split4 ,the pressmen1 it is said1 got tipsy over their work1 and left the block lying on the window-sill exposed to the rays of the sun1 which caused it to warp and split4,,vii-#dc ,about six impressions were taken on thin vellum before the accident occurred4 ,mr4 ,atkinson says that one of those impressions1 which had formerly belonged to ,mr4 ,beilby1 ,bewick's partner1 was sold in ,london for twenty pounds2 ,a4 ,stothard1 ,r4,a41 had one1 as had also ,mr4 ,c4 ,nesbit4 ,footnote ,,vii-#dc3 ,the block remained in several pieces until #ahag1 when they were firmly united by means of cramps1 and a number of impressions printed off4 ,these impressions are without the border1 which distinguishes the earlier ones4 ,the border1 which was engraved on separate pieces1 enclosed the principal cut in the manner of a frame4 ,towards the latter end of #aghe ,bewick began to engrave the cuts for his ,general ,history of ,quadrupeds1 which was first printed in #agij4,,vii-#dd ,the descriptions were written by his partner1 ,mr4 ,beilby1 and the cuts were all drawn and engraved by himself4 ,the comparative excellence of those cuts1 which1 for the correct delineation of the animals and the natural character of the incidents1 and the back-grounds1 are greatly superior to anything of the kind that had previously appeared1 insured a rapid sale for the work2 a second edition was published in #agia1 and a third in #agib4,,vii-#de ,footnote ,,vii-#dd3 ,a ,prospectus containing specimens of the cuts was printed in #aghg4 ,footnote ,,vii-#de3 ,the first edition consisted of fifteen hundred copies in demy octavo at #hs41 and one hundred royal at #abs4 ,the price of the demy copies of the eighth edition1 published in #ahbe1 was #a #as4 ,a proof of the estimation in which the work continued to be held4 ,the great merit of those cuts consists not so much in their execution as in the spirited and natural manner in which they are drawn4 ,some of the animals1 indeed1 which he had not had an opportunity of seeing1 and for which he had to depend on the previous engravings of others1 are not correctly drawn4 ,among the most incorrect are the ,bison1 the ,zebu1 the ,buffalo1 the ,many-horned ,sheep1 the ,gnu1 and the ,giraffe or ,cameleopard4,,vii-#df ,even in some of our domestic quadrupeds he was not successful2 the ,horses are not well represented2 and the very indifferent execution of the ,common ,bull and ,cow1 at page #ai1 edition #agij1 is only redeemed by the interest of the back-grounds4 ,in that of the ,common ,bull1 the action of the bull seen chasing a man is most excellent2 and in that of the ,cow1 the woman1 with a skeel on her head1 and her petticoats tucked up behind1 returning from milking1 is evidently a sketch from nature4 ,the ,goats and the ,dogs are the best of those cuts both in design and execution2 and perhaps the very best of all the cuts in the first edition is that of the ,cur ,fox at page #bgj4 ,the tail of the animal1 which is too long1 and is also incorrectly marked with black near the white tip1 was subsequently altered4 ,footnote ,,vii-#df3 ,the cut of the ,giraffe in the edition of #ahbd is not the original one engraved by ,bewick4 ,in the later cut1 which was chiefly engraved by ,w4 ,w4 ,temple1 one of ,bewick's pupils1 the marks on the body of the animal appear like so many white-coloured lines crossing each other1 and enclosing large irregular spots4 ,in the first edition the characteristic tail-pieces are comparatively few2 and several of those which are merely ornamental1 displaying neither imagination nor feeling1 are copies of cuts which are frequent in books printed at ,leipsic between #aggj and #aghj1 and which were probably engraved by ,ungher1 a ,german wood engraver of that period4 ,examples of such tasteless trifles are to be found at pages #i1 #ab1 #ah1 #fe1 #aaj1 #adj1 #bja1 #bbc1 and #dja4 ,ornaments of the same character occur in ,heineken's 8,ide ,gnrale d'une ,collection complette d',estampes10 ,leipsic and ,vienna1 #agga4 ,bewick was unquestionably better acquainted with the history and progress of wood engraving than those who talk about the 8long-lost art0 were aware of4 ,the first of the two following cuts is a fac-simile of a tail-piece which occurs in an edition of 8,der ,weiss ,kunig10,,vii-#dg printed at ,vienna1 #agge1 and which ,bewick has copied at page #add of the first edition of the ,quadrupeds1 #agij4 ,the second1 from one of the cuts illustrative of ,ovid's ,metamorphoses1 #aefi1 designed by ,virgil ,solis1,,vii-#dh is copied in a tail-piece in the first volume of ,bewick's ,birds1 page #ccj1 edition #agig4 ,footnote ,,vii-#dg3 ,some account of this work is previously given at page#bhg4 ,footnote ,,vii-#dh3 ,this work is noticed at page #djg4 ,illustration ,illustration ,the following may be mentioned as the best of the tail-pieces in the first edition of the ,quadrupeds1 and as those which most decidedly display ,bewick's talent in depicting1 without exaggeration1 natural and humorous incidents4 ,in this respect he has been excelled by no other artist either of past or present times4 ,the ,elephant1 fore-shortened1 at page #afb2 the ,dog and ,cat1 #aie2 the ,old ,man crossing a ford1 mounted on an old horse1 which carries1 in addition1 two heavy sacks1 #bdd2 the ,bear-ward1 with his wife and companion1 leading ,bruin1 and accompanied by his dancing-dogs1--a gallows seen in the distance1 #bef2 a ,fox1 with ,magpies flying after him1 indicating his course to his pursuers1 #bfe2 ,two unfeeling fellows enjoying the pleasure of hanging a dog1--a gibbet1 seen in the distance1 to denote that those who could thus quietly enjoy the dying struggles of a dog would not be unlikely to murder a man1 #bgd2 a ,man eating his dinner with his dog sitting beside him1 expecting his share1 #bhe2 ,old ,blind ,man led by a dog1 crossing a bridge of a single plank1 and with the rail broken1 in a storm of wind and rain1 #cbj2 a ,mad ,dog pursued by three men1--a feeble old woman directly in the dog's way1 #cbd2 a ,man with a bundle at his back1 crossing a stream on stilts1 #ccg2 a winter piece1--a ,man travelling in the snow1 #cci2 a grim-visaged ,old ,man1 accompanied by a cur-dog1 driving an old sow1 #cga2 ,two ,boys and an ,ass on a common1 #cge2 a ,man leaping1 by means of a pole1 a stream1 across which he has previously thrown his stick and bag1 #cia2 a ,man carrying a bundle of faggots on the ice1 #cie2 a ,wolf falling into a trap1 #dcj2 and ,two ,blind ,fiddlers and a ,boy1 the last in the book1 at #def4 ,in this cut ,bewick has represented the two blind fiddlers earnestly scraping away1 although there is no one to listen to their strains2 the bare-legged tatty-headed boy who leads them1 and the half-starved melancholy-looking dog at their heels1 are in admirable keeping with the principal characters4 ,on the next page is a copy of the cut of the ,two ,boys and the ,ass1 previously mentioned as occurring at page #cge4 ,this cut1 beyond any other of the tail-pieces in the first edition of the ,quadrupeds1 perhaps affords the best specimen of ,bewick's peculiar talent of depicting such subjects2 he faithfully represents ,nature1 and at the same time conveys a moral1 which gives additional interest to the sketch4 ,though the ass remains immoveable1 in spite of the application of a branch of furze to his hind quarters1 the young graceless who is mounted evidently enjoys his seat4 ,the pleasure of the twain consists as much in having caught an ass as in the prospect of a ride4 ,to such characters the stubborn ass frequently affords more amusement than a willing goer2 they like to flog and thump a thing well1 though it be but a gate-post4 ,the gallows in the distance--a favourite in terrorem object with ,bewick--suggests their ultimate destiny2 and the cut1 in the first edition1 derives additional point from its situation among the animals found in ,new ,south ,wales1--the first shipment of convicts to ,botany ,bay having taken place about two years previous to the publication of the work4 ,this cut1 as well as many others in the book1 affords an instance of lowering1--the light appearance of the distance is entirely effected by that process4 ,illustration ,the subsequent editions of the ,quadrupeds were enlarged by the addition of new matter and the insertion of several new cuts4 ,of these1 with the exception of the ,kyloe ,ox1,,vii-#di the tail-pieces are by far the best4 ,the following are the principal cuts of animals that have been added since the first publication of the work2 the pages annexed refer to the edition of #ahbd1 the last that was published in ,bewick's life-time3 the ,arabian ,horse1 page #d1--the stallion1 seen in the back-ground1 has suffered a dismemberment since its first appearance2,,vii-#ej the ,old ,english ,road ,horse1 #i2 the ,improved ,cart ,horse1 #ad2 the ,kyloe ,ox1 #cf2 the ,musk ,bull1 #di2 the ,black-faced1 or ,heath ,ram1 #ef2 ,heath ,ram of the ,improved ,breed1 #eg2 ,the ,cheviot ,ram1 #eh2 ,tees-water ,ram of the ,old ,breed1 #fj2 ,tees-water ,ram1 ,improved ,breed1 #fa2 the ,american ,elk1 #abe2 ,sow of the ,improved ,breed1 #afd2 ,sow of the ,chinese ,breed1 #aff2 ,head of a ,hippopotamus1 7engraved by ,w4 ,w4 ,temple17 #ahe2 ,indian ,bear1 #bic2 ,polar1 or ,great ,white ,bear1 substituted for another cut of the same animal1 #bie2 the ,spotted ,hyena1 substituted for another cut of the same animal1 #cja2 the ,ban-dog1 #cch2 the ,irish ,greyhound1 #cdj2 the ,harrier1 #cdg2 ,spotted ,bavy1 substituted for another cut of the same animal1 #cgi2 the ,grey ,squirrel1 #chg2 the ,long-tailed ,squirrel1 #cif2 the ,jerboa1 substituted for another cut of the same animal1 #cig2 the ,musquash1 or ,musk ,beaver1 #daf2 the ,mouse1 substituted for another cut of the same animal1 #dbd2 the ,short-eared ,bat1 #eac2 the ,long-eared ,bat1 #eae2 the ,ternate ,bat1 #eah2 the ,wombach1 #ebc2 and the ,ornithorhynchus ,paradoxicus1 #ebe4 ,the cut of the animal called the ,thick-nosed ,tapiir1 at page #aci of the first edition1 is transposed to page #cha of the last edition1 and there described under the name of the ,capibara3 it is probably intended for the ,coypu rat1 a specimen of which is at present in the ,gardens of the ,zoological ,society1 ,regent's ,park4 ,bewick was a regular visitor of all the wild-beast shows that came to ,newcastle1 and availed himself of every opportunity to obtain drawings from living animals4 ,footnote ,,vii-#di3 ,the ,kyloe ,ox1 which occurs at page #cf of the edition of #ahbd1 the last that was published in ,bewick's life-time1 is one of the very best cuts of a quadruped that he ever engraved4 ,the drawing is excellent1 and the characteristic form and general appearance of the animal are represented in a manner that has never been excelled4 ,footnote ,,vii-#ej3 ,the ,lancashire ,bull1 of the first edition1 by a similar process has been converted into the ,lancashire ,ox4 ,illustration ,the tail-pieces introduced in subsequent editions of the ,quadrupeds generally display more humour and not less talent in representing natural objects than those contained in the first4 ,in the annexed cut of a sour-visaged old fellow going with corn to the mill1 we have an exemplification of cruelty not unworthy of ,hogarth4,,vii-#ea ,the over-laden1 half-starved old horse1--broken-kneed1 greasy-heeled1 and evidently troubled with the string-halt1 as is indicated by the action of the off hind-leg1--hesitates to descend the brae1 at the foot of which there is a stream1 and the old brute on his back urges him forward by working him1 as jockeys say1 with the halter1 and beating him with his stick4 ,in the distance1 ,bewick1 as is usual with him when he gives a sketch of cruelty or knavery1 has introduced a gallows4 ,the miserable appearance of the poor animal is not a little increased by the nakedness of his hind quarters2 his stump of a tail is so short that it will not even serve as a catch for the crupper or tail-band4 ,footnote ,,vii-#ea3 ,the originals of this and the three following cuts occur respectively at pages #ac1 #ae1 #fi1 and #ebf of the edition of #ahbd4 ,the other principal tail-pieces in this edition are3 ,greyhound-coursing1 7originally engraved on a silver cup for a person at ,northallerton17 drawn by ,bewick on the block1 but engraved by ,w4 ,w4 ,temple1 page x1 at the end of the ,index2 the ,old ,coachman and the ,young ,squire1 #ab2 ,tinker's ,children in a pair of panniers on the back of an ,ass1 #ba2 a ,cow drinking1 #bh2 ,winter scene1 #cd2 ,two ,men digging1 7engraved by ,h4 ,white1 who also engraved the cut of the ,musk ,bull at page #di17 #cg2 ,dog worrying a ,sheep1 #fb2 ,old ,soldier travelling in the rain1 #aag2 ,smelling1 tail-piece to the ,genet1 a strong bit1 #bfi2 ,drunken ,man making his ,dam1 #cgh2 and ,seals on a large piece of floating ice1 #eaj4 ,illustration ,in the cut of the child1 unconscious of its danger1 pulling at the long tail of a young unbroken colt1 the story is most admirably told4 ,the nurse1 who is seen engaged with her sweetheart by the side of the hedge1 has left the child to wander at will1 and thus expose itself to destruction2 while the mother1 who has accidentally perceived the danger of her darling1 is seen hastening over the stile1 regardless of the steps1 in an agony of fear4 ,the backward glance of the horse's eye1 and the heel raised ready to strike1 most forcibly suggest the danger to which the unthinking infant is exposed4 ,though the subject of the following cut be simple1 yet the sentiment which it displays is the genuine offspring of true genius4 ,near to a ruined cottage1 while all around is covered with snow1 a lean and hungry ewe is seen nibbling at an old broom1 while her young and weakly lamb is sucking her milkless teats4 ,such a picture of animal want--conceived with so much feeling1 and so well expressed1--has perhaps never been represented by any artist except ,bewick4 ,illustration ,the original of the following cut forms the tail-piece to the last page of the edition of #ahbd4 ,an old man1 wearing a parson's cast-off beaver and wig1 is seen carrying his young wife and child across a stream4 ,the complacent look of the cock-nosed wife shows that she enjoys the treat1 while the old drudge patiently bears his burden1 and with his right hand keeps a firm grip of the nether end of his better part4 ,this cut is an excellent satire on those old men who marry young wives and become dotingly uxorious in the decline of life2 submitting to every indignity to please their youthful spouses and reconcile them to their state4 ,it is a new reading of ,january and ,may1--he an old travelling beggar1 and she a young slut with her heels peeping1 or rather staring1 through her stockings4 ,illustration ,mr4 ,solomon ,hodgson1 the printer of the first four editions of the ,quadrupeds1 had an interest in the work2 he died in #ahjj2 and in consequence of a misunderstanding between his widow and ,bewick1 the latter had the subsequent editions printed at the office of ,mr4 ,edward ,walker4 ,mrs4 ,hodgson having asserted1 in a letter printed in the ,monthly ,magazine for ,july #ahje1 that ,bewick was neither the author nor the projector of the ,history of ,quadrupeds1 but 8was employed merely as the engraver or wood-cutter10 he1 in justification of his own claims1 gave the following account of the origin of the work4,,vii-#eb 8,from my first reading1 when a boy at school1 a sixpenny ,history of ,birds and ,beasts1 and a then wretched composition called the ,history of ,three ,hundred ,animals1 to the time ,i became acquainted with works on ,natural ,history written for the perusal of men1 ,i never was without the design of attempting something of this kind myself2 but my principal object was 7and still is7 directed to the mental pleasure and improvement of youth2 to engage their attention1 to direct their steps aright1 and to lead them on till they become enamoured of this innocent and delightful pursuit4 ,some time after my partnership with ,mr4 ,beilby commenced1 ,i communicated my wishes to him1 who1 after many conversations1 came into my plan of publishing a ,history of ,quadrupeds1 and ,i then immediately began to draw the animals1 to design the vignettes1 and to cut them on wood1 and this1 to avoid interruption1 frequently till very late in the night2 my partner at the same time undertaking to compile and draw up the descriptions and history at his leisure hours and evenings at home4 ,with the accounts of the foreign animals ,i did not much interfere2 the sources whence ,i had drawn the little knowledge ,i possessed were open to my coadjutor1 and he used them2 but to those of the animals of our own country1 as my partner before this time had paid little attention to natural history1 ,i lent a helping hand4 ,this help was given in daily conversations1 and in occasional notes and memoranda1 which were used in their proper places4 ,as the cuts were engraved1 we employed the late ,mr4 ,thomas ,angus1 of this town1 printer1 to take off a certain number of impressions of each1 many of which are still in my possession4 ,at ,mr4 ,angus's death the charge for this business was not made in his books1 and at the request of his widow and ourselves1 the late ,mr4 ,solomon ,hodgson fixed the price2 and yet the widow and executrix of ,mr4 ,hodgson asserts in your ,magazine1 that ,i was #8merely employed as the engraver or wood-cutter1' 7,i suppose7 by her husband6 ,had this been the case1 is it probable that ,mr4 ,hodgson would have had the cuts printed in any other office than his own8 ,the fact is the reverse of ,mrs4 ,hodgson's statement2 and although ,i have never1 either #8insidiously' or otherwise1 used any means to cause the reviewers1 or others1 to hold me up as the #8first and sole mover of the concern1' ,i am now dragged forth by her to declare that ,i am the man4 ,footnote ,,vii-#eb3 ,this account is extracted from a letter written by ,bewick1 and printed in the ,monthly ,magazine for ,november #ahje4 8,but to return to my story3--while we were in the progress of our work1 prudence suggested that it might be necessary to inquire how our labours were to be ushered to the world1 and1 as we were unacquainted with the printing and publishing of books1 what mode was the most likely to insure success4 ,upon this subject ,mr4 ,hodgson was consulted1 and made fully acquainted with our plan4 ,he entered into the undertaking with uncommon ardour1 and urged us strenuously not to retain our first humble notions of #8making it like a school-book1' but pressed us to let it #8assume a more respectable form4' ,from this warmth of our friend we had no hesitation in offering him a share in the work1 and a copartnership deed was entered into between us1 for that purpose1 on the #ajth of ,april #agij4 ,what ,mr4 ,hodgson did in correcting the press1 beyond what falls to the duty of every printer1 ,i know not2 but ,i am certain that he was extremely desirous that it should have justice done it4 ,in this weaving of words ,i did not interfere1 as ,i believed it to be in hands much fitter than my own1 only ,i took the liberty of blotting out whatever ,i knew not to be truth40 ,the favourable manner in which the ,history of ,quadrupeds was received determined ,bewick to commence without delay his ,history of ,british ,birds4 ,he began to draw and engrave the cuts in #agia1 and in #agig the first volume of the work1 containing the ,land ,birds1 was published4,,vii-#ec ,the letter-press1 as in the ,quadrupeds1 was written by his partner1 ,mr4 ,beilby1 who certainly deserves great praise for the manner in which he has performed his task4 ,the descriptions generally have the great merit of being simple1 intelligible1 and correct4 ,there are no trifling details about system1 no confused arguments about classification1 which more frequently bewilder than inform the reader who is uninitiated in the piebald jargon of what is called 8,systematic nomenclature40 ,he describes the quadruped or bird in a manner which enables even the most unlearned to recognize it when he sees it2 and1 like one who is rather wishful to inform his readers than to display his own acquaintance with the scientific vocabulary1 he carefully avoids the use of all terms which are not generally understood4 ,mr4 ,beilby1 though in a different manner and in a less degree1 is fairly entitled to share with ,bewick in the honour of having rendered popular in this country the study of the most interesting and useful branches of ,zoology--,quadrupeds and ,birds--by giving the descriptions in simple and intelligible language1 and presenting to the eye the very form and character of the living animals4 ,as a copper-plate engraver1 ,mr4 ,beilby has certainly no just pretensions to fame2 but as a compiler1 and as an able coadjutor of ,bewick in simplifying the study of ,natural ,history1 and rendering its most interesting portions easy of attainment to the young1 and to those unacquainted with the 8science10 he deserves higher praise than he has hitherto generally received4 ,roger ,thornton's ,monument1 and the ,plan of ,newcastle1 in the ,reverend ,john ,brand's ,history of that town1 were engraved by ,mr4 ,beilby4 ,mr4 ,brand's book-plate was also engraved by him4 ,it is to be found in most of the books that formerly belonged to that celebrated antiquary1 who is well known to all collectors from the extent of his purchases at stalls1 and the number of curious old books which he thus occasionally obtained4--,the ,reverend ,william ,turner1 of ,newcastle1 in a letter printed in the ,monthly ,magazine for ,june #ahja1 vindicates the character of ,mr4 ,beilby from what he considers the detractions of ,dr4 ,gleig1 in an article on ,wood-cuts in the ,supplement to the ,encyclopedia ,britannica4 ,mr4 ,beilby was a native of the city of ,durham1 and was brought up as a silversmith and seal-engraver under his father4 ,he died at ,newcastle on the #dth of ,january #ahag1 in the seventy-fourth year of his age4 ,footnote ,,vii-#ec3 ,of this edition1 #a1hgd copies were printed1--one thousand demy octavo1 at #ajs4 #f;d42 eight hundred and fifty thin and thick royal1 at #acs41 and #aes42 and twenty-four imperial at #a #as4 ,the first edition of the second volume1 #ahjd1 consisted of the same number of copies as the first1 but the prices were respectively #abs41 #aes41 #ahs4 and #a #ds4 ,the partnership between ,beilby and ,bewick having been dissolved in #agig1 shortly after the publication of the first volume of the ,birds1 the descriptions in the second1 which did not appear till #ahjd1 were written by ,bewick himself1 but revised by the ,reverend ,henry ,cotes1 vicar of ,bedlington4 ,the publication of this volume formed the key-stone of ,bewick's fame as a designer and engraver on wood2 for though the cuts are not superior to those of the first1 they are not excelled1 nor indeed equalled1 by any that he afterwards executed4 ,the subsequent additions1 whether as cuts of birds or tail-pieces1 are not so excellent as numerous--in this respect the reverse of the additions to the ,quadrupeds4 ,though all the birds were designed1 and nearly all of them engraved by ,bewick himself1 there are yet living witnesses who can testify that both in the drawing and the engraving of the tail-pieces he received very considerable assistance from his pupils1 more especially from ,robert ,johnson as a draftsman1 and ,luke ,clennell as a wood engraver4,,vii-#ed ,before saying anything further on this subject1 it seems necessary to give the following passage from ,mr4 ,atkinson's ,sketch of the ,life and ,works of ,bewick4 8,with regard to the circumstance that the ,british ,birds1 with very few exceptions1 were finished by his own hand1 ,i have it in my power to pledge myself4 ,i had been a good deal surprised one day by hearing a gentleman assert that very few of them were his own work1 all the easy parts being executed by his pupils4 ,i saw him the same day1 and1 talking of his art1 inquired if he permitted the assistance of his apprentices in many cases8 ,he said1 #8,no2 it had seldom happened1 and then they had injured the cuts very much4' ,i inquired if he could remember any of them in which he had received assistance8 ,he said1 #8,aye3 ,i can soon tell you them2' and1 after a few minutes' consideration1 he made out1 with his daughter's assistance1 the ,whimbrel1 ,tufted ,duck1 and ,lesser ,tern3,,vii-#ee he tried to recollect more1 and turning to his daughter1 said1 #8,jane1 honey1 dost thou remember any more8' ,she considered a little1 and said1 #8,no3 she did not2 but that certainly there were not half a dozen in all3' those we both pressed him to do over again4 #8,he intended it1' he said2 but1 alas6 this intention was prevented4 ,in some cases1 ,i am informed1 he made his pupils block out for him2 that is1 furnished them with an outline1 and let them cut away the edges of the block to that line2 but as1 in this case1 the assistance rendered is much the same as that afforded by a turner's apprentice when he rounds off the heavy mass of wood in readiness for a more experienced hand1 but not a line of whose performance remains in the beautiful toy it becomes1 it does not materially shake the authenticity of the work in question40 ,footnote ,,vii-#ed3 ,pinkerton having stated in his ,scottish ,gallery1 on the authority of ,messrs4 ,morison1 printers1 of ,perth1 that ,bewick1 8observing the uncommon genius of his late apprentice1 ,robert ,johnson1 employed him to trace the figures on the wood in the ,history of ,quadrupeds10 ,bewick1 in his letter1 printed in the ,monthly ,magazine for ,november #ahje1 previously quoted1 thus denies the assertion3 8,it is only necessary for me to declare1 and this will be attested by my partner ,mr4 ,beilby1 who compiled the ,history of ,quadrupeds1 and was a proprietor of the work1 that neither ,robert ,johnson1 nor any person but myself1 made the drawings1 or traced or cut them on the wood40--,robert ,johnson was employed by ,messrs4 ,morison to copy for the ,scottish ,gallery several portraits at ,taymouth ,castle1 the seat of the ,earl of ,breadalbane4 ,bewick in this letter carefully avoids pleading to that with which he was not charged2 he does not deny that several of the drawings of the tail-pieces in the ,history of ,british ,birds were made by ,robert ,johnson4 ,a pupil of ,bewick's1 now living1 saw many of ,johnson's drawings for these cuts1 and sat beside ,clennell when he was engraving them4 ,footnote ,,vii-#ee3 ,these three cuts were engraved by one of ,bewick's pupils1 named ,henry ,hole4 ,neither ,bewick's memory nor his daughter's had been accurate on this occasion2 but not one of the other cuts which they failed to recollect can be compared with those engraved by ,bewick himself4 ,in addition to those three1 the following1 not engraved by ,bewick himself1 had appeared at the time the above conversation took place--some time between #ahbe and #ahbf3--the ,brent ,goose1 the ,lesser ,imber1 and the ,cormorant1 engraved by ,l4 ,clennell2 the ,velvet ,duck1 the ,red-breasted ,merganser1 and the ,crested ,cormorant1 by ,h4 ,hole2 the ,rough-legged ,falcon1 the ,pigmy ,sand-piper1 the ,red ,sand-piper1 and the ,eared ,grebe1 by ,w4 ,w4 ,temple4 ,though it is evident that ,bewick meant here simply to assert that all the figures of the birds1 except the few which he mentions1 were entirely engraved by himself1 yet his biographer always speaks as if every one of the cuts in the work--both birds and tail-pieces--were exclusively engraved by ,bewick himself2 and in consequence of this erroneous opinion he refers to seven cuts,,vii-#ef as affording favourable instances of ,bewick's manner of representing water1 although not one of them was engraved by him1 but by ,luke ,clennell1 from drawings by himself or by ,robert ,johnson4 ,mr4 ,atkinson1 in his admiration of ,bewick1 and in his desire to exaggerate his fame1 entirely overlooks the merits of those by whom he was assisted4 ,charlton ,nesbit and ,luke ,clennell rendered him more assistance1 though not in the cuts of birds1 than such as that 8afforded by a turner's apprentice when he rounds off the heavy mass of wood20 and ,robert ,johnson1 who designed many of the best of the tail-pieces1 drew the human figure more correctly than ,bewick himself1 and in landscape-drawing was at least his equal4 ,these observations are not intended in the least to detract from ,bewick's just and deservedly great reputation1 but to correct the erroneous opinions which have been promulgated on this subject by persons who knew nothing of the very considerable assistance which he received from his pupils in the drawing and engraving of the tail-pieces in his history of ,british ,birds4 ,footnote ,,vii-#ef3 8,he never could1 he said1 please himself in his representations of water in a state of motion1 and a horse galloping3 his taste must have been fastidious indeed1 if that beautiful moonlight scene at sea1 page #abj1 vol4 ii4 edition #ahaf2 the river scene at page #abf2 the sea breaking among the rocks at page #afh1 or #agg1 or #bjj1 or #baf2 or the rippling of the water as it leaves the feet of the old fisherman1 at page #ie1 did not satisfy him40 ,in scarcely one of the cuts engraved by ,bewick himself is water in a state of motion well represented4 ,he knew his own deficiency in this respect2 though ,mr4 ,atkinson1 not being able to distinguish the cuts engraved by ,bewick himself from those engraved by his pupils1 cannot perceive it4 ,illustration ,though three of the best specimens of ,bewick's talents as a designer and engraver on wood--the ,bittern1 the ,wood-cock1 and the ,common ,duck,,vii-#eg--;are to be found in the second volume1 containing the water-birds1 yet the land-birds in the first volume1 from his being more familiar with their habits1 and in consequence of their allowing more scope for the display of ,bewick's excellence in the representation of foliage1 are1 on the whole1 superior both in design and execution to the others2 their characteristic attitude and expression are represented with the greatest truth1 while1 from the propriety of the back-grounds1 and the beauty of the trees and foliage1 almost every cut forms a perfect little picture4 ,bewick's talent in pourtraying the form and character of birds is seen to great advantage in the hawks and the owls2 but his excellence1 both as a designer and engraver on wood1 is yet more strikingly displayed in several of the other cuts contained in the same volume1 and among these the following are perhaps the best4 ,the numbers refer to the pages of the first edition of the ,land ,birds1 #agig4 ,the ,field-fare1 page #ih2 the ,yellow ,bunting1 a most exquisite cut1 and considered by ,bewick as the best that he ever engraved1 #adc2 the ,goldfinch1 #afe2 the ,skylark1 #agh2 the ,woodlark1 #ahc2 the ,lesser and the ,winter ,fauvette1 #bab1 #bac2 the ,willow ,wren1 #bbb2 the ,wren1 #bbg2 the ,white-rump1 #bbi2 the ,cole ,titmouse1 #bda2 the ,night-,jar1 #bfb2 the ,domestic ,cock1 #bgf2 the ,turkey1 #bhf2 the ,pintado1 #bic2 the ,red ,grouse1 #cja2 the ,partridge1 #cje2 the ,quail1 #cjh2 and the ,corncrake1 #caa4--;,among the ,birds in the second volume1 first edition1 #ahjd1 the following may be instanced as the most excellent4 ,the ,water ,crake1 page #aj2 the ,water ,rail1 #ac2 the ,bittern1 #dg2 the ,woodcock1 #fj2 the ,common ,snipe1 #fh2 the ,judcock1 or ,jack ,snipe1 #gc2 the ,dunlin1 #aag2 the ,dun ,diver1 #beg2 the ,grey ,lag ,goose1 #bib2 and the ,common ,duck1 #ccc4 ,footnote ,,vii-#eg3 ,the cut here given is engraved by ,bewick at a somewhat earlier date1 for a once popular work entitled the ,history of ,three ,hundred ,animals1 since incorporated in ,mrs4 ,loudon's 8,entertaining ,naturalist40 ,nothing of the same kind that wood engraving has produced since the time of ,bewick can for a moment bear a comparison with these cuts4 ,they are not to be equalled till a designer and engraver shall arise possessed of ,bewick's knowledge of nature1 and endowed with his happy talent of expressing it4 ,bewick has in this respect effected more by himself than has been produced by one of our best wood engravers when working from drawings made by a professional designer1 but who knows nothing of birds1 of their habits1 or the places which they frequent2 and has not the slightest feeling for natural incident or picturesque beauty4--,no mere fac-simile engraver of a drawing ready made to his hand1 should venture to speak slightingly of ,bewick's talents until he has both drawn and engraved a cut which may justly challenge a comparison with the ,kyloe ,ox1 the ,yellow-hammer1 the ,partridge1 the ,wood-cock1 or the ,tame ,duck4 ,bewick's style of engraving1 as displayed in the ,birds1 is exclusively his own4 ,he adopts no conventional mode of representing texture or producing an effect1 but skilfully avails himself of the most simple and effective means which his art affords of faithfully and efficiently representing his subject4 ,he never wastes his time in laborious trifling to display his skill in execution2--he works with a higher aim1 to represent nature2 and1 consequently1 he never bestows his pains except to express a meaning4 ,the manner in which he has represented the feathers in many of his birds1 is as admirable as it is perfectly original4 ,his feeling for his subject1 and his knowledge of his art1 suggest the best means of effecting his end1 and the manner in which he has employed them entitle him to rank as a wood engraver--without reference to his merits as a designer--among the very best that have practised the art4 ,illustration ,our copy of his cut of the ,partridge1 though not equal to the original1 will perhaps to a certain extent serve to exemplify his practice4 ,every line that is to be perceived in this bird is the best that could have been devised to express the engraver's perfect idea of his subject4 ,the soft downy plumage of the breast is represented by delicate black lines crossed horizontally by white ones1 and in order that they may appear comparatively light in the impression1 the block has in this part been lowered4 ,the texture of the skin of the legs1 and the marks of the toes1 are expressed with the greatest accuracy2 and the varied tints of the plumage of the rump1 back1 wings1 and head1 are indicated with no less fidelity4--,such a cut as this ,bewick would execute in less time than a modern ,french wood engraver would require to cut the delicate cross-hatchings necessary1 according to ,french taste1 to denote the grey colour of a soldier's great coat4 ,the cut of the ,wood-cock1 of which that on the next page is a copy1 is another instance of the able manner in which ,bewick has availed himself of the capabilities of his art4 ,he has here produced the most perfect likeness of the bird that ever was engraved1 and at the same time given to his subject an effect1 by the skilful management of light and shade1 which it is impossible to obtain by means of copper-plate engraving4 ,bewick thoroughly understood the advantages of his art in this respect1 and no wood engraver or designer1 either ancient or modern1 has employed them with greater success1 without sacrificing nature to mere effect4 ,illustration ,among the very best of ,bewick's cuts1 as a specimen of wood engraving1 is1 as we have already said1 the ,common ,duck4 ,the round1 full form of the bird1 is represented with the greatest fidelity2 the plumage in all its downy1 smooth1 and glossy variety1--on the sides1 the rump1 the back1 the wings1 and the head1--is singularly true to nature2 while the legs and toes1 and even the webs between the toes1 are engraved in a manner which proves the great attention that ,bewick1 when necessary1 paid to the minutest points of detail4 ,the effect of the whole is excellent1 and the back-ground1 both in character and execution1 is worthy of this master-piece of ,bewick as a designer and engraver on wood4 ,the tail-pieces in the first editions of the ,birds are1 taken all together1 the best that are to be found in any of ,bewick's works2 but1 though it is not unlikely that he suggested the subjects1 there is reason to believe that many of them were drawn by ,robert ,johnson1 and there cannot be a doubt that the greater number of those contained in the second volume were engraved by ,luke ,clennell4 ,before saying anything more about them1 it seems necessary to give a list of those which were either not drawn or not engraved by ,bewick himself2 it has been furnished by one of his early pupils who saw most of ,johnson's drawings1 and worked in the same room with ,clennell when he was engraving those which are here ascribed to him4 ,the pages show where those cuts are to be found in the edition of #agig and in that of #ahba4 ,editions ,,volume ,i #agig #ahba page page ,boughs and ,bird's-nest1 drawn and engraved by ,charlton ,nesbit1 preface i i ,sportsman and ,old ,shepherd1 drawn by ,robert ,johnson1 engraved by ,bewick1 preface 7transferred to ,vol4 ii4 preface1 page vi4 in the edition of #ahba7 vi -- ,old ,man breaking stones1 drawn by ,r4 ,johnson1 engraved by ,bewick #bf xxviii ,horse running away with boys in the cart1 drawn by ,r4 ,johnson1 engraved by ,bewick #hb #adf ,fox and ,bird1 drawn by ,r4 ,johnson1 engraved by ,bewick #aei #adj ,winter piece1 the geldard1 drawn by ,r4 ,johnson1 engraved by ,bewick #afb #afj ,editions ,,volume ,,ii #ahjd #ahba page page ,two ,old ,soldiers1 8the ,honours of ,war10 drawn by ,r4 ,johnson1 engraved by ,bewick1 introduction v vii ,man creeping along the branch of a tree to cross a stream1 drawn by ,r4 ,johnson1 engraved by ,l4 ,clennell #c #fc ,old ,fisherman1 with a leister1 drawn by ,r4 ,johnson1 engraved by ,l4 ,clennell #bc #ch ,the ,broken ,branch1 drawn by ,r4 ,johnson1 engraved by ,bewick #ca #da ,old ,man watching his fishing-lines in the rain1 drawn by ,r4 ,johnson1 engraved by ,bewick #da #dh ,man angling1 his coat-skirts pinned up1 engraved by ,l4 ,clennell #df #eg ,old ,angler fettling his hooks1 engraved by ,l4 ,clennell #ej #ig ,partridge shooting1 drawn by ,r4 ,johnson1 engraved by ,l4 ,clennell #hb #aje ,woman hanging out clothes1 engraved by ,l4 ,clennell 7transferred to vol4 i4 page #afd1 edition of #ahba7 #ajf -- ,man fallen into the water1 engraved by ,l4 ,clennell #id #bfb ,river scene1 engraved by ,l4 ,clennell #ajg #acb ,coast scene1 engraved by ,h4 ,hole #abc #abd ,coast scene1 moonlight1 drawn by ,r4 ,johnson1 engraved by ,l4 ,clennell #abe #abb ,coast scene1 drawn by ,r4 ,johnson1 engraved by ,h4 ,hole #add #adb ,beggar and ,mastiff1 engraved ,l4 ,clennell #afj #bjg ,coast scene1 drawn by ,r4 ,johnson1 engraved by ,bewick #afa #aea ,burying-ground1 drawn and engraved by ,l4 ,clennell #aff #bcg ,man and ,cow1 drawn by ,r4 ,johnson1 engraved by ,bewick #agc #afa ,tinker and his ,wife1 windy day1 drawn by ,r4 ,johnson1 engraved by ,h4 ,hole #agf #adh ,winter piece1 skating1 drawn by ,r4 ,johnson engraved by ,bewick #ahj #bjb ,man on a rock1 drawn by ,r4 ,johnson1 engraved by ,l4 ,clennell #ahb #agg ,icebergs1 ,ship frozen up1 drawn and engraved by ,l4 ,clennell #ahh #aef ,sea piece1 moonlight1 engraved by ,l4 ,clennell #aid #aij ,tired ,sportsman1 engraved by ,l4 ,clennell #bjb #bde ,the ,glutton1 engraved by ,l4 ,clennell #baa #aie ,sea piece1 engraved by ,l4 ,clennell #bae #aig ,runic ,pillar1 drawn by ,r4 ,johnson1 engraved by ,john ,johnson #bbj #cdb ,esquimaux and ,canoe1 drawn and engraved by ,l4 ,clennell #bcj #baa ,sea piece1 drawn and engraved by ,l4 ,clennell #bch #cjf ,coast scene1 drawn by ,r4 ,johnson1 engraved by ,l4 ,clennell #bdj #bah ,coast scene1 drawn by ,r4 ,johnson1 engraved by ,bewick #bde #bbj ,man and ,dog1 engraved by ,h4 ,hole #bea #bbh ,geese going home1 engraved by ,l4 ,clennell #bga #bfj ,boys sailing a ,ship1 engraved by ,l4 ,clennell #bhb #bfh ,old ,man and a ,horse1 going to market with two sacks full of geese #bhf #bdg ,boys riding on gravestones1 drawn by ,r4 ,johnson1 engraved by ,l4 ,clennell #cjd #cbc ,man smoking1 engraved by ,l4 ,clennell #ccg #cjc ,pumping water on a weak leg1 engraved by ,l4 ,clennell #cdh #cjd ,sea piece1 drawn and engraved by ,l4 ,clennell #cei #cad ,sea piece1 drawn and engraved by ,l4 ,clennell #cff #bdb ,sea piece1 drawn and engraved by ,l4 ,clennell 7in ,supplement to vol4 ii4 p4 #bj7 #chj -- ,this list might be considerably increased by inserting many other tail-pieces engraved by ,clennell2 but this does not appear necessary1 as a sufficient number has been enumerated to show that both in the designing and in the engraving of those cuts ,bewick received very considerable assistance from his pupils4 ,in the additional tail-pieces to be found in subsequent editions the greater number are not engraved by ,bewick himself4 ,in the last edition1 published in #ahcb1 there are at least thirty engraved by his pupils subsequent to the time of ,clennell4 ,the head-piece at the commencement of the introduction1 volume ,i4 page vii4 drawn and engraved by ,bewick himself1 presents an excellent view of a farm-yard4 ,everything is true to nature2 the birds assembled near the woman seen winnowing corn are1 though on a small scale1 represented with the greatest fidelity2 even among the smallest the wagtail can be distinguished from the sparrow4 ,the dog1 feeling no interest in the business1 is seen quietly resting on the dunghill2 but the chuckling of the hens1 announcing that something like eating is going forward1 has evidently excited the attention of the old sow1 and brought her and her litter into the yard in the expectation of getting a share4 ,the season1 the latter end of autumn1 is indicated by the flight of field-fares1 and the comparatively naked appearance of the trees2 and we perceive that it is a clear1 bright day from the strong shadow of the ladder projected against the wall1 and on the thatched roof of the outhouse4 ,a heron1 a crow1 and a magpie are perceived nailed against the gable end of the barn2 and a couple of pigeons are seen flying above the house4 ,the cut forms at once an interesting picture of country life1 and a graphic summary of the contents of the work4 ,among the tail-pieces drawn and engraved by ,bewick himself1 in the first edition of the ,birds1 the following appear most deserving of notice4 ,in volume ,i43 ,a traveller drinking1--supposed to represent a sketch of his own costume when making a tour of the ,lakes in #aggf1--;introduced twice1 at the end of the contents1 page xxx4 and again at page #agg4 ,a man watering1 in a different sense to the preceding1 a very natural1 though not a very delicate subject1 at page #db4 ,at page #fb1 an old miller1 lying asleep behind some bushes2 he has evidently been tipsy and from the date on a stone to the left1 we are led to suppose that he had been indulging too freely on the ,king's birth-day1 #dth ,june4 ,the following is a copy of the cut4 ,two cows standing in a pool1 under the shade of a dyke-back1 on a warm day1 page #gd4 ,in this cut ,bewick has introduced a sketch of a magpie chased by a hawk1 but saved from the talons of its pursuer by the timely interference of a couple of crows4 ,winter scene1 of which the following is a copy1 at page #gh4 ,some boys have made a large snow man1 which excites the special wonderment of a horse2 and ,bewick1 to give the subject a moral application1 has added 8,esto perpetua60 at the bottom of the cut3 the great work of the little men1 however they may admire it1 and wish for its endurance1 will be dissolved on the first thaw4 ,at page #ig the appearance of mist and rain is well expressed2 and in the cut of a poacher tracking a hare1 the snow is no less naturally represented4 ,at page #aeg1 a man riding with a howdy--a midwife--behind him1 part of the cut appears covered with a leaf4 ,bewick once being asked the meaning of this1 said that 8it was done to indicate that the scene which was to follow required to be concealed40 ,at page #aid we perceive a full-fed old churl hanging his cat2 at page #bbf1 a hen attacking a dog2 and at page #bha1 two cocks fighting1--all three excellent of their kind4 ,illustration ,illustration ,bewick's humour occasionally verges on positive grossness1 and a glaring instance of his want of delicacy presents itself in the tail-piece at page #bhe4 ,after the work was printed off ,bewick became aware that the nakedness of a prominent part of his subject required to be covered1 and one of his apprentices was employed to blacken it over with ink4 ,in the next edition a plug was inserted in the block1 and the representation of two bars of wood engraved upon it to hide the offensive part4 ,the cut1 however1 even thus amended1 is still extremely indelicate4,,vii-#eh ,footnote ,,vii-#eh3 ,the subject of this cut is thus explained in ,brockett's ,glossary of ,north ,country ,words3 8,,neddy1 ,,netty1 a certain place that will not bear a written explanation2 but which is depicted to the very life in a tail-piece in the first edition of ,bewick's ,land ,birds1 p4 #bhe4 ,in the second edition a bar is placed against the offending part of this broad display of native humour40 ,the following is a copy of the head-piece at the commencement of the advertisement to the second volume4 ,it represents an old man saying grace with closed eyes1 while his cat avails herself of the opportunity of making free with his porridge4 ,the ,reverend ,henry ,cotes1 vicar of ,bedlington1 happening to call on ,bewick when he was finishing this cut1 expressed his disapprobation of the subject1 as having a tendency to ridicule the practice of an act of devotion2 but ,bewick denied that he had any such intention1 and would not consent to omit the cut4 ,he drew a distinction between the act and the performer2 and though he might approve of saying grace before meat1 he could not help laughing at one of the over-righteous1 who1 while craving a blessing with hypocritical grimace1 and with eyes closed to outward things1 loses a present good4 ,the head-piece to the contents presents an excellent sketch of an old man going to market on a windy and rainy day4 ,the old horse on which he is mounted has become restive1 and the rider has both broken his stick and lost his hat4 ,the horse seems determined not to move till it suits his own pleasure2 and it is evident that the old man dare not get down to recover his hat1 for1 should he do so1 encumbered as he is with a heavy basket over his left arm and an egg-pannier slung over his shoulder1 he will not be able to remount4 ,illustration ,the following are the principal tail-pieces drawn and engraved by ,bewick himself in the first edition of the second volume of the ,birds1 #ahjd4 ,a shooter with a gun at his back crossing a stream on long stilts1 page #e4 ,an old wooden-legged beggar gnawing a bone near the entrance to a gentleman's house1 and a dog beside him eagerly watching for the reversion1 page #bg4 ,a dog with a kettle tied to his tail1 pursued by boys1--a great hulking fellow1 evidently a blacksmith1 standing with folded arms enjoying the sport1 page #ef4 ,a man crossing a frozen stream1 with a branch of a tree between his legs1 to support him should the ice happen to break1 page #he4 ,a monkey basting a goose that is seen roasting1 page #bfc4 ,an old woman with a pitcher1 driving away some geese from a well1 page #bia4 ,an old beggar-woman assailed by a gander1 page #cac4 ,one of the best of the tail-pieces subsequently inserted is that which occurs at the end of the description of the ,moor-buzzard1 volume ,i4 in the editions of #ahaf and #ahba1 and at page #ca in the edition of #ahcb4 ,it represents two dyers carrying a tub between them by means of a cowl-staff2 and the figures1 ,mr4 ,atkinson says1 are portraits of two old men belonging to ,ovingham1--8the one on the right being #8auld ,tommy ,dobson of the ,bleach ,green1' and the other #8,mat4 ,carr4'0,,vii-#ei ,the action of the men is excellent1 and their expression is in perfect accordance with the business in which they are engaged--to wit1 carrying their tub full of chemmerly--chamber-lye--to the dye-house4 ,the olfactory organs of both are evidently affected by the pungent odour of their load4 ,it may be necessary to observe that the dyers of ,ovingham had at that time a general reservoir in the village1 to which most of the cottagers were contributors2 but as each family had the privilege of supplying themselves from it with as much as they required for scouring and washing1 it sometimes happened that the dyers found their trough empty1 and were consequently obliged to solicit a supply from such persons as kept a private stock of their own4 ,as they were both irritable old men1 the phrase1 8,he's like a raised enraged dyer begging chemmerly10 became proverbial in ,ovingham to denote a person in a passion4 ,this cut1 as ,i am informed by one of ,bewick's old pupils1 was copied on the block and engraved by ,luke ,clennell from a water-colour drawing by ,robert ,johnson4 ,footnote ,,vii-#ei3 8,mr4 ,atkinson must have misunderstood ,bewick1 as the old man's name was ,george1 not ,matthew1 ,carr4 ,he was grandfather to ,edward ,willis1 one of ,bewick's pupils1 and to ,george ,stephenson1 the celebrated engineer4 ,matthew ,carr was a tailor1 who lived and died at ,righton1 in ,durham40--,,jno4 ,,jackson4 ,when the second volume of the ,history of ,british ,birds was published1 in #ahjd1 ,bewick had reached his fiftieth year2 but though his powers as a wood engraver continued for long afterwards unimpaired1 yet he subsequently produced nothing to extend his fame4 ,the retouching of the blocks for the repeated editions of the ,quadrupeds and the ,birds1 and the engraving of new cuts for the latter work1 occupied a considerable part of his time4 ,he also engraved1 by himself and pupils1 several cuts for different works1 but they are generally such as add nothing to his reputation4 ,bewick never engraved with pleasure from another person's drawing2 in large cuts1 consisting chiefly of human figures1 he did not excel4 ,his excellence consisted in the representation of animals and in landscape4 ,the ,fables1 which had been projected previous to #agie1 also occasionally occupied his attention4 ,this work1 which first appeared in #ahah1 was by no means so favourably received as the ,quadrupeds and the ,birds2 and several of ,bewick's greatest admirers1 who had been led to expect something better1 openly expressed their disappointment4 ,dr4 ,dibdin1 speaking of the ,fables1 says1 8,it would be a species of scandalum magnatum to depreciate any production connected with the name of ,bewick2 but ,i will fearlessly and honestly aver that his sop disappointed me2 the more so1 as his ,birds and ,beasts are volumes perfectly classical of their kind40 ,the disappointment1 however1 that was felt with respect to this work resulted perhaps rather from people expecting too much than from any deficiency in the cuts as illustrations of ,fables4 ,there is a great difference between representing birds and beasts in their natural character1 and representing them as actors in imaginary scenes4 ,we do not regard the cock and the fox holding an imaginary conversation1 however ably represented1 with the interest with which we look upon each when faithfully depicted in its proper character4 ,the tail-piece of the bitch seeing her drowned puppies1 at page #cfd of the ,quadrupeds1 edition #ahbd1 is far more interesting than any cut illustrative of a fable in sop2--we at once feel its truth1 and admire it1 because it is natural4 ,birds and beasts represented as performing human characters can never interest so much as when naturally depicted in their own4 ,such cuts may display great fancy and much skill on the part of the artist1 but they never can excite true feeling4 ,the martyr ,cock ,robin1 killed by that malicious archer the ,sparrow1 is not so interesting as plain ,robin ,redbreast picking up crumbs at a cottage-door in the snow3-- 8,one touch of nature makes the whole world kin40 ,whatever may be the merits or defects of the cuts in those ,fables1 ,bewick most certainly had very little to do with them2 for by far the greater number were designed by ,robert ,johnson1 and engraved by ,w4 ,w4 ,temple and ,william ,harvey1 while yet in their apprenticeship4 ,in the whole volume there are not more than three of the largest cuts engraved by ,bewick himself4,,vii-#fj ,the tail-pieces in this work will not bear a comparison with those in the ,birds2 the subjects are often both trite and tamely treated2 the devil and the gallows--,bewick's two stock-pieces--occur rather too frequently1 considering that the book is chiefly intended for the improvement of young minds2 and in many instances nature has been sacrificed in order that the moral might be obvious4 ,illustration3 ,,the ,,crow ,,and ,,the ,,lamb4 ,footnote ,,vii-#fj3 ,the cuts engraved by ,bewick himself are3 a tail-piece 7a ,cow standing under some bushes7 to 8,the ,two ,frogs10 page #bjj4 ,the fable of 8,the ,deer and the ,lion10 page #cae4 8,waiting for ,death10 page #cch4 ,he also engraved the figure of the ,lion in the fable of 8,the ,lion and the four ,bulls10 page #hi 7see cut at our page #dhj74 ,the ,man1 ,crow1 and ,sheep in the fable of the 8,eagle and the ,crow10 of which we give the original cut4 ,the ,man and two ,birds in the fable of 8,the ,husbandman and the ,stork40 ,the letter-press was entirely selected and arranged by ,bewick himself1 and one or two of the fables were of his own writing4 ,though an excellent illustrator of ,natural ,history1 ,bewick is but an indifferent fabulist4,,vii-#fa ,though the work is professedly intended for the instruction of the young1 there are certainly a few tail-pieces introduced for the entertainment of the more advanced in years2 and of this kind is the old beggar and his trull lying asleep1 and a bull looking over a rail at them4 ,the explanation of this subject would certainly have little tendency to improve young minds4 ,bewick1 though very fond of introducing the devil in his cuts to frighten the wicked1 does not appear to have been willing that a ranting preacher should in his discourses avail himself of the same character1 though to effect the same purpose1 as we learn from the following anecdote related by ,mr4 ,atkinson4 8,cant and hypocrisy he 7,bewick7 very much disliked4 ,a ranter took up his abode near ,cherry-burn1 and used daily to horrify the country people with very familiar details of ultra-stygian proceedings4 ,bewick went to hear him1 and after listening patiently for some time to a blasphemous recital of such horrors1 at which the poor people were gaping with affright1 he got behind the holder-forth1 and pinching his elbow1 addressed him when he turned round with great solemnity3 #8,now then thou seems to know a great deal about the devil1 and has been frightening us a long while about him3 can thou tell me whether he wears his own hair or a wig8'0--,this is a bad joke2--the query might have been retorted with effect4 ,the engraver1 it seems1 might introduce his ,satanic majesty ad libitum in his cuts2 but when a ranting preacher takes the same liberty in his discourses1 he is called upon to give proof of personal acquaintance4 ,footnote ,,vii-#fa3 ,the fable of the ,ship ,dog is one of those written by ,bewick4 ,bewick's morality was rather rigid than cheerful2 and he was but too prone to think uncharitably of others1 whose conduct and motives1 when weighed in the scales of impartial justice1 were perhaps as correct and as pure as his own4 ,his good men are often represented as somewhat cold1 selfish individuals1 with little sympathy for the more unfortunate of their species1 whose errors are as often the result of ignorance as of a positively vicious character4 ,as a moralist1 he was accustomed to look at the dark rather than the bright side of human nature1 and hence his tendency to brand those with whom he might differ in opinion as fools and knaves4 ,one of the fables1 written by himself1 was objected to by the printer1 the late ,mr4 ,e4 ,walker1 and at his request it was omitted4 ,we give a copy of the cut intended for it4 ,the world is represented as having lost its balance1 and legions of his favourite devils are seen hurled about in a confused vortex4 ,the fable1 it is said1 was intended as a satire on the ministerial politics of the time4 ,a thumb-mark is seen at the upper end of what is intended to represent a piece of paper forming part of the page of a ,bible pasted across the cut4 ,a similar mark is to be found at page #age of the ,land ,birds1 first edition1 #agig1 and in the bill and receipt prefixed to the ,fables1 #ahah-ahbc4 ,illustration ,in a novel1 entitled 8,such is the ,world10 there is the following erroneous account of ,bewick's reason for affixing his thumb-mark to this bill4,,vii-#fb 8,having completed his task to the entire satisfaction of his own mind1 ,mr4 ,bewick bethought him of engraving a frontispiece4 ,but having some suspicion that the said frontispiece might be pirated by some of those corsairs who infest the ocean of literature1 he resolved to put a mark on it1 whereby all men might distinguish it as readily as a fisherman distinguishes a haddock,,vii-#fc from a cod-fish4 ,accordingly1 he touched with his thumb the little black ball with which he was wont to ink his cuts1 in order to take off proof impressions of his work3 he then very deliberately pressed his thumb on the frontispiece which he was at that moment engraving1 and cut the most beautiful image of the original1 which he designated by the appropriate words #8,john ,bewick1 his mark4'0 ,had the writer looked at the 8frontispiece10 as he calls it1 he would have found 8,thomas10 and not 8,john40 ,the conclusion of this account is a fair sample of its general accuracy4 ,in a preliminary observation the author1 with equal correctness1 informs his readers that the work in which this 8frontispiece0 appeared was 8a superb edition of ,gay's ,fables40 ,footnote ,,vii-#fb3 ,mr4 ,atkinson says that this account determined ,bewick to write a life of himself4 ,it appears that he actually completed such a work1 but that his family at present decline to publish it4 ,mr4 ,jackson adds1 8,i engraved two portraits for it3 one was a portrait of the ,rev4 ,wm4 ,turner1 of ,newcastle1 the other that of an engineer or millwright1 at ,morpeth1 named ,rastack1 or ,raistick40 ,footnote ,,vii-#fc3 8,there is a tradition that the two black marks on the opposite sides of the haddock were occasioned by ,st4 ,peter's thumb and fore-finger when he took the piece of money out of the fish's mouth to give it as a tribute to ,csar40 ,bewick's mark is1 in fact1 added to this bill merely as a jest2 the mode which he took to authenticate the copies that were actually issued by himself1 and not pilfered by any of the workmen employed about the printing-office1,,vii-#fd was to print at his own work-shop1 in red ink from a copper-plate1 a representation of a piece of sea-weed lying above the wood-cut which had previously been printed off at a printing-office4 ,this mode of printing a copper-plate over a wood-cut was a part of one of the plans which he had devised to prevent the forgery of bank-notes4,,vii-#fe ,footnote ,,vii-#fd3 ,bewick's suspicions in this respect were not altogether groundless4 ,happening to go into a bookbinder's shop in ,newcastle in #ahah1 he found a copy of his ,fables1 which had been sent there to bind before the work had been issued to the public4 ,he claimed the book as his property1 and carried it away2 but the name of the owner who had purchased it1 knowing it to have been dishonestly obtained1 was not publicly divulged4 ,footnote ,,vii-#fe3 ,about #agii ,bewick frequently corresponded with ,mr4 ,abraham ,newland1 cashier of the ,bank of ,england1 respecting a plan which he had devised to prevent the forgery of bank notes4 ,he was offered a situation in the ,bank to superintend the engraving and printing of the notes1 but he refused to leave ,newcastle4 ,the notes of ,ridley and ,co4's bank were for many years engraved and printed under the superintendence of ,bewick1 who1 after ,mr4 ,beilby's retirement1 still continued the business of copper-plate engraving and printing1 and for this purpose always kept presses of his own4 ,the first of the two following cuts1 copied from his ,fables1 records the decease of ,bewick's mother1 who died on the #bjth of ,february #aghe1 aged #eh2 and the second that of his father1 who died on the #aeth of ,november in the same year1 aged #gj4 ,the last event also marks the day on which he began to engrave the first cut intended for the ,quadrupeds4 ,this cut was the ,arabian ,camel1 or ,dromedary1 and he had made very little progress with it when a messenger arrived from ,cherry-burn to inform him of his father's death4 ,illustration ,illustration ,several years previous to his decease ,bewick had devised an improvement1 which consisted in printing a subject from two or more blocks1--not in the manner of chiaro-scuros1 but in order to obtain a greater variety of tint1 and a better effect than could be obtained1 without great labour1 in a cut printed in black ink from a single block4 ,this improvement1 which had been suggested by ,papillon in #agfh1 ,bewick proceeded to carry into effect4 ,the subject which he made choice of to exemplify what he considered his original discovery1 was an old horse waiting for death4,,vii-#ff ,he accordingly made the drawing on a large block consisting of four different pieces1 and forthwith proceeded to engrave it4 ,he however did not live to complete his intention2 for even this block1 which he meant merely for the first impression--the subject having to be completed by a second--remained unfinished at his decease4,,vii-#fg ,he had1 however1 finished it all with the exception of part of the horse's head1 and when in this state he had four impressions taken about a week before his death4 ,it was on this occasion that he exclaimed1 when the pressman handed him the proof1 8,i wish ,i was but twenty years younger60 ,footnote ,,vii-#ff3 ,a small cut of the same subject1 though with a different back-ground1 occurs as a tail-piece in the ,fables1 #ahah-ahbc4 ,footnote ,,vii-#fg3 ,the last bird that ,bewick engraved was the ,cream-coloured ,plover1 at page #chc1 vol4 i4 of the ,birds1 in the edition of #ahcb4 ,several years previous to his death he had projected a ,history of ,british ,fishes1 but very little progress was made in the work4 ,a few cuts of fishes were engraved1 chiefly by his pupils2 that of the ,john ,dory1 an impression of which is said to have been sold for a considerable sum1 is one of those not engraved by ,bewick himself4 ,as a work of art the value of an ,india paper impression of the ,john ,dory may be about twopence4 ,this cut is an early performance of ,mr4 ,jackson's1 who also engraved1 in #ahbc1 about twenty of the additional tail-pieces in the last edition of the ,birds1 #ahcb4 ,this cut1 with the head said to have been finished by another person1 was published by ,bewick's son1 ,mr4 ,robert ,elliott ,bewick1 in #ahcb4 ,it is the largest cut that ,bewick ever engraved1,,vii-#fh but having been left by him in an unfinished state1 it would be impossible to say what he might have effected had he lived to work out his ideas1 and unfair to judge of it as if it were a finished performance4 ,it is1 however1 but just to remark1 that the miserable appearance of the poor1 worn-out1 neglected animal1 is represented with great feeling and truth1--excepting the head1 which is disproportionately large and heavy1--and that the landscape displays ,bewick's usual fidelity in copying nature4 ,footnote ,,vii-#fh3 ,this cut is eleven inches and five-eighths wide by eight inches and three-fourths high4 ,it is entitled1 8,waiting for ,death3 ,bewick's last work1 left unfinished1 and intended to have been completed by a series of impressions from separate blocks printed over each other40 ,bewick's life affords a useful lesson to all who wish to attain distinction in art1 and at the same time to preserve their independence4 ,he diligently cultivated his talents1 and never trusted to booksellers or designers for employment4 ,he did not work according to the directions of others1 but struck out a path for himself2 and by diligently pursuing it according to the bent of his own feelings1 he acquired both a competence with respect to worldly means and an ample reward of fame4 ,the success of his works did not render him inattentive to business2 and he was never tempted by the prospect of increasing wealth to indulge in expensive pleasures1 nor to live in a manner which his circumstances did not warrant4 ,what he had honestly earned he frugally husbanded2 and1 like a prudent man1 made a provision for his old age4 8,the hand of the diligent10 says ,solomon1 8maketh rich40 ,this ,bewick felt1 and his life may be cited in the exemplification of the truth of the proverb4 ,he acquired not indeed great wealth1 but he attained a competence1 and was grateful and contented4 ,no favoured worshipper of ,mammon1 though possessed of millions obtained by 8watching the turn of the market10 could say more4 ,he was extremely regular and methodical in his habits of business3 until within a few years of his death he used to come to his shop in ,newcastle from his house in ,gateshead at a certain hour in the morning1 returning to his dinner at a certain time1 and1 as he used to say1 lapping up at night1 as if he were a workman employed by the day1 and subject to a loss by being absent a single hour4 ,when any of his works were in the press1 the first thing he did each morning1 after calling at his own shop1 was to proceed to the printer's to see what progress they were making1 and to give directions to the pressmen about printing the cuts4,,vii-#fi ,it is indeed owing to his attention in this respect that the cuts in all the editions of his works published during his life-time are so well printed4 ,the edition of the ,birds1 published in #ahcb1 displays numerous instances of the want of ,bewick's own superintendence3 either through the carelessness or ignorance of the pressmen1 many of the cuts are quite spoiled4 ,footnote ,,vii-#fi3 ,when ,bewick removed the printing of his works from ,mr4 ,hodgson's office to that of ,mr4 ,e4 ,walker1 a pressman1 named ,barlow1 was brought from ,london for the purpose of printing the cuts in the second volume of the ,birds in a proper manner4 ,bewick's favourite pressman at ,mr4 ,hodgson's was ,john ,simpson4 ,the following cut represents a view of ,bewick's workshop in ,st4 ,nicholas' ,churchyard1 ,newcastle4 ,the upper room1 the two windows of which are seen in the roof1 was that in which he worked in the latter years of his life4 ,in this shop he engraved the cuts which will perpetuate his name2 and there for upwards of fifty years was he accustomed to sit1 steadily and cheerfully pursuing the labour that he loved4 ,he used always to work with his hat on2 and when any gentleman or nobleman called upon him1 he only removed it for a moment on his first entering4 ,he used frequently to whistle when at work1 and he was seldom without a large quid of tobacco in his mouth4 ,the prominence occasioned by the quid1 which he kept between his under lip and his teeth1 and not in his cheek1 is indicated in most of his portraits4 ,illustration ,a stick1 which had been his brother ,john's1 was a great favourite with him1 and he generally carried it in his walks1 always carefully putting it in a certain place when he entered his workroom4 ,he used to be very partial to a draught of water in the afternoon1 immediately before leaving work4 ,the water was brought fresh by one of the apprentices from the pant at the head of the ,side1 in an earthenware jug1 and the glass which ,bewick used to drink the water out of1 was1 as soon as done with1 carefully locked up in his book-case4 ,one of his apprentices once happening to break the jug1 ,bewick scolded him well for his carelessness1 and made him pay twopence towards buying another4 ,bewick was a man of athletic make1 being nearly six feet high1 and proportionally stout4 ,he possessed great personal courage1 and in his younger days was not slow to repay an insult with personal chastisement4 ,on one occasion being assaulted by two pitmen on returning from a visit to ,cherry-burn1 he resolutely turned upon the aggressors1 and1 as he said1 8paid them both well40 ,though hard-featured1 and much marked with the small-pox1 the expression of ,bewick's countenance was manly and open1 and his dark eyes sparkled with intelligence4 ,there is a good bust of him by ,bailey in the ,library of the ,literary and ,philosophical ,society of ,newcastle1 and the best engraved portrait is perhaps that of ,burnet1 after a painting by ,ramsey4,,vii-#gj ,the portrait on page #eaj1 engraved on wood1 is another attempt to perpetuate the likeness of one to whom the art owes so much4 ,footnote ,,vii-#gj3 ,the following is a list of the principal engraved portraits of ,bewick3 on copper1 by ,j4 ,a4 ,kidd1 from a painting by ,miss ,kirkley1 #agih4 ,on copper1 by ,thomas ,ranson1 after a painting by ,william ,nicholson1 #ahaf4 ,on copper1 by ,i4 ,summerfield1 from a miniature by ,murphy--that alluded to in ,bewick's letter to ,mr4 ,c4 ,gregson1 previously quoted--#ahaf4 ,on copper1 by ,john ,burnet1 from a painting by ,james ,ramsey1 #ahag4 ,copies of all those portraits1 engraved on wood1 are given in ,charnley's edition of ,select ,fables1 #ahbj2 and there is also prefixed to the work a portrait excellently engraved on wood by ,charlton ,nesbit1 one of ,bewick's earliest pupils1 from a drawing made on the block by ,william ,nicholson4--,in the ,memoir of ,thomas ,bewick1 prefixed to the ,natural ,history of ,parrots1 ,naturalist's ,library1 vol4 vi41 it is incorrectly stated that ,ranson1 the engraver of one of the above portraits1 was a pupil of ,bewick's4 ,he was a pupil of ,j4 ,a4 ,kidd1 copper-plate engraver1 ,newcastle4 ,in the summer of #ahbh ,bewick visited ,london2 but he was then evidently in a declining state of health1 and he had lost much of his former energy of mind4 ,scarcely anything that he saw interested him1 and he longed no less than in his younger years to return to the banks of the ,tyne4 ,he had ceased to feel an interest in objects which formerly afforded him great pleasure2 for when his old friend1 the late ,mr4 ,william ,bulmer1 drove him round the ,regent's ,park1 he declined to alight for the purpose of visiting the collection of animals in the ,gardens of the ,zoological ,society4 ,illustration3 ,,thomas ,,bewick4 ,on his return to ,newcastle he appeared for a short time to enjoy his usual health and spirits4 ,on the ,saturday preceding his death he took the block of the ,old ,horse waiting for ,death to the printer's1 and had it proved2 on the following ,monday he became unwell1 and after a few days' illness he ceased to exist4 ,he died at his house on the ,windmill-hills1 ,gateshead1 on the #hth of ,november1 #ahbh1 aged seventy-five4 ,he was buried at ,ovingham1 and the following cut represents a view of the place of his interment1 near the west end of the church4 ,the tablets seen in the wall are those erected to the memory of himself and his brother ,john4 ,illustration ,the following are the inscriptions on the tablets3 ,in ,memory of ,,john ,,bewick1 ,engraver1 ,who died ,december1 #e1 #agie1 ,aged #ce years4 ,his ,ingenuity as an ,artist was excelled only by his ,conduct as a ,man4 ,the ,burial ,place of ,,thomas ,,bewick1 ,engraver1 ,newcastle4 ,isabella1 his ,wife1 ,died #ast ,february1 #ahbf1 ,aged #gb years4 ,,thomas ,,bewick1 ,died #hth of ,november1 #ahbh1 ,aged #ge years4 ,in an excellent notice of the works of ,bewick--apparently written by one of his townsmen 7said to be ,mr4 ,t4 ,doubleday7--in ,blackwood's ,magazine for ,july1 #ahbe1 it is stated that the final tail-piece to ,bewick's ,fables1 #ahah-ahbc1 is 8,a ,view of ,ovingham ,churchyard20 and in the ,reverend ,william ,turner's ,memoir of ,thomas ,bewick1 in the sixth volume of the ,naturalist's ,library1 the same statement is repeated4 ,it is1 however1 erroneous2 as both the writers might have known had they thought it worth their while to pay a visit to ,ovingham1 and take a look at the church4 ,the following cut1 in which is introduced an imaginary representation of ,bewick's funeral1 presents a correct view of the place4 ,the following popular saying1 which is well known in ,northumberland1 suggested the introduction of the rain-bow3 8,happy is the bride that the sun shines on1 ,and happy is the corpse that the rain rains on1--0 meaning that sunshine at a wedding is a sign of happiness in the marriage state to the bride1 and that rain at a funeral is a sign of future happiness to the person whose remains are about to be interred4 ,illustration ,the following eloquent tribute to the merits of ,bewick is from an article on ,wilson's ,illustrations of ,zoology in ,blackwood's ,magazine for ,june1 #ahbh4 8,have we forgotten1 in our hurried and imperfect enumeration of wise worthies1--have we forgotten #8,the ,genius that dwells on the banks of the ,tyne1',,vii-#ga the ,matchless1 ,inimitable ,bewick8 ,no4 ,his books lie on our parlour1 bed-room1 dining-room1 drawing-room1 study table1 and are never out of place or time4 ,happy old man6 ,the delight of childhood1 manhood1 decaying age6--,a moral in every tail-piece--a sermon in every vignette4 ,not as if from one fountain flows the stream of his inspired spirit1 gurgling from the ,crawley ,spring so many thousand gallons of the element every minute1 and feeding but one city1 our own ,edinburgh4 ,but it rather oozes out from unnumbered springs4 ,here from one scarcely perceptible but in the vivid green of the lonesome sward1 from which it trickles away into a little mountain rill--here leaping into sudden life1 as from the rock--here bubbling from a silver pool1 overshadowed by a birch-tree--here like a well asleep in a moss-grown cell1 built by some thoughtful recluse in the old monastic day1 with a few words from ,scripture1 or some rude engraving1 religious as ,scripture1 ,,omne ,,bonum ,,desuper--,,opera ,,dei ,,mirifica40 ,footnote ,,vii-#ga3 ,this line is adapted from ,wordsworth1 who1 at the commencement of his verses entitled 8,the ,two ,thieves1 or ,the ,last ,stage of ,avarice10 thus expresses his high opinion of the talents of ,bewick3 8,o now that the genius of ,bewick were mine1 ,and the skill which he learned on the banks of the ,tyne6 ,then the ,muses might deal with me just as they chose1 ,for ,i'd take my last leave both of verse and of prose40 ,lyrical ,ballads1 vol4 ii4 p4 #aii4 ,edition #ahje4 ,john ,bewick1 a younger brother of ,thomas1 was born at ,cherry-burn in #agfj1 and in #aggg was apprenticed as a wood engraver to his brother and ,mr4 ,beilby4 ,he undoubtedly assisted his brother in the execution of the cuts for the two editions of ,fables1 printed by ,mr4 ,saint in #aggi and #aghd2 but in those early productions it would be impossible1 judging merely from the style of the engraving1 to distinguish the work of the two brothers4 ,among the earliest cuts known to have been engraved by ,john ,bewick1 on the expiration of his apprenticeship1 are those contained in a work entitled 8,emblems of ,mortality10 printed in #aghi for ,t4 ,hodgson1 the publisher of the ,hieroglyphic ,bible1 mentioned at page #dgh4 ,those cuts1 which are very indifferently executed1 are copies1 occasionally altered for the worse1 of the cuts in ,holbein's ,dance of ,death4 ,whether he engraved them in ,london1 or not1 ,i have been unable to ascertain2 but it is certain that he was living in ,london in the following year1 and that he resided there till #agie4 ,when residing in the metropolis he drew and engraved the cuts for 8,the ,progress of ,man and ,society10 compiled by ,dr4 ,trusler1 and published in #agia2 the cuts for 8,the ,looking ,glass of the ,mind10 #agif2 and also those contained in a similar work entitled 8,blossoms of ,morality10 published about the same time4 ,though several of those cuts display considerable talent1 yet the best specimens of his abilities as a designer and engraver on wood are to be found in ,poems by ,goldsmith and ,parnell1 #agie1 and in ,somervile's ,chase1 #agif1 both printed in quarto1 to display the excellence of modern printing1 type-founding1 wood-engraving1 and paper-making4 ,mr4 ,bulmer1 who suggested those editions1 being himself a ,northumbrian1 had been intimately acquainted with both ,thomas and ,john ,bewick4 ,in the preface to the ,poems by ,goldsmith and ,parnell1 he is careful to commemorate the paper-maker1 type-founder1 and the engravers2 but he omits to mention the name of ,robert ,johnson1 who designed three of the principal cuts4,,vii-#gb ,the merits of this highly-talented young man appear to have been singularly overlooked by those whose more especial duty it was to notice them4 ,in the whole of ,bewick's works he is not once mentioned4 ,mr4 ,bulmer also says1 that all the cuts were engraved by ,thomas and ,john ,bewick2 but though he unquestionably believed so himself1 the statement is not strictly correct2 for the four vignette head and tail-pieces to the ,traveller and the ,deserted ,village were engraved by ,c4 ,nesbit4 ,the vignettes on the title-pages1 the large cut of the old woman gathering water-cresses1 and the tail-piece at the end of the volume1 were drawn and engraved by ,john ,bewick2 the remainder were engraved by ,thomas4 ,footnote ,,vii-#gb3 ,the cut of the ,hermit at his morning devotion was drawn by ,john ,johnson1 a cousin of ,robert1 and also one of ,bewick's pupils4 ,the cuts in this book are generally executed in a free and effective style1 but are not remarkable as specimens of wood engraving1 unless we take into consideration the time when they were published4 ,the best in point of execution are1 ,the ,hermit at his morning devotion1 and ,the ,angel1 ,hermit1 and ,guide1 both engraved by ,thomas ,bewick2 the manner in which the engraver has executed the foliage in these two cuts is extremely beautiful and natural4 ,it is said that ,george ,,iii4 thought so highly of the cuts in this book that he could not believe that they were engraved on wood2 and that his bookseller1 ,mr4 ,george ,nicol1 obtained for his ,majesty a sight of the blocks in order that he might be convinced of the fact by his own inspection4 ,this anecdote is sometimes produced as a proof of the great excellence of the cuts1 though it might with greater truth be cited as a proof of his ,majesty being totally unacquainted with the process of wood engraving1 and of his not being able to distinguish a wood-cut from a copper-plate4 ,if ,bewick's reputation as a wood engraver rested on those cuts1 it certainly would not stand very high4 ,much better things of the same kind have been executed since that time by persons who are generally considered as having small claims to distinction as wood engravers4 ,the cuts in the ,chase were all1 except one1 designed by ,john ,bewick2 but in consequence of the declining state of his health he was not able to engrave them4 ,soon after he had finished the drawings on the block he left ,london for the north1 in the hope of deriving benefit from his native air4 ,his disorder1 however1 continued to increase2 and1 within a few weeks from the time of his return1 he died at ,ovingham1 on the #eth of ,december1 #agie1 aged thirty-five4 ,the cuts in the ,chase1 which were all1 except one1 engraved by ,thomas ,bewick1 are1 on the whole1 superior in point of execution to those in the ,poems of ,goldsmith and ,parnell4 ,though boldly designed1 some of them display great defects in composition1 and among the most objectionable in this respect are the ,huntsman and three ,hounds1 at page #e2 the conclusion of the ,chase1 page #ca2 and ,george ,,iii4 stag-hunting1 page #ic4 ,among the best1 both as respects design and execution1 are3 ,morning1 vignette on title-page1 remarkably spirited2 ,hounds1 page #be2 a ,stag drinking1 page #bg2 ,fox-hunting1 page #fc2 and ,otter-hunting1 page #ii4 ,the final tail-piece1 which has been spoiled in the engraving1 was executed by one of ,bewick's pupils4 ,illustration ,john ,bewick1 as a designer and engraver on wood1 is much inferior to his brother4 ,though several of his cuts possess considerable merit with respect to design1 by far the greater number are executed in a dry1 harsh manner4 ,his best cuts may be readily distinguished from his brother's by the greater contrast of black and white in the cuts engraved by ,john1 and by the dry and withered appearance of the foliage of the trees4 ,the above is a reduced copy of a cut entitled the 8,sad ,historian10 drawn and engraved by ,john ,bewick1 in the ,poems by ,goldsmith and ,parnell4 ,the most of ,john ,bewick's cuts are much better conceived than engraved2 and this perhaps may in a great measure have arisen from their having been chiefly executed for children's books1 in which excellence of engraving was not required4 ,his style of engraving is not good2 for though some of his cuts are extremely effective from the contrast of light and shade1 yet the lines in almost every one are coarse and harsh1 and 8laid in10 to use a technical expression1 in a hard and tasteless manner4 ,dry1 stiff1 parallel lines1 scarcely ever deviating into a pleasing curve1 are the general characteristic of most of his small cuts4 ,as he reached the age of thirty-five without having produced any cut which displays much ability in the execution1 it is not likely that he would have excelled as a wood engraver had his life been prolonged4 ,the following is a fac-simile of one of the best of his cuts in the ,blossoms of ,morality1 published about #agif4 ,it exemplifies his manner of strongly contrasting positive black with pure white2 and the natural attitudes of the women afford a tolerably fair specimen of his talents as a designer4 ,illustration ,robert ,johnson1 though not a wood engraver1 has a claim to a brief notice here on account of the excellence of several of the tail-pieces designed by him in ,bewick's ,birds1 and from his having made the drawings for most of the wood-cuts in ,bewick's ,fables4 ,he was born in #aggj1 at ,shotley1 a village in ,northumberland1 about six miles to the south-west of ,ovingham2 and in #aggh was placed by his father1 who at that time resided in ,gateshead1 as an apprentice to ,beilby and ,bewick to be instructed in copper-plate engraving4 ,the plates which are generally supposed to have been executed by him during his apprenticeship possess very little merit1 nor does he appear to have been desirous to excel as an engraver4 ,his great delight consisted in sketching from nature and in painting in water-colours2 and in this branch of art1 while yet an apprentice1 he displayed talents of very high order4,,vii-#gc ,he was frequently employed by his master in drawing and making designs1 and at his leisure hours he took every opportunity of improving himself in his favourite art4 ,the ,earl of ,bute happening to call at ,beilby and ,bewick's shop on one occasion when passing through ,newcastle1 a portfolio of ,johnson's drawings1 made at his leisure hours1 was shown to his lordship1 who was so much pleased with them that he selected as many as amounted to forty pounds4 ,this sum ,beilby and ,bewick appropriated to themselves1 on the ground that1 as he was their apprentice1 those drawings1 as well as any others that he might make1 were legally their property4 ,johnson's friends1 however1 thinking differently1 instituted legal proceedings for the recovery of the money1 and obtained a decision in their favour4 ,one of the pleas set up by ,beilby and ,bewick was1 that the drawings properly belonged to them1 as they taught him the art1 and that the making of such drawings was part of his business4 ,this plea1 however1 failed2 it was elicited on the examination of one of their own apprentices1 ,charlton ,nesbit1 that neither he nor any other of his fellow apprentices was taught the art of drawing in water-colours by their masters1 and that it formed no part of their necessary instruction as engravers4 ,footnote ,,vii-#gc3 ,johnson's water-colour drawings for most of the cuts in ,bewick's ,fables1 are extremely beautiful4 ,they are the size of the cuts2 and as a set are perhaps the finest small drawings of the kind that were ever made4 ,their finish and accuracy of drawing are admirable--they look like miniature ,paul ,potters4 ,it is known to only a few persons that they were drawn by ,johnson during his apprenticeship4 ,most of them were copied on the block by ,william ,harvey1 and the rest chiefly by ,bewick himself4 ,on the expiration of his apprenticeship ,johnson gave up1 in a great measure1 the practice of copper-plate engraving1 and applied himself almost exclusively to drawing4 ,in #agif he was engaged by ,messrs4 ,morison1 booksellers and publishers of ,perth1 to draw from the original paintings the portraits intended to be engraved in 8the ,scottish ,gallery10 a work edited by ,pinkerton1 and published about #agii4 ,when at ,taymouth ,castle1 the seat of the ,earl of ,breadalbane1 copying some portraits painted by ,jameson1 the ,scottish ,vandyke1 he caught a severe cold1 which1 being neglected1 increased to a fever4 ,in the violence of the disorder he became delirious1 and1 from the ignorance of those who attended him1 the unfortunate young artist1 far from home and without a friend to console him1 was bound and treated like a madman4 ,a physician having been called in1 by his order blisters were applied1 and a different course of treatment adopted4 ,johnson recovered his senses1 but it was only for a brief period2 being of a delicate constitution1 he sank under the disorder4 ,he died at ,kenmore on the #bith ,october1 #agif1 in the twenty-sixth year of his age4,,vii-#gd ,footnote ,,vii-#gd3 ,john ,johnson1 a cousin of ,robert1 was also an apprentice of ,beilby and ,bewick4 ,he was a wood engraver1 and executed a few of the tail-pieces in the ,history of ,british ,birds4 ,like ,robert1 he possessed a taste for drawing2 and the cut of the ,hermit at his morning devotion1 engraved by ,t4 ,bewick1 in ,poems by ,goldsmith and ,parnell1 was designed by him4 ,he died at ,newcastle about #agig1 shortly after the expiration of his apprenticeship4 ,the following is a copy of a cut--from a design by ,johnson himself--which was drawn on the wood1 and engraved by ,charlton ,nesbit1 as a tribute of his regard for the memory of his friend and fellow-pupil4 ,illustration ,the next cut represents a view of a monument on the south side of ,ovingham church1 erected to the memory of ,robert ,johnson by a few friends who admired his talents1 and respected him on account of his amiable private character4 ,illustration ,charlton ,nesbit1 who is justly entitled to be ranked with the best wood engravers of his time1 was born in #agge at ,swalwell1 in the county of ,durham1 about five miles westward of ,gateshead1 and when about fourteen years of age was apprenticed to ,beilby and ,bewick to learn the art of wood engraving4 ,during his apprenticeship he engraved a few of the tail-pieces in the first volume of the ,history of ,british ,birds1 and all the head and tail-pieces1 except two1 in the ,poems by ,goldsmith and ,parnell1 printed by ,bulmer in #agie4 ,shortly after the expiration of his apprenticeship he began to engrave a large cut1 containing a view of ,st4 ,nicholas ,church1 ,newcastle-on-,tyne1 from a drawing by his fellow-pupil1 ,robert ,johnson4 ,we here present a reduced copy of this cut1 which is one of the largest ever engraved in ,england4,,vii-#ge ,the original was engraved on a block consisting of twelve different pieces of box1 firmly cramped together1 and mounted on a plate of cast iron to prevent their warping4 ,for this cut1 which was first published about #agii1 ,mr4 ,nesbit received a medal from the ,society for the ,encouragement of ,arts and ,manufactures4 ,footnote ,,vii-#ge3 ,the original cut1 including the border1 is fifteen inches wide by about twelve inches high4 ,illustration ,about #agii ,mr4 ,nesbit came to ,london1 where he continued to reside till #ahae4 ,during his residence there he engraved a number of cuts for various works1 chiefly from the designs of the late ,mr4 ,john ,thurston1,,vii-#gf who at that time was the principal1 and indeed almost the only artist of any talent in ,london1 who made drawings on the block for wood engravers4 ,some of the best of his cuts executed during this period are to be found in a ,history of ,england printed for ,r4 ,scholey1 and in a work entitled ,religious ,emblems1 published by ,r4 ,ackermann and ,co4 in #ahjh4 ,the cuts in the latter work were engraved by ,nesbit1 ,clennell1 ,branston1 and ,hole1 from drawings by ,thurston2 and they are unquestionably the best of their kind which up to that time had appeared in ,england4 ,clennell's are the most artist-like in their execution and effect1 while ,nesbit's are engraved with greater care4 ,branston1 except in one cut1--,rescued from the ,floods1--does not appear to such advantage in this work as his northern rivals4 ,there is only one cut--,seed sown--engraved by ,hole4 ,the following may be mentioned as the best of ,nesbit's cuts in this work3--,the ,world ,weighed1 ,the ,daughters of ,jerusalem1 ,sinners hiding in the ,grave1 and ,wounded in the ,mental ,eye4 ,the best of ,clennell's are3--,call to ,vigilance1 the ,world made ,captive1 and ,fainting for the ,living ,waters4 ,these are perhaps the three best cuts of their kind that ,clennell ever engraved4 ,footnote ,,vii-#gf3 ,mr4 ,thurston was a native of ,scarborough1 and originally a copper-plate engraver4 ,he engraved1 under the late ,mr4 ,james ,heath1 parts of the two celebrated plates of the death of ,major ,peirson and the ,dead ,soldier4 ,he was one of the best designers on wood of his time4 ,he drew very beautifully1 but his designs are too frequently deficient in natural character and feeling4 ,he died in #ahba4 ,in #ahae ,mr4 ,nesbit returned to his native place1 where he continued to reside until #ahcj4 ,while living in the country1 though he did not abandon the art1 yet the cuts executed by him during this period are comparatively few4 ,in #ahah1 when residing in the ,north1 he engraved a large cut of ,rinaldo and ,armida for ,savage's ,hints on ,decorative ,printing3 this cut and another1 the ,cave of ,despair1 in the same work and of the same size1 engraved by the late ,robert ,branston1 were expressly given to display the perfection to which modern wood engraving had been brought4 ,the foliage1 the trees1 and the drapery in ,nesbit's cut are admirably engraved2 but the lines in the bodies of the figures are too much broken and 8chopped up40 ,this1 however1 was not the fault of the engraver1 but of the designer1 ,mr4 ,j4 ,thurston4 ,the lines1 which now have a dotted appearance1 were originally continuous and distinct2 but ,mr4 ,thurston objecting to them as being too dark1 ,nesbit went over his work again1 and with immense labour reduced the strength of his lines1 and gave them their present dotted appearance4 ,as a specimen of the engraver's abilities1 the first proof submitted to the designer was superior to the last4 ,in order to give a fictitious value to ,mr4 ,savage's book1 most of the cuts1 as soon as a certain number of impressions were taken1 were sawn across1 but not through1 in several places1 and impressions of them when thus defaced were given in the work4,,vii-#gg ,nesbit's cut was1 however1 carefully repaired1 and the back part of ,armida's head having been altered1 the impressions from the block thus amended were actually given in the work itself as the best1 instead of those which were taken before it was defaced4 ,this re-integration of the block was the work of the late ,mr4 ,g4 ,w4 ,bonner1 ,mr4 ,branston's nephew4 ,the transverse pieces are so skilfully inserted1 and engraved so much in the style of the adjacent parts1 that it is difficult to discover where the defacing saw had passed4 ,footnote ,,vii-#gg3 ,the practice of thus giving a fictitious value to works of limited circulation1 and which are not likely to reach a second edition during the lifetime of their authors1 is less frequent now than it was a few years ago4 ,it is little more than a trick to enhance the price of the book to subscribers1 by giving them an assurance that no second edition can appear with the same embellishments4 ,in three cases out of four where the plates and cuts of a work have been intentionally destroyed1 there was little prospect of such work reaching a second edition during the writer's life4 ,in #ahcj ,mr4 ,nesbit returned to ,london1 where he continued to reside until his death1 which took place at ,queen's ,elms1 the #aath of ,november #ahch1 aged #fc4 ,some of the best of his cuts are contained in the second series of ,northcote's ,fables2 and the following1 of his execution1 may be ranked among the finest productions of the art of wood engraving in modern times3--,the ,robin and the ,sparrow1 page #a2 ,the ,hare and the ,bramble1 page #abg2 ,the ,peach and the ,potatoe1 page #abi2 and ,the ,cock1 the ,dog1 and the ,fox1 page #bch4 ,nesbit is unquestionably the best wood engraver that has proceeded from the great northern hive of the art--the workshop of ,thomas ,bewick4 ,luke ,clennell1 one of the most distinguished of ,bewick's pupils as a designer and painter1 as well as an engraver on wood1 was born at ,ulgham1 a village near ,morpeth1 in ,northumberland1 on the #hth of ,april1 #agha4 ,at an early age he was placed with a relation1 a grocer in ,morpeth1 and continued with him1 assisting in the shop as an apprentice1 until he was sixteen4 ,some drawings which he made when at ,morpeth having attracted attention1 and he himself showing a decided predilection for the art1 his friends were induced to place him as a wood engraver with ,bewick1 to whom he was bound apprentice for seven years on the #hth of ,april1 #agig4 ,he in a short time made great proficiency in wood engraving2 and as he drew with great correctness and power1 ,bewick employed him to copy1 on the block1 several of ,robert ,johnson's drawings1 and to engrave them as tail-pieces for the second volume of the ,history of ,british ,birds4 ,clennell for a few months after the expiration of his apprenticeship continued to work for ,bewick1 who chiefly employed him in engraving some of the cuts for a ,history of ,england1 published by ,wallis and ,scholey1 #df1 ,paternoster ,row4 ,clennell1 who was paid only two guineas apiece for each of those cuts1 having learnt that ,bewick received five1 sent to the publisher a proof of one of them--,alfred in the ,danish ,camp--stating that it was of his own engraving4 ,in the course of a few days ,clennell received an answer from the publisher1 inviting him to come to ,london1 and offering him employment until all the cuts intended for the work should be finished4 ,he accepted the offer1 and shortly afterwards set out for ,london1 where he arrived about the end of autumn1 #ahjd4,,vii-#gh ,footnote ,,vii-#gh3 ,between the expiration of his apprenticeship and his departure for ,london he appears to have engraved several excellent cuts for a school-book entitled 8,the ,hive of ,ancient and ,modern ,literature10 printed by ,s4 ,hodgson1 ,newcastle4--,clennell's fellow-pupils were ,henry ,hole and ,edward ,willis4 ,mr4 ,hole engraved the cuts in ,m',creery's ,press1 #ahjc1 and in ,poems by ,felicia ,dorothea ,browne1 7afterwards ,mrs4 ,hemans7 #ahjh4 ,mr4 ,hole gave up wood engraving several years ago on succeeding to a large estate in ,derbyshire4 ,mr4 ,willis1 who was a cousin of ,mr4 ,george ,stephenson1 the celebrated engineer1 died in ,london1 the #ajth of ,february1 #ahdb1 aged #eh2 but had for some time previously entirely abandoned the art4 ,most of ,clennell's cuts are distinguished by their free and artist-like execution and by their excellent effect2 but though generally spirited1 they are sometimes rather coarsely engraved4 ,he was accustomed to improve ,thurston's designs by occasionally heightening the effect4,,vii-#gi ,to such alterations ,thurston at first objected2 but perceiving that the cuts when engraved were thus very much improved1 he afterwards allowed ,clennell to increase the lights and deepen the shadows according to his own judgment4 ,an admirable specimen of ,clennell's engraving is to be found in an octavo edition of ,falconer's ,shipwreck1 printed for ,cadell and ,davies1 #ahjh4 ,it occurs as a vignette to the second canto at p4 #dc1 and the subject is a ship running before the wind in a gale4 ,the motion of the waves1 and the gloomy appearance of the sky1 are represented with admirable truth and feeling4 ,the dark shadow on the waters to the right gives wonderful effect to the white crest of the wave in front2 and the whole appearance of the cut is indicative of a gloomy and tempestuous day1 and of an increasing storm4 ,perhaps no engraving of the same kind1 either on copper or wood1 conveys the idea of a storm at sea with greater fidelity4,,vii-#hj ,the drawing was made on the block by ,thurston2 but the spirit and effect1--the lights and shadows1 the apparent seething of the waves1 and the troubled appearance of the sky1--were introduced by ,clennell4 ,all the other cuts in this edition of the ,shipwreck are of his engraving2 but though well executed1 they do not require any especial notice4 ,two of them1 which were previously designed for another work1 are certainly not illustrations of ,falconer's ,shipwreck4 ,footnote ,,vii-#gi3 ,he also invariably corrected the outline of ,thurston's animals2 8,fainting for the ,living ,waters0 in the ,religious ,emblems1 and a little subject in an edition of ,beattie's ,minstrel1 published at ,alnwick1 representing a shepherd and dog on the brow of a hill1 were thus improved by ,clennell4 ,footnote ,,vii-#hj3 ,mr4 ,jackson was in possession of the first proof of this pretty wood engraving1 inscribed ,twickenham1 ,september #aj1 #ahjg1 where ,clennell was residing at the time4 ,illustration3 ,,diploma ,,of ,,the ,,highland ,,society ,reduced to one-fourth of the original size ,clennell's largest cut is that which he engraved for the diploma of the ,highland ,society1 from a design by ,benjamin ,west1 ,president of the ,royal ,academy2 and for this he received fifty guineas4 ,the original drawing was made on paper1 and ,clennell gave ,thurston fifteen pounds for copying on the block the figures within the circle3 the supporters1 a ,highland soldier and a fisherman1 he copied himself4 ,the block on which he first began to engrave this cut consisted of several pieces of box veneered upon beech2 and after he had been employed upon it for about two months1 it one afternoon suddenly split when he was at tea4 ,clennell1 hearing it crack1 immediately suspected the cause2 and on finding it rent in such a manner that there was no chance of repairing it1 he1 in a passion that the labour already bestowed on it should be lost1 threw all the tea-things into the fire4 ,in the course of a few days however1 he got a new block made1 consisting of solid pieces of box firmly screwed and cramped together2 and having paid ,thurston fifteen pounds more for re-drawing the figures within the circle1 and having again copied the supporters1 he proceeded with renewed spirit to complete his work4 ,for engraving this cut he received a hundred and fifty guineas--he paying ,thurston himself for the drawing on the block2 and the ,society for the ,encouragement of ,arts and ,manufactures presented him with their gold medal1 ,may #cj1 #ahji4 ,this cut is characteristic of ,clennell's style of engraving--the lines are in some places coarse1 and in others the execution is careless2 the more important parts are1 however1 engraved with great spirit2 and the cut1 as a whole1 is bold and effective4 ,cross-hatchings are freely introduced1 not so much1 perhaps1 because they were necessary1 as to show that the engraver could execute such kind of work1--the vulgar error that cross-hatchings could not be executed on wood having been at that time extremely prevalent among persons who had little knowledge of the art1 and who yet vented their absurd notions on the subject as if they were undeniable truths4 ,the preceding is a reduced copy of this cut4,,vii-#ha ,the original block1 when only a very limited number of impressions had been printed off1 was burnt in the fire at ,mr4 ,bensley's printing-office4 ,the subject was afterwards re-engraved on a block of the same size by ,john ,thompson4 ,footnote ,,vii-#ha3 ,the original cut is about ten inches and a half high1 measured from the line below the inscription1 by about thirteen inches and a half wide1 measured across the centre4 ,the illustrations to an edition of ,rogers's ,poems1 #ahab1 engraved from pen-and-ink drawings by ,thomas ,stothard1 ,r4,a41 may be fairly ranked among the best of the wood-cuts engraved by ,clennell4 ,they are executed with the feeling of an artist1 and are admirable representations of the original drawings4,,vii-#hb ,stothard himself was much pleased with them2 but he thought that when wood engravers attempted to express more than a copy of a pen-and-ink drawing1 and introduced a variety of tints in the manner of copper-plate engravings1 they exceeded the legitimate boundaries of the art4 ,a hundred wood-cuts by ,bewick1 ,nesbit1 ,clennell1 and ,thompson might1 however1 be produced to show that this opinion was not well founded4 ,footnote ,,vii-#hb3 ,several additional cuts of the same kind1 engraved with no less ability by ,j4 ,thompson1 were inserted in a subsequent edition4 ,clennell1 who drew beautifully in water-colours1 made many of the drawings for the ,border ,antiquities2 and the encouragement which he received as a designer and painter made him resolve to entirely abandon wood engraving4 ,with this view he laboured diligently to improve himself in painting1 and in a short time made such progress that his pictures attracted the attention of the ,directors of the ,british ,institution4 ,in #ahad1 the ,earl of ,bridgewater employed him to paint a large picture of the entertainment given to the ,allied ,sovereigns in the ,guildhall by the city of ,london4 ,he experienced great difficulty in obtaining sketches of the numerous distinguished persons whose portraits it was necessary to give in the picture2 and he lost much time1 and suffered considerable anxiety1 in procuring those preliminary materials for his work4 ,having at length completed his sketches1 he began the picture1 and had made considerable progress in it when1 in ,april #ahag1 he suddenly became insane1 and the work was interrupted4,,vii-#hc ,it has been said that his malady arose from intense application1 and from anxiety respecting the success of his work4 ,this1 however1 can scarcely be correct2 he had surmounted his greatest difficulties1 and was proceeding regularly and steadily with the painting1 when he suddenly became deprived of his reason4 ,one of his fellow-pupils when he was with ,bewick1 who was intimate with him1 and was accustomed to see him frequently1 never observed any previous symptom of insanity in his behaviour1 and never heard him express any particular anxiety about the work on which he was engaged4 ,footnote ,,vii-#hc3 ,this painting was afterwards finished by ,e4 ,bird1 ,r4,a41 who also became insane4 ,within a short time after ,clennell had lost his reason1 his wife also became insane2,,vii-#hd and the malady being accompanied by a fever1 she after a short illness expired1 leaving three young children to deplore the death of one parent and the confirmed insanity of the other4 ,these most distressing circumstances excited the sympathy of several noblemen and gentlemen2 and a committee having been appointed to consider of the best means of raising a fund for the support of ,clennell's family1 it was determined to publish by subscription an engraving from one of his pictures4 ,the subject made choice of was the ,decisive ,charge of the ,life ,guards at ,waterloo1 for which ,clennell had received a reward from the ,british ,institution4 ,it was engraved by ,mr4 ,w4 ,bromley1 and published in #ahba4 ,the sum thus raised was1 after paying for the engraving1 vested in trustees for the benefit of ,clennell's children1 and for the purpose of providing a small annuity for himself4 ,footnote ,,vii-#hd3 ,clennell's wife was a daughter of the late ,c4 ,warren1 one of the best copper-plate engravers of his time4 ,clennell1 after having been confined for three or four years in a lunatic asylum in ,london1 so far recovered that it was no longer necessary to keep him in a state of restraint4 ,he was accordingly sent down to the ,north1 and lived for several years in a state of harmless insanity with a relation in the neighbourhood of ,newcastle2 amusing himself with making drawings1 engraving little wood-cuts1 and occasionally writing poetry4 ,upwards of sixty of those drawings are now lying before me1 displaying at once so much of his former genius and of his present imbecility that it is not possible to regard them1 knowing whose they are1 without a deep feeling of commiseration for his fate4 ,he used occasionally to call on ,bewick1 and he once asked for a block to engrave4 ,bewick1 to humour him1 gave him a piece of wood1 and left him to choose his own subject2 and ,clennell1 on his next visit1 brought with him the cut finished3 it was like the attempt of a boy when first beginning to engrave1 but he thought it one of the most successful of his productions in the art4 ,the following specimens of his cuts and of his poetry were respectively engraved and written in #ahbh4 ,illustration ,illustration ,,song4 ,good morning to you1 ,mary1 ,it glads me much to see thee once again2 ,what joy1 since thee ,i've heard6 ,heaven such beauty ever deign1 ,mary of the vineyard6 ,,the ,,evening ,,star4 ,look6 what is it1 with twinkling light1 ,that brings such joy1 serenely bright1 ,that turns the dusk again to light8-- ',tis the ,evening ,star6 ,what is it with purest ray1 ,that brings such peace at close of day1 ,that lights the traveller on his way8-- ',tis the ,evening ,star6 ,what is it1 of purest holy ray1 ,that brings to man the promised day1 ,and peace8-- ',tis the ,evening ,star6 ,,compendium ,,poetica4 ,a drop of heaven's treasure1 on an angel's wing1 ,such heaven alone can bring2-- ,the painted hues upon the rose1 ,in heaven's shower reposing1 ,is an earthly treasure of such measure4 ,the butterfly1 in his spell1 ,upon the rosy prism doth dwell1 ,and as he doth fly1 in his tour ,from flower to flower1 ,is seen for a while ,every care to beguile1 ,and so doth wing his little way1 ,a little fairy of the day6 ,a ,,floweret4 ,where lengthened ray ,gildeth the bark upon her way2 ,where vision is lost in space1 ,to trace1 ,as resting on a stile1 ,in ascent of half a mile-- ,it is when the birds do sing1 ,in the evening of the spring4 ,the broad shadow from the tree1 ,falling upon the slope1 ,you may see1 ,o'er flowery mead1 ,where doth a pathway lead ,to the topmost ope-- ,the yellow butter-cup ,and purple crow-foot1 ,the waving grass up1 ,rounding upon the but-- ,the spreading daisy ,in the clover maze1 ,the wild rose upon the hedge-row1 ,and the honey-suckle blow ,for village girl ,to dress her chaplet-- ,or some youth1 mayhap1 let-- ,or bind the linky trinket ,for some earl-- ,or trim up in plaits her hair ,with much seeming care1 ,as fancy may think it-- ,or with spittle moisten1 ,or half wink it1 ,or to music inclined1 ,or to sleep in the soft wind4 ,st ,peter's1 ,august #ahbh4 ,l4 ,c4 ,about #ahca1 ,clennell having become much worse1 his friends were again compelled to place him under restraint4 ,he was accordingly conveyed to a lunatic asylum near ,newcastle1 where he is still living4 ,until within this last year or two1 he continued to amuse himself with drawing and writing poetry1 and perhaps may do so still4 ,it is to be hoped that1 though his condition appear miserable to us1 he is not miserable himself2 that though deprived of the light of reason1 he may yet enjoy imaginary pleasures of which we can form no conception2 and that his confinement occasions to him 8,small feeling of privation1 none of pain40,,vii-#he ,footnote ,,vii-#he3 ,clennell died in the ,lunatic ,asylum1 ,feb4 #i1 #ahdj1 in his fifty-ninth year4 ,william ,harvey1 another distinguished pupil of ,bewick1 and one whose earlier engravings are only surpassed by his more recent productions as a designer on wood1 was born at ,newcastle-on-,tyne1 #acth of ,july #agif4 ,having from an early age shown great fondness for drawing1 he was at the age of fourteen apprenticed to ,thomas ,bewick to learn the art of engraving on wood4,,vii-#hf ,in conjunction with his fellow-pupil1 ,w4 ,w4 ,temple1 he engraved most of the cuts in ,bewick's ,fables1 #ahah2 and as he excelled in drawing as well as in engraving1 he was generally entrusted by ,bewick to make the drawings on the block after ,robert ,johnson's designs4 ,one of the best cuts engraved by ,harvey during his apprenticeship was a vignette for the title-page of a small work entitled 8,cheviot3 a ,poetical ,fragment10 printed at ,newcastle in #ahag4 ,this cut1 which was also drawn by himself1 is extremely beautiful both in design and execution2 the trees and the foliage are in particular excellently represented2 and as a small picturesque subject it is one of the best he ever engraved4 ,footnote ,,vii-#hf3 ,isaac ,nicholson1 now established as a wood engraver at ,newcastle1 was the apprentice immediately preceding ,harvey4 ,w4 ,w4 ,temple1 who abandoned the business on the expiration of his apprenticeship for that of a draper and silk-mercer1 came to ,bewick shortly after ,harvey2 and the younger apprentice was ,john ,armstrong4 ,harvey was a great favourite of ,bewick1 who presented him with a copy of the ,history of ,british ,birds as a new year's gift on the #ast of ,january #ahae1 and at the same time addressed to him the following admonitory letter4 ,mr4 ,harvey is a distinguished artist1 a kind son1 an affectionate husband1 a loving father1 and in every relation of life a most amiable man3 he has not1 however1 been exposed to any plots or conspiracies1 nor been persecuted by envy and malice1 as his master anticipated2 but1 on the contrary1 his talents and his amiable character have procured for him public reputation and private esteem4 8,gateshead1 #ast ,january1 #ahae4 8,,dear ,,william1 8,i sent you last night the ,history of ,british ,birds1 which ,i beg your acceptance of as a new year's gift1 and also as a token of my respect4 ,don't trouble yourself about thanking me for them2 but1 instead of doing so1 let those books put you in mind of the duties you have to perform through life4 ,look at them 7as long as they last7 on every new year's day1 and at the same time resolve1 with the help of the all-wise but unknowable ,god1 to conduct yourself on every occasion as becomes a good man4--,be a good son1 a good brother1 7and when the time comes7 a good husband1 a good father1 and a good member of society4 ,peace of mind will then follow you like a shadow2 and when your mind grows rich in integrity1 you will fear the frowns of no man1 and only smile at the plots and conspiracies which it is probable will be laid against you by envy1 hatred1 and malice4 8,to ,william ,harvey1 jun4 ,westgate4 ,,hw3 ,thomas ,bewick40 ,in ,september1 #ahag1 ,mr4 ,harvey came to ,london2 and shortly afterwards1 with a view of obtaining a correct knowledge of the principles of drawing1 he became a pupil of ,mr4 ,b4 ,r4 ,haydon1 and he certainly could not have had a better master4 ,while improving himself under ,mr4 ,haydon1 he drew and engraved from a picture by that eminent artist his large cut of the ,death of ,dentatus1 which was published in #ahba4,,vii-#hg ,as a large subject1 this is unquestionably one of the most elaborately engraved wood-cuts that has ever appeared4 ,it scarcely1 however1 can be considered a successful specimen of the art2 for though the execution in many parts be superior to anything of the kind1 either of earlier or more recent times1 the cut1 as a whole1 is rather an attempt to rival copper-plate engraving than a perfect specimen of engraving on wood1 displaying the peculiar advantages and excellences of the art within its own legitimate bounds4 ,more has been attempted than can be efficiently represented by means of wood engraving4 ,the figure of ,dentatus is indeed one of the finest specimens of the art that has ever been executed1 and the other figures in the fore-ground display no less talent2 but the rocks are of too uniform a tone1 and some of the more distant figures appear to stick to each other4 ,these defects1 however1 result from the very nature of the art1 not from inability in the engraver2 for all that wood engraving admits of he has effected4 ,it is unnecessary to say more of this cut here3 some observations relating to the details1 illustrated with specimens of the best engraved parts1 will be found in the next chapter4 ,footnote ,,vii-#hg3 ,this cut is about fifteen inches high by about eleven inches and one quarter wide4 ,it was engraved on a block consisting of seven different pieces1 the joinings of which are apparent in impressions that have not been subsequently touched with ,indian ink4 ,about #ahbd ,mr4 ,harvey entirely gave up the practice of engraving1 and has since exclusively devoted himself to designing for copper-plate and wood engravers4 ,his designs engraved on copper are1 however1 few when compared with the immense number engraved on wood4 ,the copper-plate engravings consist principally of the illustrations in a collected edition of ,miss ,edgeworth's ,works1 #ahcb2 in ,southey's edition of ,cowper's ,works1 first published in #ahcf1 and since by ,mr4 ,bohn in his ,standard ,library2 and in the small edition of ,dr4 ,lingard's ,history of ,england4 ,illustration3 ,,specimens ,,of ,,mr4 ,,harvey',s ,,wood-,,engraving4 ,,from ,,dr4 ,,henderson',s ,,history ,,of ,,ancient ,,and ,,modern ,,wines4 ,illustration ,the beautiful vignettes and tail-pieces in ,dr4 ,henderson's ,history of ,ancient and ,modern ,wines1 #ahbd1 drawn and engraved by ,mr4 ,harvey1 may be considered the ground-work of his reputation as a designer1 and by the kindness of ,dr4 ,henderson we are enabled 7in this second edition7 to present impressions of seven of them4 ,the cuts in the first and second series of ,northcote's ,fables1 #ahbh1 #ahcc2,,vii-#hh in the ,tower ,menagerie1 #ahbh2 in the ,gardens and ,menagerie of the ,zoological ,society1 #ahca2 and in ,latrobe's ,solace of ,song1 #ahcg1 were all drawn by him4 ,among the smaller works illustrated with wood-cuts1 and published about the same time as the preceding1 the following may be mentioned as containing beautiful specimens of his talents as a designer on wood3--,the ,blind ,beggar of ,bethnal ,green2 ,the ,children in the ,wood2 ,a ,story without an ,end1 translated from the ,german by ,mrs4 ,austin2 and especially his one hundred and twenty beautiful designs for the ,paradise ,lost1 and other poems of ,milton1 and his designs for ,thomson's ,seasons1 from which two works we select four examples with the view of exhibiting at the same time the talents of the distinguished engravers1 viz41 ,john ,thompson and ,charles ,gray4 ,for various other works he has also furnished1 in all1 between three and four thousand designs4 ,as a designer on wood1 he is decidedly superior to the majority of artists of the present day2 and to his excellence in this respect1 wood engraving is chiefly indebted for the very great encouragement which it has of late received in this country4 ,footnote ,,vii-#hh3 ,what may be considered the sketches for the principal cuts were supplied by ,northcote himself4 ,the following account of the manner in which he composed them is extracted from a ,sketch of his ,life1 prefixed to the second series of his ,fables1 #ahcc3--8;,it was by a curious process that ,mr4 ,northcote really made the designs for these ,fables the amusement of his old age1 for his talent as a draftsman1 excelling as he did in animals1 was rarely required by this undertaking4 ,his general practice was to collect great numbers of prints of animals1 and to cut them out2 he then moved such as he selected about upon the surface of a piece of paper until he had illustrated the fable by placing them to his satisfaction1 and had thus composed his subject2 then fixing the different figures with paste to the paper1 a few pen or pencil touches rendered this singular composition complete enough to place in the hands of ,mr4 ,harvey1 by whom it was adapted or freely translated on the blocks for the engravers40--,mr4 ,harvey's work was something more than free translation4 ,he completed that which ,northcote merely suggested4 ,the tail-pieces and letters are all of ,mr4 ,harvey's own invention and drawing4 ,illustration ,illustration ,the two cuts on pages #ecc and #ecd are also from drawings by ,mr4 ,harvey2 and both are printed from casts4 ,the first is one of the illustrations of the ,children in the ,wood1 published by ,jennings and ,chaplin1 #ahca2 and the subject is the uncle bargaining with the two ruffians for the murder of the children4 ,this cut is freely and effectively executed1 without any display of useless labour4 ,illustration ,the second is one of the illustrations of the ,blind ,beggar of ,bethnal ,green1 published by ,jennings and ,chaplin1 in #ahcb4 ,the subject represents the beggar's daughter and her four suitors1 namely1--the gentleman of good degree1 the gallant young knight in disguise1 the merchant of ,london1 and her master's son4 ,this cut1 though well engraved1 is scarcely equal to the preceding4 ,it is1 however1 necessary to observe that these cuts are not given as specimens of the engravers' talents1 but merely as two subjects designed by ,mr4 ,harvey4 ,illustration ,what has been called the 8,london ,school0 of wood engraving produced nothing that would bear a comparison with the works of ,bewick and his pupils until the late ,robert ,branston began to engrave on wood4 ,about #agif1 the best of the ,london engravers was ,j4 ,lee4 ,he engraved the cuts for the 8,cheap ,repository10 a collection of religious and moral tracts1 printed between #agid and #agih1 and sold by ,j4 ,marshall1 ,london1 and ,s4 ,hazard1 ,bath4 ,those cuts1 though coarsely executed1 as might be expected1 considering the work for which they were intended1 frequently display considerable merit in the design2 and in this respect several of them are scarcely inferior to the cuts drawn and engraved by ,john ,bewick in ,dr4 ,trusler's ,progress of ,man and ,society4 ,mr4 ,lee died in ,march1 #ahjd2 and on his decease1 his apprentice1 ,henry ,white1 went to ,newcastle1 and served out the remainder of his time with ,thomas ,bewick4 ,james ,lee1 a son of ,mr4 ,j4 ,lee1 the elder1 is also a wood engraver2 he executed the portraits in ,hansard's ,typographia1 #ahbe4 ,illustration3 ,rob4 ,branston4 ,robert ,branston1 like ,bewick1 acquired his knowledge of wood engraving without the instructions of a master4 ,he was born at ,lynn1 in ,norfolk1 in #aggh1 and died in ,london in #ahbg4 ,he served his apprenticeship to his father1 a general copper-plate engraver and heraldic painter1 who seems to have carried on the same kind of miscellaneous business as ,mr4 ,beilby1 the master of ,bewick4 ,about #ahjb ,mr4 ,branston came to ,london1 and finding that wood engraving was much encouraged1 he determined to apply himself to that art4 ,some of his first productions were cuts for lottery bills2 but as he improved in the practice of engraving on wood1 he began to engrave cuts for the illustration of books4 ,his style of engraving is peculiarly his own1 and perfectly distinct from that of ,bewick4 ,he engraved human figures and in-door scenes with great clearness and precision2 while ,bewick's chief excellence consisted in the natural representation of quadrupeds1 birds1 landscapes1 and road-side incidents4 ,in the representation of trees and of natural scenery1 ,branston has almost uniformly failed4 ,some of the best of his earlier productions are to be found in the ,history of ,england1 published by ,scholey1 #ahjd-ahaj2 in ,bloomfield's ,wild ,flowers1 #ahjf2 and in a quarto volume entitled 8,epistles in ,verse10 and other poems by ,george ,marshall1 #ahab4 ,the best specimen of ,mr4 ,branston's talents as a wood engraver is a large cut of the ,cave of ,despair1 in ,savage's ,hints on ,decorative ,printing4 ,it was executed in rivalry with ,nesbit1 who engraved the cut of ,rinaldo and ,armida for the same work1 and it would be difficult to decide which is the best4 ,both are good specimens of the styles of their respective schools2 and the subjects are well adapted to display the peculiar excellence of the engravers4 ,had they exchanged subjects1 neither of the cuts would have been so well executed2 but in this case there call be little doubt that ,nesbit would have engraved the figure and the rocks in the ,cave of ,despair better than ,branston would have engraved the trees and the foliage in the cut of ,rinaldo and ,armida4 ,the cut on the previous page is a reduced copy of a portion of that of ,mr4 ,branston4 ,mr4 ,branston1 like many others1 did not think highly of the cuts in ,bewick's ,fables2 and feeling persuaded that he could produce something better1 he employed ,mr4 ,thurston to make several designs1 with the intention of publishing a similar work4 ,after a few of them had been engraved1 he gave up the thought of proceeding further with the work1 from a doubt of its success4 ,bewick's work was already in the market2 and it was questionable if another of the same kind1 appearing shortly after1 would meet with a sale adequate to defray the expense4 ,the three cuts in the opposite page were engraved by ,mr4 ,branston for the proposed work4 ,the two first are respectively illustrations of the fables of ,industry and ,sloth1 and of the ,two ,crabs2 the third was intended as a tail-piece4 ,the cut of ,industry and ,sloth is certainly superior to that of the same subject in ,bewick's ,fables2 but that of the ,two ,crabs1 though more delicately engraved1 is not equal to the cut of the same subject in ,bewick4 ,illustration3 ,,industry ,,and ,,sloth4--,robert ,branston4 ,illustration3 ,,the ,,two ,,crabs4--,robert ,branston4 ,illustration3 ,,tail-,,piece ,,to ,,the ,,two ,,crabs4--,robert ,branston4 ,mr4 ,branston also thought that ,bewick's ,birds were estimated too highly2 and he engraved two or three cuts to show that he could do the same things as well1 or better4 ,in this respect1 however1 he certainly formed a wrong estimate of his abilities2 for1 it is extremely doubtful if--even with the aid of the best designer he could find--he could have executed twenty cuts of birds which1 for natural character1 would bear a comparison with twenty of the worst engraved by ,bewick himself4 ,the great ,north-country man was an artist as well as a wood engraver2 and in this respect his principal pupils have also been distinguished4 ,the cut on our present page is one of those engraved by ,mr4 ,branston to show his superiority over ,bewick4 ,the bird represented is probably the ,grey ,phalarope1 or ,scallop-toed ,sand-piper1 and it is unquestionably executed with considerable ability2 but though ,bewick's cut of the same bird be one of his worst1 it is superior to that engraved by ,mr4 ,branston in every essential point4 ,illustration ,between twenty and thirty years ago1 a wood engraver named ,austin executed several cuts1 but did nothing to promote the art4 ,william ,hughes1 a native of ,liverpool1 who died in ,february #ahbe1 at the early age of thirty-two1 produced a number of wood engravings of very considerable merit4 ,he chiefly excelled in architectural subjects4 ,one of his best productions is a dedication cut in the first volume of ,johnson's ,typographia1 #ahbd1 showing the interior of a chapel1 surrounded by the arms of the members of the ,roxburgh ,club4 ,another artist of the same period1 named ,hugh ,hughes1 of whom scarcely anything is now known1 executed a whole volume of singularly beautiful wood engravings1 entitled 8,the ,beauties of ,cambria1 consisting of ,sixty ,views in ,north and ,south ,wales10 ,london1 #ahbc4 ,the work was published by subscription at one guinea1 or on ,india paper at two guineas1 and was beautifully printed by the same ,john ,johnson who printed ,william ,hughes' cuts in the 8,typographia10 and who1 a few years previously1 had conducted the ,lee ,priory ,press4 ,the annexed four examples will give an idea of the high finish and perfection of this elegant series4 ,illustration3 ,hugh ,hughes1 del4 et sc4 ,,pistill ,,cain4 ,illustration3 ,hugh ,hughes1 del4 et sc4 ,,moll ,,famau4 ,illustration3 ,hugh ,hughes1 del4 et sc4 ,,wrexham ,,church4 ,illustration3 ,hugh ,hughes1 del4 et sc4 ,,pwll ,,caradoc4 ,illustration3 ,,group ,,of ,,fish4--,j4 ,thompson4 ,john ,thompson1,,vii-#hi one of the best ,english wood engravers of the present day1 was a pupil of ,mr4 ,branston4 ,he not only excels1 like his master1 in the engraving of human figures1 but displays equal talent in the execution of all kinds of subjects4 ,among the very many excellent cuts which have been engraved in ,england within the last twenty years1 those executed by ,john ,thompson rank foremost4 ,as he is rarely unequal to himself1 it is rather difficult to point out any which are very much superior to the others of his execution4 ,the following1 however1 may be referred to as specimens of the general excellence of his cuts3--,the title-page to ,puckle's ,club1 #ahag1 and the cuts of ,moroso1 ,newsmonger1 ,swearer1 ,wiseman1 and ,xantippe in the same work2 the ,trout1 the ,tench1 the ,salmon1 the ,chub1 and a group of small fish1,,vii-#ij consisting of the ,minnow1 the ,loach1 the ,bull-head1 and the ,stickle-back1 in ,major's edition of ,walton's ,angler2,,vii-#ia many of the cuts in ,butler's ,hudibras1 published by ,baldwyn in #ahai1 and reprinted by ,bohn1 in #ahei1 of which we annex an example2 the portrait of ,butler1 prefixed to an edition of his ,remains1 published in #ahbg2 and ,the ,two ,swine1 ,the ,mole become a ,connoisseur1 ,love and ,friendship1 and the portrait of ,northcote1 in the second series of ,northcote's ,fables4 ,one of his latest cuts is the beautifully executed portrait of ,milton and his daughters1 after a design by ,mr4 ,harvey1 already given at page #eca4 ,the following cut--a reduced copy of one of the plates in the ,rake's ,progress--by ,mr4 ,thompson1 engraved a few years ago for a projected edition of ,hogarth's ,graphic ,works1 of which only about a dozen cuts were completed1 is one of the best specimens of the art that has been executed in modern times4 ,in the engraving of small cuts of this kind ,mr4 ,thompson has never been surpassed2 and it is beyond the power of the art to effect more than what has here been accomplished4 ,footnote ,,vii-#hi3 ,charles ,thompson1 the brother of ,john1 is also a wood engraver4 ,he resides at ,paris1 and his cuts are better known in ,france than in this country4 ,miss ,eliza ,thompson1 a daughter of ,john ,thompson1 also engraves on wood4 ,footnote ,,vii-#ij3 ,the ,salmon1 ,chub1 and group of small fish are given on the preceding page from the actual cuts referred to4 ,footnote ,,vii-#ia3 ,bewick was accustomed to speak highly of the cuts of fish in this beautiful work 7several of which are given on the previous pages73 the ,salmon1 engraved by ,j4 ,thompson1 and the ,eel1 by ,h4 ,white1 he especially admired4 ,among others scarcely less excellent are the ,pike1 by ,r4 ,branston2 and the ,carp1 the ,grayling1 and the ,ruffe1 by ,h4 ,white4 ,major1 in his second edition1 went to great expense in substituting other engravings for most of these1 with the intention of surpassing all that1 by the aid of artists1 he had done before--in which he to some extent succeeded4 ,in this second edition1 the ,salmon is engraved by ,john ,jackson4 ,all ,mr4 ,major's wood-cuts1 as well as many of ,bewick's1 having passed into the hands of ,henry ,g4 ,bohn 7the present publisher71 his edition of ,walton's ,angler is extensively enriched by them4 ,illustration3 ,,salmon4--,j4 ,thompson4 ,illustration3 ,,chub4--,j4 ,thompson4 ,illustration3 ,,pike4--,r4 ,branston4 ,illustration3 ,,eel4--,h4 ,white4 ,illustration3 ,john ,thompson4 ,illustration ,the ,english wood engravers1 who next to ,charlton ,nesbit and ,john ,thompson seem best entitled to honourable mention1 are3--,samuel ,williams299 ,thomas ,williams2 ,ebenezer ,landells2 ,john ,orrin ,smith299 ,george ,baxter2 ,robert ,branston2 ,frederick ,w4 ,branston2 ,henry ,white1 senior1 and ,henry ,white1 junior2 ,thomas ,mosses299 ,charles ,gorway2 ,samuel ,slader299 ,w4 ,t4 ,green2 ,w4 ,j4 ,linton2 ,john ,martin2 ,j4 ,w4 ,whimper2 ,john ,wright2 ,w4 ,a4 ,folkard2 ,charles ,gray299 ,george ,vasey2 ,john ,byfield299 ,john ,jackson299 ,daniel ,dodd1 and ,john ,dodd1 brothers4--,william ,henry ,powis1 who died in #ahcf1 aged #bh1 was one of the best wood engravers of his time4 ,several beautiful cuts executed by him are to be found in ,martin and ,westall's ,pictorial ,illustrations of the ,bible1 #ahcc1 and in an edition of ,scott's ,bible1 #ahcd2 both works now published by ,mr4 ,bohn4 ,the following examples1 principally taken from ,martin and ,westall's ,illustrations1 will exemplify the talents of a few of the distinguished artists above mentioned4 ,it would swell the book beyond its limits to give more1 otherwise we might select from the same work1 which contains one hundred and forty engravings1 by all the principal wood engravers of the day4 ,footnote 993 ,all the engravers to whose names an asterisk is added are now deceased4 ,illustration3 ,,john ,,martin ,,john ,,jackson ,the above cut was engraved by ,mr4 ,john ,jackson in #ahcc4 ,abundant evidences of the versatility of his xylographic talent1 are scattered throughout the present volume1 of which1 though not the author in a literary sense1 he was at least the conductor and proprietor4 ,among the subjects pointed out by ,mr4 ,chatto as engraved by ,mr4 ,jackson1 those on pages #dgc1 #die1 #dif1 #eab1 #fje1 #fad1 deserve to be mentioned4 ,illustration3 ,,john ,,martin ,f4 ,w4 ,,branston ,mr4 ,f4 ,w4 ,branston1 brother of ,mr4 ,robert ,branston1 has long been known as one of our best engravers1 as the annexed ,specimen will shew4 ,illustration3 ,,john ,,martin ,e4 ,,landells ,,mr4 ,,ebenezer ,,landells1 the engraver of this beautiful cut1 has quite recently been lost to us4 ,he was projector1 and for a long time proprietor1 of ,the ,ladies' ,illustrated ,newspaper1 and has engraved an immense number of subjects of all classes4 ,illustration3 ,,john ,,martin ,w4 ,h4 ,,powis ,the talented engraver of the present subject has already been named1 with commendation1 at page #edd4 ,we learn that the sum paid him for engraving it was fifteen guineas1 being three guineas more than the average price4 ,mr4 ,wm4 ,bagg1 now a successful draftsman of anatomical subjects1 made this and all the other drawings on the blocks at the rate of five guineas each1 and ,mr4 ,john ,martin had ten guineas each for the designs4 ,as the volume contains #add subjects it must have cost the projectors1 ,messrs4 ,bull and ,churton1 upwards of four thousand guineas3 it may now be bought for a dozen shillings4 ,illustration3 ,,john ,,martin ,,thos4 ,,williams ,,mr4 ,,thomas ,,williams ranks high as an engraver on wood1 and the illustrated works of the last twenty years teem with his performances4 ,some of the engravings in the ,merrie ,days of ,england1 #ahei1 are by him4 ,illustration3 ,,john ,,martin ,w4 ,t4 ,,green ,the only other ,illustration which we shall take from ,martin and ,westall's ,bible ,prints is the above1 engraved by ,mr4 ,w4 ,t4 ,green1 who continues to exercise his burin with great skill1 and has recently engraved one of the plates in ,merrie ,days of ,england1 and ,favourite ,english ,poems1 and several of ,maclise's designs for ,tennyson's ,princess4 ,to this is added1 as a vignette finish to the chapter1 an engraving recently executed by him for an illustrated edition of ,milton's ,paradise ,lost1 now published in ,bohn's ,library1 and already mentioned at page #eca4 ,one of the principal wood engravers in ,germany1 about the time that ,bewick began to practise the art in ,england1 was ,unger4 ,in #aggi he published a tract1 containing five cuts of his own engraving1 discussing the question whether ,albert ,durer actually engraved on wood3 his decision is in the negative4 ,in the same year1 his son also published a dissertation1 illustrated with wood-cuts1 on the progress of wood engraving in ,brandenburg1 with an account of the principal books containing wood-cuts printed in that part of ,prussia4 ,they jointly executed some chiaro-scuros1 and a number of trifling book-illustrations such as are to be found in ,heineken's ,ide ,gnrale d'une ,collection complette d',estampes4 ,these cuts are of a very inferior character4 ,gubitz1 a ,german wood engraver1 who flourished about thirty years ago1 executed several cuts which are much superior to any ,i have seen by the ,ungers4 ,several of those engraved by ,gubitz1 bear considerable resemblance to the cuts of ,bewick4 ,the principal ,french wood engravers in the eighteenth century1 subsequent to ,papillon1 were ,gritner and ,beugnet2 but neither of them produced anything superior to the worst of the cuts to be found in the work of ,papillon4 ,with them wood engraving in ,france rather declined than advanced4 ,of late years the art has made great progress both in ,germany and ,france2 and should the taste for wood-cuts continue to increase in those countries1 their engravers may regain for the art that popularity which it enjoyed in former times1 when ,nuremberg and ,lyons were the great marts for works illustrated with wood engravings4 ,illustration3 ,w4 ,,harvey ,w4 ,t4 ,,green ,,chapter ,,viii4 ,,artists ,,and ,,engravers ,,on ,,wood ,,of ,,the ,,present ,,day4 ,the present chapter1 which is additional to the former edition1 had not been contemplated until the previous pages were printed off4 ,but it was then suggested to the publisher1 by one who was able and willing to co-operate in the object1 that although the book was intended to be merely an improved reprint of what had been given before1 a short chapter might advantageously be added respecting those ,artists of the present day who were omitted by ,jackson1 or have risen to eminence since his time4 ,applications in the form of a circular were accordingly issued1 and have resulted in the ,specimens now presented4 ,they must speak for themselves1 it not being within the province of the publisher to pronounce as to their respective merits4 ,besides which1 the art of wood-engraving1 owing to the enormous impulse given to it during the last twenty years1 has attained such a pitch of excellence1 that it would be somewhat difficult to determine who1 if sufficiently stimulated1 could produce the most perfect work4 ,artists in ,wood1 like ,artists in ,oil1 have their specialties1 and excel relatively in ,landscape1 ,cattle1 or ,figure drawing2 ,architecture1 ,natural ,history1 ,diagrams1 or ,humour4 ,but though each may acquire distinction in the department which choice or accident has assigned him1 some can undertake all departments equally well4 ,in saying this we refer to engraving rather than designing1 for ,harrison ,weir would hardly undertake ,architecture2 ,orlando ,jewitt1 ,animals2 or ,george ,cruikshank1 ,mathematical ,diagrams4 ,when1 with the age of ,bewick1 wood-engraving began to reassume its importance for book illustration1 both designing and engraving were generally performed by the same hand2 but1 in the present day1 the professions are becoming too important to be joined1 and those who1 like ,william ,harvey1 ,samuel ,williams1 and others1 commenced by practising both1 now1 recognising the modern policy of a division of labour1 confine themselves with few exceptions to one4 ,our business here1 so far as designs are concerned1 is almost limited to those draughtsmen who habitually draw on wood1 for it is unnecessary to say that every drawing or painting may be transferred to wood by the practical operator4 ,the following ,specimens are given in accidental order rather than with any notion of precedence or classification4 ,illustration3 ,,percival ,,skelton ,,james ,,cooper ,,the ,,sierra ,,morena ,the present and following specimens are engraved by ,,james ,,cooper4 ,the first one is from ,mr4 ,murray's illustrated edition of ,childe ,harold1 published in #ahei1 which contains eighty engravings1 all designed by ,mr4 ,percival ,skelton2 the others from the ,select ,poems and ,songs of ,robert ,burns1 published by ,kent ,co4 in #aheh4 ,mr4 ,cooper is favourably known to the artistic world by his engravings in ,rhymes and ,roundelayes1 a volume to which we shall presently refer again2 ,poetry and ,pictures from ,thomas ,moore1 ,longmans1 #aheh2 ,the ,merrie ,days of ,england1 #ahei2 ,favourite ,english ,poems1 #aheh2 and ,bloomfield's ,farmer's ,boy1 #aheh--mostly after designs by ,birket ,foster1 and all produced under the superintendence of ,mr4 ,joseph ,cundall4 ,illustration3 ,,banks ,,of ,,the ,,nith4 ,,burns' ,,poems ,illustration3 ,,harrison ,,weir ,,james ,,cooper ,,the ,,twa ,,dogs4 ,,burns' ,,poems ,illustration3 ,,harrison ,,weir ,,james ,,cooper ,,to ,,auld ,,mare ,,maggie ,,burns' ,,poems ,this and the preceding three specimens complete what we have to adduce of ,mr4 ,cooper's engraving3 the designers will be spoken of in subsequent pages4 ,illustration3 ,,harrison ,,weir ,j4 ,,greenaway ,,the ,,poetry ,,of ,,nature4 ,,mr4 ,,harrison ,,weir is distinguished for his spirited drawings of animals and rural landscapes1 as will be seen in the annexed examples1 which are engraved by ,w4 ,wright 7formerly with ,vizetelly7 and ,john ,greenaway4 ,he has contributed to most of the popular works of recent date1 in which animals form a feature4 ,among them may be named3 ,the ,poetry of the ,year2 ,poems and ,songs by ,robert ,burns2 ,poetry and ,pictures from ,thomas ,moore2 ,favourite ,english ,poems2 ,barry ,cornwall's ,dramatic ,scenes and ,poems2 ,fable ,book for ,children2 ,james ,montgomery's ,poems1 #ahfj1 and ,wood's ,natural ,history4 ,illustration3 ,,harrison ,,weir ,n4 ,,wright ,,bloomfield',s ,,farmer',s ,,boy ,illustration3 ,,harrison ,,weir ,,greenaway ,,campbell',s ,,pleasures ,,of ,,hope4 ,illustration3 ,,harrison ,,weir ,j4 ,,greenaway ,both this and the specimen on the preceding page are from the illustrated edition of ,campbell's ,pleasures of ,hope1 of which all the plates are engraved by ,,mr4 ,,john ,,greenaway4 ,mr4 ,greenaway has contributed to many other of the illustrated publications of the present day1 and among them to the ,poetry of ,nature1 edited by ,mr4 ,j4 ,cundall1 with thirty-six cuts all designed by ,harrison ,weir4 ,low and ,son1 #ahfj4 ,bloomfield's ,farmer's ,boy1 #aheh2 ,favourite ,english ,ballads1 #ahei4 ,illustration3 ,,birket ,,foster ,,edmund ,,evans ,,wild ,,flowers4 ,engraved by ,,edmund ,,evans from a design by ,birket ,foster for ,rhymes and ,roundelayes1 published by ,mr4 ,bogue in #aheg1 and since by ,messrs4 ,routledge4 ,mr4 ,evans has likewise engraved the ,landscapes in ,cowper's ,task1 after designs by the same artist1 ,herbert's ,poetical ,works1 and ,graham's ,sabbath1 all published by ,nisbet ,co42 the ,landscapes in ,scott's ,lay of the ,last ,minstrel1 and ,marmion1 published by ,adam ,black ,co42 many of the subjects in ,poems and ,songs by ,robert ,burns1 from which we have given several specimens1 ,the ,merrie ,days of ,england1 c42 and all the illustrations in ,goldsmith's ,poetical ,works1 which are printed in ,colours by himself4 ,illustration3 ,,birket ,,foster ,w4 ,j4 ,,palmer ,,lays ,,of ,,the ,,holy ,,land ,engraved by ,w4 ,j4 ,,palmer1 after a design by ,birket ,foster1 for ,lays of the ,holy ,land1 published by ,nisbet ,co4 ,mr4 ,palmer has also contributed to the ,illustrated edition of ,thomson's ,seasons1 ,the ,merchant of ,venice1 ,gray's ,poems1 published by ,low and ,son2 ,the ,merrie ,days of ,england1 ,kent ,co41 and other pictorial works1 chiefly after the designs of ,birket ,foster1 and under the superintendence of ,mr4 ,cundall4 ,although several specimens have already been given of ,birket ,foster's powers of design1 in speaking of the engravers1 we give another1 one of his earliest1 that we may have occasion to say something of himself4 ,illustration3 ,,birket ,,foster ,h4 ,,vizetelly ,,evangeline4 ,,mr4 ,,birket ,,foster was a pupil of ,mr4 ,landells1 who1 discerning his artistic talent1 employed him from an early age in the superior department of his profession4 ,after he commenced on his own account1 his first important illustrations were for ,longfellow's ,poetical ,works1 of which the above is a specimen4 ,he has since partly or wholly illustrated1 besides those works already mentioned under the name of the engraver1 ,adams's ,allegories1 published by ,messrs4 ,rivington2 ,the ,book of ,favourite ,modern ,ballads1 ,poets of the ,nineteenth ,century1 ,christmas with the ,poets1 ,favourite ,english ,poems1 ,home ,affections1 ,the ,merrie ,days of ,england1 ,barry ,cornwall's ,dramatic ,scenes and ,poems1 ,southey's ,life of ,nelson1 ,gosse's ,rivers of the ,bible1 and many other of the best works of the period4 ,in #ahei he was elected a member of the ,old ,water ,colour ,society1 and has since then devoted himself almost exclusively1 and with great success1 to painting in ,water ,colours4 ,illustration3 ,,john ,,tenniel ,,dalziel ,,mr4 ,,john ,,tenniel is a successful illustrator of ,historical subjects1 and ,ballad poetry1 and has produced many fine examples of his pencil4 ,his most recent work is a series of sixty-nine designs for the illustrated edition of ,moore's ,lalla ,rookh1 engraved by the ,messrs4 ,dalziel1 which the 8,times0 of ,nov4 #a1 #ahfj1 calls the 8greatest illustrative achievement of any single hand10 and of which we here present an example4 ,he is now engaged in illustrating ,shirley ,brooks' story called ,the ,silver ,cord1 in 8,once a ,week20 and in #aheg he contributed a number of spirited designs to the illustrated edition of ,barry ,cornwall's ,poetical ,works4 ,among ,mr4 ,tenniel's earlier works are several in the ,book of ,british ,ballads1 edited by ,samuel ,carter ,hall1 in #ahdc2 and among his popular designs1 sketched with a free pencil1 are his large cuts in 8,punch10 and his small ones in ,punch's ,pocket ,book4 ,illustrations3 ,,john ,,tenniel ,,dalziel ,,death ,,of ,,sforza4 ,,sforza4 ,both these examples are from ,barry ,cornwall's dramatic sketch1 entitled ,ludovico ,sforza1 published in the illustrated edition of his ,poems4 ,illustration3 ,,john ,,gilbert4 ,,dalziel ,,brothers4 ,,antony ,,and ,,cleopatra4 ,engraved by ,,messrs4 ,,dalziel1 ,,brothers1 after the designs of ,,mr4 ,,john ,,gilbert4 ,these highly appreciated ,artists appear together in a considerable number of the illustrated publications of the present day4 ,messrs4 ,dalziel are among the most extensive of our wood-engravers1 and have taken part in all the illustrated works of importance which have been produced during the last twenty years4 ,among the recent ones are3--,staunton's ,illustrated ,shakspeare1 from which the above specimen is taken1 and ,longfellow's ,poems1 ,routledge1 #ahei2 ,barry ,cornwall's ,dramatic ,scenes and ,poems1 with fifty-seven wood-engravings1 published by ,chapman and ,hall in #aheg1 now republished by ,henry ,g4 ,bohn2 and ,tennyson's ,princess1 after drawings by ,maclise4 ,these artists are at present engaged in engraving ,millais' ,designs in the 8,cornhill ,magazine40 ,illustration3 ,,thomas ,,dalziel ,,dalziel ,,brothers ,,the ,,florentine ,,party4 ,the present engraving1 executed by the ,brothers ,dalziel1 for ,barry ,cornwall's ,poems1 gives a pleasing example of ,mr4 ,thomas ,dalziel's drawing4 99 99 99 ,the next two are early designs by ,mr4 ,john ,gilbert4 ,the first is from the ,percy ,tales of the ,kings of ,england1 originally published in #ahdj1 by ,mr4 ,cundall1 and since by ,henry ,g4 ,bohn2 the other from ,maxwell's ,life of the ,duke of ,wellington1 in which there are upwards of one hundred similar vignettes1 originally published in #ahdj1 by ,messrs4 ,baily1 ,brothers4 ,illustration3 ,,john ,,gilbert ,,kirchner ,,prince ,,arthur ,,and ,,hubert ,,de ,,bourg4 ,,from ,,percy ,,tales ,,of ,,the ,,kings ,,of ,,england4 ,illustration3 ,,john ,,gilbert ,illustration3 ,,the ,,demon ,,lover4 ,,john ,,gilbert4 ,we have here1 engraved by ,,mr4 ,w4 ,a4 ,,folkard1 another of the early designs of ,,mr4 ,,john ,,gilbert4 ,it is one of the illustrations to the ,book of ,english ,ballads1 edited by ,s4 ,c4 ,hall1 in #ahdc1 which contains upwards of four hundred wood-engravings1 and was the first work of any consequence that presented a combination of the best artists of the time4 ,indeed1 it was the leader in what may be called the ,illustrated ,christmas ,books of the present day4 ,since this period1 ,mr4 ,gilbert has probably produced more drawings on wood than any other artist1 and has contributed to almost every illustrated book of any importance4 ,he is a member of the ,old ,water ,colour ,society1 and has sent many fine drawings to the ,exhibition4 ,illustration3 ,g4 ,h4 ,,thomas ,w4 ,l4 ,,thomas ,,from ,,hiawatha4 ,,william ,l4 ,,thomas deserves to rank among the foremost of our wood-engravers1 as will be seen by the present specimen4 ,he engraved most of the subjects to ,hiawatha1 all of which were drawn by his brother ,george ,h4 ,,thomas1 and are now included in ,bohn's ,illustrated edition of ,longfellow's ,works2 many of ,mr4 ,maclise's masterly designs for ,tennyson's ,princess1 and all the subjects for the ,boys' ,book of ,ballads1 from drawings by ,john ,gilbert4 ,they have also contributed1 separately or together1 to the ,book of ,favourite ,modern ,ballads1 ,poetry and ,pictures from ,thomas ,moore1 ,burns' ,poems1 ,the ,merrie ,days of ,england1 ,favourite ,english ,poems1 and many other illustrated works4 ,illustration3 ,,hiawatha4 ,illustration ,engraved by ,,horace ,,harral 7a pupil of the late ,john ,orrin ,smith71 after a design by ,george ,thomas1 for the illustrated edition of ,longfellow's ,poems1 formerly published in detached portions by ,kent ,co41 and now completely by ,h4 ,g4 ,bohn4 ,these artists have also contributed to the illustrated editions of ,coleridge's ,ancient ,mariner1 ,burns' ,poems1 ,campbell's ,pleasures of ,hope1 the ,merchant of ,venice1 and ,the ,merrie ,days of ,england2 also to the ,poetry and ,pictures from ,thomas ,moore4 ,mr4 ,george ,thomas1 who has long ranked as one of our best draughtsmen of figure subjects1 has of late turned his attention almost exclusively to painting in oils1 and is a successful exhibitor4 ,illustration3 ,g4 ,h4 ,,thomas ,e4 ,,evans ,,john ,,anderson ,,my ,,jo4 ,,burns' ,,poems4 ,illustration3 ,g4 ,h4 ,,thomas ,e4 ,,evans ,these pleasing specimens conclude our examples of the drawing of ,mr4 ,george ,henry ,thomas4 ,of ,mr4 ,evans the engraver we have already spoken4 ,illustration3 ,d4 ,,maclise ,w4 ,,thomas ,,from ,,tennyson',s ,,princess4 ,the illustrated volume from which this is taken has twenty-six illustrations1 engraved by ,w4 ,thomas1 ,w4 ,t4 ,green1 ,e4 ,williams1 and ,dalziel1 ,brothers4 ,miss ,e4 ,williams is a daughter of the late talented ,samuel ,williams4 ,illustration3 ,d4 ,,maclise1 ,r4,a4 ,j4 ,,thompson ,,leonora ,here is another ,design by ,,mr4 ,d4 ,,maclise1 ,r4,a41 who in his own peculiar manner has furnished drawings on wood for several finely illustrated publications1 among which may be enumerated ,longman's edition of the ,poems and ,songs of ,thomas ,moore1 and especially ,tennyson's ,princess1 of which we have given an example on a previous page4 ,the present is the smallest of a series of designs engraved by ,mr4 ,john ,thompson1 for that stirring ,ballad1 ,brger's ,leonora4 ,illustration3 ,,percival ,,skelton ,j4 ,w4 ,,whymper ,,childe ,,harold4 ,,mr4 ,,percival ,,skelton has been mentioned incidentally on a previous page1 and we should have given in addition a fine example of his pencil from the ,book of ,favourite ,modern ,ballads1 but the plate is too large4 ,this present small specimen is to introduce the name of ,,mr4 ,j4 ,w4 ,,whymper1 who has been concerned in many of the illustrated publications of the last thirty years1 and especially those published by the ,christian ,knowledge ,society4 ,illustration3 ,,clarkson ,,stanfield1 ,r4,a4 ,h4 ,,vizetelly ,,anderson ,,reading ,,the ,,bible ,,to ,,jack4 ,,mr4 ,,henry ,,vizetelly has been so indefatigable for the last twenty years in producing illustrated works in every department1 that examples of his wood engraving are extensively distributed4 ,he is besides a printer1 well skilled in bringing up wood-cuts1 which is a most delicate and artistic process4 ,all the engravings in ,miller's ,boy's ,country ,year ,book1 and the ,book of ,wonderful ,inventions1 are engraved by him1 or under his direction1 as are also most of the charming series of designs made by ,,clarkson ,,stanfield1 ,r4,a4 for ,marryat's ,poor ,jack1 of which the annexed is a specimen2 many of the plates in ,bohn's illustrated edition of ,longfellow's ,poems2 and the entire series of ,christmas with the ,poets1 fifty-three subjects1 printed in tints by himself4 ,illustration3 ,,birket ,,foster ,h4 ,,vizetelly ,,christmas ,,in ,,the ,,olden ,,time4 ,we here present a specimen of a series of engravings executed by ,mr4 ,vizetelly1 for a work projected by the late ,mr4 ,bogue1 and yet unpublished4 ,illustration ,,samuel ,,williams 7recently deceased7 deserves a conspicuous niche in the ,walhalla of ,artists for his forty-eight beautiful illustrations of ,thomson's ,seasons1 all drawn and engraved by himself4 ,the annexed specimens selected from that volume 7now about to be published by ,mr4 ,bohn in his ,illustrated ,library7 will give a fair example of his peculiar taste in the miniature treatment of rural subjects4 ,illustration ,illustration3 ,,john ,,wolf ,g4 ,,pearson ,,eagles1 ,,stags ,,and ,,wolves4 ,this and the following engraving were executed by ,,mr4 ,,george ,,pearson1 a rising artist1 after drawings made by ,,john ,,wolf1 for the illustrations of ,t4 ,w4 ,atkinson's ,travels in the ,region of the ,upper and ,lower ,amoor 7in ,eastern ,asia74 ,mr4 ,wolf1 like ,mr4 ,harrison ,weir1 has a preference for animal drawing1 and excels in it4 ,illustration3 ,,john ,,wolf ,g4 ,,pearson ,,hare ,,hawking4 ,this well-executed cut of ,hare ,hawking is from ,messrs4 ,freeman and ,salvin's ,work on ,falconry1 recently published by ,messrs4 ,longman4 ,mr4 ,pearson has lately been engaged in engraving ,icthyological subjects for ,hartwig's ,sea and its ,living ,wonders1 and some other works of ,natural ,history1 a department which he is cultivating by preference4 ,illustration3 ,g4 ,,pearson ,,falls ,,of ,,niagara4 ,the ,vignette by the same engraver is one of the ,illustrations of ,bohn's ,pictorial ,hand-book of ,geography just published4 ,illustration3 ,h4 ,,anelay ,,measom ,,from ,,sandford ,,and ,,merton4 ,,mr4 ,h4 ,,anelay is well known to the public as a draughtsman on wood1 especially in the departments of portrait and figure drawing4 ,the present example1 taken from ,bohn's ,illustrated edition of ,sandford and ,merton1 is engraved by ,,mr4 ,,measom1 whose practice is extensive and of long standing4 ,several of the figure subjects in ,merrie ,days of ,england1 recently published by ,kent and ,co41 and in ,favourite ,english ,poems1 published by ,low and ,co4 are by him4 ,illustration3 ,,john ,,absolon ,,thomas ,,bolton ,,miles ,,standish4 ,,mr4 ,j4 ,,absolon has for many years been an illustrator of popular story books and poems1 most of which have been published or edited by ,mr4 ,cundall4 ,among them may be named1 ,favourite ,english ,poems1 published by ,low and ,co41 in #ahei2 ,rhymes and ,roundelayes1 ,routledge1 #aheh2 ,goldsmith's ,poetical ,works2 and ,lockhart's ,spanish ,ballads1 published by ,murray4 ,the present specimen is from ,bohn's ,illustrated edition of ,longfellow's ,poems1 in which the ,miles ,standish is chiefly illustrated by the designs of ,mr4 ,absolon1 and entirely engraved by ,,mr4 ,,thomas ,,bolton1 an artist of considerable repute1 whose name appears in many of the books quoted in these pages1 and among others1 in the ,poems and ,songs of ,robert ,burns4 ,mr4 ,bolton has just invented a process by which the powers of photography may be applied direct to the production of subjects from nature or art on wood1 and from which the engraving can be made without the intervention of drawing4 ,we annex his first specimen2 others are about to appear in the illustrated edition of ,miss ,winkworth's ,lyra ,germanica4 ,illustration3 ,,flaxman ,,thomas ,,bolton ,this specimen of ,,mr4 ,,bolton',s new process is taken from the well-known relief of ,flaxman1 8,deliver us from evil40 ,it is one of the first successful photographs on wood1 and was printed and engraved by ,,mr4 ,,thomas ,,bolton1 from ,mr4 ,leighton's negative4 ,illustration3 ,r4 ,,doyle ,,john ,,swain ,,montalva',s ,,fairy ,,tales4 ,,mr4 ,,richard ,,doyle's manner of drawing is fairly exemplified in the present engraving1 executed by him for ,montalva's ,fairy ,tales of all ,nations1 published by ,chapman ,hall in #ahei4 ,mr4 ,doyle has illustrated a considerable number of books of a popular character1 among which may be named3 ,the ,scouring of the ,white ,horse2 ,the ,newcomes2 ,the ,continental ,tour of ,brown1 ,jones1 and ,robinson1 of which we give an example on the next page3 ,manners and ,customs of the ,english2 and ,pips' ,diary4 ,illustration3 ,,richard ,,doyle ,,john ,,swain ,,brown1 ,,jones1 ,,and ,,robinson ,,in ,,venice4 ,mr4 ,doyle's 8,foreign ,tour of ,brown1 ,jones1 and ,robinson1 what they saw and did in ,belgium1 ,germany1 ,switzerland1 and ,italy10 published in #ahee1 has acquired great popularity among the lovers of comic literature1 and by the kindness of the publishers1 ,messrs4 ,bradbury and ,evans1 we are enabled to give a specimen4 ,illustration3 ,,john ,,leech ,,orrin ,,smith ,,from ,,uncle ,,tom',s ,,cabin4 ,,mr4 ,,john ,,leech is so well known to every reader of 8,punch10 that we need hardly do more here than merely mention his name as one of the best and most extensive of our graphic humorists4 ,among the many books to which he has contributed are3 ,the ,comic ,history of ,england2 ,comic ,history of ,rome2 ,comic ,aspects of ,english ,social ,life2 ,tour in ,ireland2 ,soapy ,sponge's ,sporting ,tour2 ,young ,troublesome2 ,mr4 ,jorrocks' ,hunt2 ,punch's ,almanack2 and several editions of ,uncle ,tom's ,cabin1 from one of which 7our own7 the above specimen is taken1 drawn1 as we have reason to believe1 in the course of two or three hours4 ,illustration3 ,,john ,,leech ,,john ,,swain ,,peasantry ,,on ,,their ,,way ,,to ,,an ,,irish ,,fair4 ,,tour ,,in ,,ireland4 ,another specimen of ,mr4 ,leech's comic humour1 taken from his ,tour in ,ireland1 published at the ,punch ,office4 ,illustration3 ,,john ,,leighton ,,henry ,,leighton ,,hasten ,,at ,,leisure4 ,we here present a specimen of that curious work1 8,moral ,emblems of all ,ages and ,nations10 published by ,messrs4 ,longman ,co4 ,the whole book has been drawn after the originals and superintended throughout by ,,mr4 ,,john ,,leighton1 who is well known under his pseudonyme of 8,luke ,limner40 ,the engraving is by ,,henry ,,leighton4 ,illustration3 ,,edward ,,duncan ,,horace ,,harral ,,the ,,blowing ,,up ,,of ,,corinth ,,edward ,,duncan1 a member of the ,old ,water ,colour ,society1 often draws on wood1 especially ,landscapes and ,naval subjects4 ,he has contributed to the ,book of ,favourite ,modern ,ballads1 ,favourite ,english ,poems1 ,rhymes and ,roundelayes1 ,poetry and ,pictures from ,thomas ,moore1 the ,soldier's ,dream1 and ,lays of the ,holy ,land4 ,illustration3 ,e4 ,,duncan ,h4 ,,harral ,these two examples of his style are engraved by ,,horace ,,harral for ,bohn's ,illustrated edition of ,southey's ,life of ,nelson4 ,illustration3 ,o4 ,,jewitt ,,north ,,porch ,,of ,,sta4 ,,maria ,,maggiore1 ,,bergamo4 ,the wood-engravings in the present and following pages are by ,,mr4 ,,orlando ,,jewitt1 who devotes himself almost exclusively to ,gothic ,architecture and ,ornament1 in which he is pre-eminent4 ,he is one of the very few who continue to combine designing and drawing with engraving4 ,the first specimen here presented is from ,street's ,brick and ,marble ,architecture of ,italy in the ,middle ,ages1 #hvo41 published by ,mr4 ,murray in #ahee4 ,illustration3 ,o4 ,,jewitt ,,shrine ,,in ,,bayeux ,,cathedral4 ,our second specimen1 and two of those on the next page1 are from ,mr4 ,pugin's splendid work1 the 8,glossary of ,ecclesiastical ,ornament10 published by ,henry ,g4 ,bohn in #ahdf4 ,illustration3 ,,hearse ,,of ,,margaret1 ,,countess ,,of ,,warwick4 ,illustrations3 ,,specimens ,,of ,,engraving ,,by ,,orlando ,,jewitt4 ,o4 ,,jewitt1 del4 et sc4 ,,capital ,,of ,,the ,,presbytery1 ,,lincoln ,,cathedral4 ,,lettern4 ,o4 ,,jewitt1 del4 et sc4 ,,brick ,,tracery1 ,,st4 ,,stephen',s ,,church1 ,,tangermunde1 ,,prussia4 ,unpublished4 ,among the many works to which ,mr4 ,jewitt has contributed1 besides those already mentioned1 are ,bloxam's first principles of ,gothic ,architecture2 the ,glossary of ,architecture published by ,mr4 ,parker of ,oxford2 ,rickman's ,gothic ,architecture1 fifth edition2 and the ,baptismal ,fonts1 published by ,mr4 ,van ,voorst4 ,he is now engaged in drawing and engraving ,murray's ,handbook of ,english ,cathedrals4 ,illustration3 ,t4 ,,creswick ,j4 ,,williams ,,the ,,nut ,,brown ,,maid4 ,,mr4 ,,creswick1 ,r4,a41 the distinguished painter1 has occasionally drawn on wood1 but more as a favour than part of his mtier4 ,the present specimen1 one of a series contributed to the ,book of ,british ,ballads1 is so highly praised by ,mr4 ,ruskin1 and at the same time so elaborately criticised1 that we think it in place to quote his words4 ,after comparing him advantageously with ,poussin1 he proceeds to say1 8,who with one thought or memory of nature in his heart could look at the two landscapes1 and receive ,poussin's with ordinary patience8 ,take ,creswick in black and white1 where he is unembarrassed by his fondness for pea-green1 the illustrations1 for instance1 to the ,nut-,brown ,maid1 in the ,book of ,english ,ballads4 ,look at the intricacy and fulness of the dark oak foliage1 where it bends over the brook2 see how you can go through it1 and into it1 and come out behind it1 to the quiet bit of sky4 ,observe the grey arial transparency of the stunted copse on the left1 and the entangling of the boughs where the light near foliage detaches itself4 ,above all1 note the forms of the masses of light4 ,not things like scales or shells1 sharp at the edge1 and flat in the middle1 but irregular and rounded1 stealing in and out accidentally from the shadow1 and presenting in general outline1 as the masses of all trees do1 a resemblance to the specific forms of the leaves of which they are composed4 ,turn over the page1 and look into the weaving of the foliage and sprays against the dark-night-sky1 how near they are1 yet how untraceable2 see how the moonlight creeps up underneath them1 trembling and shivering on the silver boughs above2 note also1 the descending bit of ivy1 on the left1 of which only a few leaves are made out1 and the rest is confusion1 or tells only in the moonlight like faint flakes of snow4 8,but nature observes another principle in her foliage1 more important even than its intricacy4 ,she always secures an exceeding harmony and repose4 ,she is so intricate that her minuteness of parts becomes to the eye1 at a little1 one united veil or cloud of leaves1 to destroy the evenness of which is perhaps a greater fault than to destroy its transparency4 ,look at ,creswick's oak again1 in its dark parts4 ,intricate as it is1 all is blended into a cloud-like harmony of shade1 which becomes fainter and fainter as it retires1 with the most delicate flatness and unity of tone4 ,and it is by this kind of vaporescence1 so to speak1 by this flat misty unison of parts1 that nature and her faithful followers are enabled to keep the eye in perfect repose in the midst of profusion1 and to display beauty of form wherever they choose1 to the greatest possible advantage1 by throwing it across some quiet visionary passage of dimness and rest40 ,mr4 ,creswick has recently contributed several vignettes to ,tennyson's ,poems4 ,the following1 engraved by ,,mason ,,jackson1 is from ,bohn's ,illustrated edition of ,walton's ,angler1 to which ,mr4 ,creswick has contributed several others4 ,illustration3 ,,creswick ,,mason ,,jackson ,illustration3 ,,john ,,martin ,w4 ,j4 ,,linton ,,mr4 ,w4 ,j4 ,,linton has for many years had extensive practice both as a draughtsman and an engraver on wood1 and still continues to combine both professions4 ,the specimens on the present page shew his early work2 the first is after a drawing by ,john ,martin from the series of ,bible ,prints before quoted2 the second1 a vignette after ,,mcian1 from the ,book of ,british ,ballads4 ,illustration3 ,r4 ,r4 ,,mc ,,ian ,w4 ,j4 ,,linton ,his later work is beautifully exemplified on the opposite page by the subject called ,death's ,door1 after a drawing by that remarkable man ,,william ,,blake1 of whom some account will be found at p4 #fcb4 ,it was published in the ,art ,union ,volume of #ahei1 and is by the kindness of the ,council of that ,society inserted here4 ,to complete this page we annex two other of ,mr4 ,linton's late works4 ,they are taken from ,milton's ,l',allegro1 published by ,low ,co4 ,illustration3 ,,stonhouse ,w4 ,j4 ,,linton 8,,shallow ,,brooks ,,and ,,rivers ,,wide40 ,many of the illustrated books of the last twenty years exhibit the talents of ,mr4 ,linton4 ,we may name1 besides the ,book of ,ballads1 ,the ,pictorial ,tour of the ,thames1 ,the ,merrie ,days of ,england1 #ahei1 ,burns' ,poems and ,songs1 ,favourite ,english ,poems1 #ahei1 ,shakspere's ,birthplace1 and the ,illustrated edition of ,milton's ,poetical ,works formerly published by ,kent ,co4 and now in ,bohn's ,illustrated ,library4 ,illustration3 ,j4 ,l4 ,,horsley1 ,a4,r4,a4 ,w4 ,j4 ,,linton 8,,such ,,as ,,the ,,melting ,,soul ,,may ,,pierce40 ,illustration3 ,f4 ,w4 ,,fairholt ,,mr4 ,f4 ,w4 ,,fairholt is distinguished for his knowledge of ,costume and ,medival art1 which he has exemplified in a considerable number of shaded outlines1 mostly drawn and engraved by himself4 ,the wood-engraving at the head of this page is from the ,archological ,album published in #ahde1 under the auspices of the ,british ,archological ,association1 to whose journal ,mr4 ,fairholt has contributed largely4 ,ten of the subjects in the ,book of ,british ,ballads1 illustrative of the ,story of ,sir ,andrew ,barton1 are designed by him and give a favourable specimen of his drawing4 ,they are cleverly engraved by ,t4 ,armstrong4 ,illustration3 ,f4 ,w4 ,,fairholt ,the ,vignette is from the illustrated edition of ,robin ,hood1 edited by ,mr4 ,j4 ,m4 ,gutch in #ahdg4 ,mr4 ,fairholt has also edited and illustrated a volume on the ,costume of ,england2 a ,history of ,tobacco1 published by ,messrs4 ,chapman ,hall2 and the ,translation of ,labarte's ,arts of the ,middle ,ages1 published by ,mr4 ,murray4 ,illustration3 ,,joseph ,,dinkel ,,james ,,lee ,,shell-,,limestone ,,from ,,the ,,mouth ,,of ,,the ,,thames4 ,from ,dr4 ,mantell's ,geological ,work1 ,medals of ,creation4 ,illustration3 ,,joseph ,,dinkel ,,james ,,lee ,,mosasaurus ,,hofmanni4 ,from ,dr4 ,mantell's ,petrifactions and their ,teachings4 ,,mr4 ,,joseph ,,dinkel is a very accurate draughtsman of subjects of ,natural ,history1 especially of ,fossil remains2 but though he has most practice in this department1 he also undertakes ,architectural and ,engineering drawings4 ,the present specimens are skilfully engraved by ,,mr4 ,,james ,,lee4 ,nearly all the drawings of the great work of ,professor ,agassiz1 #8,poissons ,fossiles1' published at ,neuchatel1 from #ahcc to #ahdc1 were executed by ,mr4 ,dinkel2 and he drew almost exclusively for the late ,dr4 ,mantell4 ,he is now much employed by ,professor ,owen2 ,thomas ,bell1 ,esq4 ,president of the ,linnan ,society2 and the ,royal1 ,geological1 and ,palontological ,societies4 ,illustration3 ,e4 ,h4 ,,wehnert ,,horace ,,harral ,,from ,,coleridge',s ,,ancient ,,mariner4 ,,edward ,h4 ,,wehnert1 a member of the ,new ,society of ,painters in ,water ,colours1 frequently draws upon wood4 ,he illustrated ,coleridge's ,ancient ,mariner1 ,grimm's ,tales1 ,eve of ,st4 ,agnes1 and contributed designs to ,bohn's edition of ,longfellow's ,poems and to many other popular works of poetry and fiction4 ,his style is essentially ,german4 ,he has recently contributed thirty-four subjects to the ,favourite ,english ,poems and completed a number of drawings for ,andersen's ,tales1 the electrotypes of which are produced by a new process by ,mr4 ,w4 ,j4 ,linton4 ,illustration ,illustration ,illustration ,,george ,,cruikshank is especially celebrated for the felicitous humour which he throws into every subject that comes under his pencil or burin4 ,his works are legion and all highly prized1 but his designs on wood are much less numerous than his etchings on copper4 ,mr4 ,ruskin1 in his #8,modern ,painters1' has lately expatiated as enthusiastically on the artistic merits of ,mr4 ,cruikshank as he has done on those of ,mr4 ,creswick1 quoted by us in a previous page4 ,he concludes by saying3 8,taken all in all1 the works of ,cruikshank have the most sterling value of any belonging to this class produced in ,england40 ,the present examples1 taken from his #8,three ,courses and a ,dessert1' published in ,bohn's ,illustrated ,library1 will afford some idea of his peculiar talent4 ,on the following page we give examples of his early work1 being illustrations contributed to the #8,universal ,songster1' a once popular work to which other artists including his late brother ,robert ,cruikshank also contributed4 ,the engraver1 rather a coarse hand1 was ,j4 ,r4 ,marshall4 ,illustration3 ,,george ,,cruikshank ,,the ,,old ,,commodore4 ,illustration3 ,,george ,,cruikshank ,,giles ,,scroggins ,,and ,,molly ,,brown4 ,illustration3 ,,alfred ,,crowquill4 ,,the ,,man ,,who ,,wished ,,to ,,be ,,taller4 ,illustration3 ,,alfred ,,crowquill4 ,,the ,,woman ,,who ,,wished ,,to ,,be ,,younger4 ,illustration3 ,,alfred ,,crowquill4 ,,drinking ,,is ,a ,,vice ,,that ,,lowers ,a ,,man4 ,illustration3 ,,kenny ,,meadows4 ,our last page of illustrations is devoted to humour4 ,three of the subjects are from the ,pictorial ,grammar1 by ,,alfred ,,crowquill 7i4e4 ,a4 ,forester71 the fourth1 a design by ,,kenny ,,meadows 7from the ,book of ,british ,ballads71 one of his early productions1 but unsurpassed by anything he has since done4 ,these artists have in former years illustrated a number of books4 ,among ,crowquill's may be named eight subjects to the ,book of ,british ,ballads4 ,his latest work is #8,the ,adventures of ,gooroo ,simple and his ,five ,disciples4' ,among those by ,kenny ,meadows1 we remember as his best an illustrated edition of ,shakespeare1 in three vols4 royal #hvo4 originally published by ,mr4 ,tyas4 ,london1 #ahdc4 ,the ,publisher here concludes his additional chapter2 not for want of material1 for he has more than enough to fill another volume1 but for want of space4 ,in endeavouring to give some indication of xylographic art-progress in ,england1 he has made no attempt at completeness1 and has said nothing whatever of foreign art1 which has progressed quite as rapidly as our own4 ,so much remains to be done in both domains1 and so many fine examples are either lying before him1 or placed at his disposal1 which might advantageously have been adduced1 that he contemplates following the present volume1 at no very distant period1 with one that shall supply what has now been necessarily omitted4 ,among the many skilful ,artists whose names have not yet been mentioned are the following1 arranged in three distinct alphabets4 ,the first alphabet comprises those who are professionally painters in oil1 but occasionally draw on wood2 the second1 those who make drawing on wood their leading profession1 although many of them also paint in oil2 the third1 those who almost confine themselves to engraving the designs of others1 although some of them are themselves good draughtsmen4 ,one or more of the books to which they have contributed1 are indicated4 ,painters who occasionally ,draw on ,wood4 ,,andrews1 ,g4 ,h4 ,figure subjects and ,landscapes2 ,ministering ,children4 --,,ansdell1 ,richard4 ,animals2 ,rhymes and ,roundelayes4 --,,armitage1 ,edward4 ,figure subjects2 ,winkworth's ,lyra ,germanica4 --,,cope1 ,charles ,west1 ,r4,a4 ,figure subjects2 ,book of ,favourite ,modern ,ballads1 ,adams' ,allegories1 ,excelsior ,ballads1 ,burns' ,poems1 ,poetry of ,thomas ,moore4 --,,corbould1 ,e4 ,h4 ,figure subjects and ,architecture2 ,merrie ,days of ,england1 ,book of ,favourite ,modern ,ballads1 ,burns' ,poems1 ,poetry of ,thomas ,moore1 ,barry ,cornwall's ,poems4 --,,cropsey1 ,jasper4 ,landscapes2 ,poetry of ,thomas ,moore1 ,poe's ,poems4 --,,dodgson1 ,g4 ,landscape2 ,lays of the ,holy ,land4 --,,frith1 ,william ,powell1 ,r4,a4 ,figure subjects2 ,book of ,british ,ballads4 --,,goodall1 ,edward4 ,landscapes2 ,rhymes and ,roundelayes4 --,,grant1 ,w4 ,j4 ,figure subjects2 ,favourite ,modern ,ballads1 ,bloomfield's ,farmer's ,boy4 --,,hicks1 ,g4 ,e4 ,figure subjects2 ,favourite ,modern ,ballads4 --,,horsley1 ,john ,calcott1 ,a4,r4,a4 ,figure subjects2 ,poetry of ,thomas ,moore1 ,burns' ,poems1 ,tennyson's ,poems1 ,favourite ,english ,poems1 ,favourite ,modern ,ballads4 --,,hunt1 ,w4 ,holman4 ,figure subjects2 ,tennyson's ,poems1 ,mrs4 ,gatty's ,parables1 ,once a ,week4 --,,le ,,jeune1 ,h4 ,figure subjects2 ,poetry of ,thomas ,moore1 ,lays of the ,holy ,land1 ,ministering ,children4 --,,millais1 ,john ,everett1 ,a4,r4,a4 ,figure subjects2 ,tennyson's ,poems1 ,lays of the ,holy ,land1 ,once a ,week4 ,mr4 ,millais is now engaged in illustrating a volume of ,parables to be engraved by the ,dalziels4 --,,mulready1 ,william1 ,r4,a4 ,figure subjects2 ,tennyson's ,poems1 ,vicar of ,wakefield1 7engraved by ,mr4 ,john ,thompson74 --,,nash1 ,joseph4 ,figures and ,architecture2 ,merrie ,days of ,england4 --,,pickersgill1 ,f4 ,richard1 ,r4,a4 ,figure subjects2 ,poetry of ,thomas ,moore1 ,book of ,british ,ballads1 ,lays of the ,holy ,land4 --,,redgrave1 ,richard1 ,r4,a4 ,figure subjects2 ,favourite ,english ,poems1 ,book of ,british ,ballads4 --,,roberts1 ,david1 ,r4,a4 ,architectural ,landscapes2 ,lockhart's ,spanish ,ballads4 --,,selous1 ,h4 ,c4 ,figure subjects2 ,poems and ,pictures1 ,book of ,british ,ballads4 --,,solomon1 ,a4 ,figure subjects2 ,book of ,favourite ,modern ,ballads4 --,,warren1 ,h4 ,figure subjects and ,architecture2 ,book of ,british ,ballads1 ,lockhart's ,spanish ,ballads1 ,poetry of ,thomas ,moore1 ,lays of the ,holy ,land4 --,,webster1 ,thomas1 ,r4,a4 ,infantine subjects2 ,favourite ,english ,poems1 ,book of ,british ,ballads4 --,,wyburd1 ,f4 ,figure subjects2 ,poetry and ,pictures of ,thomas ,moore4 ,professional ,draughtsmen on ,wood4 ,,archer1 ,j4 ,w4 ,antiquarian and ,architectural2 ,vestiges of ,old ,london4 --,,archer1 ,j4 ,r4,s4,a4 ,figure subjects2 ,burns' ,poems4 --,,bennett1 ,charles4 ,humorous subjects2 ,poets' ,wit and ,humour1 ,quarles' ,emblems1 #ahfj1 ,proverbs in ,pictures4 --,,brandling1 ,h4 ,figure subjects and ,architecture2 ,merchant of ,venice4 --,,clayton1 ,j4 ,r4 ,figure subjects2 ,barry ,cornwall's ,poems1 ,lays of the ,holy ,land4 --,,coleman1 ,wm4 ,landscape and ,figure subjects2 ,mary ,howitt's ,tales4 --,,darley1 ,felix4 ,figure subjects2 ,poe's ,poetical ,works1 ,poets of the ,west4 --,,dickes1 ,william4 ,figures and ,landscape2 most of the subjects in ,masterman ,ready4 ,mr4 ,dickes' attention is now turned to ,colour-printing4 --,,edmonston1 ,s4 ,figure subjects2 ,burns' ,poems4 --,,franklin1 ,john4 ,figure subjects2 ,book of ,british ,ballads1 ,mrs4 ,s4 ,c4 ,hall's ,midsummer ,eve1 ,seven ,champions of ,christendom1 ,poets of the ,west4 --,,goodall1 ,walter4 ,figure subjects2 ,rhymes and ,roundelayes1 ,ministering ,children4 --,,hulme1 ,f4 ,w4 ,landscapes2 ,rhymes and ,roundelayes4 --,,humphreys1 ,noel4 ,ornamental ,vignettes2 ,rhymes and ,roundelayes4 --,,jones1 ,owen4 ,moresque ,ornaments and ,architecture2 ,lockhart's ,spanish ,ballads4 --,,keene1 ,charles4 ,figure subjects2 ,punch1 ,once a ,week1 ,voyage of the ,constance4 --,,lawless1 ,m4 ,j4 ,figure subjects2 ,once a ,week1 ,punch4 --,,macquoid1 ,thomas4 ,ornamental ,letters and ,borders2 ,rhymes and ,roundelayes1 ,burns' ,poems1 ,favourite ,english ,poems1 c4 --,,morgan1 ,matthew ,s4 ,figures and ,landscape2 ,miles ,standish4 --,,phiz 7,hablot ,k4 ,browne74 ,humour2 ,bleak ,house1 ,martin ,chuzzlewit1 ,the ,pickwick ,series1 ,wits and ,beaux of ,society1 ,lever's ,st4 ,patrick's ,eve1 c4 ,he has executed more etchings on steel than drawings on wood4 --,,prout1 ,j4 ,s4 ,landscapes and ,architecture2 ,rhymes and ,roundelayes4 --,,read1 ,samuel4 ,landscapes and ,architecture2 ,rhymes and ,roundelayes1 contributes to the ,london ,news4 --,,rogers1 ,harry4 ,ornamental ,letters and ,vignettes2 ,quarles' ,emblems1 ,poe's ,poetical ,works4 --,,scott1 ,t4 ,d4 ,figure subjects and ,landscapes2 able reducer and copyist of ,pictures on ,wood2 ,book of ,british ,ballads4 --,,shaw1 ,henry4 ,architectural ,ornaments1 ,letters1 ,furniture1 c42 has designed extensively on wood1 chiefly for his own works4 --,,stephenson1 ,james4 ,figure subjects2 ,clever ,boys1 ,wide ,wide ,world 7,bohn's ,edition71 c4 ,a skilful engraver on steel4 --,,stocks1 ,lumb1 ,a4,r4,a4 ,figure subjects2 ,ministering ,children1 ,ministry of ,life1 ,english ,yeomen1 c4 ,mr4 ,stocks has considerable reputation as an engraver on steel4 --,,sulman1 ,t4 ,jun4 ,ornamental ,borders and ,vignettes2 ,lalla ,rookh4 --,,topham1 ,f4 ,w4 ,irish ,character2 ,poetry of ,thomas ,moore1 ,mrs4 ,s4 ,c4 ,hall's ,midsummer ,eve1 ,burns' ,poems4 --,,watson1 ,j4 ,d4 ,figure subjects2 ,pilgrim's ,progress1 #aaj designs1 ,eliza ,cook's ,poems4 --,,zwecker1 ,john ,b4 ,animals2 mostly engraved by the ,dalziels2 ,wood's ,natural ,history1 c4 ,engravers on ,wood not before mentioned4 ,,armstrong1 ,wm4 ,don ,quixote1 #ahda1 ,illustrated ,news1 ,clever ,boys #ahfj4 --,,gorway1 ,c4 has successfully engraved many of ,john ,gilbert's designs4 --,,hammond1 ,j4 ,poems and ,songs of ,robert ,burns4 --,,jackson1 ,mason1 son of the ,projector of the present volume1 in which some of the subjects are engraved by him2 also ,walton's ,angler 7,bohn's ,edition71 ,ministering ,children4 --,,loudon1 ,j4 engraves for the ,illustrated ,times4 --,,smyth1 ,f4 ,g4 ,figure subjects2 ,illustrated ,news4 --,,swain1 ,joseph4 ,figure subjects2 ,lyra ,germanica4 --,,wimperis1 ,e4 ,merrie ,days of ,england4 --,,woods1 ,h4 ,n4 ,ornamental ,borders and ,vignettes2 ,moore's ,lalla ,rookh4 ,,chapter ,,ix4 ,,the ,,practice ,,of ,,wood ,,engraving4 ,erroneous ,opinions ,about ,cross-,hatching -- ,the ,choice and ,preparation of the ,wood -- ,mode of ,inserting a ,plug -- ,magnifying ,glasses and ,engraver's ,lamp -- ,different ,kinds of ,tools -- ,cutting ,tints -- ,engraving in ,outline -- ,cuts ,representing ,colour and ,texture -- ,maps ,engraved on ,wood -- ,the ,advantages of ,lowering a ,block ,previous to ,engraving the ,subject -- ,chiaro-,scuro ,engraving on ,wood1 and ,printing in ,colours from ,wood-,blocks -- ,metallic ,relief ,engraving1 by ,blake1 ,bewick1 ,branston1 and ,lizars -- ,mr4 ,c4 ,hancock's ,patent -- ,mr4 ,woone's ,patent -- ,casts from ,wood-,cuts -- ,printing ,wood-,cuts -- ,conclusion4 ,perhaps no art exercised in this country is less known to the public than that of wood engraving2 and hence it arises that most persons who have incidentally or even expressly written on the subject have committed so many mistakes respecting the practice4 ,it is from a want of practical knowledge that we have had so many absurd speculations respecting the manner in which the old wood engravers executed their cross-hatchings1 and so many notions about vegetable putties and metallic relief engraving4 ,even in a ,memoir of ,bewick1 printed in #ahcf1 we find the following passage1 which certainly would not have appeared had the writer paid any attention to the numerous wood-cuts1 containing cross-hatchings of the most delicate kind1 published in ,england between #ahbj and #ahcd3--8,the principal characteristic of the ancient masters is the crossing of the black lines1 to produce or deepen the shade1 commonly called cross-hatching4 ,whether this was done by employing different blocks1 one after another1 as in calico-printing and paper-staining1 it may be difficult to say2 but to produce them on the same block is so difficult and unnatural1 that though ,nesbit1 one of ,bewick's early pupils1 attempted it on a few occasions1 and the splendid print of ,dentatus by ,harvey shows that it is not impossible even on a large scale1 yet the waste of time and labour is scarcely worth the effect produced40,,ix-#a ,now1 the difficulty of saying whether the old cross-hatchings were executed on a single block1 or produced by impressions from two or more1 proceeds entirely from the writer not being acquainted with the subject2 had he known that hundreds of old blocks containing cross-hatchings are still in existence1 and had he been in the habit of seeing similar cross-hatchings executed almost daily by very indifferent wood engravers1 the difficulty which he felt would have vanished4 8,unnatural0 is certainly an improper term for a philosopher to apply to a process of art1 merely because he does not understand it3 with equal reason he might have called every other process1 both of copper-plate and wood engraving1 8unnatural20 nay1 in this sense there is no process in arts or manufactures to which the term 8unnatural0 might not in the same manner be applied4 ,footnote ,,ix-#a3 ,memoir of ,thomas ,bewick1 by the ,reverend ,william ,turner1 prefixed to volume sixth of the ,naturalist's ,library1 page #ah4 ,in giving some account of the practice of wood engraving1 it seems most proper to begin with the ground-work--the wood4 ,as it is generally understood that box is best adapted for the purposes of engraving1 and that it is generally used for cuts intended for the illustration of books1 there seems no occasion to enter into a detail of all the kinds of wood that might be used for the more ordinary purposes of large coarse cuts for posting-bills1 and others of a similar character4 ,mr4 ,savage1 in his ,hints on ,decorative ,printing1 has copied the principal part of what ,papillon has said on the subject of wood1 intending that it should be received as information from a practical wood engraver2 but he has omitted to notice that much of what ,papillon says about the choice of wood1 can be of little service in guiding the modern ,english wood engraver1 who executes his subject on the cross-section of the wood1 while ,papillon and his contemporaries were accustomed to engrave upon the side1 or the long-way of the wood4 8,there is no difficulty10 says ,papillon1 as translated by ,mr4 ,savage1 8in distinguishing that which is good1 as we have only need of taking a splinter of the box we wish to try1 and break it between the fingers2 if it break short1 without bending1 it will not be of any value2 whereas1 if there be great difficulty in breaking it1 it is well adapted to our purpose40 ,now1 it is quite evident from this direction--independent of the fact being otherwise known--that the thin splinter by which the quality of the wood was to be tested was to be cut the long way of the wood3 a similar cutting taken from the cross-section would break short1 however excellent the wood might be for the purpose of engraving4 ,papillon's direction is therefore calculated to mislead1 unless accompanied with an explanation of the manner in which the splinter is to be taken2 and it is also utterly useless as a test of box that is intended to be engraved on the cross-section1 or end-way of the wood4 ,for the purposes of engraving no other kind of wood hitherto tried is equal to box4 ,for fine and small cuts the smallest logs are to be preferred1 as the smallest wood is almost invariably the best4 ,american and ,turkey box is the largest2 but all large wood of this kind is generally of inferior quality1 and most liable to split2 it is also frequently of a red colour1 which is a certain characteristic of its softness1 and consequent unfitness for delicate engraving4 ,from my own experience1 ,english box is superior to all others2 for though small1 it is generally so clear and firm in the grain that it never crumbles under the graver2 it resists evenly to the edge of the tool1 and gives not a particle beyond what is actually cut out4 ,the large red wood1 on the contrary1 besides being soft1 is liable to crumble and to cut short2 that is1 small particles will sometimes break away from the sides of the line cut by the graver1 and thus cause imperfections in the work4 ,box of large and comparatively quick growth1 is also extremely liable to shrink unevenly between the rings1 so that after the surface has been planed perfectly level1 and engraved1 it is frequently difficult to print the cut in a proper manner1 in consequence of the inequality of the surface4 ,as even the largest logs of box are of comparatively small diameter1 it is extremely difficult to obtain a perfect block of a single piece equal to the size of an octavo page4 ,in order to obtain pieces as large as possible1 some dealers are accustomed to saw the log in a slanting direction--in the manner of an oblique section of a cylinder--so that the surface of a piece cut off shall resemble an oval rather than a circle4 ,blocks sawn in this manner ought never to be used2 for1 in consequence of the obliquity of the grain1 there is no preventing small particles tearing out when cutting a line4 ,large red wood containing white spots or streaks is utterly unfit for the purposes of the engraver2 for in cutting a line across1 adjacent to these spots or streaks1 sometimes the entire piece thus marked will be removed1 and the cut consequently spoiled4 ,a clear yellow colour1 and as equal as possible over the whole surface1 is generally the best criterion of box-wood4 ,when a block is not of a clear yellow colour throughout1 but only in the centre1 gradually becoming lighter towards the edges1 it ought not to be used for delicate work2 the white1 in addition to its not cutting so 8sweetly10 being of a softer nature1 absorbs more ink than the yellow1 and also retains it more tenaciously1 so that impressions from a block of this kind sometimes display a perceptible inequality of colour2--from the yellow parts allowing the ink to leave them freely1 while the white parts partially retain it1 the printed cut has the appearance of having received either too much ink in one place1 or too little in another4 ,besides this1 the ink remaining on the white parts becomes so adhesive1 that1 should the sheet be rather too damp 7as will frequently happen when much paper is wetted at one time71 it will sometimes stick to the paper2 a small spot of white will hence appear in the impression1 while a minute piece of paper will remain adhering to the block1 to be mixed up with the ink on the balls1 and transferred as a black speck to another part of the cut in a subsequent impression4 ,but this is not all3 should the piece of paper remain unnoticed for some time it will make a small indention in the block1 and occasion a white or grey speck in the impressions printed after its removal4 ,soft red and white box1 more especially the latter1 being more porous than clear yellow1 blocks of those kinds of wood are most liable to be injured by the liquids used to clean them after printing4 ,should the printer wash them with either lees or spirits of turpentine1 these fluids will enter the wood more freely than if it were yellow1 and cause it to expand in proportion to the quantity used1 and sometimes to such an extent as to distort the drawing4 ,if a block of any kind of box1 whether red1 white1 or yellow1 be wetted or exposed to dampth1 it will expand considerably2,,ix-#b but with care it will return to its former dimensions1 should it have been sufficiently seasoned before being printed4 ,when1 however1 the expansion has been caused by lees or spirits of turpentine1 the block will never again contract to its original size4,,ix-#c ,footnote ,,ix-#b3 ,the following is an instance of the effect of dampth upon box-wood4 ,i placed one evening a block1 composed of several pieces of box glued to a thick piece of mahogany1 against the wall of a rather damp room1 and on examining it the next morning ,i found that the box had expanded so much that the edges projected beyond the mahogany upwards of the eighth of an inch4 ,footnote ,,ix-#c3 ,some of the blocks engraved for the ,penny ,magazine1 measuring originally eight inches and a half by six inches1 have1 after undergoing the process of stereotyping and the subsequent washing1 increased not less than two inches in their perimeter or exterior lineal dimension1 as has been proved by comparing the measurement of a block in its present state with a first proof taken on ,india paper1 which paper1 being dry when the impression was taken1 has not suffered any contraction4 ,as publishers frequently provide the drawings which are to be engraved1 perhaps a knowledge of the different qualities of box is as necessary to them as to wood engravers themselves4 ,in reply to this it may be said1 why not require the engraver who is to execute the cuts to supply proper wood himself8 ,where only one engraver is employed to execute all the cuts for a work1 the choice of the wood may indeed be very properly left to himself4 ,but where several are employed1 and each required to send his own wood to the designer1 very few are particular what kind they send2 for when the designer receives the different pieces he generally consigns them to a drawer until wanted1 and when he has finished a design1 he not unfrequently sends it to an engraver who did not supply the identical piece of wood on which it is drawn4 ,hence scarcely any engraver pays much attention to the kind of wood he sends2 for where many are employed in the execution of a series of cuts for the same work1 it is very unlikely that each will receive the drawings on the wood supplied by himself4 ,even when the designer is particular in making the drawings of the subjects which he thinks best suited to each engraver's talents on the wood which such engraver has supplied1 it not unfrequently happens that the person who employs the engravers will not give the blocks to those for whom the artist intended them4 ,publishers have a much greater interest in this matter than they seem to suspect4 ,if soft wood be supplied1 the finer lines will soon be bruised down in printing1 and the cut will appear like an old one before half the number of impressions required have been printed2 if red-ringed1 the surface is extremely liable to become uneven1 and also to warp and split4 ,as box can seldom be obtained of more than five or six inches diameter1 and as wood of this size is rarely sound throughout1 blocks for cuts exceeding five inches square are usually formed of two or more pieces firmly united by means of iron pins and screws4 ,should the block1 however1 be wetted or exposed to dampth1 the joints are certain to open1 and sometimes to such an extent as to require a piece of wood to be inserted in the aperture4,,ix-#d ,perhaps the best way to guard against a large block opening at the joining of the pieces would be to enclose it with an iron hoop or frame2 such hoop or frame being fixed when nearly red-hot in the same manner as a tire is applied to a coach or cart wheel4 ,if the iron fit perfectly tight when forced on to the block in the manner of a tire1 it will be the more likely1 by its contracting in cold and damp weather1 to resist the expansive force of the wood at such times4 ,footnote ,,ix-#d3 ,sometimes a piece of metal--such as part of a thin rule--is inserted in the chink by printers1 when the part injured is dark and the work not fine4 ,such a temporary remedy is sure to increase the opening in a short time1 and make the block worse4 ,besides the hardness and toughness of box1 which allows of clear raised lines1 capable of bearing the action of the press1 being cut on its surface1 this wood1 from its not being subject to the attacks of the worm1 has a great advantage over apple1 pear-tree1 beech1,,ix-#e and other kinds of wood1 formerly used for the purposes of engraving4 ,its preservation in this respect is probably owing to its poisonous nature1 for other kinds of wood of greater hardness and durability are frequently pierced through and through by worms4 ,the chips of box1 when chewed1 are certainly unwholesome to human beings4 ,a fellow-pupil1 who had acquired a habit of chewing the small pieces which he cut out with his graver1 became unwell1 and was frequently attacked with sickness4 ,on mentioning the subject to his medical adviser1 he was ordered to refrain from chewing the pieces of box2 he accordingly took the doctor's advice1 gave up his bad habit1 and in a short time recovered his usual health4,,ix-#f ,footnote ,,ix-#e3 ,one of the original blocks of ,weever's ,funeral ,monuments1 #afca1 preserved in the ,print ,room of the ,british ,museum1 is of beech4 ,footnote ,,ix-#f3 ,a few years ago ,i allowed a rabbit to have the run of a small garden1 where it soon eat up everything except a small bush of box4 ,happening to leave home for two days without making any provision for the rabbit1 ,i found it in a dying state1 and all the leaves nibbled off the box4 ,the rabbit died in the course of a few hours1 and on opening it the cause of its death was apparent--the stomach was full of the leaves of the box4--,see ,brand's ,popular ,antiquities1 vol4 ii4 page #bfe 7,bohn's edit471 for an account of yew poisoning two cows4 ,box when kept long in a dry place becomes unfit for the purpose of engraving4 ,i have at this time in my possession a drawing which has been made on the block about ten years1 but the wood has become so dry and brittle that it would now be impossible to engrave the subject in a proper manner4 ,when the wood does not cut clear1 but crumbles as if it were too dry1 the defect may sometimes be remedied by putting the block into a deep earthenware jug or pan1 and placing such jug or pan in a cool place for ten or twelve hours4 ,when the wood is too hard and dry to be softened in the above manner1 ,i would recommend that the back of the block should be placed in water--in a plate or large dish--to the depth of the sixteenth part of an inch1 for about an hour4 ,if allowed to remain longer there is a risk of the block afterwards splitting4 ,illustration ,box1 of whatever kind1 when not well seasoned1 is extremely liable to warp and bend2 but a little care will frequently prevent many of the accidents to which drawings on unseasoned wood are exposed by neglect4 ,for instance1 when a block is received by the engraver from the designer or publisher1 it ought1 if not directly put in hand1 to be placed on one of its edges1 and not1 as is customary with many1 laid down flat1 with the surface on which the drawing is made upwards4 ,if a block of unseasoned wood be permitted to lie in this manner for a week or two1 it is almost certain to turn up at the edges1 the upper surface becoming concave1 and the lower convex1 as is shown in the annexed cut1 representing the section of such a block4 ,the same thing will occur in the process of engraving1 though to a small extent1 should the engraver's hands be warm and moist2 and also when working by lamp-light without a globe filled with water between the lamp and the block4 ,such slight warping in the course of engraving is1 however1 easily remedied by laying the block with its face--that is1 the surface on which the drawing is made--downward on the desk or table at all times when the engraver is not actually employed on the subject4 ,the block so placed1 provided that it be not of very dry wood1 in a short time recovers its former level4 ,when a block of very dry wood becomes dished1 or concave1 on its upper surface1 as shown in the preceding cut1 there is little chance of its ever again becoming sufficiently flat to allow of its being well printed4 ,when the deviation from a perfect level at the bottom is not so great as to attract the notice of the pressman previous to taking an impression1 the block not unfrequently yields to the action of the platten1 and splits4 ,the fracture remains perhaps unobserved for a short time1 and when it is at length noticed1 the block is probably spoiled beyond remedy4 ,when box is very dry it is extremely difficult to cut a clear line upon it1 as it crumbles1 and small pieces fly out at the sides of the line traced by the graver4 ,the small white spots so frequently seen in the delicate lines of the sky in wood-cuts are occasioned by particles flying out in this manner4 ,if a block consist partly of yellow wood and partly of wood with red rings1 the yellow will cut clear1 while in the red it will be almost impossible to cut a perfect line4 ,when the same piece of wood is yellow and red alternately it is extremely difficult to produce an even tint upon it4 ,wood of this kind ought always to be rejected1 both from the difficulty of engraving upon it with clearness1 and from the uncertainty of the surface continuing perfectly flat1 as the red rings are more liable to shrink in drying than the other parts1 and1 from their thus not receiving a sufficient quantity of ink1 to appear like so many rainbows in the impression4 ,the spaces between those rings are greater or less1 accordingly as the seasons have been favourable or unfavourable to the growth of the tree4 ,besides the injurious effect which those red rings are apt to produce in an impression1 wood of this kind is very unpleasant and uncertain to engrave on2 for as the yellow parts cut pleasant and clear1 the engraver1 unless particularly on his guard1 is betrayed to trust to the whole piece as being of the same uniform tenacity1 and before he is aware of its inequality in this respect1 or can check the progress of his graver1 its point has entered one of those soft red rings1 and1 to the injury of his work1 has either caused a small piece to fly out1 or carried the line further than he intended4 ,wood of this kind is unfit for anything except very common work1 and ought never to be used for delicate engraving4 ,there is no certain means of forming a judgment of box-wood until it be cut into slices or trencher-like pieces from the log2 for many logs which externally appear sound and of a good colour1 prove very faulty and cracked in the centre when sawn up4 ,turkey box is in particular so defective in this respect that a large slice can seldom be procured without a crack4 ,this1 probably1 is occasioned by the manner in which the tree is felled4 ,previous to their beginning to cut down a tree the ,turkish wood-cutters fasten a rope to the top1 by means of which they break the tree down when the bole is little more than half cut through4 ,the consequence is that a shiver frequently extends through the most valuable portion of the log4 ,many artists1 who are not accustomed to make drawings on wood1 erroneously suppose that the block requires some peculiar preparation4 ,nothing more is required than to rub the previously planed and smoothed surface with a little powdered ,bath-brick1 slightly mixed with water3 as little water as possible is1 however1 to be used1 as otherwise the block will absorb too much1 and be afterwards extremely liable to split4 ,when this thin coating is perfectly dry1 it is to be removed by rubbing the block with the palm of the hand4 ,no part of the light powder ought to remain1 for1 otherwise1 the pencil coming in contact with it will make a coarse and comparatively thick line1 which1 besides being a blemish in the drawing1 is very liable to be rubbed off4 ,the object of using the powdered ,bath-brick is to render the surface less slippery1 and thus capable of affording a better hold to the point of the black-lead pencil4 ,when the principal parts of the drawing are first washed in upon the block in ,indian ink1 it is of great advantage to gently rub the surface of the block1 when dry1 with a little dry and finely powdered ,bath-brick1 before the drawing is completed with the black-lead pencil4 ,by this means the hard edges of the ,indian-ink wash will be softened1 the different tints delicately blended1 and the subsequent touches of the pencil be more distinctly seen4 ,some artists1 previous to beginning to draw on the block1 are in the habit of washing over the surface with a mixture of flake-white and gum-water4,,ix-#g ,this practice is1 however1 by no means a good one4 ,the drawing indeed may appear very bright and showy when first made on such a white surface1 but in the progress of engraving a thin film of the preparation will occasionally rise up before the graver and carry with it a portion of the unengraved work1 which the engraver is left to restore according to his ability and recollection4 ,this white ground also mixes with the ink in taking a first proof1 and fills up the finer parts of the cut4 ,if a white wash be used without gum1 the drawing is very liable to be partially effaced in the progress of engraving1 and the engraver left to finish his work as he can4 ,the risk of this inconvenience ought to be especially avoided in making drawings on a block1 as the wood engraver has not the opportunity of referring to another drawing or to an original painting in the manner of an engraver on copper4 ,footnote ,,ix-#g3 ,instead of gum-water1 ,french artists1 who are accustomed to make drawings on wood1 use water in which parchment shavings have been boiled4 ,the less that is done to change the original colour of the wood--by white or any other preparation--so much the better for the engraver2 a piece of clear box is sufficiently light to allow of the most delicate lines being distinctly drawn upon it4 ,when the surface of the block is whitened1 another inconvenience arises besides those already noticed4 ,it is this3 when the drawing is made upon a white ground1 and the subject partially engraved1 the effect of the whole becomes very confused and perplexing to the engraver in consequence of the parts already engraved appearing nearly of the original colour of the wood1 while the ground of the parts not yet cut is white1 as first drawn4 ,the engraver's eye cannot correctly judge of the whole1 and the inconvenience is increased by his neither having an original drawing to refer to1 nor a proof to guide him3 until the cut be completed he has no means of correctly ascertaining whether he has left too much colour or taken too much away4 ,the engraver on copper or on steel can have an impression of his etching as soon as it is bit in1 and can take impressions of the plate at all times in the course of his progress2 the wood engraver1 on the contrary1 enjoys no such advantages2 he is obliged to wait until all be completed ere he can obtain an impression of his work4 ,if the wood engraver has kept his subject generally too dark1 there is not much difficulty in reducing it2 but if he has engraved it too light1 there is no remedy4 ,if a small part be badly engraved1 or the block has sustained an injury1 the defect may be repaired by inserting a small piece of wood and re-engraving it3 this mode of repairing a block is technically termed 8plugging40,,ix-#h ,footnote ,,ix-#h3 ,this mode of repairing a block was practised by the ,german wood engravers of the time of ,albert ,durer4 ,the 8plug0 which they inserted was usually square1 and not circular as at present4 ,the ,french wood engravers of the time of ,papillon continued to employ square plugs4 ,there are two or three instances of cuts thus repaired1 in the ,adventures of ,sir ,theurdank1 ,nuremberg and ,augsburg1 #aeag-aeai4 ,when a block requires to be thus amended or repaired1 it is first to be determined how much is necessary to be taken out that the restoration may accord with the adjacent parts2 for sometimes1 in order to render the insertion less perceptible1 it may be requisite to take out rather more than the part imactually perfect or injured4 ,this being decided on1 a hole is drilled in the block1 as is represented in the next page1 of a size sufficient to admit 8the plug40 ,the hole ought not to be drilled quite through the block1 as the piece let in would1 from the shaking and battering of the press1 be very likely to become loosened4 ,should it receive more pressure at the top than bottom1 it would sink a little below the engraved surface of the block1 and thus appear lighter in the impression than the surrounding parts2 while should it be slightly forced up from below it1 would appear darker1--in each case forming a positive blemish in the cut4,,ix-#i ,when the shape of the part to be restored is too large to be covered with one circular plug1 it is better to add one plug to another till the whole be covered1 than to insert one of a different shape1 and thus fill the space at once4 ,when a single plug is used the section appears thus2 the plug being driven in like a wedge1 and having a vacant space around it at the bottom4 ,if an oblong space of the form ,no4 #a4 is to be restored1 it will be best effected by first inserting a plug at each end1 as at ,no4 #b1 then adding two others1 as at ,no4 #c1 and finally wedging them all fast by a central plug1 as at ,no4 #d1 like the key-stone in an arch4 ,when a plug is firmly fixed1 the top is carefully cut down to the level of the block1 and the part of the subject wanting re-drawn and engraved4 ,when these operations are well performed no trace of the insertion can be discovered1 except by one who should know where to look for it4 ,footnote ,,ix-#i3 ,in a tail-piece at page #eb of ,bewick's ,fables1 edition #ahbc1 a plug which has been inserted appears lighter than the adjacent parts1 in consequence of its having sunk a little below the surface2 and in the cut to the fable of the ,hart and the ,vine1 in the same work1 two large plugs1 at the top1 are darker than the other parts in consequence of their having risen a little above the surface4 ,illustration3 ,,the ,,plug ,,out4 ,illustration3 ,no4 #a4 ,illustration3 ,no4 #b4 ,illustration3 ,no4 #c4 ,illustration3 ,no4 #d4 ,when a cast is taken from a block which requires the insertion of a plug1 the best mode is to have the part intended to be renewed cast blank4 ,in this case a hole of sufficient size is to be drilled in the block1 and afterwards filled up with plaster to the level of the surface4 ,a cast being then taken1 the part to be re-engraved remains blank1 but of a piece with the rest of the metal1 so that there is no possibility of its rising up above or sinking below the surface1 as sometimes happens when a plug is inserted in a wood-block4 ,when the part remaining blank in the cast is engraved in accordance with the work of the surrounding parts1 it is almost impossible to discover any trace of the insertion4 ,the following impression is from a cast of the block illustrating the 8plug10 with the part which appears white in the former cut restored and re-engraved in this manner4 ,a white circular line1 near the handle of the pail1 has been purposely cut to indicate the place of the plug4 ,illustration ,before beginning to engrave any subject1 it is necessary to observe whether the drawing be entirely1 or only in part1 made with a pencil4 ,if it be what is usually called a wash drawing1 with little more than the outlines in pencil1 it is not necessary to be so cautious in defending it from the action of the breath or the occasional touching of the hand2 but if it be entirely in pencil1 too much care cannot be taken to protect it from both4 ,before proceeding to engrave a delicate pencil drawing the block ought to be covered with paper1 with the exception of the part on which it is intended to begin4 ,soft paper ought not to be used for this purpose1 as such is most likely to partially efface the drawing when the hand is pressed upon the block4 ,moderately stout post-paper with a glazed surface is the best2 though some engravers1 in order to preserve their eyes1 which become affected by white paper1 cover the block with blue paper1 which is usually too soft1 and thus expose the drawing to injury4 ,the dingy1 grey1 and over-done appearance of several modern wood-cuts is doubtless owing1 in a great measure1 to the block when in course of engraving having been covered with soft paper1 which has partially effaced the drawing4 ,the drawing1 which originally may have been clear and touchy1 loses its brightness1 and becomes indistinct from its frequent contact with the soft pliable paper2 the spirited dark touches which give it effect are rubbed down to a sober grey1 and all the other parts1 from the same cause1 are comparatively weak4 ,the cut1 being engraved according to the appearance of the drawing1 is tame1 flat1 and spiritless4 ,illustration ,different engravers have different methods of fastening the paper to the block4,,ix-#aj ,some fix it with gum1 or with wafers at the sides2 but this is not a good mode1 for as often as it is necessary to take a view of the whole block1 in order to judge of the progress of the work1 the paper must be torn off1 and afterwards replaced by means of new wafers or fresh gum1 so that before the cut is finished the sides of the block are covered with bits of paper in the manner of a wall or shop-front covered with fragments of posting-bills4 ,the most convenient mode of fastening the paper is to first wrap a piece of stiff and stout thread three or four times round the edges of the block1 and then after making the end fast to remove it4 ,the paper is then to be closely fitted to the block1 and the edges being brought over the sides1 the thread is to be re-placed above it4 ,if the turns of the thread be too tight to pass over the last corner of the block1 ,a1 a piece of string1 ,b1 being passed within them and firmly pulled1 in the manner here represented1 will cause them to stretch a little and pass over on to the edge without difficulty4 ,when this plan is adopted the paper forms a kind of moveable cap1 which can be taken off at pleasure to view the progress of the work1 and replaced without the least trouble4 ,footnote ,,ix-#aj3 ,french wood engravers are accustomed to rub the sides of the block with bees'-wax1 which on being chafed with the thumb-nail becomes slightly softened1 and thus adheres to the paper4 ,i have long been of opinion that many young persons1 when beginning to learn the art of wood engraving1 have injured their sight by unnecessarily using a magnifying glass4 ,at the very commencement of their pupilage boys will furnish themselves with a glass of this kind1 as if it were as much a matter of course as a set of gravers2 they sometimes see men use a glass1 and as at this period they are prone to ape their elders in the profession1 they must have one also2 and as they generally choose such as magnify most1 the result not unfrequently is that their sight is considerably impaired before they are capable of executing anything that really requires much nicety of vision4 ,i would recommend all persons to avoid the use of glasses of any kind1 whether single magnifiers or spectacles1 until impaired sight renders such aids necessary2 and even then to commence with such as are of small magnifying power4 ,the habit of viewing minute objects alternately with a magnifying glass and the naked eye--applying the glass every two or three minutes--is1 ,i am satisfied1 injurious to the sight4 ,the magnifying glass used by wood engravers is similar to that used by watch-makers1 and consists of a single lens1 fitted into a short tube1 which is rather wider at the end applied to the eye4 ,as the glass seldom can be fixed so firmly to the eye as to entirely dispense with holding it1 the engraver is thus frequently obliged to apply his left hand to keep it in its place2 as he cannot hold the block with the same hand at the same time1 or move it as may be required1 so as to enable him to execute his work with freedom1 the consequence is1 that the engraving of a person who is in the habit of using a magnifying glass has frequently a cramped appearance4 ,there are also other disadvantages attendant on the habitual use of a magnifying glass4 ,a person using such a glass must necessarily hold his head aside1 so that the eye on which the glass is fixed may be directly above the part on which he is at work4 ,in order to attain this position1 the eye itself is not unfrequently distorted2 and when it is kept so for any length of time it becomes extremely painful4 ,i never find my eyes so free from pain or aching as when looking at the work directly in front1 without any twisting of the neck so as to bring one eye only immediately above the part in course of execution4 ,i therefore conclude that the eyes are less likely to be injured when thus employed than when one is frequently distorted and pained in looking through a glass4 ,i am here merely speaking from experience1 and not professedly from any theoretic knowledge of optics2 but as ,i have hitherto done without the aid of any magnifying power1 ,i am not without reason convinced that glasses of all kinds ought to be dispensed with until impaired vision renders their use absolutely necessary4 ,i am decidedly of opinion that to use glasses to preserve the sight1 is to meet half way the evil which is thus sought to be averted4 ,a person who has his sense of hearing perfect never thinks of using a trumpet or acoustic instrument in order to preserve it4 ,all wood engravers1 whether their eyes be naturally weak or not1 ought to wear a shade1 similar to that represented in the following figure1 ,no4 #a1 as it both protects the eyes from too strong a light1 and also serves to concentrate the view on the work which the engraver is at the time engaged in executing4 ,illustration3 ,no4 #a4 ,illustration3 ,no4 #b4 ,when speaking on this subject1 it may not be out of place to mention a kind of shade or screen for the nose and mouth1 similar to that in the preceding figure1 ,no4 #b4 ,such a shade or screen is called by ,papillon a mentonnire1,,ix-#aa and its object is to prevent the drawing on the block being injured by the breath in damp or frosty weather4 ,without such a precaution1 a drawing made on the block with black-lead pencil would1 in a great measure1 be effaced by the breath of the engraver passing freely over it in such weather4 ,such a shade or screen is most conveniently made of a piece of thin pasteboard or stiff paper4 ,footnote ,,ix-#aa3 ,papillon's description of a mentonnire is previously noticed at page #dfe4 ,there are various modes of protecting the eyes when working by lamp-light1 but ,i am aware of only one which both protects the eyes from the light and the face from the heat of the lamp4 ,this consists in filling a large transparent glass-globe with clear water1 and placing it in such a manner between the lamp and the workman that the light1 after passing through the globe1 may fall directly on the block1 in the manner represented in the following cut4 ,the height of the lamp can be regulated according to the engraver's convenience1 in consequence of its being moveable on the upright piece of iron or other metal which forms its support4 ,the dotted line shows the direction of the light when the lamp is elevated to the height here seen2 by lowering the lamp a little more1 the dotted line would incline more to a horizontal direction1 and enable the engraver to sit at a greater distance4 ,by the use of those globes one lamp will suffice for three or four persons1 and each person have a much clearer and cooler light than if he had a lamp without a globe solely to himself4,,ix-#ab ,footnote ,,ix-#ab3 ,papillon preferred a kind of bull's-eye lens--loupe--of about three and a half inches diameter1 flat on one side and convex on the other1 to a globe filled with water--un bocal--for the purpose of bringing the light of the lamp to a focus4 ,this bull's-eye he had enclosed in a kind of frame1 which could be inclined to any angle1 or turned in any direction by means of a ball-and-socket joint4 ,he gives a cut of it at page #ge1 vol4 ii4 of his ,trait de la ,gravure en ,bois4--,i have tried the bull's-eye lens1 but though the light was equally good as that from the globe1 ,i found that the heat affected the head in a most unpleasant manner4 ,illustration3 ,,sandbag ,,and ,,block4 ,,globe4 ,,lamp4 ,it has been said1 and with some appearance of truth1 that 8the best engravers use the fewest tools20 but this1 like many other sayings of a similar kind1 does not generally hold good4 ,he undoubtedly ought to be considered the best engraver who executes his work in the best manner with the fewest tools2 while it is no less certain that he is a bad engraver who executes his work badly1 whether he use many or few4 ,no wood engraver who understands his art will incumber his desk or table with a number of useless tools1 though1 from a regard to his own time1 he will take care that he has as many as are necessary4 ,there are some who pride themselves upon executing a great variety of work with one tool1 and hence1 firmly believing in the truth of the saying above quoted1 fancy that they are first-rate engravers4 ,such would be better entitled to the name if they executed their work well4 ,a person who makes his tools his hobby-horse1 and who bestows upon their ornaments--ebony or ivory handles1 silver hoops1 c4--that attention which ought rather to be devoted to his subject1 rarely excels as an engraver4 ,he who is vain of the beautiful appearance of his tools has not often just reason to be proud of his work4 ,illustration ,there are only four kinds of cutting tools,,ix-#ac necessary in wood engraving1 namely3--gravers2 tint-tools2 gouges or scoopers2 and flat tools or chisels4 ,of each of these four kinds there are various sizes4 ,the following cut shows the form of a graver that is principally used for outlining or separating one figure from another4 ,a1 is the back of the tool2 ,b1 the face2 ,c1 the point2 and ,d1 what is technically called the belly4 ,the horizontal dotted line1 #a1 #b1 shows the surface of the block1 and the manner in which part of the handle is cut off after the blade is inserted4,,ix-#ad ,this tool is very fine at the point1 as the line which it cuts ought to be so thin as not to be distinctly perceptible when the cut is printed1 as the intention is merely to form a termination or boundary to a series of lines running in another direction4 ,though it is necessary that the point should be very fine1 yet the blade ought not to be too thin1 for then1 instead of cutting out a piece of the wood1 the tool will merely make a delicate opening1 which would be likely to close as soon as the block should be exposed to the action of the press4 ,when the outline tool becomes too thin at the point the lower part should be rubbed on a hone1 in order to reduce the extreme fineness4 ,footnote ,,ix-#ac3 ,a sharp-edged scraper1 in shape something like a copper-plate engraver's burnisher1 is used in the process of lowering4 ,footnote ,,ix-#ad3 ,the handle1 when received from the turner's1 is perfectly circular at the rounded end2 but after the blade is inserted1 a segment is cut off at the lower part1 as seen in the above cut4 ,illustration ,about eight or nine gravers of different sizes1 beginning from the outline tool1 are generally sufficient4 ,the blades differ little in shape1 when first made1 from those used by copper-plate engravers2 but in order to render them fit for the purpose of wood engraving1 it is necessary to give the points their peculiar form by rubbing them on a ,turkey stone4 ,in this cut are shown the faces and part of the backs of nine gravers of different sizes2 the lower dotted line1 ,a ,c1 shows the extent to which the points of such tools are sometimes ground down by the engraver in order to render them broader4 ,when thus ground down the points are slightly rounded1 and do not remain straight as if cut off by the dotted line ,a ,c4 ,these tools are used for nearly all kinds of work1 except for series of parallel lines1 technically called 8tints40 ,the width of the line cut out1 according to the thickness of the graver towards the point1 is regulated by the pressure of the engraver's hand4 ,illustration ,illustration3 ,,tint-,,tool4 ,,graver4 ,tint-tools are chiefly used to cut parallel lines forming an even and uniform tint1 such as is usually seen in the representation of a clear sky in wood-cuts4 ,they are thinner at the back1 but deeper in the side than gravers1 and the angle of the face1 at the point1 is much more acute4 ,about seven or eight1 of different degrees of fineness1 are generally sufficient4 ,the following cut will afford an idea of the shape of the blades towards the point4 ,the handle of the tint-tool is of the same form as that of a graver4 ,the figure marked ,a presents a side view of the blade2 the others marked ,b show the faces4 ,some engravers never use a tint-tool1 but cut all their lines with a graver4 ,there is1 however1 great uncertainty in cutting a series of parallel lines in this manner1 as the least inclination of the hand to one side will cause the graver to increase the width of the white line cut out1 and undercut the raised one left1 more than if in the same circumstances a tint-tool were used4 ,this will be rendered more evident by a comparison of the points and faces of the two different tools3 ,the tint-tool1 being very little thicker at ,b than at the point ,a1 will cause a very trifling difference in the width of a line in the event of a wrong inclination1 when compared with the inequality occasioned by the unsteady direction of a graver1 whose angle at the point is much greater than that of a proper tint-tool4 ,tint-tools ought to be sufficiently strong at the back to prevent their bending in the middle of the blade when used1 for with a weak tool of this kind the engraver cannot properly guide the point1 and hence freedom of execution is lost4 ,tint-tools that are rather thick in the back are to be preferred to such as are thin1 not only from their allowing of great steadiness in cutting1 but from their leaving the raised lines thicker at the bottom1 and consequently more capable of sustaining the action of the press4 ,a tint-tool that is of the same thickness1 both at the back and the lower part1 cuts out the lines in such manner that a section of them appears thus3 the black or raised lines from which the impression is obtained being no thicker at their base than at the surface2 while a section of the lines cut by a tool that is thicker at the back than at the lower part appears thus4 ,it is evident that lines of this kind1 having a better support at the base1 are much less liable than the former to be broken in printing4 ,gouges of different sizes1 from ,a the smallest to ,b the largest1 as here represented1 are used for scooping out the wood towards the centre of the block2 while flat tools or chisels1 of various sizes1 are chiefly employed in cutting away the wood towards the edges4 ,flat tools of the shape seen in figure ,c are sometimes offered for sale by tool-makers1 but they ought never to be used2 for the projecting corners are very apt to cut under a line1 and thus remove it entirely1 causing great trouble to replace it by inserting new pieces of wood4 ,illustration ,illustration ,illustration3 ,,gouges4 ,illustration3 ,,chisels4 ,illustration3 ,c ,illustration ,the face of both gravers and tint-tools ought to be kept rather long than short2 though if the point be ground too fine1 it will be very liable to break4 ,when the face is long--or1 strictly speaking1 when the angle1 formed by the plane of the face and the lower line of the blade1 is comparatively acute--thus1 a line is cut with much greater clearness than when the face is comparatively obtuse1 and the small shaving cut out turns gently over towards the hand4 ,when1 however1 the face of the tool approaches to the shape seen in the following cut1 the reverse happens2 the small shaving is rather ploughed out than cleanly cut out2 and the force necessary to push the tool forward frequently causes small pieces to fly out at each side of the hollowed line1 more especially if the wood be dry4 ,the shaving also1 instead of turning aside over the face of the tool1 turns over before the point1 thus1 and hinders the engraver from seeing that part of the pencilled line which is directly under it4 ,a short-faced tool of itself prevents the engraver from distinctly seeing the point4 ,when the face of a tool has become obtuse1 it ought to be ground to a proper form1 for instance1 from the shape of the figure ,a to that of ,b4 ,illustration ,illustration ,gravers and tint-tools when first received from the maker are generally too hard1--a defect which is soon discovered by the point breaking off short as soon as it enters the wood4 ,to remedy this1 the blade of the tool ought to be placed with its flat side above a piece of iron--a poker will do very well--nearly red-hot4 ,directly it changes to a straw colour it is to be taken off the iron1 and either dipped in sweet oil or allowed to cool gradually4 ,if removed from the iron while it is still of a straw colour1 it will have been softened no more than sufficient2 but should it have acquired a purple tinge1 it will have been softened too much2 and instead of breaking at the point1 as before1 it will bend4 ,a small grindstone is of great service in grinding down the faces of tools that have become obtuse4 ,a ,turkey stone1 though the operation requires more time1 is however a very good substitute1 as1 besides reducing the face1 the tool receives a point at the same time4 ,though some engravers use only a ,turkey stone for sharpening their tools1 yet a hone in addition is of great advantage4 ,a graver that has received a final polish on a hone cuts a clearer line than one which has only been sharpened on a ,turkey stone2 it also cuts more pleasantly1 gliding smoothly through the wood1 if it be of good quality1 without stirring a particle on each side of the line4 ,illustration ,illustration ,the gravers and tint-tools used for engraving on a plane surface are straight at the point1 as is here represented2 but for engraving on a block rendered concave in certain parts by lowering1 it is necessary that the point should have a slight inclination upwards1 thus4 ,the dotted lines show the direction of the point used for plane surface engraving4 ,there is no difficulty in getting a tool to descend on one side of a part hollowed out or lowered2 but unless the point be slightly inclined upwards1 as is here shown1 it is extremely difficult to make it ascend on the side opposite1 without getting too much hold1 and thus producing a wider white line than was intended4 ,illustration ,as the proper manner of holding the graver is one of the first things that a young wood engraver is taught1 it is necessary to say a few words on this subject4 ,engravers on copper and steel1 who have much harder substances than wood to cut1 hold the graver with the fore-finger extending on the blade beyond the thumb1 thus1 so that by its pressure the point may be pressed into the plate4 ,as box-wood1 however1 is much softer than copper or steel1 and as it is seldom of perfectly equal hardness throughout1 it is necessary to hold the graver in a different manner1 and employ the thumb at once as a stay or rest for the blade1 and as a check upon the force exerted by the palm of the hand1 the motion being chiefly directed by the fore-finger1 as is shown in the following cut4 ,illustration ,the thumb1 with the end resting against the side of the block1 in the manner above represented1 allows the blade to move back and forward with a slight degree of pressure against it1 and in case of a slip it is ever ready to check the graver's progress4 ,this mode of resting the thumb against the edge of the block is1 however1 only applicable when the cuts are so small as to allow of the graver1 when thus guided and controlled1 to reach every part of the subject4 ,when the cut is too large to admit of this1 the thumb then rests upon the surface of the block1 thus3 ,illustration still forming a stay to the blade of the graver1 and a check to its slips1 as before4 ,illustration3 ,no4 #a4 ,illustration3 ,no4 #b4 ,in order to acquire steadiness of hand1 the best thing for a pupil to begin with is the cutting of tints1--that is1 parallel lines2 and the first attempts ought to be made on a small block such as is represented in ,no4 #a1 which will allow each entire line to be cut with the thumb resting against the edge4 ,when lines of this length can be cut with tolerable precision1 the pupil should proceed to blocks of the size of ,no4 #b4 ,he ought also to cut waved tints1 which are not so difficult2 beginning1 as in straight ones1 with a small block1 and gradually proceeding to blocks of greater size4 ,should the wood not cut smoothly in the direction in which he has begun1 he should reverse the block1 and cut his lines in the opposite direction2 for it not unfrequently happens that wood which cuts short and crumbles in one direction will cut clean and smooth the opposite way4 ,it is here necessary to observe1 that if a certain number of lines be cut in one direction1 and another portion1 by reversing the block1 be cut the contrary way1 the tint1 although the same tool may have been used for all1 will be of two different shades1 notwithstanding the pains that may have been taken to keep the lines of an even thickness throughout4 ,this difference in the appearance of the two portions of lines cut from opposite sides is entirely owing to the wood cutting more smoothly in one direction than another1 although the difference in the resistance which it makes to the tool may not be perceptible by the hand of the engraver4 ,it is of great importance that a pupil should be able to cut tints well before he proceeds to any other kind of work4 ,the practice will give him steadiness of hand1 and he will thus acquire a habit of carefully executing such lines1 which subsequently will be of the greatest service4 ,wood engravers who have not been well schooled in this elementary part of their profession often cut their tints carelessly in the first instance1 and1 when they perceive the defect in a proof1 return to their work2 and1 with great loss of time1 keep thinning and dressing the lines1 till they frequently make the tint appear worse than at first4 ,when uniform tints1 both of straight and waved lines1 can be cut with facility1 the learner should proceed to cut tints in which the lines are of unequal distance apart4 ,to effect this1 tools of different sizes are necessary2 for in tints of this kind the different distances between the black lines1 are according to the width of the different tools used to cut them2 though in tints of a graduated tone of colour1 the difference is sometimes entirely produced by increasing the pressure of the graver4 ,in the annexed cut1 ,no4 #c1 the black lines are of equal thickness1 but the width of the white lines between them becomes gradually less from the top to the bottom4 ,by comparing it with ,no4 #d1 the difference between a uniform tint1 where the lines are of the same thickness and equally distant1 and one where the distance between the lines is unequal1 will be more readily understood4 ,illustration3 ,no4 #c4 ,illustration3 ,no4 #d4 ,illustration3 ,no4 #e4 ,a straight-line tint1 either uniform1 or with the lines becoming gradually closer without appearing darker1 is generally adopted to represent a clear blue sky4 ,in ,no4 #c the tint has been commenced with a comparatively broad-pointed tool2 and after cutting a few lines1 less pressure1 thus allowing the black lines to come a little closer together1 has been used1 till it became necessary to change the tool for one less broad in the face4 ,in this manner a succession of tools1 each finer than the preceding1 has been employed till the tint was completed4--,to be able to produce a tint of delicately graduated tone1 it is necessary that the engraver should be well acquainted with the use of his tools1 and also have a correct eye4 ,the following is a specimen of a tint cut entirely with the same graver1 the difference in the colour being produced by increasing the pressure in the lighter parts4 ,tints of this kind are obtained with greater facility and certainty by using a graver1 and increasing the pressure1 than by using several tint-tools4 ,on comparing ,no4 #c with ,no4 #e1 it will be perceived that the black lines in the latter decrease in thickness as they approach the bottom of the cut1 while in the former they are of a uniform thickness throughout4 ,if a clear sky is to be represented1 there is no other mode of making that part near the horizon appear to recede except by means of fine black lines becoming gradually closer as they descend1 as seen in the tint ,no4 #c4 ,as the black lines in this tint are closer at the bottom than at the top1 it might naturally be supposed that the colour would be proportionably stronger in that part4 ,it is1 however1 known by experience that the unequal distance of the lines in such a tint does not cause any perceptible difference in the colour2 as the upper lines1 in consequence of their being more apart1 print thicker1 and thus counterbalance the effect of the greater closeness of the others4 ,the two following cuts are specimens of tints represented by means of waved lines3 in ,no4 #f the lines are slightly undulated2 in ,no4 #g they have more of the appearance of zig-zag4 ,illustration3 ,no4 #f4 ,illustration3 ,no4 #g4 ,waved lines are generally introduced to represent clouds1 as they not only form a contrast with the straight lines of the sky1 but from their form suggest the idea of motion4 ,it is necessary to observe1 that if the alternate undulations in such lines be too much curved1 the tint1 when printed1 will appear as if intersected from top to bottom1 like wicker-work with perpendicular stakes1 in the manner shown in the following specimen1 ,no4 #h4 ,this appearance is caused by the unequal pressure of the tool in forming the small curves of which each line is composed1 thus making the black or raised line rather thicker in some parts than in others1 and the white interstices wide or narrow in the same proportion4 ,the appearance of such a tint is precisely the same whether cut by hand or by a machine4,,ix-#ae ,in executing waved tints it is therefore necessary to be particularly careful not to get the undulations too much curved4 ,footnote ,,ix-#ae3 ,the sky in many of the large wood engravings executed in ,london is now cut by means of a machine invented by ,mr4 ,john ,parkhouse4 ,in many steel engravings the sky is ruled in by means of a machine by persons who do little else4 ,illustration3 ,no4 #h4 ,as the choice of proper tints depends on taste1 no specific rules can be laid down to guide a person in their selection4 ,the proper use of lines of various kinds as applied to the execution of wood-cuts1 is a most important consideration to the engraver1 as upon their proper application all indications of form1 texture1 and conventional colour entirely depend4 ,lines are not to be introduced merely as such1--to display the mechanical skill of the engraver2 they ought to be the signs of an artistic meaning1 and be judged of accordingly as they serve to express it with feeling and correctness4 ,some wood engravers are but too apt to pride themselves on the delicacy of their lining1 without considering whether it be well adapted to express their subject2 and to fancy that excellence in the art consists chiefly in cutting with great labour a number of delicate unmeaning lines4 ,to such an extent is this carried by some of this class that they spend more time in expressing the mere scratches of the designer's pencil in a shade than a ,bewick or a ,clennell would require to engrave a cut full of meaning and interest4 ,mere delicacy of lines will not1 however1 compensate for want of natural expression1 nor laborious trifling for that vigorous execution which is the result of feeling4 8,expression10 says ,flaxman1 8engages the attention1 and excites an interest which compensates for a multitude of defects--whilst the most admirable execution1 without a just and lively expression1 will be disregarded as laborious inanity1 or contemned as an illusory endeavour to impose on the feelings and the understanding4-- ,sentiment gives a sterling value1 an irresistible charm1 to the rudest imagery or the most unpractised scrawl4 ,by this quality a firm alliance is formed with the affections in all works of art40,,ix-#af ,perpetrators of laborious inanities find1 however1 their admirers2 and an amateur of such delicacies is in raptures with a specimen of 8exquisitely fine lining10 and when told that such wood-peckings are1 as works of art1 much inferior to the productions of ,bewick1 he asks where his works are to be found2 and after he has examined them he pronounces them 8coarse and tasteless1--the rude efforts of a country engraver10 and not to be compared with certain delicate1 but spiritless1 wood engravings of the present day4 ,footnote ,,ix-#af3 ,lectures on ,sculpture1 pp4 #agb-aic4 ,with respect to the direction of lines1 it ought at all times to be borne in mind by the wood engraver1--and more especially when the lines are not laid in by the designer1--that they should be disposed so as to denote the peculiar form of the object they are intended to represent4 ,for instance1 in the limb of a figure they ought not to run horizontally or vertically1--conveying the idea of either a flat surface or of a hard cylindrical form1--but with a gentle curvature suitable to the shape and the degree of rotundity required4 ,a well chosen line makes a great difference in properly representing an object1 when compared with one less appropriate1 though more delicate4 ,the proper disposition of lines will not only express the form required1 but also produce more colour as they approach each other in approximating curves1 as in the following example1 and thus represent a variety of light and shade1 without the necessity of introducing other lines crossing them1 which ought always to be avoided in small subjects3 if1 however1 the figures be large1 it is necessary to break the hard appearance of a series of such single lines by crossing them with others more delicate4 ,illustration ,in cutting curved lines1 considerable difficulty is experienced by not commencing properly4 ,for instance1 if in executing a series of such lines as are shown in the preceding cut1 the engraver commences at ,a1 and works towards ,b1 the tool will always be apt to cut through the black line already formed2 whereas by commencing at ,b1 and working towards ,a1 the graver is always outside of the curve1 and consequently never touches the lines previously cut4,,ix-#ag ,this difference ought always to be borne in mind when engraving a series of curved lines1 as1 by commencing properly1 the work is executed with greater freedom and ease1 while the inconvenience arising from slips is avoided4 ,when such lines are introduced to represent the rotundity of a limb1 with a break of white in the middle expressive of its greatest prominence1 as is shown in the following figure ,a1 it is advisable that they should be first laid in as if intended to be continuous1 as is seen in figure ,b1 and the part which appears white in ,a lowered out before beginning to cut them1 as by this means all risk of their disagreeing1 as in ,c1 will be avoided4 ,illustrations3 ,a ,b ,c ,footnote ,,ix-#ag3 ,as the drawing is the reverse of the impression1 it is necessary to observe that the motion of the graver in this case is from right to left on the block1--that is1 the point ,b forms the beginning1 and not the termination1 of the first line when the work is properly commenced4 ,the lines are represented in the cut as they would appear when drawn on a block to be engraved in the manner recommended4 ,the rotundity of a column or similar object is represented by means of parallel lines1 which are comparatively open in the middle where light is required1 but which are engraved closer and thicker towards the sides to express shade4 ,the effect of such lines will be rendered more evident by comparing the column in the annexed cut with the square base1 which is represented by a series of equidistant lines1 each of the same thickness as those in the middle of the column4 ,illustration ,many more examples of tints and simple lines might be given2 but1 as no real benefit would be derived from them1 it is needless to increase the number1 and make 8much ado about nothing40 ,every new subject that the engraver commences presents something new for him to effect1 and requires the exercise of his taste and judgment as to the best mode of executing it1 so that the whole may have some claim to the character of a work of art4 ,if a thousand examples were given1 they would not enable an engraver to execute a subject properly1 unless he were endowed with that indefinable feeling which at once suggests the best means of attaining his end4 ,such feeling may indeed be excited1 but can never be perfectly communicated by rules and examples4 ,in this respect every artist1 whether a humble wood engraver1 or a sculptor or a painter of the highest class1 must be self-instructed2 the feeling displayed in his works must be the result of his own perceptions and ideas of beauty and propriety4 ,it is the difference in feeling1 rather than any greater or less degree of excellence in the mechanical execution1 that distinguishes the paintings of ,raffaele from those of ,le ,brun1 ,flaxman's statues from those of ,roubilliac1 and the cuts in the ,lyons ,dance of ,death from many of the laborious inanities of the present day4 ,clear1 unruffled water1 and all bright and smooth metallic substances1 are best represented by single lines2 for if cross-lines be introduced1 except to indicate a strong shadow1 it gives to them the appearance of roughness1 which is not at all in accordance with the ideas which such substances naturally excite4 ,objects which appear to reflect brilliant flashes of light ought to be carefully dealt with1 leaving plenty of black as a ground-work1 for in wood engravings such lights can only be effectively represented by contrast with deep colour4 ,reflected lights are in general best represented by means of single lines running in the direction of the object1 with a few touches of white judiciously taken out4 ,in this respect ,clennell particularly excelled as a wood engraver4 ,painting itself can scarcely represent reflected lights with greater effect than he has expressed them in several of his cuts4 ,in ,harvey's large cut of the ,death of ,dentatus1 after ,haydon's noble picture1 the shield of ,dentatus affords an instance of reflected light most admirably represented4 ,illustration ,illustration ,as my object is to point out to the uninitiated the method of cutting certain lines1 rather than to engage in the fruitless task of showing how such lines are to be generally applied1 ,i shall now proceed to offer a few observations on engraving in outline1 a process with which the learner ought to be well acquainted before he attempts subjects consisting of complicated lines4 ,the word outline in wood engraving has two meanings3 it is used1 first1 to denote the distinct boundaries of all kinds of objects2 and secondly1 to denote the delicate white line that is cut round any figure or object in order to form a boundary to the lines by which such figure or object is surrounded1 and to thus allow of their easier liberation3 it forms as it were a terminal furrow into which the lines surrounding the figure run4 ,in speaking of this second outline in future1 it will be distinguished as the white outline2 while the other1 which properly defines the different figures and forms1 will be called the true or proper outline1 or simply the outline1 without any distinctive additional term4 ,as the white outline ought never to be distinctly visible in an impression1 care ought to be taken1 more especially where the adjacent tint is dark1 not to cut it too deep or too wide4 ,in the first of the two following cuts1 the white outline1 intentionally cut rather wider than is necessary1 is distinctly seen from its contrast with the dark parts immediately in contact with it4 ,in the second cut of the same subject1 with a different back-ground1 it is less visible in consequence of the parts adjacent being light4 ,it is1 however1 still distinctly seen in the shadow of the feet2 but it is shown here purposely to point out an error which is sometimes committed by cutting a white outline where1 as in these parts1 it is not required4 ,the white outline is here quite unnecessary1 as the two blacks ought not to be separated in such a manner2 the proper intention of the white outline is not so much to define the form of the figure or object1 but1 as has been already explained1 to make an incision in the wood as a boundary to other lines coming against it1 and to allow of their being clearly liberated without injury to the proper outline of the object3 when a line is cut to such a boundary1 the small shaving forced out by the graver becomes immediately released1 without the point of the tool coming in contact with the true outline4 ,the old ,german wood engravers1 who chiefly engraved large subjects on apple or pear tree1 and on the side of the wood1 were not in the habit of cutting a white outline round their figures before they began to engrave them1 and hence in their cuts objects frequently appear to stick to each other4 ,the practice is now1 however1 so general1 that in many modern wood-cuts a white line is improperly seen surrounding every figure4 ,illustration ,in proceeding to engrave figures1 it is advisable to commence with such as consist of little more than outline1 and have no shades expressed by cross-lines4 ,the first step in executing such a subject is to cut a white line on each side of the pencilled lines which are to remain in relief of the height of the plane surface of the block1 and to form the impression when it is printed4 ,a cut when thus engraved1 and previous to the parts which are white1 when printed1 being cut away1 or1 in technical language1 blocked out1 would present the following appearance4,,ix-#ah ,it is1 however1 necessary to observe that all the parts which require to be blocked away have been purposely retained in this cut in order to show more clearly the manner in which it is executed2 for the engraver usually cuts away as he proceeds all the black masses seen within the subject4 ,a wide margin of solid wood round the edges of the cut is1 however1 generally allowed to remain until a proof be taken when the engraving is finished1 as it affords a support to the paper1 and prevents the exterior lines of the subject from appearing too hard4 ,this margin1 where room is allowed1 is separated from the engraved parts by a moderately deep and wide furrow1 and is covered with a piece of paper serving as a frisket in taking a proof impression by means of friction4 ,in clearing away such of the black parts in the preceding cut as require to be removed1 it is necessary to proceed with great care in order to avoid breaking down or cutting through the lines which are to be left in relief4 ,when the cut is properly cleared out and blocked away1 it is then finished1 and when printed will appear thus3 ,footnote ,,ix-#ah3 ,the subject of this cut is the beautiful monument to the memory of two children executed by ,sir ,f4 ,chantrey1 in ,lichfield ,cathedral4 ,illustration ,illustration ,sculptures and bas-reliefs of any kind are generally best represented by simple outlines1 with delicate parallel lines1 running horizontally1 to represent the ground4 ,the following cut is from a design by ,flaxman for the front of a gold snuff-box made by ,rundell and ,bridge for ,george ,,iv4 about #ahbg4 ,the subject of this design was intended to commemorate the ,general ,peace concluded in #ahad3 to the left ,agriculture is seen flourishing under the auspices of ,peace2 while to the right a youthful figure is seen placing a wreath above the helmet of a warrior2 the trophy indicates his services1 and opposite to him is seated a figure of ,victory4 ,the three other sides1 and the top and bottom1 were also embellished with figures and ornaments in relief designed by ,flaxman4 ,the whole of the dies were cut in steel by ,henning and ,son--so well known to admirers of art from their beautiful reduced copies and restorations of the sculptures of the ,parthenon preserved in the ,british ,museum--and from these dies the plates of gold composing the box were struck1 so that the figures appear in slight relief4 ,a blank space was left in the top of the box for an enamel portrait of the ,king1 which was afterwards inserted1 surrounded with diamonds1 and the margin of the lid was also ornamented in the same manner4 ,this box is perhaps the most beautiful of the kind ever executed in any country3 it may justly challenge a comparison with the drinking cups by ,benvenuto ,cellini1 the dagger hafts designed by ,durer1 or the salts by ,hans ,holbein4 ,the process of engraving in this style is extremely simple1 as it is only necessary to leave the lines drawn in pencil untouched1 and to cut away the wood on each side of them4 ,an amateur may without much trouble teach himself to execute cuts in this manner1 or to engrave fac-similes of small pen-and-ink sketches such as the annexed4,,ix-#ai ,illustration ,footnote ,,ix-#ai3 ,this small cut is a fac-simile1 the size of the original1 of ,sir ,david ,wilkie's first sketch for his picture of the ,rabbit on the ,wall4 ,having now explained the mode of procedure in outline engraving1 it seems necessary1 before proceeding to speak of more complicated subjects1 to say a few words respecting drawings made on the block2 for1 however well the engraving may be executed1 the cut which is a fac-simile of a bad drawing can never be a good one4 ,an artist's knowledge of drawing is put to the test when he begins to make designs on wood2 he cannot resort1 as in painting1 to the trick of colour to conceal the defects of his outlines4 ,to be efficient in the engraving1 his principal figures must be distinctly made out2 a drawing on the wood admits of no scumbling2 black and white are the only means by which the subject can be represented2 and if he be ignorant of the proper management of chiaro-scuro1 and incorrect and feeble in his drawing1 he will not be able to produce a really good design for the wood engraver4 ,many persons can paint a tolerably good picture who are utterly incapable of making a passable drawing on wood4 ,their drawing will not stand the test of simple black and white2 they can indicate generalities 8indifferently well0 by means of positive colours1 but they cannot delineate individual forms correctly with the black-lead pencil4 ,it is from this cause that we have so very few persons who professedly make designs for wood engravers2 and hence the sameness of character that is to be found in so many modern wood-cuts4 ,it is not unusual for many second and third rate painters1 when applied to for a drawing for a wood-cut1 to speak slightingly of the art1 and to decline to furnish the design required4 ,this generally results rather from a consciousness of their own incapacity than from any real contempt for the art4 ,as greater painters than any now living have made designs for wood engravers in former times1 a second or third rate painter of the present day surely could not be much degraded by doing the same4 ,the true reason for the refusal1 however1 is generally to be found in such painter's incapacity4 ,the two next cuts1 both drawn from the same sketch1,,ix-#bj but by different persons1 will show how much depends upon having a good1 artist-like drawing4 ,the first is meagre2 the second1 on the contrary1 is remarkably spirited1 and the additional lines which are introduced not only give effect to the figure1 but also in printing form a support to the more delicate parts of the outline4 ,illustration3 ,no #a4 ,illustration3 ,no4 #b4 ,footnote ,,ix-#bj3 ,the original sketch1 from which the figure was copied1 is by ,morland4 ,though a learner in proceeding from one subject to another more complicated will doubtless meet with difficulties which may occasionally damp his ardour1 yet he will encounter none which will not yield to earnest perseverance4 ,as it is not likely that any amateur practising the art merely for amusement would be inclined to test his patience by proceeding beyond outline engraving1 the succeeding remarks are more especially addressed to those who may wish to apply themselves to wood engraving as a profession4 ,when beginning to engrave in outline1 it is advisable that the subjects first attempted should be of the most simple kind1--similar1 for instance1 to the preceding figure marked ,no4 #a4 ,when facility in executing cuts in this style is obtained1 the learner may proceed to engrave such as are slightly shaded1 and have a back-ground indicated as in ,no4 #b4 ,he may next proceed to subjects containing a greater variety of lines1 and requiring greater neatness of execution1 but should by no means endeavour to get on too fast by attempting to do much before he can do a little well4 ,whatever kind of subject be chosen1 particular attention ought to be paid to the causes of failure and success in the execution4 ,by diligently noting what produces a good effect in certain subjects1 he will1 under similar circumstances1 be prepared to apply the same means2 and by attending to the faults in his work he will be the more careful to avoid them in future4 ,the group of figures here1 selected from ,sir ,david ,wilkie's picture of the ,rent ,day1 will serve as an example of a cut executed by comparatively simple means2 the subject is also such a one as a pupil may attempt after he has made some progress in engraving slightly shaded figures4 ,there are no complicated lines which are difficult to execute2 the hatchings are few1 and of simple character2 and for the execution of the whole1 as here represented1 nothing is required but a feeling for the subject2 and a moderate degree of skill in the use of the graver1 combined with patient application4 ,illustration ,when the pupil is thus far advanced1 he ought1 in subjects of this kind1 to avoid introducing more work1 more especially in the features1 than he can execute with comparative facility and precision2 for1 by attempting to attain excellence before he has arrived at mediocrity1 he will be very likely to fail1 and instead of having reason to congratulate himself on his success1 experience nothing but disappointment4 ,to make wood engraving an interesting1 instead of an irksome study to young persons1 ,i would recommend for their practice not only such subjects as are likely to engage their attention1 but also such as they may be able to finish before they become weary of their task4 ,at this period every endeavour ought to be made to smooth the pupil's way by giving him such subjects to execute as will rather serve to stimulate his exertions than exhaust his patience4 ,little characteristic figures1 like the one here copied1 from one of ,hogarth's plates of the ,four ,parts of the ,day1 seem most suitable for this purpose4 ,a subject of this kind does not contain so much work as to render a young person tired of it before it be finished2 while at the same time it serves to exercise him in the practice of the art and to engage his attention4 ,illustration ,when a pupil feels no interest in what he is employed on1 he will seldom execute his work well2 and when he is kept too long in engraving subjects that merely try his patience1 he is apt to lose all taste for the art1 and become a mere mechanical cutter of lines1 without caring for what they express4 ,such a cut as the following--copied from an etching by ,rembrandt--will form a useful exercise to the pupil1 after he has attained facility in the execution of outline subjects1 while at the same time it will serve to display the excellent effect in wood engravings of well contrasted light and shade4 ,the hog--which is here the principal object-- immediately arrests the eye1 while the figures in the back-ground1 being introduced merely to aid the composition and form a medium between the dark colour of the animal and the white paper1 consist of little more than outline1 and are comparatively light4 ,in engraving the hog1 it is necessary to exercise a little judgment in representing the bristly hair1 and in touching the details effectively4 ,illustration ,when a learner has made some progress1 he may attempt such a cut as that on the next page in order to exercise himself in the appropriate representation of animal texture4 ,the subject is a dray-horse1 formerly belonging to ,messrs4 ,meux and ,co41 and the drawing was made on the block by ,james ,ward1 ,r4,a41 one of the most distinguished animal painters of the present time4 ,such a cut1 though executed by simple means1 affords an excellent test of a learner's skill and discrimination3 the hide is smooth and glossy2 the mane is thick and tangled2 the long flowing hair of the tail has to be represented in a proper manner2 and the markings of the joints require the exercise of both judgment and skill4 ,by attending to such distinctions at the commencement of his career1 he will find less difficulty in representing objects by appropriate texture when he shall have made greater progress1 and will not be entirely dependent on a designer to lay in for him every line4 ,an engraver who requires every line to be drawn1 and who is only capable of executing a fac-simile of a design made for him on the block1 can never excel4 ,illustration ,as enough perhaps has been said in explanation of the manner of cutting tints1 and of figures chiefly represented by single lines1 ,i shall now give a cut--,jacob blessing the children of ,joseph--in which single-lined figures and tint are combined4 ,it is necessary to observe that this cut is not introduced as a good specimen of engraving1 but as being well adapted1 from the simplicity of its execution1 to illustrate what ,i have to say4 ,the figures are represented by single lines1 which require the exercise of no great degree of skill2 and by the introduction of a varied tint as a back-ground the cut appears like a complete subject1 and not like a sketch1 or a detached group4 ,it is necessary to remark here1 that when comparatively light objects1 such as the figures here seen1 are to be relieved by a tint of any kind1 whether darker or lighter1 such objects are now generally separated from it by a black outline4 ,the reason for leaving such an outline in parts where the conjunction of the tint and the figures does not render it absolutely necessary is this3 as those parts in a cut which appear white in the impression are to be cut away--as has already been explained1--it frequently happens that when they are cut away first1 and the tint cut afterwards1 the wood breaks away near the termination of the line before the tool arrives at the blank or white4 ,it is1 therefore1 extremely difficult to preserve a distinct outline in this manner1 and hence a black conventional outline is introduced in those parts where properly there ought to be none1 except such as is formed by the tint relieving against the white parts1 as is seen in the back part of the head of ,jacob in the present cut1 where there is no other outline than that which is formed by the tint relieving against his white cap4 ,bewick used to execute all his subjects in this manner2 but he not unfrequently carried this principle too far1 not only running the lines of his tints into the white on the light side of his figures1--that is1 on the side on which the light falls1--but also on both sides of a light object4 ,illustration ,before dismissing this part of the subject1 it is necessary to observe further1 that when the white parts are cut away before the tint is introduced1 the conventional black outline is very liable to be cut through by the tool slipping4 ,this will be rendered more intelligible by an inspection of the following cut1,,ix-#ba where the house is seen finished1 and the part where a tint is intended to be subsequently engraved appears black4 ,any person in the least acquainted with the practice of wood engraving1 will perceive1 that should the tool happen to slip when near the finished parts1 in coming directly towards them1 it will be very likely to cut the outline through1 and to make a breach in proportion as such outline may be thin1 and thus yield more readily to the force of the tool4 ,footnote ,,ix-#ba3 ,in this cut the white outline1 mentioned at page #ehg1 is distinctly seen at the top of the buildings and above the trees4 ,illustration ,when the tint is cut first1 instead of being left to be executed last1 as it would be in the preceding cut1 the mass of wood out of which the house is subsequently engraved serves as a kind of barrier to the tool in the event of its slipping1 and allows of the tint being cut with less risk quite up to the white outline4 ,by attending to such matters1 and considering what part of a subject can be most safely executed first1 a learner will both avoid the risk of cutting through his outline1 and be enabled to execute his work with comparative facility4 ,the following cut is an example of the tint being cut first4 ,for the information of those who are unacquainted with the process of wood engraving1 it is necessary to remark that the parts which appear positively black are those which remain untouched by the graver4 ,illustration ,the following subject1 copied from one of ,rembrandt's etchings1 is chiefly represented by black lines crossing each other4 ,such lines1 usually termed cross-hatchings1 are executed with great facility in copper and steel1 where they are cut into the metal2 but in wood engraving1 where they are left in relief1 it requires considerable time and attention to execute them with delicacy and precision4 ,in order to explain more clearly the difficulty of executing cross-hatchings1 let it be conceived that this cut is a drawing made on a block1 and that the engraver's object is to produce a fac-simile of it3 now1 as each black line is to be left in relief1 it is evident that he cannot imitate the cross-hatchings seen in the arms1 the neck1 and other parts1 by cutting the lines continuously as in engraving on copper1 which puts black in by means of an incision1 while in wood engraving a similar line takes it out4 ,as the wood engraver1 then1 can only obtain white by cutting out the parts that are to appear so in the impression1 while the black is to be left in relief1 the only manner in which he is enabled to represent cross-hatchings1 or black lines crossing each other1 is to cut out singly with his graver every one of the white interstices4 ,such an operation1 as will be evident from an inspection of this cut1 necessarily requires not only patience1 but also considerable skill to perform it in a proper manner1--that is1 to cut each white space cleanly out1 and to preserve the lines of a regular thickness4 ,from the supposed impossibility of executing such cross lines1 it has been conjectured that many of the old wood-cuts containing such work were engraved in metallic relief3 this opinion1 however1 is sufficiently refuted1 by the fact of hundreds of blocks containing cross-hatchings being still in existence1 and by the much more delicate and difficult work of the same kind displayed in modern wood engravings4 ,not only are cross-hatchings of the greatest delicacy now executed in ,england1 but to such a degree of refinement is the process occasionally carried1 that small black touches--such as may be perceived in the preceding cut in the folds of the sleeve above the elbow of the right arm--are left in the white interstices between the lines4 ,cross-hatchings1 where the interstices are entirely white1 are executed by means of a lozenge-pointed tool1 and the piece of wood is removed at two cuts1 each beginning at the opposite angles4 ,where a small black touch is left within the interstices1 the operation becomes more difficult1 and is performed by cutting round such minute touch of black with a finely pointed graver4 ,illustration ,the various conjectures that have been propounded respecting the mode in which cross-hatchings have been effected in old wood-cuts require no argument to refute them1 as they are directly contradicted both by undoubted historical facts1 and by every day's experience4 ,vegetable putties1 punches1 and metallic relief are nothing but the trifling speculations of persons who are fonder of propounding theories to display their own ingenuity than willing to investigate facts in order to arrive at the truth4 ,it has happened rather unfortunately1 that most persons who have hitherto written upon the subject have known very little about the practice of wood engraving1 and have not thought it worth their while to consult those who were able to give them information4 ,there is1 however1 no fear now of a young wood engraver being deterred from attempting cross-hatchings on learning from certain heretofore authorities on the subject that such work could not be executed on wood4 ,he now laughs at vegetable putties1 square-pointed punches for indenting the block to produce cross-hatchings1 and metallic relief3 by means of his graver alone he produces a practical refutation of every baseless theory that has been propounded on the subject4 ,the right leg of ,dentatus in ,mr4 ,harvey's large wood engraving after ,mr4 ,haydon's picture is perhaps the most beautiful specimen of cross-hatching that ever was executed on wood2 and1 in my opinion1 it is the best engraved part of the whole subject4 ,through the kindness of ,mr4 ,harvey1 ,i have obtained a cast of this portion of the block1 from which the present impression is printed4 ,the lines showing the muscular rotundity and action of the limb are as admirably laid in as they are beautifully engraved4 ,in the wider and stronger cross-hatchings of the drapery above1 the small black touches previously mentioned are perceived in the lozenge-shaped interstices4 ,illustration ,from an opinion that the excellence of an engraving consists chiefly in the difficulty of its execution1 we now frequently find cross-hatchings in several modern wood-cuts1 more especially in such as are manufactured for the ,french market1 where a better effect would have been produced by simpler means4 ,cross-hatchings1 properly introduced1 undoubtedly improve a subject2 and some parts of large figures1 such as the leg of ,dentatus1 cannot be well expressed without their aid1 as a series of curved lines on a limb1 when not crossed1 generally cause it to appear stiff and rigid4 ,by crossing them1 however1 by other lines properly laid in1 the part assumes a most soft and natural appearance4 ,as the greatest advantage which wood engraving possesses over copper is the effective manner in which strongly contrasted light and shade can be represented1 ,rembrandt's etchings1--which1 like his paintings1 are distinguished by the skilful management of the chiaro-scuro--form excellent studies for the engraver or designer on wood who should wish to become well acquainted with the capabilities of the art4 ,a delicate wood-cut1 executed in imitation of a smooth steel-engraving of 8sober grey0 tone1 is sure to be tame and insipid2 and whenever wood engravers attempt to give to their cuts the appearance of copper or steel-plates1 and neglect the peculiar advantages of their own art1 they are sure to fail1 notwithstanding the pains they may bestow4 ,their work1 instead of being commended as a successful application of the peculiar means of the art1 is in effect condemned by being regarded as 8a clever imitation of a copper-plate40 ,illustration ,the above cut of ,christ and the ,woman of ,samaria1 copied from an etching by ,rembrandt1 will perhaps more forcibly illustrate what has been said with respect to wood engraving being excellently adapted to effectively express strong contrasts of light and shade4 ,the original etching--which has been faithfully copied--is a good example of ,rembrandt's consummate skill in the management of chiaro-scuro2 everything that he has wished to forcibly express immediately arrests the eye1 while in the whole design nothing appears abrupt4 ,the extremes of light and shade concentre in the principal figure1 that of ,christ1 and to this everything else in the composition is either subordinate or accessory4 ,the middle tint under the arched passage forms a medium between the darkness of ,christ's robe and the shade under the curve of the nearest arch1 and the light in the front of his figure is gradually carried off to the left through the medium of the woman and the distant buildings1 which gradually approach to the colour of the paper4 ,were a tint1 however delicate1 introduced in this subject to represent the sky1 the effect would be destroyed2 the parts which are now so effective would appear spotted and confused1 and have a crude1 unfinished appearance4 ,by the injudicious introduction of a tinted sky many wood-cuts1 which would otherwise be striking and effective1 are quite spoiled4 ,it but too frequently happens when works are illustrated with wood-cuts1 that subjects are chosen which the art cannot successfully represent4 ,whether the work to be illustrated be matter of fact or fiction1 the designer1 unless he be acquainted both with the capabilities and defects of the art1 seldom thinks of more than making a drawing according to his own fancy1 and never takes into consideration the means by which it has to be executed4 ,to this inattention may be traced many failures in works illustrated with wood-cuts1 and for which the engraver is censured1 although he may have1 with great care and skill1 accomplished all that the art could effect4 ,an artist who is desirous that his designs1 when engraved on wood1 should appear like impressions from over-done steel-plates1 ought never to be employed to make drawings for wood engravers3 he does not understand the peculiar advantages of the art1 and his designs will only have a tendency to bring it into contempt1 while those who execute them will be blamed for the defects which are the result of his want of knowledge4 ,delicate wood engravings which are made to look well in a proof on ,india paper by rubbing the ink partially off the block in the lighter parts--in the manner described by ,papillon at page #dff--;generally present a very different appearance when printed1 either with or without types in the same page4 ,lines which are cut too thin are very liable to turn down in printing from their want of support2 and hence cuts consisting chiefly of such lines are seldom so durable as those which display more black1 and are executed in a more bold and effective style4 ,a designer who understands the peculiarities of wood engraving will avoid introducing delicate lines in parts where they receive no support from others of greater strength or closeness near to them1 but are exposed to the unmitigated force of the press4 ,cuts in proportion to the quantity of colour which they display are so much the better enabled to bear the action of the press2 the delicate lines which they contain1 from their receiving support from the others1 are not only less liable to break down1 but1 from their contrast with the darker parts of the subject1 appear to greater advantage than in a cut which is of a uniformly grey tone4 ,i am not1 however1 the advocate of black1 and little else1 in a wood-cut2 on the contrary1 ,i am perfectly aware of the absurdity of introducing patches of black without either meaning or effect4 ,what ,i wish to inculcate is1 that a wood-cut to have a good effect must contain more of properly contrasted black and white than those who wish their cuts to appear like imitations of steel or copper-plate engravings are willing to allow4 ,as wood engraving is not well adapted to represent subjects requiring great delicacy of lines and variety of tints1 such will be generally avoided by a designer who understands the art2 while1 on the contrary1 he will avail himself of its advantages in representing well contrasted light and shade in a manner superior to either copper-plate or steel engraving4 ,of all modern engravers on wood1 none understood the advantages of their art in this respect better than ,bewick and ,clennell3 the cuts of their engraving are generally the most effective that have ever been executed4 ,night-pieces1 where the light is seen proceeding from a lantern1 a lamp1 or any other luminous object1 can be well represented by means of wood engraving1 although such subjects are very seldom attempted4 ,an engraved wood-block1 which contains a considerable proportion of positive black1 prints much better than a copper-plate engraving of the same kind2 in the former the ink is distributed of an even thickness over the surface1 and is evenly pressed upon the paper2 in the latter the ink forms a little pool in the hollowed parts1 and1 instead of being evenly taken up by the paper which is pressed into it1 adheres only partially1 thus giving in the corresponding parts a blurred appearance to the impression4 ,for the effective representation of such scenes as ,meg ,merrilies watching by a feeble light the dying struggles of a smuggler1 or ,dirk ,hatterick in the ,cave1 from ,sir ,walter ,scott's ,guy ,mannering1 wood engraving is peculiarly adapted1--that is1 supposing the designer1 in addition to possessing a knowledge of chiaro-scuro1 to be also capable of drawing correctly1 and of treating the subject with proper feeling4 ,some idea of the capability of the art in this respect may be formed from the following cut--the ,flight into ,egypt1--copied from an etching by ,rembrandt4 ,the mere work in this cut is of a very simple character2 there are no lines of difficult execution2 and the only parts that are lowered are those which represent the rays of light seen proceeding from the lantern4 ,illustration ,as the wood engraver can always get his subject lighter1 but cannot reproduce the black which he has cut away1 he ought to be careful not to get his subject too light before he has taken a proof2 and even in reducing the colour according to the touchings of the designer on the proof1 he ought to proceed with great circumspection2 and where his own judgment informs him that to take out all the black marked for excision would be to spoil the cut1 the safest mode would be to take out only a part1 and not remove all at once2 for by strictly adhering to the directions of an artist who knows very little of the real advantages of wood engraving1 it will not unfrequently happen that the cut so amended will to himself1 when printed1 appear worse than it did in its first state4 ,in the following cut too much has been done in this respect2 it has been touched and retouched so often1 in order to make it appear delicate1 that the spirit of the original drawing has been entirely lost4 ,in this instance the fault was not that of the artist1 but of the engraver1 who 8would not let well alone20 but1 in order to improve his work1 as he fancied1 kept trimming the parts which gave effect to the whole till he made it what it now appears4 ,so far as relates to the execution of the lines1 the subject need not have been better2 but1 from the engraver's having taken away too much colour in places where it was necessary1 the whole has the appearance of middle tint1 the excellence of the original drawing is lost1 and in its stead we have a dull1 misty1 spiritless wood engraving4 ,illustration ,in every cut there ought to be a principal object to first arrest the attention2 and if this cannot be effected from want of interest in such object considered singly1 the designer ought to make the general subject pleasing to the eye by skilful composition or combination of forms1 and the effective distribution of light and shade4 ,illustration ,the preceding cut--a moonlight scene--when compared with the previous one1 will show how much depends on an engraver having a proper feeling for his subject4 ,so far as relates to the mere execution of the lines1 this cut is decidedly inferior to the former2 but1 viewed as a production of art1 and as a spirited representation of the original drawing1 it is very much superior3 in the former we see little more than mechanical dexterity2 while in the latter we perceive that the engraver has1 from a greater knowledge of his art1 produced a pleasing effect by comparatively simple means4 ,the former cut displays more mechanical skill2 the latter more artistic feeling4 ,the one contains much delicate work1 but is deficient in spirit2 the other1 which has been produced with little more than half the labour1 is more effective because the subject has been better understood4 ,the following cut1 representing a landscape1 with the effect of the setting sun1 displays great delicacy of execution2 but the labour here is not thrown away1 as in the sea-piece just mentioned3 manual dexterity in the use of the graver is combined with the knowledge of an artist1 and the result is a wood engraving at once delicate in execution and spirited in its general effect4 ,illustration ,a volume might be filled with examples and comments on them1 and ,i might1 like ,papillon1 instruct the reader in the practice of the art1 by informing him how many times the graver would have to enter the wood in order to produce a certain number of lines in relief2 but ,i have no inclination to do either the one or the other3 my object is to make a few observations on some of the most important and least understood points in the practice of wood engraving1 and to illustrate them with examples1 rather than to enter into minute details1 which would be uninteresting to the general reader1 and useless to the learner who has made any progress in the art4 ,the person who wishes to acquire a knowledge of wood engraving1 with the view of practising it professionally1 must generally be guided by his own judgment and feeling2 for he who requires the aid of rules and examples in every possible case will never attain excellence4 ,a learner ought not to put much trust in what is said about the beautiful wood-cuts--or plates1 as some critics call them--which appear in modern publications4 ,he ought to examine for himself1 and not pin his faith to ephemeral commendations1 which are often the customary acknowledgment for a presentation copy of the work4 ,it is not unusual to find very ordinary wood-cuts praised as displaying the very perfection of the art1 while others of much greater merit are entirely overlooked4 ,the person who wishes to excel as a wood engraver1--that is1 to display in his cuts the knowledge and feeling of an artist1 as well as the mechanical dexterity of a workman1--ought always to bear in mind that those who rank highest in modern times1 not only as engravers1 but also as designers on wood1 have generally adopted the simplest means of effecting their purpose1 and have never introduced unmeaning cross-hatchings1 when working from their own drawings1 merely to display their skill in execution4 ,in representing a peasant supping his porridge1 they have not spent a day on the figure1 and two in delicately engraving the bowl4 ,it may almost be said that ,bewick never employed cross-hatchings2 for1 in the two or three instances in which he introduced such lines1 it has been rather for the sake of experiment than to improve the appearance of the cut4 ,though one of the finest specimens of this kind of work ever executed on wood is to be found in ,mr4 ,harvey's cut of ,dentatus1 yet1 on other occasions1 when he engraved his own designs1 he seldom introduced cross-hatchings when he could accomplish the same object by simpler means4 ,a wood engraving1 viewed as a work of art1 is not good in proportion as many of its parts have the appearance of fine lace4 ,bewick's birds and tail-pieces are not1 in my opinion1 less excellent because they do not display so much work as a modern wood-cut which contains numerous cross-hatchings4 ,several of the best ,french designers on wood of the present day appear to have formed erroneous opinions on this subject2 and hence we find in many of their designs much of the engraver's time spent in the execution of parts which are unimportant1 while others1 where expression or feeling ought to be shown1 are treated in a careless manner4 ,many of their designs seem to have been made rather to test the patience of the engraver as a workman than to display his ability as an artist4 ,the following cut1 from a cast of a part of the ,death of ,dentatus1 is introduced to show in how simple and effective a manner ,mr4 ,harvey has represented the shield of the hero4 ,an inferior artist would be very likely to represent such an object by means of complicated lines1 which1 while they would be less effective1 would require nearly a week to engrave4 ,illustration ,considering the number of wood engravings that are yearly executed in this country1 it is rather surprising that there should hitherto have been so few persons capable of making a good drawing on wood4 ,till within the last few years1 it might be said that there was probably not more than one artist in the kingdom possessing a knowledge of design who professionally devoted himself to making drawings on the block for wood engravers4 ,whenever a good original design is wanted1 there are still but few persons to whom the ,english wood engraver can apply with the certainty of obtaining it2 for though some of our most distinguished painters have occasionally furnished designs to be engraved on wood1 it has mostly been as a matter of especial favour to an individual who had an interest in the work in which such designs were to appear4 ,in this respect we are behind our ,french neighbours2 the more common kind of ,french wood-cuts containing figures are much superior to our own of the same class2 the drawing is much more correct1 more attention is paid to costume1 and in the details we perceive the indications of much greater knowledge of art than is generally to be found in the productions of our second-rate occasional designers on wood4 ,it cannot be said that this deficiency results from want of encouragement2 for a designer on wood1 of even moderate abilities1 is better paid for his drawings than a second-rate painter is for his pictures4 ,the truth is1 that a taste for correct drawing has hitherto not been sufficiently cultivated in ,england3 our artists are painters before they can draw2 and hence1 comparatively few can make a good design on wood4 ,they require the aid of positive colours to deceive the eye1 and prevent it from resting upon the defects of their drawing4 ,it is therefore of great importance that a wood engraver should have some knowledge of drawing himself1 in order that he may be able to correct many of the defects that are to be found in the commoner kind of subjects sent to him to be engraved4 ,in the execution of subjects which require considerable time1 but little more than the exercise of mechanical skill1 it is frequently advisable to adopt the principle of the division of labour1 and have the work performed1 as it were1 by instalments1 allotting to each person that portion of the subject which he is likely to execute best4 ,in this manner the annexed cut of ,rouen ,cathedral has been engraved by four different persons2 and the result of their joint labours is such a work as not even the best engraver of the four could have executed by himself4 ,each having to do but a little1 and that of the kind of work in which he excelled1 has worked con amore1 and finished his task before he became weary of it4 ,illustration3 ,,rouen ,,cathedral4 ,though copper-plate engraving has a great advantage over wood when applied to the execution of maps1 in consequence of the greater delicacy that can be given to the different shades and lines1 indicating hills1 rivers1 and the boundaries of districts1 and also from the number of names that can be introduced1 and from the comparative facility of executing them2 yet1 as maps engraved on copper1 however simple they may be1 require to be printed separately1 by means of a rolling-press1 the unavoidable expense frequently renders it impossible to give such maps1 even when necessary1 in books published at a low price4 ,under such circumstances1 where little more than outlines1 with the course of rivers1 and comparatively few names1 are required1 wood engraving possesses an advantage over copper1 as such maps can be executed at a very moderate expense1 and printed with the letter-press of the work for which they are intended4 ,as the names in maps engraved on wood are the most difficult parts of the subject1 the method of drilling holes in the block and inserting the names in type--as was adopted in the maps to ,sebastian ,munster's ,cosmography1 ,basle1 #aeej1;,,ix-#bb--;has recently been revived4 ,the names in the outline maps contained in the ,penny ,cyclopdia are inserted in this manner4 ,had those maps not been engraved on wood1 it would have been impossible that any could have been given in the work1 as the low price at which it is published would not have allowed of their being engraved on copper1 and1 consequently1 printed by means of a rolling-press at an additional expense4 ,footnote ,,ix-#bb3 ,some account of the maps in ,sebastian ,munster's ,cosmography is previously given at page #bjd1 and page #dag4 ,illustration ,when1 however1 a map is of small dimensions1 and several names in letters of comparatively large size are required to be given1 this method of piercing the block can scarcely be applied without great risk of its breaking to pieces under the press1 in consequence of its being weakened in parts by the holes drilled through it being so near together4,,ix-#bc ,this inconvenience1 however1 may be remedied by engraving the names in intaglio where they are most numerous1 and afterwards cutting a tint over them1 so that when printed they may appear white on a dark ground4 ,other names beyond the boundary of the map can be inserted1 where necessary1 in type4 ,the preceding skeleton map of ,england and ,wales1 showing the divisions of the counties and the course of the principal rivers1 has been executed in this manner3 all the names on the land1 and the courses of the rivers1 were first engraved on the smooth surface of the block in intaglio--in less than a third of the time which would have been required to engrave them in relief2 the tint was next cut2 and lastly1 the block was pierced1 and all the other names inserted in type1 with the exception of the word 8,,england0 in the title1 which was engraved in the same manner as the names on the land4 ,footnote ,,ix-#bc3 ,when there is any danger of the block splitting from this cause1 it is best to have a cast taken from it1 as by this means the whole is obtained of one solid piece4 ,as what has been previously said about the practice of the art relates entirely to engraving where the lines are of the same height1 or in the same plane1 and when the impression is supposed to be obtained by the pressure of a flat surface1 ,i shall now proceed to explain the practice of lowering1 by which operation the surface of the block is either scraped away from the centre towards the sides1 or1 as may be required1 hollowed out in other places4 ,the object of thus lowering a block is1 that the lines in such places may be less exposed to pressure in printing1 and thus appear lighter than if they were of the same height as the others4 ,this method1 though it has been claimed as a modern invention1 is of considerable antiquity1 having been practised in #aech1 as has been previously observed at page #dfb4 ,instances of lowering are very frequent in cuts engraved by ,bewick2 but until within the last five or six years the practice was not resorted to by south-country engravers4 ,it is absolutely necessary that wood-cuts intended to be printed by a steam-press should be lowered in such parts as are to appear light2 for1 as the pressure on the cut proceeds from the even surface of a metal cylinder covered with a blanket1 there is no means of helping a cut1 as is generally done when printed by a hand-press1 by means of overlays4 ,overlaying consists in pasting pieces of paper either on the front or at the back of the outer tympan1 immediately over such parts of the block as require to be printed dark2 and the effect of this is to increase the action of the platten on those parts1 and to diminish it on such as are not overlaid4 ,when lowered blocks are printed at a common press1 it is necessary that a blanket should be used in the tympans1 in order that the paper may be pressed into the hollowed or lowered parts1 and the lines thus brought up4 ,the application of the steam-press to printing lowered wood-cuts may be considered as an epoch in the history of wood engraving4 ,wood-cuts were first printed by a steam-press at ,messrs4 ,clowes and ,sons' establishment1,,ix-#bd and since that time lowering has been more generally practised than at any former period4 ,illustration ,footnote ,,ix-#bd3 ,the first work containing lowered cuts printed by a steam-press was that on ,cattle1 published in numbers1 under the superintendence of the ,society for the ,diffusion of ,useful ,knowledge1 #ahcb4 ,by means of simply lowering the edges of a block1 so that the surface shall be convex instead of plane1 the lines are made to diminish in strength as they recede from the centre until they become gradually blended with the white paper on which the cut is printed4 ,this is the most simple mode of lowering1 and is now frequently adopted in such cuts as are termed vignettes1--that is1 such as are not bounded by definite lines surrounding them in the manner of a border4 ,in the preceding cut1 representing a group from ,sir ,david ,wilkie's painting of the ,village ,festival1 in the ,national ,gallery1 the light appearance of the lines towards the edges has been produced in this manner4 ,mr4 ,landseer1 in his ,lectures on ,engraving1 observes that hard edges are incident to wood-cut vignettes4 ,he was not aware of the means by which this objectionable appearance could be remedied4 ,the following are his observations on this subject3 8,a principal beauty in most vignettes consists in the delicacy with which they appear to relieve from the white paper on which they are printed4 ,the objects of which vignettes consist1 themselves forming the boundary of the composition1 their extremities should for the most part be tenderly blended--be almost melted1 as it were1 into the paper1 or ground4 ,now1 in printing with the letter-press1 the pressure is rather the strongest at the extremities of the engraving1 where we wish it to be weakest1 and it is so from the unavoidable swelling of the damp paper on which the impressions are worked1 and the softness of the blankets in the tympans of the press4 ,hence1 hard1 instead of soft edges1 are incident to vignettes engraven on wood1 which all the care of the printer1 with all the modern accuracy of his machine1 can rarely avoid40 ,mr4 ,landseer's objection to vignettes engraved on wood applies only to such as are engraved on a plane surface1 since by lowering the block towards the edges1 lines gradually blending with the white paper can be obtained with the greatest facility4 ,for the representation of such subjects1--supposing that their principal beauty consists in 8the delicacy with which they appear to relieve from the white paper10--wood engraving is as well adapted as engraving on copper or steel4 ,though it is certainly desirable that the lines in a vignette should gradually become blended with the colour of the paper1 yet something more is required in an engraving of this kind1 whether on wood or on metal4 ,much depends on its form harmonizing with the composition of the subject3 a beautiful drawing reduced to an irregular shape1 and having the edges merely softened1 will not always constitute a good vignette4 ,of this we have but too many instances in modern copper-plate engravings1 as well as wood-cuts4 ,of all modern artists ,j4 ,m4 ,w4 ,turner1 ,r4,a41 and ,w4 ,harvey appear to excel in giving to their vignettes a form suitable to the composition4 ,perhaps it may not be out of place to say a few words here on the original meaning of the word vignette1 which is now generally used to signify either a wood-cut or a copper-plate engraving which is not inclosed by definite lines forming a border4 ,the word is ,french1 and is synonymous with the ,latin viticula1 which means a little vine1 or a vine shoot1 such as is here represented4 ,illustration3 ,c ,capital letters in ancient manuscripts were called by old writers viticul1 or vignettes1 in consequence of their being frequently ornamented with flourishes in the manner of vine branches or shoots4 ,the letter ,c1 forming the commencement of this paragraph1 is an example of an old vignette2 it is copied from a manuscript apparently of the thirteenth century1 formerly belonging to the monastery of ,durham1 but now in the ,british ,museum4 ,subsequently the word was used to signify any large ornament at the top of a page2 in the seventeenth century all kinds of printer's ornaments1 such as flowers1 head and tail-pieces1 were generally termed vignettes2 and more recently the word has been used to express all kinds of wood-cuts or copper-plate engravings which1 like the group from the ,village ,festival1 are not inclosed within a definite border4 ,rabelais uses the word to denote certain ornaments of goldsmith's work on the scabbard of a sword2 and our countryman ,lydgate thus employs it in his ,troy ,book to denote the sculptured foliage and tracery at the sides of a window3 8,and if ,i should rehearsen by and by ,the corve knots1 by craft and masonry1 ,the fresh embowing with virges right as lines1 ,and the housing full of backewines1 ,the rich coining1 the lusty battlements1 ,vinettes running in casements40 ,illustrations3 ,o ,q ,h ,i ,e ,f ,f ,d ,g ,v ,b ,the additional specimens of ornamental capitals on the preceding page are chiefly taken from ,shaw's ,alphabets1 in which will be found a great variety of capitals of all ages4 ,before introducing any examples of concave lowering in the middle of a cut1 it seems necessary to give first a familiar illustration of the principle1 in order that what is subsequently said upon this subject may be the more readily understood4--,the crown-piece of ,george ,,iv41 which every reader can refer to1 will afford the necessary illustrations4 ,as the head of the ,king on the obverse1 and the figures of ,st4 ,george1 the horse1 and the dragon1 on the reverse1 are in relief1--that is1 higher than the field1--it is evident1 that if the coin were printed1 each side separately1 by means of pressure from an even surface1 whether plane or cylindrical1 covered with a yielding material1 such as a blanket or woollen cloth1 so as to press the paper against the field or lower parts1 the impressions would appear as follows1--that is1 with the parts in relief darkest1 and the lower proportionably lighter from their being less exposed to pressure4 ,illustration3 ,,impressions ,,from ,a ,,surface ,,with ,,the ,,figures ,,in ,,relief4 ,if casts be taken of each side of the same coin1 the parts which in the original are raised1 or in relief1 will then be concave1 or in intaglio2,,ix-#be and if such casts be printed in the manner of wood-cuts1 the impressions will appear as in the opposite page1--that is1 the field being now highest will appear positively black1 while the figures now in intaglio1 or lowered1 as ,i should say when speaking of a wood-cut1 will appear lighter in proportion to the concavity of the different parts4 ,footnote ,,ix-#be3 ,the casts are precisely the same as the dies from which the coin is struck4 ,illustration3 ,,impressions ,,from ,a ,,surface ,,with ,,the ,,figures ,,lowered1 ,,or ,,in ,,intaglio4 ,upon a knowledge of the principle here exemplified the practice of lowering in wood engraving entirely depends4 ,when a block is properly lowered1 there is no occasion for overlays2 and when cuts are to be printed at a steam-press1--where such means to increase the pressure in some parts and diminish it in others cannot be employed without great loss of time1--it becomes absolutely necessary that the blocks should be lowered in the parts where it is intended that the lines should appear light4 ,in order that a cut should be printed properly without overlays1 either at a common press with a blanket in the tympans1 or at a steam-press where the cylinder is covered with woollen cloth1 it is necessary that the parts intended to appear light should be lowered before the lines seen upon them are engraved2 and the mode of proceeding in this case is as follows3--,the designer being aware of the manner in which the cut is to be printed1 and understanding the practice of lowering1 first makes the drawing on the block in little more than outline1,,ix-#bf and washes in with flake-white the parts which it is necessary to lower4 ,the block is then sent to the engraver1 who1 with an instrument resembling a sharp-edged burnisher1 or with a flat tool or chisel1 scrapes or pares away the wood in the parts indicated4 ,when the lowering is completed1 the designer finishes the drawing1 and the cut is engraved4 ,it is necessary to observe1 that unless the person who makes the drawing on the block perfectly understand the principle of lowering1 and the purposes for which it is intended1 he will never be able to design properly a subject intended to be printed by a steam-press4 ,footnote ,,ix-#bf3 ,if the drawing were finished1 the lines on the parts intended to be light would necessarily be effaced in lowering the block in such parts4 ,illustration ,when an object is to be represented dark upon a light ground1 or upon middle tint1 the first operation in beginning to lower the block is to cut a delicate white outline round the dark object1 and proceed with a flat tool or a scraper1 as may be most convenient1 to take a thin shaving or paring off those parts on which the background or middle tint is to be engraved4 ,the extent to which the block must be lowered will depend on the degree of lightness intended to be given to such parts4 ,in ,bewick's time1 when the pressmen used leather balls to ink the cuts and types1 it was only necessary to take a very thin shaving off the block in order to produce the desired effect2 as such balls1 from the want of elasticity in the leather1 which was comparatively hard and unyielding1 would only touch lightly such parts as were below the level of the other lines and the face of the types3 had the block been lowered to any considerable depth1 such parts would not have received any ink1 and consequently would not have shown the lines engraved on them in the impression4 ,in the present day1 when composition rollers are used1 it is necessary to lower the parts intended to appear light to a much greater depth than formerly2,,ix-#bg as such rollers1 in consequence of their greater elasticity1 are pressed1 in the process of inking1 to a considerably greater depth between the lines of a cut than the old leather balls4 ,the preceding cut--a ,shepherd's ,dog1 drawn by ,w4 ,harvey1--is printed from a block in which both the fore-ground and distance are lowered to give greater effect to the animal4 ,if such a cut1 printed in the same page with types1 as it appears here1 were inked with leather balls1 a considerable portion of the lowered parts would not be visible4 ,this cut illustrates the principle of printing from a surface--such as that of a coin--in which the head or figure is in relief4 ,footnote ,,ix-#bg3 ,in cuts printed by a steam-press it not unfrequently happens that lowering to the depth of the sixteenth part of an inch scarcely produces a perceptible difference in the strength of the impression4 ,in cuts inked with leather balls1 and printed at the common press1 the lines in parts lowered to this depth would not be visible4 ,in the next cut1 an ,egret1 from a drawing by ,w4 ,harvey1 the figure of the bird appears white on a dark ground1--the reverse of the cut of the ,shepherd's ,dog1--and is an example of lowering the block in the middle in the manner of a die with the figures in intaglio1 or a cast from a coin in which the head or figures are in relief4 ,illustration ,in a cut of this kind the general form of the principal object required to be light is first lowered out1 and the drawing of the figure being next completed upon the hollowed part1 the engraver proceeds to cut the lines1 beginning with the back-ground and finishing the principal object last4 ,in cutting the lines in the hollowed part1 the engraver uses such a tool1 slightly curving upwards towards the point1 as has been previously described at page #egi4 ,in lowering the principal object in a cut of this kind1 the greatest attention is necessary in order that the hollowed parts may be gradually concave1 and also of a sufficient depth4 ,in performing this operation1 the engraver is solely guided by his own judgment2 and unless he have some practical knowledge of the extent to which composition balls and rollers will penetrate in such hollowed parts1 it is almost impossible that he should execute his work in a proper manner2--should he succeed1 it will only be by chance1 like a person shooting at a mark blindfolded4 ,in such cases1 though no special rules can be given1 it is necessary to observe that the part lowered will1 in proportion to its area1 be exposed to receive nearly the same quantity of ink1 and the same degree of pressure1 as the lines on a level with the types4 ,the depth to which such parts require to be lowered will consequently depend on their extent2 and the degree of lightness intended to be given to the lines engraved on them4 ,this1 however1 will be best illustrated by the annexed diagram4 ,if1 for instance1 the part to be lowered extend from ,a to ,b1 it will be necessary to hollow the block to the depth indicated by the dotted line ,a c ,b4 ,should it extend from ,a to ,d1 it will require to be lowered to the depth of the dotted line ,a e ,d in order to obtain the same degree of lightness in colour as in the lowered part ,a c ,b of less area1--that is1 supposing the engraved lines in both cases to be of equal delicacy4 ,illustration ,as overlaying such delicately engraved cuts as require the greatest attention in printing occupies much time1 and lays the press idle during the process1 the additional sum charged per sheet for works containing a number of such cuts has frequently operated to the disadvantage of wood engraving1 by causing its productions to be dispensed with in many books where they might have been introduced with great advantage1 both as direct and incidental illustrations4 ,it is1 therefore1 of great importance to adapt the art of wood engraving to the execution of cuts of all kinds1 whether comparatively coarse or of the greatest delicacy1 so that they may be properly printed at the least possible expense4 ,illustration ,the preceding cut1 with the two following1 which have all been lowered1 would1 if printed at a steam-press1 appear nearly as well as they do in the present work1 where they have been printed by means of a common press with a blanket4 ,but such a subject--a winter-piece1 with an ass and her foal standing near an old outhouse1--cannot be properly represented without lowering the block2 for no overlaying would cause the lines indicating the thatch on the houses and the stacks1 as seen through the snow1 to appear so soft as they now do4 ,illustration ,in this cut of a ,salmon ,trout1 with a view of ,bywell ,lock1 on the river ,tyne1 both the fore-ground and the distance are lowered2 the objects which appear comparatively dark in those parts are the least reduced1 while those that appear lightest are such as are lowered to the greatest extent4 ,the back of the fish1 which appears dark in the impression1 is in the block like a ridge1 which is gradually lowered in a hollow curve towards the lower line4 ,in such a cut as this1 particular care ought to be taken not to lower too much those parts which come into immediate contact with a strong black outline1 such as the back of the ,salmon2 for where the lowering in such parts is too abrupt1 there is great risk of the lines engraved on them not being brought up1 and thus causing the figure in relief to appear surrounded with a white line1 as in the impressions from the crown-piece at page #fah4 ,by means of lowering1 the black pony1 on which a boy is seen riding1 in the following cut1 is much more effectively represented1 than if the whole subject were engraved on a plane surface4 ,the grey horse1 and the light jacket of the rider1 the ground1 the garden wall1 and the lightest of the trees1 are all lowered in order to give greater effect to the pony4 ,illustration ,a cut which is properly lowered may not only be printed by a steam-press without overlays1 but will also afford a much greater number of good impressions than one of the same kind engraved on a plane surface2 for the more delicate parts1 being lower than those adjacent to them1 are thus saved from too much pressure1 without the necessity of increasing it in other places4 ,the preceding cut will serve to show the advantages of lowering in this respect4 ,it was originally engraved1 from a drawing by ,william ,harvey1 for the ,treatise on ,cattle1 published under the direction of the ,society for the ,diffusion of ,useful ,knowledge4 ,though twelve thousand impressions have already been printed from it by means of ,messrs4 ,clowes and ,sons' steam-press1 it has not sustained the slightest injury in any part2 and the present impression is scarcely inferior to the first proof4 ,with the exception of clearing out the ink in two or three places1 it has required no preparation or retouching to give it its present appearance4 ,had such a work as the ,treatise on ,cattle been printed at a common press without the blocks having been lowered1 the cost of printing would have been at least double the sum charged by ,messrs4 ,clowes2 and the engraving1 after so great a number of impressions had been taken1 would have been considerably injured1 if not quite spoiled4 ,illustration ,in complicated subjects1 consisting of many figures1 and in which the light and shade are much diversified1 it becomes necessary to combine the two principles of lowering1 which have been separately illustrated by the ,dog and the ,egret1 and to adapt them according to circumstances1 forming some parts convex1 and making others concave1 respectively1 as the objects engraved on them are to appear dark or light4 ,in order to illustrate this process of combined lowering1 ,i have chosen a subject from ,rembrandt--the ,descent from the ,cross--in which several figures are introduced1 and in which the lights and shades are so much varied--in some parts blended by a delicate middle tint1 and in others strongly contrasted--as to afford the greatest possible scope for the illustration of what is termed lowering in a wood engraving4 ,the cut on the next page shows the appearance of an impression taken from the block before a single line had been engraved1 except the white outline bounding the figures4 ,all that is here seen has been effected by the flat tool and the scraper2 the lightest parts are those that are most concave1 the darkest those that are most convex4 ,the parts which have the appearance of a middle tint are such as are reduced to a medium between the strongest light and the darkest shade4 ,the impression in its present state has very much the appearance of an unfinished mezzotint4 ,illustration ,in order to render this example of complicated lowering more intelligible to those who have little knowledge of the subject1 it seems necessary to give a detailed account of the process1 even at the risk of repeating some previous explanations4 ,in complicated as well as in simple subjects intended to be lowered1 the design is first drawn in outline on the wood4 ,in such a subject as that which is here given1 the ,descent from the ,cross1 it is necessary to cut a delicate white outline--such as is seen in the ladder--round all those parts where the true outline appears dark against light1 previous to lowering out those light parts which come into immediate contact with such as are dark4 ,when a white outline has been cut where required1 a thin shaving is to be taken off those parts which are intended to be a shade lighter than the middle tints1--for instance1 in the rays of light falling upon the cross1 and in the lower part of the sky4 ,after this1 the light parts of the ground and the figures are to be lowered2 but1 instead of taking a mere shaving off the latter1 the depth to which they are to be hollowed out will depend on the form and size of the parts1 and the strength of the light intended to appear on them2 and where a series of delicate lines are to run into pure white1 great care must be taken that the wood be sufficiently bevelled or rounded off to allow of their blending with the white1 without their extremities forming a distinct line1 more especially where rotundity is to be represented4 ,in a block thus lowered1 the parts intended to be lightest will be the most concave1 and those intended to be darkest the most in relief2 and1 when printed1 the impression will appear as in the following cut1 in consequence of the lowered parts1 in proportion to their depth1 receiving both less ink and less pressure2 while those that are to appear positively white are lowered to such an extent as to be neither touched by the ink1 nor exposed to the action of the platten or cylinder4 ,illustration ,when the block has been thus prepared1 the subject is drawn upon it in detail1 and the engraving of the lines proceeded with4 ,the sky1 and the lighter and more distant objects1 should be engraved first3 and care ought to be taken not to get the lines too fine at the commencement1 for1 should this happen1 there is no remedy for the defect4 ,by keeping them comparatively strong1 the darker objects can be executed in a corresponding degree of boldness2 and should the proof be generally too dark1 the necessary alterations can be easily made4 ,the above cut of the ,descent from the ,cross is printed from the finished block2 all the positive lines here seen having been engraved subsequent to the process of lowering4 ,it is necessary to observe that the process of engraving upon an uneven surface--such as that of the lowered block of the ,descent from the ,cross--is much more difficult than on a surface which is perfectly plane2 for the graver in traversing such parts as are lowered is apt to lose its hold1 and to slip in descending1 while in ascending it is liable to take too much hold1 and to tear rather than to clearly cut out the wood in certain parts1 thus rendering the raised lines rough at the sides1 and sometimes breaking them quite through4 ,in order to remedy in some degree such inconveniences1 it is necessary to use a graver slightly curving upwards towards the point4 ,the process of lowering1 as previously explained1 is peculiarly adapted to give the appearance of proper texture to objects of ,natural ,history1 and in particular to birds1 where it is often so desirable to impart a soft downy appearance to the plumage4 ,such softness can never be well represented by lines engraved on a perfectly level surface2 for1 however thin and fine they may be1 they will always appear too distinct1 and want that softness which can only be obtained by lowering the block1 and printing it with a blanket in the tympans at a common press4 ,those who in engraving birds on a plane surface are fond of imitating the delicacy of copper-plate or steel engravings1 always fail in their attempts to represent that soft appearance so peculiar to the plumage of birds1 whatever may be its colour4 ,bewick's ,birds1 in this respect1 have never been equalled2 and the softness displayed in the plumage has been chiefly obtained by lowering1 and thus preventing such parts receiving too much ink or too much pressure4 ,the characteristic expression of the bird1 and the variety of texture in the plumage1 are not indeed entirely dependent on this process2 but the appearance of softness1 and the general effect of the cut as a whole1--as exemplified in the ,birds of ,bewick1--are not otherwise to be obtained4 ,any wood engraver who doubts this1 should attempt to copy1 on an unlowered block1 one of the best of ,bewick's birds2 on comparing a printed impression of his work with the original1 he will be likely to discover that he has thought too highly of his own practice1 and too lightly of ,bewick's4 ,though chiaro-scuro drawings can be faithfully copied by means of wood engraving2 yet the art1 as applied to the execution of such works1 has met with but little encouragement in this country1 and has consequently been little practised4 ,from #aged--the date of ,j4 ,b4 ,jackson's tract on the ,invention of ,engraving and ,printing in ,chiaro-scuro--to #ahai1 when the first part of ,mr4 ,savage's ,hints on ,decorative ,printing was published1 the only chiaro-scuro wood engravings which appear to have been published in ,england were those executed about #aghc1 by an amateur of the name of ,john ,skippe4 ,the chiaro-scuros engraved by ,mr4 ,skippe do not appear to have been numerous2 ,i have only seen three--,st4 ,john the ,evangelist1 ,st4 ,paul1 and ,hebe1 all after drawings by ,parmegiano4 ,the latter is printed from four blocks1 and each of the others from three4 ,in point of execution1 that of ,st4 ,john is decidedly the best3 it is much superior to any of the specimens given in ,j4 ,b4 ,jackson's work1 and will bear a comparison with some of the best chiaro-scuros of ,nicholas ,le ,sueur4 ,savage's ,hints on ,decorative ,printing1 in two parts1 #ahai-ahbc1 contains several specimens1 not only of chiaro-scuro wood engravings1 but also of subjects printed in positive colours from several wood-blocks1 in imitation of coloured drawings4 ,some of the chiaro-scuros1 properly so called1 are well executed1 though they generally seem too soft and woolly4 ,the following are those which seem most worthy of notice3--,a female ,bacchante1 from a bas-relief in the ,british ,museum2 ,theseus1 from the statue in the ,elgin ,collection of ,marbles1 in the ,british ,museum2 ,copy of a bust in marble in the ,british ,museum2 ,bridge and ,landscape2 ,passage-boats2 and a ,river ,scene4 ,for the representation of such subjects as the preceding1 when drawn in sepia1 wood engraving is peculiarly adapted4 ,the simplest manner of representing a chiaro-scuro drawing is by printing a tint1 with the lights cut out1 from a second block1 over the impression of a cut engraved in the usual manner4 ,chiaro-scuros of this kind have the appearance of pen-and-ink drawings made on tinted paper1 and heightened with touches of white4 ,the illustrations to an edition of ,puckle's ,club were thus printed in #ahbj1--the year after they had appeared printed in the usual manner in a new edition of the work--but many of them are spoiled by the badly-chosen 8fancy0 colour of the tint4 ,from the time of the publication of the second part of ,savage's ,hints1 and the tinted illustrations of ,puckle's ,club1 no further attempts appear to have been made to improve or extend the practice of chiaro-scuro engraving and printing in colours till ,mr4 ,george ,baxter turned his attention to the subject4 ,his first attempts in chiaro-scuro engraving are to be found in a ,history of ,sussex1 printed by his father at ,lewes1 in #ahce4 ,mr4 ,baxter tried various experiments1 and at length succeeded so much to his satisfaction1 that he took out a patent for printing in oil-colours4 ,the manner in which he executes picture-prints in positive colours1 after drawings or paintings in oil1 is nearly the same as that in which ,kirkall executed his chiaro-scuros4 ,the ground1 the outlines1 and the more minute details1 are first printed in neutral tint from a plate engraved in aquatint2 and over this impression the proper colours are printed from as many wood-blocks as there are different tints4 ,the best specimens of ,mr4 ,baxter's printing in oil-colours1 from wood-blocks over an aquatint ground1 are to be found in the ,pictorial ,album1 published by ,chapman and ,hall1 #ahcg2 and among these the following appear to be most deserving of distinct enumeration3--,interior of the ,lady ,chapel1 ,warwick2 ,lugano2 ,verona2 and ,jeannie ,deans's ,interview with the ,queen4 ,in some of the most elaborate subjects in this work1 the colours have been communicated by not less than twenty blocks1 each separately printed4 ,so far as regards the landscapes1 nothing of the same kind previously done will bear to be compared with them4 ,but since this period1 ,mr4 ,baxter has brought his peculiar art to still greater perfection1 and both large and small examples are to be met with abundantly4 ,one of the most popular is his 8,holy ,trinity1 after ,raphael10 a small plate of which no fewer than #gjj1jjj copies have been sold4 ,the subscribers to ,bohn's ,scientific ,library will find a good specimen in the ,view of ,chimborazo1 prefixed to ,humboldt's ,views of ,nature4 ,another recent invention is that of 8,knight's ,patent ,illuminated ,prints and ,maps40 ,in every instance hitherto of surface-printing in colours1 each colour1 having a separate block1 had to be worked off separately1 which rendered such productions extremely expensive4,,ix-#bh ,the new process has one great advantage over all its predecessors1 in cheapness1 and the facility with which it can multiply impressions4 ,the general nature of the process will be best understood from a description of the mode of completing a coloured print4 ,footnote ,,ix-#bh3 ,sir ,william ,congreve's mode of colour printing1 however1 patented many years ago1 and now practised by ,mr4 ,charles ,whiting of ,beaufort ,house1 is one of the least expensive of all4 ,it consists in printing several colours at one time1 and may be thus described3--8,a coloured design being made on a block1 the various colours are cut into their respective sections1 like a geographical puzzle1 and placed in an ingeniously constructed machine1 which inks them separately1 and prints them together4 ,by this mode speed is obtained in large operations1 and the colours are prevented from running into each other4 ,it is extensively applied to book-covers1 decorative show-cards1 the back of country notes1 and labels1 where the object is to prevent forgery40--,see ,bohn's ,lecture on ,printing1 page #ajd4 ,in the first place1 a subject is engraved upon wood in the usual manner1 and the impression is coloured by a skilful artist4 ,we will suppose four principal colours are introduced1 red1 blue1 yellow1 and brown4 ,separate and exact drawings of each colour are then made2 and four polished plates are prepared1 each plate carrying one colour4 ,these four plates are then firmly fixed in an ingeniously contrived frame1 or table1 moving upon the table of a common press1 the motion being regulated by machinery1 which ensures the most exact register1 after it has once been obtained1 and affords the greatest facility in obtaining it4 ,the colours are then applied to their respective plates in precisely the same manner as ink to type1 by means of rollers2 and four sheets of paper of the size intended for the print 7or1 for convenience1 one large sheet to be afterwards cut up7 are then placed on the frisket1 which is then turned down on the plates1 and the pull applied4 ,the table is then turned one quarter round1 and the process is repeated1 till each colour has1 in succession1 been printed upon the four sheets4 ,six or seven colours are sometimes produced by the same process1 and from the same plates1 by combination2 and the union of two colours to produce a third is effected perfectly1 in consequence of the rapidity of the process1 which does not allow the colours to dry and become hard4 ,the bright whites are1 of course1 formed by removing the surface in the requisite parts from all the plates1 and suffering the ground to appear4 ,eight1 or indeed any number of colours1 can be introduced by using another press1 or presses2 in which case the frisket with the sheet or sheets fixed1 is passed from one press to the other4 ,the block of the drawing is always the last impressed4 ,from its extreme exactitude this invention seems peculiarly adapted for designs of patterns for shawls1 ribbons1 printed cottons1 carpets1 and such manufactures as have hitherto apparently been left to the fancy of the workman1 or his employers1 who in matters of art have frequently quite as little taste as the workman4 ,but probably the most favourable field for the display of the perfections of this invention1 would be in subjects where only light and shade1 or at most what are called neutral tints1 are required1 such as architectural drawings and sculptures1 either statues or in relief4 ,for such purposes the depth of tone obtainable1 and the sharpness of the lights1 seem peculiarly adapted4,,ix-#bi ,footnote ,,ix-#bi3 ,the best specimen of this art will be found in ,charles ,knight's ,old ,england's ,worthies1 a folio volume1 containing twelve large plates of ,architecture and ,costume1 printed in colours1 and #bdj portraits engraved on steel1 folio 7now published by ,h4 ,g4 ,bohn71 #aes4 ,the practice of the art has not been continued1 as it was only applicable to very large editions 7ten thousand and upwards71 and was more expensive than hand colouring where small editions were required4 ,the machinery has been sold off and destroyed4 ,what is termed metallic relief engraving consists in executing subjects on plates of copper1 or any other metal1 in such a manner that the lines which form the impression shall be in relief1 and thus allow of such plates being inked and printed in the same manner as a wood-cut4 ,since the revival of wood engraving in this country several attempts have been made to etch in metallic relief1 and thus save the time necessarily required to cut out all the lines in a wood engraving4 ,in etching upon copper1 in order that the subject may be represented by lines in relief1--the reverse of the usual procedure in copper-plate engraving1--and that the plate may be printed in the same manner as a wood-cut1 there are several methods of proceeding4 ,in one1 the subject is drawn upon the plate in ,burgundy pitch1 or any other substance which will resist the action of aquafortis1 in the same manner as copper-plate engravers in the ordinary process stop out the parts intended to be white4 ,when the substance in which the drawing is made becomes set1 or sufficiently hard1 the plate is surrounded with a wall1 as it is technically termed1 and aquafortis being poured upon it1 all the unprotected parts are corroded1 and the drawing left in relief4 ,this was the method generally adopted by ,william ,blake1 an artist of great but eccentric genius1 in the execution of his ,songs of ,innocence1 the ,book of ,thel1,,ix-#cj the ,gates of ,paradise1 ,urizen1 and other works1 published between #aghi and #ahjj4 ,the following account of the origin of this new mode of engraving or etching in metallic relief1 by corroding the parts intended to appear white in the impression1 is extracted from the ,life of ,william ,blake1 in ,allan ,cunningham's ,lives of ,british ,painters1 ,sculptors1 and ,architects3-- 8,he had made the sixty-five designs of his ,songs of ,innocence1 and was meditating1 he said1 on the best means of multiplying their resemblance in form and in hue2 he felt sorely perplexed4 ,at last he was made aware that the spirit of his favourite brother ,robert was in the room1 and to this celestial visitor he applied for counsel4 ,the spirit advised him at once3 #8,write1' he said1 #8the poetry1 and draw the designs upon the copper1 with a certain liquid1 7which he named1 and which ,blake ever kept a secret17 then cut the plain parts of the plate down with aquafortis1 and this will give the whole1 both poetry and figures1 in the manner of stereotype4' ,the plan recommended by this gracious spirit was adopted1 the plates were engraved1 and the work printed off4 ,the artist then added a peculiar beauty of his own3 he tinted both the figures and the verse with a variety of colours1 amongst which1 while yellow prevails1 the whole has a rich and lustrous beauty1 to which ,i know little that can be compared4 ,the size of these prints is four and a half inches high by three inches wide4 ,the original genius of ,blake was always confined1 through poverty1 to small dimensions4 ,sixty-five plates of copper were an object to him who had little money40 ,footnote ,,ix-#cj3 ,the ,book of ,thel1 which1 with the titles1 consists of seven quarto pages of verse and figures engraved in metallic relief1 is dated #aghi4 ,a full list of the works of this remarkable artist will be found in ,bohn's enlarged edition of ,lowndes's ,bibliographer's ,manual4 ,blake subsequently executed1 in the same manner1 8the ,gates of ,paradise10 consisting of sixteen small designs2 and 8,urizen10 consisting of twenty-seven designs4 ,the size of the latter is four inches by six1 and they are dated ,lambeth1 #agid4 ,in #ahjj he also engraved by a similar process1 combined with the usual mode of etching through a prepared ground laid over the plate1 two subjects to illustrate a song of his own writing1 which was printed with them also from metallic relief4 ,the title of this song is 8,little ,tom the ,sailor10 and the date is ,october #e1 #ahjj4 ,it appears to have been a charitable contribution of ,blake's to the 8,widow ,spicer of ,folkstone10 the mother of little ,tom2 and we learn from the imprint at the bottom that it was printed for1 and sold by her for the benefit of her orphans4 ,blake's metallic relief engravings were printed by himself by means of a rolling or copper-plate press1 though the impression was obtained from the lines in relief in the same manner as from a wood-cut4 ,the only difference in the printing consisted in the different manner in which the pressure was applied4 ,as it is difficult1 according to ,blake's process1 to corrode the large white parts to a depth sufficient to prevent their being touched by the dauber or ball in the process of inking1 and thus presenting a soiled appearance in the impression1 he was accustomed to wipe the ink out where it had touched in the hollows4 ,as this occupied more time than the mere inking of the plate1 his progress in printing was necessarily slow4 ,in another mode of engraving in relief on a plate of copper1 the plate is first covered with an etching ground in the usual manner1 and to this ground an outline of the subject is transferred by passing the plate with a pencil-drawing above it through a rolling-press4 ,the engraver then proceeds to remove with his etching-point1 or some other tool1 as may be necessary1 all such parts as are intended to be white4 ,when this process1 which may be termed reverse etching1 is completed1 the parts intended to be white are corroded by pouring aquafortis upon the plate in the usual manner1 while the lines which represent the object remain in relief1 in consequence of their being protected at the surface by the coating of etching ground4 ,several persons have made experiments in this mode of metallic relief engraving4 ,it was tried by ,bewick1 and also by the late ,robert ,branston2 but they did not succeed to their satisfaction1 and none of their productions executed in this manner was ever submitted to the public4 ,about twenty years ago1 ,mr4 ,w4 ,lizars of ,edinburgh appears to have turned his attention to the subject of metallic relief engraving1 and to have succeeded better than either ,bewick or ,branston4 ,one of the earliest-published specimens of his engraving in this style is the portrait of ,dr4 ,peter ,morris1 forming the frontispiece to ,peter's ,letters to his ,kinsfolk1 printed at ,edinburgh in #ahai4 ,this portrait has every appearance of being executed by the process of reverse etching1--that is1 by first covering the plate with etching ground1 and then removing the parts that are to be white1 and leaving the lines that are to appear black in relief4 ,the plate was printed by a common printing-press at the office of ,ballantyne and ,co4 ,in the preface the 8new invention0 of ,mr4 ,lizars is thus mentioned3--8,the portrait of ,dr4 ,morris is done in this new style2 and1 had the time permitted1 the others would have all been done so likewise4 ,it is thrown off by the common printing-press1 as the reader will observe--but this is only one of the distinguishing excellences of this new and splendid invention of ,mr4 ,lizars40 ,within the last three or four years several plans for executing engravings in metallic relief have been devised2 and it has been prophesied of each1 that it would in a short time totally supersede wood engraving4 ,the projectors of those plans1 however1 seem to have taken too narrow a view of the subject2 and to have thought that the mere novelty of their invention was sufficient to ensure it success4 ,they appear not to have considered1 that it was necessary that their metallic relief casts should not only be cheaper than wood-cuts1 but that they should be also as well executed4 ,mr4 ,woone has taken out a patent for his invention1 and the principle upon which it is founded is that of taking a cast from a copper-plate1 whereby the lines engraved in intaglio are in the cast in relief4 ,his process of metallic relief engraving is as follows3--,a smooth plate of metal is covered with a coating of plaster of ,paris1 about equal in thickness to the depth to which the lines are cut in engraving on copper or steel4 ,upon this surface of plaster the engraver1 with a fine point1 as in etching1 cuts the lines of the subject through to the plate below4 ,when this plaster etching is completed1 a cast is taken from it in type-metal2 and1 after being cleared out1 the subject in metallic relief can be printed at a common press in the manner of a wood-cut4 ,according to this plan only one cast can be taken of each subject1 as the plaster is destroyed during the process1 so that there is nothing left from which a second mould can be made1 as in the case of a wood-cut4 ,the chief advantage of this invention consists in the lines being of equal height in the cast1 in consequence of their being etched through the plaster to the level surface of the plate beneath4 ,as the coating of plaster is1 however1 extremely thin1 it is generally necessary to clear out with a graver the interstices of the cast in order to prevent their being touched by the inking roller4 ,a ,mr4 ,schonberg has also made several experiments in metallic relief engraving by means of etching on stone1 and afterwards taking a cast from his work4 ,though he has been for several years endeavouring to perfect his invention1 he has not up to this time succeeded in producing anything which it would be fair to criticise4 ,many of the cuts of trees and shrubs in ,loudon's ,arboretum et ,fruticetum ,britannicum are printed from casts in metallic relief1 executed by ,mr4 ,robert ,branston4 ,the mode of procedure1 according to ,mr4 ,branston's method1 is extremely simple2 the subject is first etched on copper1 and bit in by aquafortis in the usual manner2 and from this etching a cast is afterwards taken in type-metal4 ,as the plate is not corroded to an equal depth in every part1 it is necessary to rub on a stone the faces of the casts thus obtained in order to reduce the raised lines to the same level4 ,there is also another inconvenience that attends casts in metallic relief taken from an etched copper-plate2 for1 as the aquafortis acts laterally as well as vertically1 it is difficult to corrode the lines to a sufficient depth1 without at the same time getting them too thick4 ,it is hence necessary to clear out many of the hollow parts of such casts with a graver1 in order to prevent their being touched by the balls or inking-roller1 and thus giving to the impression a soiled appearance4 ,casts in metallic relief from etchings always appear coarse2 and1 from the experiments hitherto made1 it seems impossible to execute fine work in this manner4 ,so far as relates to cheapness1 such casts1 however well they may be executed1 being of a level surface1 cannot be printed properly by a steam-press in the manner of lowered blocks1 or casts from lowered blocks4 ,for a work of extensive circulation1 printed by means of a steam-press1 a lowered block1 or a cast from it1 would be cheaper at five pounds1 than a cast from an etching at four1 even admitting that both were equally well executed4 ,the principal feature in ,mr4 ,c4 ,hancock's patent metallic relief engraving1 which is quite original1 is1 that subjects resembling mezzotints can be inserted and printed with the text in the same manner as wood engravings4 ,a mezzotint plate1 if printed in the usual manner previous to being engraved upon1 would appear black4 ,on the other hand1 if submitted to the same kind of printing as a wood-cut1 it would scarcely discolour the paper4 ,upon this plate ,mr4 ,hancock draws his subject with a broad steel point or burnisher1 which polishes down the small prominences to a smooth surface in proportion to the pressure used in drawing4 ,in proportion as the surface becomes smooth1 so does it print dark1 and have the appearance of a mezzotint4 ,the reader will perceive that1 according to this plan1 ,mr4 ,hancock can take a proof of his subject at any time1 and procure either dark or light at pleasure1 as the subject may appear to require it4 ,the sparkling light can be touched in with the graver1 in the same manner as on wood2 so that such touches appear much sharper than in common mezzotint1 where the lights are got by burnishing4 ,as ,mr4 ,hancock has not as yet brought anything before the public1 it would be unfair to anticipate him1 by introducing anything more in this place than a description of his process4 ,wood engraving is necessarily confined1 by the size of the wood1 to the execution of subjects of comparatively small dimensions2 and this limitation1 together with the difficulty of printing even tints in positive colours1 have combined to prevent it from being made extensively available in the production of works in chiaro-scuro1 of large size1 by the ordinary modes of surface-printing4 ,latterly1 however1 the demand which the progress of education has created for maps1 school prints1 elementary examples of fine art1 and illustrations on a large scale for the illustrated newspapers1 having called the attention of artists to the subject1 many attempts have been made1 and in some cases with success1 to produce relief engravings on metal2 and also to combine that mode of engraving with analogous apparatus for the production of works in tints or colours1 separate1 combined1 or mixed with line plates1 in such degrees as particular cases might require4 ,several of these persons have been already named1 and their processes described2 it only therefore remains to state1 that ,mr4 ,stephen ,sly1 in connexion with other artists1 has for some years past been steadily engaged in making a series of experiments for giving a practical value1 by various inventions1 to the discoveries and experience of their predecessors in the art2 and with every prospect of success4 ,their method of procedure is3 #a4 ,to produce a finished drawing1 in simple or crossed lines1 with etching varnish on a plate prepared for the purpose2 #b4 ,to bite away1 with a compound acid1 the spaces between the varnish lines2 and #c4 ,to deepen and finish the work so produced1 by the use of engraving tools1 in the ordinary manner4 ,the great difficulties in the way of these apparently simple operations have been1 #a4 ,to cast sound and durable plates of a large size1 and of a texture sufficiently compact to produce sharp lines by the etching process1 and at the same time soft enough to permit the surfaces to be lowered1 and the cutting to be executed with facility2 #b4 ,to remove the oxide formed by the combination of the acid with the metal from between the lines2 and #c4 ,to carry the biting to a depth sufficiently great to permit the plate1 with the addition of a small quantity of graver-work1 to yield a clear impression4 ,metallic relief engraving has not unfrequently been practised at ,paris of late years4 ,i have now lying before me an impression from a plate engraved in this manner by ,messrs4 ,best1 ,andrew1 and ,leloir1 of that city4 ,the subject is a wild turkey1 and it was engraved about three years ago for ,mr4 ,audubon4 ,though it is the best specimen of metallic relief engraving that has come under my notice1 ,i am yet of opinion that the subject could be better engraved on wood1 and at a less cost4 ,ornaments and borders are sometimes engraved on solid brass by means of chisels and gravers in the same manner as a wood-cut4 ,the head of ,buchanan1 and the border on the wrapper of ,blackwood's ,magazine1 were engraved on brass in this manner1 more than twenty years ago1 by ,messrs4 ,vizetelly1 ,branston1 and ,co4 ,they were originally engraved on wood by ,bewick4 ,the greater durability of ornaments engraved on brass1 compensates for their additional cost4 ,the cheapest mode1 however1 is to have such ornaments first engraved on wood1 and casts afterwards taken from them in type metal4 ,one great objection to cutting on metal with the graver is1 that the metal cuts the paper in printing from it4 ,duplicates of wood engravings may be readily obtained by means of casts from the original blocks2 and within the last twenty years1 the practice of thus multiplying subjects originally engraved on wood1 has become very prevalent both in this country and in ,france4 ,casts can be obtained from wood engravings by two different processes1 and both are practised by two or three stereotype printers1 to whom this business is usually entrusted4 ,by the one mode1 a mould is first made from the block in plaster of ,paris1 and from this mould or matrix a cast is afterwards taken in type metal4 ,by the other mode--termed by the ,french clichage,,ix-#ca--the mould or matrix is not formed of plaster2 but is obtained by letting the block fall1 with its engraved surface downwards1 directly on a mass of metal1,,ix-#cb just sufficiently fluid to receive the impression1 and which becomes solid almost at the very instant it is touched by the block4 ,from this mould or matrix a cast is afterwards taken in the same manner4 ,in order to prevent the surface of the block becoming charred by the heat1 it is previously rubbed over with a composition of common yellow soap and red ochre4 ,illustration3 ,no4 #a 7from ,wood74 ,illustration3 ,no4 #b 7from ,metal74 ,footnote ,,ix-#ca3 ,a cast from a form of types1 as well as from an engraved wood-block1 is by ,french printers termed a clich4 ,footnote ,,ix-#cb3 ,the metal of which this matrix is formed1 is made several degrees harder than common type metal1 by mixing with the latter a greater portion of regulus of antimony1 otherwise the matrix and cast would adhere4 ,when it is particularly desirable to preserve the original block uninjured1 the safest mode is that of forming a mould or matrix of plaster2 for by the process of clichage a delicately engraved block is extremely liable to receive damage4 ,as a cast1 whether from a matrix of metal or of plaster1 generally requires certain small specks of the metal to be removed1 or some of the lines to be cleared out1 this operation is frequently entrusted to a person employed in a printing-office where such cast is taken4 ,such person1 however1 should never be allowed to do more than remove the specks2 for1 should he attempt to re-enter or re-cut the lines or tints on metal1 he will be very likely to spoil the work4 ,it is extremely difficult1 even to a dexterous engraver1 to re-enter the lines that have been partially closed up in a tint1 so that they shall appear the same as the others which have come off clear4 ,should the printer's picker happen to re-enter them in a direction opposite to that in which they were originally cut on the block1 the work is certain to be spoiled4 ,when a cast requires clearing out and retouching in this manner1 the operation ought to be performed by a wood engraver1 and1 if possible1 by the person who executed the original block4 ,when the subject is not very complicated1 it is extremely difficult to distinguish which of two impressions is from a cast1 and which is from the original block4 ,those who profess to have great judgment in such matters are left to determine which of the preceding busts is printed from metal1 and which from wood4 ,when a duplicate of a modern1 or a fac-simile of an old wood-cut is required1 the best mode of obtaining a correct copy1 is to transfer the original1 if not too large or too valuable1 to a prepared block2 and the mode of effecting this is as follows3--,the back of the impression to be transferred is first well moistened with a mixture composed of equal parts of concentrated potash and essence of lavender2 it is then placed above a block whose surface has been slightly moistened with water1 and rubbed with a burnisher4 ,if the mixture be of proper strength1 the ink of the old impression will become loosened1 and be transferred to the wood4 ,recent impression of a wood-cut1 before the ink is set1 may be transferred to a block without any preparation1 merely by what is technically termed 8rubbing down40 ,in order to transfer impressions from copper-plates1 it is necessary to use the oil of lavender instead of the essence3 if a very old impression1 apply the preparation to its face4 ,since the former edition of this work considerable improvements have been made in the mode of taking casts1 of which the principal is electrotyping1 by the galvanic precipitation of copper4 ,by this process all the finer lines of the engraving are so perfectly preserved1 that impressions printed from the cast are quite undistinguishable from those printed from the original block4 ,before closing this subject we think it right to introduce the notice of a new art1 which1 if it accomplishes all it professes1 and as1 judging by the annexed example1 it seems capable of performing1 will be a great acquisition4 ,the art was first brought out as ,collins's process1 but is now called the ,electro-printing ,block process1 and is managed under the inventor's direction by a company established at ,no4 #bg1 ,new ,bridge ,street1 ,blackfriars4 ,the object of the process is to reduce or extend1 by means of transfer to an elastic material1 maps or engravings of any size4 ,the specimen given in the present volume is reduced from a lithograph copy of an early block print1 four times its size1,,ix-#cc and then electrotyped into a surface block1 so as to print in the ordinary manner of a wood-engraving4 ,the reader will easily imagine that any plate transferred to an elastic surface distended equally1 will1 when collapsed1 yield a reduced impression1 and vice vers4 ,the only drawback to this process seems to be the want of depth in the electro-type where there are large unengraved spaces4 ,such plates will want good bringing-up and very careful printing4 ,footnote ,,ix-#cc3 ,taken from ,mr4 ,s4 ,leigh ,sotheby's ,principia ,typographica1 #c vols4 folio--to whose kindness we are indebted for the reduced block4 ,illustration ,the unequal manner in which wood-cuts are printed1 is often injurious both to publishers and engravers2 for1 however well a subject may have been engraved1 or whatever may have been the expense incurred1 both the engraver's talents and the publisher's money will1 in a great measure1 have been thrown away unless the cut be properly printed4 ,the want of cordial co-operation between printers and wood engravers is one of the chief causes of wood-cuts being so frequently printed in an improper manner4 ,one printer's method of printing wood-cuts often differs so much from that of another1 that it is generally necessary for an engraver who wishes to have justice done to his work1 to ascertain the office at which a book is to be printed before he begins to execute any of the cuts4 ,if they are intended to be printed at a steam-press1 they require to be engraved in a manner suitable to that method of printing2 and if it be further intended to take casts from them1 and to print from such casts instead of the original blocks1 it is necessary for the engraver to execute his work accordingly4 ,should they have to be printed at a common press with a blanket1 it is necessary that they should be lowered in such parts as are most liable to be printed too heavy from the parchment of the tympan1 when there is a blanket behind it1 penetrating to a greater depth between the lines than when no blanket is used4,,ix-#cd ,when it is intended to print cuts in what is called the best manner1--that is1 at a common press without a blanket1 and where the effect is brought up by means of overlaying1--the engraver has nothing to do but to execute his subject on a plane surface to the best of his ability1 and to leave the task of bringing up the dark1 and easing the light parts to the printer1--who1 if he have not an artist's eye1 can only by chance succeed in producing the effect intended by the draftsman and the engraver4 ,footnote ,,ix-#cd3 ,the principal difference1 so far as relates to wood engravings1 between printing by a steam-press with cylindrical rollers1 and printing by a common press with a blanket1 is1 that the blanket or woollen cloth covering the cylinder of the steam-press comes into immediate contact with the paper1 while in the common press the parchment of the tympan is interposed between the paper and the blanket4 ,it is necessary that cuts intended to be printed by a steam-press should be lowered to a greater depth than cuts intended to be printed with a blanket at a common press1 as the blanket on the cylinder penetrates to a greater depth between the lines4 ,illustration ,should a series of wood-cuts be engraved with the view of their being printed at a steam-press1 or at a common press with a blanket1 and should the publisher or proprietor of the work afterwards change his intention1 and decide on having them printed in the best manner1--that is1 by the common press without a blanket1 and with overlays1--such cuts1 whatever pains might be taken1 could not be properly and efficiently printed2 for those parts which had been lowered in order to obviate the in-pressure of the blanket1 would either be totally invisible1 or would only appear imperfectly1--that is1 with the lines indistinct and broken1 as if they had not been properly inked4 ,the following cut1 which was lowered for machine-printing1 or printing with a blanket1 but has been worked off at a common press without a blanket1 when compared with the same subject printed in the manner originally intended1--that is1 with a blanket1--will illustrate what has been previously said on the subject4 ,i by no means wish it to be understood1 that any printer would allow such a cut to appear quite so bad as it does in the present impression2 he would do something to remedy the defects1 but he could not1 without employing a blanket1 cause it to have the appearance originally intended by the designer and engraver4 ,it is printed here without any aid of overlaying1 in order that the difference might be the more apparent to those who are unacquainted with the subject4 ,i have1 however1 not unfrequently seen excellent cuts spoiled from inattention to bringing up the lowered parts1 even when printed at the office of printers who have acquired a high character for fine work1 and whose names on this account are announced in advertisements in connexion with those of the author1 designer1 and publisher1 as a guarantee for the superior manner in which the cuts contained in the work will be printed4,,ix-#ce ,the following cut1 of the same subject as that given on the previous page1 shows the appearance of the engraving when properly printed in the manner intended2 every line is here brought up by using a blanket1 while from the block having been lowered1 with a view to its being printed in this manner1 there has been no occasion for overlays to increase the effect in the darker parts4 ,the difference in the two impressions is entirely owing to the different manner of printing2 for the one is printed from the block1 and the other from a cast4 ,illustration ,footnote ,,ix-#ce3 ,i have known a printer1 who once had a high character for his fine work1 charge and receive twelve guineas per sheet for a book containing a number of wood-cuts which required to be well printed1 and ,i have known a similar work better printed from lowered blocks for less than half the sum per sheet4 ,publishers will at no distant time discover1 that it is their interest rather to have their cuts first properly engraved than to pay a printer a large additional sum for the trouble of overlaying them1 and thus giving them the appearance which they ought to have without such means and appliances1 if the blocks were originally executed as they ought to be4 ,subjects engraved on lowered blocks1 in the manner of the following cut1 have always an unfinished appearance when printed without a blanket1 and the feebleness and confusion apparent in the lighter parts1 instead of being remedied by overlaying the darker parts1 are thus rendered more obvious4 ,the connecting medium between the extremes of black and white being either entirely omitted or very imperfectly given1 causes the impression to have that harsh and unfinished appearance which is frequently urged as one of the greatest objections to engraving on wood4 ,it is indeed true1 that many cuts have this objectionable appearance2 but it is also true that the fault does not originate in any deficiency in the art1 but is either the result of want of knowledge on the part of the engraver1 or is occasioned by improper printing4 ,when wood engravers found that anything approaching to delicacy1 in blending the extremes of black and white in their work1 was extremely liable to be either lost or spoiled in the printing1 it is not surprising that they should have paid comparatively little attention to the connecting tints4 ,in many excellently engraved cuts1 printed at the common press with overlays1 the tint next in gradation to positive black is often perceived to be too dark1 in consequence of the extra pressure on the adjacent parts2 while1 on the other hand1 the delicate lines intended to blend with the white1 are either too heavy1 or appear broken and confused4 ,it is chiefly from this cause1 that so much black and white1 without the requisite connecting middle tints1 is found in wood-cuts2 for the engraver1 finding that such tints were frequently spoiled in the impression1 omitted them whenever he could1 in order to adapt his subject to the usual method of printing4 ,when1 in consequence of an improvement in the mode of printing wood-cuts1 engravers can depend on finding all in the impression that can be executed on the block1 it will no longer be an objection to the art that its productions have a hard and unfinished appearance1 and that it is only capable of efficiently representing subjects displaying strong contrasts of black and white4 ,should a wood-cut engraved on a plane surface1 with the intention of its being printed in the best manner1--that is1 at a common press with overlays1 and without a blanket1--be printed at a steam-press1 or at a common press with a blanket1 it will present a very different appearance to the engraver's proof4,,ix-#cf ,the following cut1 which ought properly to have been printed in the best manner1 is here printed improperly with a blanket1 and the result is anything but satisfactory2 the parts which ought to have been delicately printed are1 in consequence of the equality of the pressure on every part of the unlowered surface brought up too heavy1 and from their appearing too dark1 the effect intended by the designer and engraver is destroyed4 ,the same cut1 when printed at a common press with overlays1 and without a blanket1 as originally intended1 would have the light parts relieved1 and appear as it does on the following page4 ,footnote ,,ix-#cf3 ,the cuts being arranged back to back1 as at pages #fda1 #fdb1 and thereby preventing the types appearing1 as they do on the next page1 is an advantage not to be overlooked4 ,illustration ,illustration ,the want of something like a uniform method of printing wood-cuts1 and the high price charged by printers for what is called fine work1 have operated most injuriously to the progress and extension of wood engraving4 ,the practice1 however1 of printing wood-cuts by a steam-press1 or a press of any kind with a cylindrical roller instead of a platten1 seems likely to introduce a general change in the practice of the art4 ,by the adoption of this cheap and expeditious method of printing1 books containing the very best wood engravings can be afforded at a much cheaper rate than formerly4 ,as cuts printed in this manner can receive no adventitious aid from overlays1 the wood engraver is required to finish his work perfectly before it goes out of his hands1 and not to trust to the taste of a pressman for its being properly printed4 ,the great desideratum in wood engraving is to produce cuts which can be efficiently printed at the least possible expense2 and1 as a means towards this end1 it is necessary that cuts should require the least possible aid from the printer1 and be executed in such manner that1 without gross negligence1 they will be certain to print well4 ,the greatest advantage that wood engraving possesses over engraving on copper or steel is the cheap rate at which its productions can be printed at one impression1 in the same sheet with the letter-press4 ,to increase1 therefore1 by an incomplete method of engraving1 the cost of printing wood-cuts1 is to abandon the great vantage ground of the art4 ,the mode of printing by the common press without a blanket1 and of helping a cut engraved on a plane surface by means of overlays1 is not only much more expensive than printing from a lowered block by the steam-press1 or a common press with a blanket and without overlaying1 but is also much more injurious to the engraving4 ,when a cut requires to be overlaid,,ix-#cg in order that it may be properly printed1 a piece of paper is first pasted on the tympan1 and on this an impression is taken1 which remains as a substratum for the subsequent overlays4 ,a second impression is next taken1 and in this the pressman cuts out the lighter parts1 and notes such as are too indistinct and require bringing up4 ,he then proceeds to paste scraps of paper over the corresponding parts in the first impression1 on a sheet of thin paper1 either in front or at the back of the parchment tympan1 in order to increase in such parts the pressure of the platten2 and thus continues1 sometimes for half a day1 pasting scrap over scrap1 until he obtains what he considers a perfect impression4 ,footnote ,,ix-#cg3 ,what is called underlaying consists in pasting one piece of paper or more on the lower part of a block1 in order to raise it1 and increase the pressure4 ,when a block is uneven at the bottom1 in consequence of warping1 underlaying is indispensable4 ,as the block is originally of the same height as the type1 it is evident that the overlays must very much increase the pressure of the platten on such parts as they are immediately above4 ,such increase of pressure is not only injurious to the engraving1 occasionally breaking down the lines2 but it also frequently squeezes the ink from the surface into the interstices1 and causes the impression in such parts to appear blotted4 ,while a block1 with a flat surface1 printed in this manner will scarcely afford five thousand good impressions without retouching1 twenty thousand can be obtained from a lowered block printed by a steam-press1 or by a common press with a blanket and without overlays2 the darkest parts in a lowered block being no higher than the type1 and not being overlaid1 are subject to no unequal pressure to break down the lines1 while the lighter parts being lowered are thus sufficiently protected4 ,the intervention of the blanket in the latter case not only brings up the lighter parts1 but is also less injurious to the engraving1 than the direct action of the wood or metal platten1 with only the thin cloth and the parchment of the tympans intervening between it and the surface of the block4 ,when wood-cuts are printed with overlays1 and the paper is knotty1 the engraving is certain to be injured by the knots being indented in the wood in those parts where the pressure is greatest4 ,when copies of a work containing wood-cuts are printed on ,india paper1 the engraving is almost invariably injured1 in consequence of the hard knots and pieces of bark with which such paper abounds1 causing indentions in the wood4 ,the consequence of printing off a certain number of copies of a work on such paper may be seen in the cut of the ,vain ,glow-worm1 in the second edition of the first series of ,northcote's ,fables3 it is covered with white spots1 the result of indentions in the block caused by the knots and inequalities in bad ,india paper4 ,overlays frequently shift if not well attended to1 and cause pressure where it was never intended4 ,in order that wood engravings should appear to the greatest advantage1 it is necessary that they should be printed on proper paper4 ,a person not practically acquainted with the subject may easily be deceived in selecting paper for a work containing wood engravings4 ,there is a kind of paper1 manufactured of coarse material1 which1 in consequence of its being pressed1 has a smooth appearance1 and to the view seems to be highly suitable for the purpose4 ,as soon1 however1 as such paper is wetted previous to printing1 its smoothness disappears1 and its imperfections become apparent by the irregular swelling of the material of which it is composed4 ,paper intended for printing the best kind of wood-cuts ought to be even in texture1 and this ought to be the result of good material well manufactured4 ,paper of this kind will not appear uneven when wetted1 like that which has merely a good face put upon it by means of extreme pressure4 ,the best mode of testing the quality of paper is to wet a sheet2 however even and smooth it may appear when dry1 its imperfections will be evident when wet1 if it be manufactured of coarse material1 and merely pressed smooth4 ,paper of unequal thickness1 however good the material may be1 is quite unfit for the purpose of printing the best kind of wood engravings2 for1 if a sheet be thicker at one end than the other1 there will be a perceptible difference in the strength of the impressions of the cuts accordingly as they may be printed on the thick or the thin parts1 those on the latter being light1 while those on the former are comparatively heavy or dark4 ,when it is known that an overlay of the thinnest tissue paper will make a perceptible difference in an impression1 the necessity of having paper of even texture for the purpose of printing wood-cuts well is obvious4 ,as there is less chance of inequality of texture in comparatively thin paper than in thick1 the former kind is generally to be preferred1 supposing it to be equally well manufactured4 ,mr4 ,savage1 at page #df of his ,hints on ,decorative ,printing1 recommends that in a sheet which consists entirely of letter-press in one form1,,ix-#ch and of letter-press and wood-cuts in the other1 the form without cuts should be worked first4 ,his words are as follow3--8,when there are wood-cuts in one form1 and none in the other1 then the form without the cuts ought to be worked first2 as working the cuts last prevents the indention of the types appearing on the engraving1 which would otherwise take place to its prejudice40 ,footnote ,,ix-#ch3 ,the entire quantity of types1 or of types and wood-cuts1 which is locked up together1 and printed on one side of a sheet at one impression1 is called by printers a form4 ,my opinion on this subject is directly the reverse of ,mr4 ,savage's1 for1 under similar circumstances1 ,i should advise that the form containing the cuts should be printed first2 and for the following reason3--,when any parts of a wood-cut require to be printed light--whether by lowering the block or by overlaying--the pressure in such parts must necessarily be less than on those adjacent4 ,if then the form containing such cuts be printed first1 the paper being perfectly flat1 and without any indentions1 all the lines will appear distinct and continuous1 unless the pressman should grossly neglect his duty4 ,if1 on the contrary1 the form containing such cuts be printed last1 there is a risk of the lines in the lighter parts appearing broken and confused1 in consequence of the inequality in the surface of the paper1 caused by the indention of the types on the opposite side4 ,imperfections of this kind are to be seen in many works containing wood-cuts2 and they are in particular numerous in the ,treatise on ,cattle published under the superintendence of the ,society for the ,diffusion of ,useful ,knowledge4 ,in many of the cuts in this work the lines representing the sky appear discontinuous and broken1 and the imperfections are always according to the kind of type on the other side of the paper4 ,when both forms contain wood-cuts1 ,i should recommend that to be first which contains the best4 ,mr4 ,savage's reason1 independent of the preceding objections1 is scarcely a good one2 for admitting that the indention of the types of the second form does appear in the clear and distinct impressions from the cuts in the first1 when the sheet is just taken from the press1 are not such inequalities entirely removed when the sheet is dried and pressed8 ,in order to produce good impressions in printing wood-cuts1 much more depends on the manner in which the subject is treated by the designer1 and on the plate which the cut occupies in a page1 than a person unacquainted with the nicety required in such matters would imagine4 ,wood-cuts which are delicately engraved1 or which consist chiefly of outline1 are the most difficult to print in a proper manner1 in consequence of their want of dark masses to relieve the pressure in the more delicate parts1 and thus cause them to appear lighter in the impression4 ,there ought never to be a large portion of light delicate work in a wood-cut without a few dark parts near to it1 which may serve as stays or props to relieve the pressure4 ,in illustration of what is here said1 ,i would refer to the cut of ,king ,shahriyr unveiling ,shahrazd1 at page #ae of ,mr4 ,lane's ,translation of the ,arabian ,nights' ,entertainments1 where it will be seen1 that certain dark parts are introduced as if at measured distances4 ,it is entirely owing to the introduction of those dark parts that the pressman has been enabled to print the cut so well3 they not only give by contrast the appearance of greater delicacy to the lightest parts2 but they also serve to relieve them from that degree of pressure1 which1 if the cut consisted entirely of such delicate lines1 would most certainly cause them to appear comparatively thick and heavy4 ,another instance of the advantage which a cut derives from its being placed in a certain situation in the page1 is also afforded by the same work4 ,the cut to which ,i allude is that of the ,return of the ,jinnee1 at page #dg1 consisting chiefly of middle tint1 with a pillar of smoke rising up from the ground1 and gradually becoming lighter towards the top4 ,had this cut been introduced at the head of the page without any text above it1 the light parts would not have appeared so delicate as they do now when the cut is printed in its present situation4 ,the top of the cut1 where the lines are required to be lightest1 being near to the types1 thus receives a support1 and is by them relieved from that degree of pressure which would otherwise cause the lines to appear heavy4 ,towards the bottom of the cut1 which also forms the bottom of the page1 there are two or three dark figures which most opportunely afford that necessary degree of support which in the upper part is derived from the types4 ,the engraver by whom a cut has been executed is unquestionably the best person that the printer can apply to for any information as to the manner in which it ought to be printed1 as he alone can be perfectly acquainted with the state of the block1 and with any peculiarity in the engraving4 ,if any light part should have been lowered to a very trifling extent1 it is sometimes almost impossible that the printer should perceive such lowered part after the block has been covered with ink2 and hence1 notwithstanding the proof which may have been sent by the engraver as a guide1 such a cut is very likely to be worked off1 to the great injury of the general effect of the subject1 without the lowered part being properly brought up4 ,in order to avoid such an occurrence1 which is by no means unfrequent1 it is advisable to send to the engraver a printed proof of his cut1 in order that he may note those parts where the pressman has failed in obtaining a perfect impression4 ,from the want of this precaution wood-cuts are but too often badly printed2 while at the same time the engraver is blamed for executing his work imperfectly1 though in reality the defect is entirely occasioned by the cut not being properly printed4 ,the best mode of cleaning a block after the engraver has taken his first proof is to rub it well with a piece of woollen cloth4 ,so long as anything remains to be done with the graver1 the block1 after taking a proof1 ought never to be cleaned with any liquid1 as by such means the ink on the surface would be dissolved1 and the mixture getting between1 the lines would thus cause the cut to appear uniformly black1 and render it difficult for the engraver to finish his work in a proper manner from his inability to clearly distinguish the lines4,,ix-#ci ,turpentine or lye ought to be very sparingly used to clean a cut after the printing is finished1 and never unless the interstices be choked up with ink which cannot otherwise be removed4 ,when the surface of the block becomes foul1 in consequence of the ink becoming hardened upon it1 it is most advisable to clean it with a little soap and water1 using as little water as possible1 and afterwards to rub the block well with a piece of woollen cloth4 ,when it is necessary to use turpentine in order to get the hardened ink out of the interstices1 the surface of the block should immediately afterwards be slightly washed with a little soap and water1 and afterwards rubbed with a piece of woollen cloth4,,ix-#dj ,warm water ought never to be used1 as it is much more apt than cold to cause the block to warp and split4 ,the practice of cleaning wood-cuts in the form by means of a hard brush1 dipped in turpentine or lye1 is extremely injurious to the finest parts1 as by this means most delicate lines are not unfrequently broken4 ,the use of anything damp to clean the cuts when the pressman finishes his day's-work1 is to be avoided2 as a very small degree of damp is sufficient to cause the block to warp when left locked up over night in the form4 ,whenever it is practicable1 the cuts ought to be taken out of the form at night1 and placed on their edges till next morning2 as1 by thus receiving a free circulation of air all round them1 they will be much less liable to warp1 than if allowed to remain in the form4 ,as wood-cuts are often injured by being carelessly printed in a rough proof1 it is advisable not to insert them in the form till all the literal corrections are made1 and the text is ready for the press4 ,footnote ,,ix-#ci3 ,when a block1 after being printed1 requires retouching1 it is generally necessary to cover it with fine whiting1 which1 by filling up the interstices1 thus enables the engraver to distinguish the raised lines more clearly4 ,footnote ,,ix-#dj3 ,when a block has been cleaned with turpentine1 and not afterwards washed with soap and water1 it will not receive the ink well when next used4 ,the first fifty or sixty impressions subsequently taken1 are almost certain to have a grey and scumbled appearance4 ,it is a fact1 though ,i am unable to satisfactorily account for it1 that an impression from a wood-block1 taken by a common press1 without overlaying1 or any other kind of preparation1 is generally lighter in the middle than towards the edges4 ,mr4 ,edward ,cowper1 who has contributed so much to the improvement of machine-printing1 when engaged in making experiments with common presses constructed with the greatest care1,,ix-#da informs me1 that he frequently noticed the same defect4 ,such inequality in the impression is not perceptible in cuts printed by a steam-press1 where the pressure proceeds from a cylinder instead of a flat platten of metal or wood4 ,besides the advantage which the steam-press possesses over the common press in producing a uniformly regular impression1 the ink in the former method is more equally distributed over every part of the form in consequence of the undeviating regularity of the action of the inking rollers4 ,though an equal distribution of the ink be of great advantage when all the cuts in a form require to be printed in the same manner1--that is1 when all are of a similar tone of colour1--yet when some are dark1 and others comparatively light1 balls faced with composition are decidedly preferable to composition rollers1 as by using the former the pressman can give to each cut its proper quantity of ink4 ,footnote ,,ix-#da3 ,some of those presses were so truly constructed1 that if the table were wetted1 and brought in contact with the platten1 it could be raised from its bed by allowing the platten to ascend1 in consequence of the two surfaces being so perfectly plane and level4 ,i very much doubt1 if soft composition rollers1 such as are now generally used1 be so well adapted as composition balls for inking wood-cuts engraved on a plane surface4 ,the material of which the rollers are formed is so soft and elastic1 that it does not only pass over the surface of the block1 but penetrates to a certain depth between the lines1 thus inking them at the sides1 as well as on their surface4 ,the consequence of this is1 that when the pressure is too great1 the paper is forced in between the lines1 and receives1 to the great detriment of the impression1 a portion of the ink communicated by the soft and elastic roller to their sides4 ,for inking cuts delicately engraved on unlowered blocks1 ,i should recommend composition balls instead of composition rollers1 whenever it is required that such cuts should be printed in the best manner4 ,the great advantage which modern wood engraving possesses over every other branch of graphic art1 is the cheap rate at which its productions can be disseminated in conjunction with types1 by means of the press4 ,this is the stronghold of the art2 and whenever it has been abandoned in modern times to compete with copper-plate engraving1 in point of delicacy or mere difficulty of execution1 the result has been a failure4 ,no large modern wood-cuts1 published separately1 and resting on their own merits as works of art1 have repaid the engraver4 ,the price at which they were published was too high to allow of their being purchased by the humbler classes1 while the more wealthy collectors of fine prints have treated them with neglect4 ,such persons were not inclined to purchase comparatively expensive wood-cuts merely as curiosities1 showing how closely the peculiarities of copper-plate engraving could be imitated on wood4 ,though most of the large cuts designed by ,albert ,durer were either published separately without letter-press1 or in parts with brief explanations annexed2 yet we cannot ascribe the favour with which they were unquestionably received1 to the mere fact of their being executed on wood4 ,they were adapted to the taste and feelings of the age1 and were esteemed on account of the interest of the subjects and the excellence of the designs4 ,were a modern artist of comparatively equal talent to publish a series of subjects of excellence and originality1 engraved on wood in the best manner1 ,i have little doubt of their being favourably received2 their success1 however1 would not be owing to the circumstance of their being engraved on wood1 but to their intrinsic merits as works of art4 ,on taking a retrospective glance at the history of wood engraving1 it will be perceived that the art has not been regularly progressive4 ,at one period we find its productions distinguished for excellence of design and freedom of execution1 and at another we find mere mechanical labour substituted for the talent of the artist4 ,as soon as this change commenced1 wood engraving1 as a means of multiplying works of art began to decline4 ,it continued in a state of neglect for upwards of a century1 and showed little symptoms of revival until the works of ,bewick again brought it into notice4 ,the maxim that 8a good thing is valuable in proportion as many can enjoy it10 may be applied with peculiar propriety to wood engraving2 for the productions of no other kindred art have been more generally disseminated1 nor with greater advantage to those for whom they were intended4 ,in the child's first book wood-cuts are introduced1 to enable the infant mind to connect words with things2 the youth gains his knowledge of the forms of foreign animals from wood-cuts2 and the mathematician avails himself of wood engraving to execute his diagrams4 ,it has been employed1 in the representation of religious subjects1 as an aid to devotion2 to celebrate the triumphs of kings and warriors2 to illustrate the pages of the historian1 the traveller1 and the poet2 and by its means copies of the works of the greatest artists of former times1 have been afforded at a price which enabled the very poorest classes to become purchasers4 ,as at least one hundred thousand good impressions can be obtained from a wood-cut1 if properly engraved and carefully printed2 and as the additional cost of printing wood-cuts with letter-press is inconsiderable when compared with the cost of printing steel or copper plates separately1 the art will never want encouragement1 nor again sink into neglect1 so long as there are artists of talent to furnish designs1 and good engravers to execute them4 ,illustration3 ,,dies ,,addidit ,,mea ,,index4 ,a4 ,absolon1 ,john1 artist1 #egf994 ,accursius1 ,mariangelus1 note written by1 in a ,donatus1 #abc4 ,advertisements1 wood-cuts prefixed to1 #ddf n4 ,allegory of ,death1 a tract printed at ,bamberg1 #adfb1 #aga4 ,almanach de ,paris1 with wood-cuts1 by ,papillon1 #dei4 ,almanacks1 sheet1 #adgj1 #aejj1 #bbe4 ,alphabet of figures1 engraved on wood1 in the ,british ,museum1 #ajf2 cuts from1 #aji1 #aaj1 #aaa1 #aab2 with figures1 of a ,dance of ,death1 preserved in the public library at ,basle1 #ceb4 ,altdorffer1 ,a4 #cbj4 ,amman1 ,jost1 cuts designed by1 in a book of trades and professions1 #djh1 #dji2 other cuts designed by him1 #daa4 ,amonoph1 a name on an ,egyptian brick-stamp1 #f n4 ,andreani1 ,andrea1 chiaro-scuros engraved by1 #dcb4 ,andrews1 ,g4 ,h4 painter1 #eih994 ,anelay1 ,h4 artist1 #ege994 ,angus1 ,george1 of ,newcastle-on-,tyne1 printer1 wood-cuts used by1 in cheap works1 #ahj1 #bbh4 ,annunciation1 old cut of the1 #ej4 ,ansdell1 ,richard1 painter1 #eih994 ,ansgarius1 ,st41 supposed to have been the compiler of the ,biblia ,pauperum1 #id4 ,antichrist1 cuts of1 #fa4 ,antonianus1 ,silvius1 a cardinal1 claimed by ,papillon as a wood engraver1 #ccg4 ,antonio1 ,marc1 his copies of the ,little ,passion and the ,life of the ,virgin1 designed by ,durer1 #bea4 ,antwerp1 painters' company of1 entertain ,durer1 #bfa2 procession in honour of the ,virgin1 ib4 ,apelles1 the image of the life of man as painted in a table by1 #dcf n4 text has 8#dcb0 ,apocalypse1 an ancient block-book1 #fa1 #fh2 cuts in illustration of1 from ,durer's designs1 #bci4 ,appeal to ,christendom1 early specimen of typography1 #ach4 ,arch1 triumphal1 of ,maximilian1 designed by ,durer1 #bee4 ,archer1 ,j4 draughtsman1 #eii994 ,archer1 ,j4 ,w4 draughtsman1 #eii994 ,aretin1 ,j4 ,c4 von1 #aad4 ,armitage1 ,edward1 painter1 #eih994 ,armstrong1 ,t4 engraver1 #eib994 ,armstrong1 ,wm4 engraver1 #fjj994 ,ars ,memorandi1 #aac2 cut from1 #aae4 ,ars ,moriendi1 an old block-book1 #aaf4 ,art1 early ,german1 #c4 ,assen1 ,j4 ,w4 van1 #cah4 ,astle's ,origin and ,progress of ,writing1 #bj4 ,atkinson1 ,g4 ,c41 his ,life of ,bewick1 #dgg1 #dgh1 #dhj1 #dhb1 #dib1 #eja1 #ejc1 #eje4 ,austin1 an ,english wood-engraver1 #ech4 ,b4 ,babylonian brick1 #g4 ,balls1 leather1 formerly used by pressmen1 not so elastic as composition rollers1 #fbj4 ,bamberg1 a book of fables printed at1 in #adfa1 #aga4 ,bmler1 ,john1 a printer of ,augsburg1 #ahj4 ,baptism of ,drusiana1 #ff4 ,bartsch1 ,adam1 of opinion that ,albert ,durer did not engrave on wood1 #bcg4 ,battailes1 ,la ,fleur des1 #aeje1 #baj4 ,baxter1 ,george1 his improvements in printing in colours1 #djf2 his chiaro-scuros and picture-prints1 #fbi4 ,beating time with the foot mistaken for printing1 #abj4 ,beaumont1 ,sir ,george1 curious alphabet of figures engraved on wood1 formerly belonging to1 #ajf4 ,bechtermuntze1 ,henry and ,nicholas1 early printers1 related to ,gutemberg1 #adb4 ,beddoes1 ,dr4 ,thomas1 his poem of ,alexander's expedition down the ,hydaspes1 with wood-cuts1 by ,e4 ,dyas1 #agib1 #dfc n4 ,behaim1 ,michael1 letter to1 from ,albert ,durer1 #bce4 ,behaim1 ,h4 ,s4 #bec n1 #cbj4 ,beilby1 ,ralph1 the partner of ,bewick1 #dgi4 ,beildeck1 ,lawrence1 his evidence in the suit of the ,drytzehns against ,gutemberg1 #adch1 #abh4 ,bekker1 ,r4 ,z4 editor of a collection of wood-cuts1 from old blocks in the possession of the ,baron ,von ,derschau1 #bbf4 ,bellini1 ,giovanni1 his praise of ,durer1 #bdb4 ,bells1 inscriptions on1 #bj4 ,bennett1 ,c4 draughtsman1 #eii994 ,benting1 ,william1 ,lord of ,rhoon and ,pendraght1 a fictitious character1 mentioned by ,t4 ,nieuhoff ,piccard1 #cfj1 #cfa n1 #cfc4 ,bernacle or ,barnacle ,goose1 #dad4 ,bernardin1 ,st4 account of an old wood-cut of1 #ef4 ,beroaldus1 ,peter1 editor of an edition of ,ptolemy1 #bja4 ,best1 ,andrew1 and ,leloir1 their metallic relief engraving1 #fcf4 ,bethemsted1 a name in an old book of wood-cuts1 #aaa4 ,beugnet1 a ,french wood engraver1 #edg4 ,bewick1 ,thomas1 his birth1 #agec1 #dgb2 apprenticed to ,mr4 ,r4 ,beilby1 #dgd2 engraves the diagrams in ,hutton's ,mensuration1 #agfh-aggj1 #dge2 receives a premium for his cut of the ,old ,hound1 #agge1 #dgf2 visits ,london1 #dgg2 cuts engraved by him in a ,hieroglyphic ,bible1 #dgh2 his love of the country1 #dgi2 his partnership with ,beilby1 ib42 his cuts in ,gay's ,fables1 #dhj2 his cut of the ,chillingham ,bull1 #dha2 his ,quadrupeds1 #agia1 #dhb-dij2 his ,british ,birds1 #agig-ahjd1 #dij-ejb2 his ,select ,fables1 #ahah1 #ejb-ejf2 his cut of the ,old ,horse waiting for ,death1 #eaj2 his diligence1 #ejg2 his death1 ib42 tribute to his merits from ,blackwood's ,magazine1 #eab2 list of portraits of him1 #eji n4 ,bewick1 ,john1 notice of his principal works1 #eac4 ,bible1 the ,mazarine1 printed prior to ,august1 #adef1 #aci4 ,bible supposed to have been printed by ,pfister1 at ,bamberg1 #aha4 ,bible cuts1 ,lyons1 #aech1 designed by ,holbein1 #cfe-cga2 engravings from #hf1 #hh1 #hi1 #ij1 #ia1 #ib4 ,bible1 ,quadrins ,historiques de la1 #djb4 ,biblia ,pauperum1 #hj-id4 ,biblia ,pauperum ,predicatorum1 #hc4 ,bildhauer1 #b4 ,binding1 old1 #fj4 ,birds1 engraved by ,bewick's pupils1 #dib n4 ,birkman1 ,arnold1 ,dance of ,death1 copied from the ,lyons edition1 published by his heirs1 ,cologne1 #aeee-aegb1 #ccf4 ,blake1 ,william1 his mode of engraving in metallic relief1 #fcb2 his drawing of ,death's ,door1 engraved by ,linton1 #eia4 ,blind ,beggar of ,bethnal ,green1 cut from1 #ecd4 ,blocking out1 #ehi4 ,block-books claimed for ,lawrence ,coster1 #eh4 ,blocks1 original1 of the ,triumphs of ,maximilian1 preserved at ,vienna1 #bia4 ,bolton1 ,thomas1 wood engraver1 #egf991 #egg994 ,bombo1 the name of a dog1 supposed by ,papillon to be the name of a wood-engraver1 #ccg n4 ,bomb shell1 cut of a1 from a book printed in #adgb1 #ahg4 ,borbonius1 or ,bourbon1 ,nicholas1 verses by1 in praise of ,holbein1 #cef1 #ceg1 #cfb1 #cfg4 ,borders1 flowered1 earliest specimens of in books1 #bji4 ,bttiger1 ,c4 ,a4 #ba4 ,box-wood1 different qualities of1 #efc1 #eff4 ,brandling1 ,h4 draughtsman1 #eii994 ,brands for marking cattle1 #aa4 ,branston1 ,robert1 notice of his principal wood-cuts1 #ece-ech4 ,branston1 ,r4 the younger1 wood-engraver1 #edd2 his method of engraving in metallic relief1 #fcd4 ,branston1 ,f4 ,w4 wood-engraver1 #edd1 #ede4 ,brass stamps1 #aj4 ,brasses1 monumental1 #ba4 ,braunche1 ,robert1 his monument at ,lynn1 #bb4 ,breitkopf1 ,g4 ,j4 his attempt to print maps with separative pieces of type-metal1 #aggf1 #bje4 ,breydenbach's ,travels1 #adhf1 #bjf-bji4 ,bricks1 from ,egypt and ,babylon1 #f1 #g4 ,bridget1 ,st41 early cut of1 #eb4 ,brief of ,indulgence1 #aded1 an early specimen of typography1 #acg4 ,briefe1 cards so called in ,germany1 #db4 ,briefmaler and ,briefdrucker1 #dc1 #daj4 ,british ,birds1 ,history of1 with cuts by ,bewick1 #dij-ejb4 ,broughton1 ,hugh1 his ,concent of ,scripture1 with copper-plate engravings1 #aeia1 #dbc4 ,bchel1 ,emanuel1 a ,dance of ,death copied by1 in water-colours1 #cbf4 ,bukinck1 ,arnold1 printer1 his edition of ,ptolemy1 #adgh1 with maps1 engraved on copper1 #bjj4 ,bullet1 ,j4 ,b4 his ,researches on ,playing ,cards1 #dj4 ,bulwer1 ,sir ,e4 ,lytton1 quoted1 #cih4 ,burgmair1 ,hans1 painter1 and designer on wood1 #bgg4 ,burleigh1 ,lord1 his portrait in ,archbishop ,parker's edition of the ,bible1 #aefh1 #dai4 ,burnet1 ,john1 his engraving of ,chelsea ,pensioners1 after ,wilkie1 #bac4 ,burning in the hand1 #ab4 ,bury1 ,richard de1 makes no mention of wood engraving1 #ci4 ,businck1 chiaro-scuros engraved by1 #ddj4 ,buttons1 silver1 engraved by ,bewick1 #dgi4 ,bybel1 ,historische ,school en ,huis1 ,amsterdam1 #agdc1 with wood-cuts1 #dei4 ,byfield1 ,john1 wood engraver1 #edd4 ,c4 ,calcar1 ,john1 a ,flemish painter1 #dcd4 ,calderinus1 ,d4 editor of an edition of ,ptolemy1 #bjh4 ,camus1 his account of a book printed at ,bamberg1 #adfb1 #aga4 ,canticles1 illustrations of1 #ga1 #gb4 ,capitals1 ornamented1 in ,faust and ,scheffer's ,psalter1 #dbf2 in ,english and other books1 #faf1 #fag4 ,car1 triumphal1 of ,maximilian1 designed by ,durer1 #bee4 ,cards1 known in #acdj1 #dj4 ,caron1 ,nicholas1 wood engraver1 his portrait of ,papillon1 #dff n4 ,carpi1 ,ugo da1 engraver of chiaro-scuros1 on wood1 #bcj1 #cjg4 ,cartouch1 #bh n4 ,casts1 stereotype1 early1 #dah2 modern1 #fcf2 clichage1 #fcg4 ,cat edition of ,dante1 ,venice1 #aegh1 #dca4 ,catherine1 ,st4 patroness of learned men1 #bjg4 ,catholicon ,johannis ,januensis1 #ace n4 ,cauteria1 #ab4 ,caxton1 ,w4 books printed by1--,game of ,chess1 #aia2 ,mirror of the ,world1 #aid2 ,golden ,legend1 ,fables of ,esop1 ,canterbury ,tales1 #aie4 ,caylus1 ,count1 chiaro-scuros executed by1 and ,n4 ,le ,sueur1 #def n4 ,cessolis1 ,j4 de1 his work on ,chess1 #aig4 ,champollion1 #f n4 ,chantrey1 ,sir ,f4 monument by1 in ,lichfield ,cathedral1 #ehi1 #eij4 ,characters in an old ,dutch ,dance of ,death1 #cah1 #cbi n4 ,charlemagne1 his monogram1 #ad4 ,chelidonius1 #bdc1 #bea4 ,chelsea ,pensioners1 engraving of1 after ,sir ,d4 ,wilkie1 #bac4 ,chaucer's ,canterbury ,tales1 #dh4 ,chess1 the ,game of1 printed by ,caxton1 #aia4 ,chiaro-scuro1 engraving on wood1 known in ,germany1 in #aeji1 #bcj4 ,chiaro-scuros1 #cjg1 #djb1 #dcb1 #ddj1 #dea1 #dee1 #dfg1 #fbh4 ,children in the ,wood1 cut from1 #ecc4 ,chillingham bull1 cut of1 by ,bewick1 #dha4 ,chinese engraving and printing1 #bc4 ,chirotipografia1 or hand-printing1 #dd n4 ,chisels1 #egh4 ,christopher1 ,st4 wood-cut of1 in the possession of ,earl ,spencer1 #de1 #df4 ,chrysographus1 #aba4 ,circular wood engravings in the ,british ,museum1 #ed n4 ,clayton1 ,j4 ,r4 draughtsman1 #eii994 ,cleaning wood cuts after printing1 mode of1 #fdi4 ,clennell1 ,luke1 a pupil of ,bewick1 biographical notice of1 #eba-ebg4 ,clerc1 ,sebastian le1 cuts in ,croxall's sop's ,fables1 copied from his engravings1 #dej4 ,clichage1 a mode of taking a cast from a wood engraving1 #fcg4 ,coeck1 ,peter1 of ,alost1 his ,costumes and ,manners of the ,turks1 #djb4 ,coining1 its antiquity1 #ai4 ,cole1 ,humphrey1 an ,english engraver1 #aegb1 #dai4 ,coleman1 ,wm4 artist1 #eii994 ,collation of editions of the ,speculum ,salvationis1 #ajb4 ,cologne ,chronicle1 unfairly quoted by the advocates of ,coster1 #abb4 ,colonna1 ,francis1 author of the ,hypnerotomachia1 #bah4 ,colour1 the meaning of the word when applied to engravings1 #bac4 ,committee of the ,house of ,commons on ,arts and their ,connexion with ,manufactures1 #cje4 ,congreve's1 ,sir ,wm4 mode of colour printing1 #fcj4 ,concanen1 ,m4 wood cut in ,miscellaneous ,poems1 published by1 #agbd1 #dec4 ,cooper1 ,james1 wood-engraver1 #eej1 #eeb4 ,coornhert1 ,theodore1 claims the invention of printing for ,harlem1 #adf4 ,cope1 ,c4 ,w4 painter1 #eih994 ,copperplate engraving1 its invention ascribed to ,varro1 #ba4 ,copperplates1 earliest books containing1 #bjj2 the earliest engraved in ,england1 #dai4 ,corbould1 ,e4 ,h4 painter1 #eih994 ,coriolano1 ,bartolomeo1 chiaro-scuros engraved by1 #ddj4 ,cornelius1 a bookbinder1 his account of ,coster's invention1 #aej-aeb4 ,coster1 ,lawrence1 first mentioned by ,hadrian ,junius as the inventor of printing1 #adg2 account of his invention1 #adi4 ,cotman's ,sepulchral ,brasses1 #bb n4 ,coverdale1 ,miles1 cuts in his translation of the ,bible1 #aece1 #che-chi4 ,cowper1 ,edward1 his invention for piercing wood blocks for map engraving1 #bje4 ,cracherode1 ,rev4 ,c4 ,m4 prints and books presented by him to the ,british ,museum1 #gb1 #bca1 #cee1 #che4 ,cranach1 ,lucas1 painter and designer on wood1 #bge2 chiaro-scuros cut after1 #bgf2 figure of ,christ printed in colours1 supposed to be by him1 #djd4 ,cranmer1 ,archbishop1 his ,catechism1 #aedh1 with wood cuts1 #chj-chb4 ,creswick1 ,t4 artist4 #ehh991 #ehi994 ,cropsey1 ,jasper1 painter1 #eih994 ,crown-piece of ,george ,,iv41 impressions of casts from1 #fah4 ,crowquill1 ,alfred1 artist1 #eig994 ,cross-hatching1 #bbd1 #bcd1 #efb4 ,croxall's sop's ,fables1 wood cuts in1 #agbb1 #ddh-dea4 ,cruikshank1 ,george1 artist1 #eie991 #eif994 ,cuningham's1 ,dr4 ,william1 ,cosmographical ,glass1 #aeei1 #dba1 #dbe2 his portrait1 #dbd2 cuts from his book1 #dbe1 #dbf1 #dbg4 ,cunio1 ,alberic and ,isabella1 pretended wood engravers1 #bf4 ,curved lines1 the effect of1 #ehe4 ,cutting tools1 #egf4 ,d4 ,dalziel1 ,bros4 wood engravers1 #eei-efb991 #eff994 ,dalziel1 ,thomas1 artist1 #efb994 ,dammetz1 ,lucas1 called also ,lucas ,van ,leyden1 #cjh4 ,dampth1 its effect on box-wood1 #efd4 ,dance of ,death1 in old churches1 #cbe2 at ,basle1 #cbf2 in old ,french and other books1 #cbh2 the ,lyons ,dance of ,death1 #aech1 with cuts1 designed by ,hans ,holbein1 #cbi-cfd2 his ,alphabet containing his ,dance of ,death1 #ceb4 ,dante1 edition of1 with copper-plates1 #adhb2 the cat edition of1 ,venice1 #aegh1 #dca4 ,darley1 ,felix1 draughtsman1 #eii994 ,dates of block books and cuts1 mistake about1 #eh4 ,day1 ,john1 an ,english printer1 supposed to have also engraved on wood1 #dbe4 ,denecker1 ,jobst1 publisher of a ,dance of ,death at ,augsburg1 #aedd1 #ccf4 ,dentatus1 the large cut of the death of1 engraved by ,w4 ,harvey1 #ebh2 specimens of it1 #fja1 #fji4 ,derschau1 the ,baron ,von1 his collection of old wood blocks1 #ic1 #bbf2 his character1 #bcf n4 ,desroches1 ,m4 ascribes the invention of printing to 8,vedelare ,lodewyc10 #aai4 ,deutsch1 ,n4 ,e4 #cad4 ,dickes1 ,w4 draughtsman1 #eii994 ,dinkel1 ,joseph1 draughtsman1 #eic994 ,doctrinale gette en mole1 #abb4 ,dodd1 ,daniel and ,john1 wood engravers1 #edd4 ,dodgson1 ,g4 painter1 #eih994 ,dolce1 ,ludovico1 his ,transformationi1 a paraphrase of ,ovid's ,metamorphoses1 #cid4 ,dominicals1 stamped on paper1 #abj4 ,dominotiers1 #de4 ,donatus1 a grammatical treatise so called1 printed from wood blocks1 #aag2 one supposed to have been stamped1 #acdj1 #aba2 idea of typography perhaps suggested by such a work1 #abc4 ,douce1 ,francis1 his opinion about the name ,machabre1 #cbe2 his list of books containing figures of a ,dance of ,death1 #cbh2 his edition of the ,dance of ,death1 #ahcc1 #cch2 denies that the cuts in the ,lyons edition were designed by ,holbein1 #cdf2 but believes1 on the authority of an unknown writer1 named ,piccard1 that ,holbein painted a ,dance of ,death in the old palace at ,whitehall1 #cfj4 ,dovaston's account of ,bewick1 #dgh n4 ,doyle1 ,r4 artist4 #egh991 #egi994 ,drawings1 of a ,dance of ,death1 supposed to be originals1 by ,holbein1 #ceg2 by ,robert ,johnson1 purchased of ,beilby and ,bewick1 by the ,earl of ,bute1 #eag2 on wood1 mode of preparing the block for1 #egj2 for wood engraving1 difficulty of obtaining good1 #eib4 ,drytzehn1 ,andrew1 a partner of ,gutemberg's1 #abf4 ,duncan1 ,edward1 artist1 #ehc994 ,dnne1 ,hans1 work done by him for ,gutemberg1 on account of printing1 previous to #adch1 #abi4 ,durer1 ,albert1 placed as pupil under ,michael ,wolgemuth1 #bch2 earliest known copper-plate of his engraving1 #adid1 #bci2 his illustrations of the ,apocalypse1 ib42 his visit to ,venice1 #bda2 his illustrations of the ,history of the ,virgin1 #bdc-bdf2 of ,christ's ,passion1 #bdf-bej2 triumphal car1 #bee2 triumphal arch1 ib42 his earliest etchings1 #beg2 specimen of his carving in the ,british ,museum1 #beh2 his poetry1 #bfj n2 his visit to ,flanders1 #bfj-bgj2 his portrait1 #bgb2 lock of his hair preserved1 #cba n2 his death1 said to have been hastened through his wife's bad temper1 #bci1 #bgc4 ,dyas1 ,e4 a self-taught wood engraver1 #dfc n4 ,dyers of ,ovingham1 #eja4 ,e4 ,edmonston1 ,s4 draughtsman1 #eii994 ,egyptian brick stamp1 #e1 #f4 ,electro-printing block process1 specimen of1 #fci4 ,electrotyping1 #fch4 ,elizabeth1 ,queen1 portrait of1 in ,archbishop ,parker's ,bible1 #aefh1 #dai2 in her ,prayer-,book1 #dbg1 #dbh4 ,emblems of ,mortality1 with cuts1 engraved by ,john ,bewick1 #aghi1 #cbi1 #eac4 ,emblems1 ,religious1 with wood-cuts1 #ahjh1 #ebj4 ,english book1 the earliest1 that contains wood-cuts1 #aia-aid4 ,engraving1 the word explained1 #a2 copper-plate1 #bj1 #bjj1 #dai4 ,enschedius1 ,j41 specimen of typography discovered by him1 #afa4 ,entkrist1 ,der1 an old block-book1 #a4 ,erasmus1 portrait of1 painted by ,durer1 #bfc2 invoked by ,durer to exert himself in behalf of the ,reformation1 #bfg2 his worldly wisdom displayed in his letter introducing ,holbein to ,aegidius1 #cge2 his ,ship of ,fools1 with cuts by ,seb4 ,brandt1 #dfh4 ,etching1 the process of1 explained1 #beh n2 in metallic relief1 #fcb4 ,evans1 ,edmund1 wood engraver1 #eef1 #efg994 ,eve1 creation of1 conventional mode of representing1 #bae1 #baf4 ,evelyn's ,sculptura1 #e1 #djh4 ,eyck1 ,hubert and ,j4 van1 paintings by them1 #bfe4 ,f4 ,fables1 book of1 printed at ,bamberg1 #adfa1 #aga2 sop's1 #agbb1 #ddh2 ,select1 with cuts1 by ,bewick1 #ahah1 #ejb-ejf4 ,fairholt1 ,f4 ,w4 artist1 #eib994 ,falconer's ,shipwreck1 #ahjh1 with cuts by ,clennell1 #ebb4 ,fanti1 ,sigismond1 his ,triompho di ,fortuna1 ,venice1 #aebg1 #cae4 ,fantuzzi1 ,antonio1 called also ,antonio da ,trente1 engraver of chiaro-scuros1 #chi4 ,fasciculus ,temporum1 with wood-cuts1 #adgd1 #aij4 ,faust1 ,john1 becomes a partner of ,gutemberg1 #aca2 sues him for money advanced1 #acc2 gains the cause1 #acd4 ,faust and ,scheffer's ,psalter of #adeg1 #afd4 ,fellowship1 or ,guild of ,st4 ,luke1 at ,antwerp1 #aba4 ,figures du ,nouveau ,testament1 #djb4 ,flaxman's ,lectures1 print of the creation of ,eve in1 #bag2 cut from his relief1 8,deliver us from evil10 #egg992 his opinion of expressionand sentiment in art1 #ehe2 cut from a design by1 #eij4 ,folkard1 ,w4 ,a4 wood engraver1 #edd1 #efd994 ,forma1 a shape or mould1 #db4 ,formschneider1 #ai1 #dc1 #dd1 #daj4 ,foster1 ,birket1 artist1 #eea1 #eef-eeh1 #egj991 #ega994 ,fournier1 ,p4 ,s4 his discoveries with respect to the ,speculum ,salvationis1 #aja2 his opinion of wooden types1 #acf2 his works1 #dfg-dfi4 ,fox's1 ,john1 ,acts and ,monuments1 #dbh4 ,fracture1 #bhc n4 ,franklin1 ,john1 draughtsman1 #eii994 ,frellon1 ,john and ,francis1 publishers of the second edition of the ,lyons ,dance of ,death1 #cff4 ,french wood-cuts1 #faj4 ,frey1 ,agnes1 the wife of ,durer1 her avarice and ill-temper said to have hastened her husband's death1 #bgc4 ,frith1 ,w4 ,p4 painter1 #ei4 ,g4 ,gnsfleisch1 a surname of the family of ,gutemberg1 #abd4 ,galenus de ,temperamentis1 with a title-page1 engraved on copper1 printed at ,cambridge1 #aeba1 #dba4 ,galius1 ,nicholas1 tells the story of ,coster's invention to ,h4 ,junius1 #aej4 ,gamperlin1 ,von1 cuts ascribed to1 #cad4 ,garfagninus1 ,joseph ,porta1 #cij4 ,gebhard1 ,l4 ,a4 his notice of the ,history of the ,council of ,constance1 with cuts of arms1 #ahi4 ,gemini1 ,thomas1 his ,compendium of ,anatomy1 with copper-plate engravings1 ,london1 #aede1 #dbb4 ,gent1 ,thomas1 wood-cuts in his ,history of ,ripon1 #aha4 ,george ,,iv4 his signature stamped1 #ad2 his snuff-box1 with designs by ,flaxman1 #eij4 ,gesner1 ,conrad1 expressly mentions the cuts in the ,lyons ,dance of ,death1 as having been designed by ,holbein1 #cfd4 ,ghesquiere1 ,m4 his answer to ,m4 ,desroches1 #abj4 ,gilbert1 ,john1 artist1 #efa991 #efc991 #efd994 ,gilpin1 ,rev4 ,william1 his definition of tint1 #bac4 ,giolito1 ,gabriel1 printer1 of ,venice1 #cid4 ,giraffe1 wood-cut of a1 in ,breydenbach's ,travels1 #adhf1 #bfi4 ,glasses1 observations on the use of1 #egc4 ,globe1 glass1 the engraver's1 to concentrate the light of the lamp1 #ege4 ,glockendon1 ,george1 an early ,german wood engraver1 #bbg4 ,glockenton1 ,a4 cuts ascribed to1 #cag4 ,goethe1 allusion to ,sir ,theurdank1 in his ,gtz ,von ,berlichingen1 #bha n4 ,golden ,legend1 printed by ,w4 de ,worde1 #adic1 large cut in1 #aie4 ,goldsmith and ,parnell's ,poems1 printed by ,bulmer1 #eac4 ,goltzius1 ,henry1 chiaro-scuros by1 #dcb4 ,goltzius1 ,hubert1 his portraits of the ,roman ,emperors in chiaro-scuro1 from plates of metal1 #aeeg1 #dje4 ,goodall1 ,e4 painter1 #eih994 ,goodall1 ,w4 draughtsman1 #eii994 ,goose1 ,bernacle or ,barnacle1 said to be produced from a tree1 #dad4 ,gorway1 ,charles1 wood engraver1 #edd1 #fjj994 ,gospels of ,ulphilas1 #dd4 ,gothic monograms1 #ae4 ,graff1 ,rose1 #cac1 #cad4 ,grand-duc de l'arme cleste1 #agc4 ,grant1 ,w4 ,j4 painter1 #eih994 ,gratture1 the ,french term for the process of thickening the lines in a wood-cut by scraping them down1 #dfd4 ,gravers1 #egd1 #ege4 ,gray1 ,charles1 wood-engraver1 #edd4 ,green1 ,w4 ,t4 wood-engraver1 #edd1 #edg1 #edh4 ,greenaway1 ,j4 wood-engraver1 #eec-eee4 ,greff1 ,jerome1 publisher of a pirated edition of ,durer's ,illustrations of the ,apocalypse1 #bda4 ,greffier and ,scrivener1 #b n4 ,gregson1 ,mr4 ,c41 letter to1 from ,bewick1 #dgd1 #dgi4 ,gringonneur1 ,jacquemin1 cards painted by1 #da4 ,gritner1 a ,french wood-engraver1 #edg4 ,grotesque1 #i n4 ,grn1 ,h4 ,b4 #cbj4 ,gubitz1 a modern ,german wood-engraver1 #edf4 ,guicciardini1 ,l4 mentions the report of printing having been invented at ,harlem1 #adf4 ,gutemberg1 ,john1 his birth1 #abd2 residing at ,strasburg in #adcd1 #abe2 his partnership with ,andrew ,drytzehn1 ib42 evidences of his having a press in #adch1 for the purpose of printing1 #abg2 his return to ,mentz and partnership with ,faust1 #aca2 partnership dissolved1 #acc2 proofs of his having afterwards had a press of his own1 #adj2 his death and epitaph1 #add4 ,h4 ,hahn1 ,ulric1 ,meditationes ,j4 de ,turrecremata1 printed by1 in #adfg1 #ahd4 ,hammond1 --1 wood-engraver1 #fjj994 ,hancock1 ,charles1 his patent for engraving in metallic relief1 #fce4 ,handgun1 figure of one seen in cut in ,valturius1 de ,re ,militari1 #adgb1 #ahg4 ,hans1 ,young1 ,briefmaler1 #aaf1 #bbe4 ,harral1 ,horace1 wood-engraver1 #eff991 #ehc991 #eid994 ,harrington1 ,sir ,john1 his translation of ,ariosto1 with copper-plate engravings1 #aeia1 #dbc4 ,hartlieb1 ,dr4 ,cyromantia1 #aaf4 ,harvey1 ,william1 a pupil of ,bewick1 notice of his works as an engraver and designer1 #ebg-ecd4 ,hawkins1 ,john ,sidney1 editor of ,emblems of ,mortality1 #aghi1 #cbi4 ,hawkins1 ,sir ,john1 wood-cuts in his ,history of ,music1 #aggf1 #dga4 ,haydock1 ,r4 his translation of ,lomazzo1 with copper-plate engraving1 #aeih1 #dbc4 ,head of ,paris1 the lover of ,helen1 serves for that of ,thales1 ,dante1 and others1 #bab4 ,hegner1 ,ulrich1 author of ,life of ,holbein1 his notice of the ,dance of ,death1 at ,basle1 #cbf2 of the ,german names in proof impressions of the cuts in the ,lyons ,dance of ,death1 #cca2 of ,hans ,lutzelburger1 #cea2 his ,life of ,holbein1 #cgb4 ,heilman1 ,anthony1 his evidence in the suit of the ,drytzehns against ,gutemberg1 #adch1 #abh4 ,heineken1 ,charles1 ,baron ,von1 his disbelief of ,papillon's story of the ,cunio1 #bg2 his opinion that cards were invented in ,germany1 #dj2 his notice of the old wood-cut of ,st4 ,christopher1 #df2 of the ,history of the ,virgin1 #fh2 of the ,apocalypse1 #hj2 of the ,poor ,preacher's ,bible1 #hb1 #id2 of the ,speculum ,salvationis1 #ajj2 his erroneous account of a ,dutch wood-cut1 by ,phillery ,willem de figuersnider1 #cji4 ,helgen1 or ,helglein1 figures of ,saints1 #de4 ,henderson1 ,dr4 his ,history of ,wines1 with ,illustrations1 by ,w4 ,harvey1 #ecj4 ,henry ,,viii4 his signature stamped1 #ad4 ,heures a l',usaige de ,chartres1 printed by ,s4 ,vostre1 #aejb1 #bcb4 ,hicks1 ,g4 ,e4 painter1 #eih994 ,hieroglyphic sonnet1 #cif2 ,bible1 #dgh4 ,highland ,society1 diploma of1 #ebc4 ,historiarum ,veteris ,testamenti ,icones1 or ,bible-cuts1 designed by ,holbein1 #cfe-cga4 ,histories1 the ,four1 dated #adfb1 #agb-age4 ,history of the ,virgin1 an ancient block-book1 #fh-hj4 ,hodgson1 ,solomon1 printer of the first four editions of ,bewick's ,quadrupeds1 #dhh4 ,hodgson1 ,t4 the engraver of a cut in ,sir ,john ,hawkins's ,history of ,music1 #aggf1 #dga4 ,hogarth1 cut from projected edition of1 #edd2 sketch from1 #eid4 ,hogenberg1 ,r4 portrait of ,archbishop ,parker engraved by1 #aegb1 #dbb4 ,holbein1 ,hans1 the designer of the cuts in the ,dance of ,death printed at ,lyons1 #cga2 his birth1 ib42 his marriage1 #cgb2 how employed at ,basle1 #cgc2 visits ,england1 ib42 revisits ,basle1 #cgf2 his death1 #cgh2 his satirical drawings1 #cgh n2 his ,alphabet1 #ceb4 ,hole1 ,henry1 a pupil of ,bewick1 #dib n4 ,holl1 ,leonard1 printer of ,ulm1 his edition of ,ptolemy1 #adhc1 #aii4 ,hollar1 ,w4 his etchings of the ,dance of ,death1 #ccg4 ,holzschneider1 #b4 ,horace1 his well-stored wine1 #i4 ,horne1 ,rev4 ,t4 ,h4 probably incorrect with respect to a date1 #fj4 ,horsley1 ,j4 ,c4 artist1 #eia991 #eih994 ,hortus ,sanitatis1 #adia1 #baj4 ,householder1 the ,good1 #dch4 ,howel's ,medulla ,histori ,anglican1 with wood-cuts1 #agab1 #ddf4 ,hughes1 ,hugh1 his ,beauties of ,cambria1 #ech-edh4 ,hughes1 ,william1 wood-engraver1 #ech4 ,hudibras1 #ahai1 cut from1 #edc4 ,hulme1 ,f4 ,w4 draughtsman1 #eii994 ,human ,vit ,imago1 #dcf n4 ,humphreys1 ,noel1 draughtsman1 #eii994 ,hunt1 ,w4 ,holman1 painter1 #eih994 ,hunting and ,hawking1 ,book of1 printed at ,st4 ,alban's1 #adhf1 and at ,westminster in #adif1 #aie4 ,hutton's ,mensuration1 with diagrams engraved by ,bewick1 #agfh-aggj1 #dge4 ,hypnerotomachia ,poliphili1 #bah1 #bbj1 #bbd4 ,i4 ,images of the ,old ,testament1 with cuts1 designed by ,holbein1 #cfe-cgj4 ,impressions from wood and from copper1 the difference in the mode of taking1 #d4 ,initial letters1 flowered1 #aia1 #dbi4 ,insanity of engravers1 #deh n4 ,inscriptions on bells1 #bj4 ,intaglio engraving on wood1 so that the outlines appear white upon black1 #bbe1 #dhb1 #fah1 #fai4 ,j4 ,jackson1 ,john1 wood-engraver1 #ede4 ,jackson1 ,john ,baptist1 an ,english wood engraver1 perhaps a pupil of ,kirkall1 #dec2 ,papillon's notice of him1 #ded2 engraves several chiaro-scuros at ,venice1 #dee2 establishes a manufactory for paper-hangings at ,battersea1 and publishes an essay on chiaro-scuro engraving1 #dee-deg4 ,jackson1 ,john1 #ede4 ,jackson1 ,mason1 wood-engraver1 #ehi991 #fjj994 ,jacob blessing the children of ,joseph1 #eif1 #eig4 ,janszoon1 ,lawrence1 supposed to be the same person as ,lawrence ,coster1 #afb4 ,javelin-headed characters1 #g4 ,jean-le-,robert1 his ,journal1 #abb4 ,jegher1 ,christopher1 wood engravings by1 from drawings by ,rubens1 #dcg4 ,jettons1 or counters1 #ai4 ,jewitt1 ,orlando1 draughtsman and wood-engraver1 #ehd99-ehg994 ,john1 ,st4 old wood-cuts of1 #fj4 ,johnson1 ,john1 a pupil of ,bewick1 #eag n4 ,johnson1 ,robert1 a pupil of ,bewick's1 list of tail-pieces in the ,british ,birds designed by1 #dig2 notice of his life1 #eaf4 ,jones1 ,owen1 draughtsman1 #eii994 ,journal1 ,albert ,durer's1 of his visit to ,flanders1 #bfj4 ,judith1 with the head of ,holofernes1 #ddj4 ,junius1 ,hadrian1 claims the invention of printing for ,lawrence ,coster1 #adg-aej4 ,k4 ,kartenmachers in ,germany1 in the fifteenth century1 #dc4 ,keene1 ,charles1 draughtsman1 #eii994 ,killing the black1 a technical term in wood engraving1 explained1 #bcb4 ,kirchner1 --1 wood-engraver1 #efc994 ,kirkall1 ,e4 copper-plate frontispiece to ,howel's ,medulla ,histori ,anglican1 engraved by1 #agab1 #ddg2 chiaro-scuros engraved by1 #dea2 copper-plates engraved by1 in ,rowe's translation of ,lucan's ,pharsalia1 and other works1 #deb4 ,klauber1 ,h4 ,h41 repainted the ,dance of ,death in the church-court of the ,dominicans1 at ,basle1 #cbg4 ,knight1 ,r4 ,payne1 his bequest of a piece of sculpture1 by ,a4 ,durer1 to the ,british ,museum1 #beh4 ,knight1 ,c4 his patent illuminated prints and maps1 #fcj4 ,koburger1 ,anthony1 printer of the ,nuremberg ,chronicle1 #adic1 #bab4 ,koning1 ,j4 a modern advocate of ,coster's invention1 #aed4 ,krismer1 librarian of the ,convent of ,buxheim1 #di n4 ,kunig1 der ,weiss1 the title of a work1 with wood-cuts1 chiefly written by the ,emperor ,maximilian1 #bhf1 #dhc2 summary of its contents1 ib4 ,kupfer-stecher1 #b4 ,kttner1 ,k4 ,g4 his opinion of ,sir ,theurdank1 #bhb4 ,kyloe ,ox1 by ,bewick1 #dhe n4 ,l4 ,ladenspelder1 ,hans1 #cee4 ,laer1 ,w4 ,rolewinck de1 his ,fasciculus ,temporum1 with wood-cuts1 #adgd1 #aij4 ,lamp1 the engraver's1 #ege4 ,landells1 ,ebenezer1 wood-engraver1 #edd4 ,landseer1 ,mr4 ,edwin1 on vignettes1 #fae4 ,landseer1 ,mr4 ,john1 his theory of vegetable putties1 #gb2 his observations on the term colour1 as applied to engravings1 #bac4 ,laocoon1 burlesque of the1 by ,titian1 #dce4 ,lapis1 ,dominico de1 printer of ,bologna1 his edition of ,ptolemy1 with an erroneous date1 #bja4 ,lar1 the word on a ,roman stamp1 #h4 ,lawless1 ,m4 ,j4 draughtsman1 #eii994 ,lee1 ,james1 wood-engraver1 #eic994 ,lee1 ,john1 wood-engraver1 #ecd4 ,leech1 ,john1 artist1 #ehj991 #eha994 ,leglenweiss1 the word explained1 #dd4 ,legrand1 ,j4 ,g4 his translation of the ,hypnerotomachia1 #bai4 ,lehne1 ,f4 his observations on a passage in the ,cologne ,chronicle1 #abb n2 his ,chronology of the ,harlem ,fiction1 #aee2 his remarks on ,koning1 #aeg4 ,leicester1 ,robert ,earl of1 his portrait in ,archbishop ,parker's edition of the ,bible1 #aefh1 #dai4 ,leighton1 ,john1 artist1 #ehb994 ,leighton1 ,henry1 wood-engraver1 #ehb994 ,le ,jeune1 ,h4 painter1 #eih994 ,leland1 ,john1 his ,nni1 #aedb1 contains a portrait1 engraved on wood1 of ,sir ,thomas ,wyatt1 #cgi4 ,le ,sueurs1 ,french wood-engravers1 #ddc1 #dfg4 ,letania ,lauretana1 with wood-cuts1 ,valencia1 #agfh1 #dfi4 ,lettere ,cifrate1 #cie4 ,leyden1 ,lucas van1 visited by ,durer1 #bfi2 his engravings1 #cjh4 ,lhuyd1 ,humphrey1 erroneously described by ,walpole as an engraver1 #dbj4 ,libripagus1 a definition of the word1 by ,paul of ,prague1 #ahb4 ,lignamine1 ,p4 de1 in his ,chronicle1 #adgd1 mentions ,gutemberg and ,faust1 as printers1 at ,mentz in #adeh1 #adj4 ,linton1 ,w4 ,j4 wood-engraver1 #edd1 #eij991 #eia994 ,lobel and ,pena's ,stirpium ,adversaria1 with copper-plate title-page1 ,london1 #aegj1 #dbc4 ,lodewyc von ,vaelbeke1 a fidler1 supposed to have been the inventor of printing1 #aai4 ,logography1 #dag4 ,lorenzo1 ,nicolo1 books containing copper-plates printed by him1 #adgg-adha1 #bjb4 ,lorich1 ,melchior1 #djh4 ,loudon's ,arboretum1 with cuts printed from casts of etchings1 by ,branston1 #fcd4 ,loudon1 ,j4 wood-engraver1 #fjj994 ,lowering1 the practice of1 no recent invention1 #dfe4 ,lowering1 concave1 #fah4 ,lowering1 advantages of1 #fbd4 ,lowering1 complicated1 #fbe4 ,lowering1 the difference between cylindrical rollers and the common press1 so far as relates to1 #fdj n4 ,lucas van ,leyden1 #cjh4 ,lucchesini1 an ,italian wood-engraver1 about #aggj1 #dfi4 ,luther1 ,martin1 his cause espoused by ,durer1 #bfe2 caricature portraits of1 #bfg4 ,lutzelburger1 ,hans1 a wood-engraver1 #cea4 ,lydgate1 ,john1 mentions vignettes in his ,troy ,book1 #faf4 ,lysons1 ,mr4 ,samuel1 letter from1 to ,sir ,george ,beaumont1 #ajh4 ,m4 ,mabillon1 #ad4 ,machabre1 ,the ,dance of1 #cbe-cbi4 ,maclise1 ,d4 artist1 #efh991 #efi994 ,macquoid1 ,t4 draughtsman1 #eii994 ,mair1 an engraver1 a supposed chiaro-scuro by1 #adii1 #bca4 ,mc,ian1 ,r4 ,r4 artist1 #ehh991 #eij994 ,maittaire's ,latin ,classics1 wood-cut ornaments in1 #agac1 #ddh4 ,mallinkrot1 his translation of a passage in the ,cologne ,chronicle1 #abc4 ,mander1 ,c4 ,van1 ascribes the ,lyons ,dance of ,death to ,holbein1 #cfe4 ,mantegna1 ,andrea1 wood-cuts of the ,hypnerotomachia ascribed to1 #bai4 ,manung1 widder die ,durken1 an early specimen of typography1 #ach4 ,map engraved on wood1 specimen of a1 #fab4 ,maps engraved on wood and on copper1 the earliest1 #aii2 names of places in1 printed in type1 #aeaa1 #bjc2 printed in colours1 #aech1 #bjd2 improvements in engraving1 ib42 printed in separate pieces1 with types1 #aggf1 #bje2 improvements in printing1 #dag2 early1 on copper1 published in ,england1 #dai2 ,knight's patent illuminated1 #fcj4 ,marcolini1 ,f4 wood-cuts in his ,sorti1 #aedj1 #chi1 #cia4 ,marks1 double1 on wood-cuts1 #cej4 ,marshall1 ,j4 ,r4 wood engraver1 #eif994 ,martin1 ,john1 artist1 #ede1 #edf1 #edg1 #eij994 ,martin1 ,j4 wood-engraver1 #edd4 ,mary de ,medici1 her portrait mistaken by ,papillon and ,fournier for a specimen of her own engraving on wood1 #dfa4 ,masters1 little1 #cbj n4 ,matsys1 ,quintin1 entertains ,durer1 #bfa4 ,maude1 ,thomas1 extract from his poem of the ,school ,boy1 #dgc4 ,maugerard1 ,m4 copy of an early edition of the ,bible discovered by1 #aci4 ,maximilian the ,first1 ,emperor of ,germany1 his triumphal car and arch1 designed by ,durer1 #bee2 the ,adventures of ,sir ,theurdank1 the joint composition of himself and his secretary1 #bhb-bhe2 works celebrating his actions1--,the ,wise ,king1 #bhf2 the ,triumphal ,procession1 #bhh1 #bhi4 ,mazarine ,bible1 #aci n4 ,meadows1 ,kenny1 artist1 #eig994 ,measom1 ,geo4 wood engraver1 #ege994 ,mechel1 ,christian von1 of ,basle1 his engravings after ,holbein1 #cej4 ,medals1 #cbj4 ,meditationes ,joannis de ,turrecremata1 #ahd4 ,meerman1 ,g4 his disbelief of the story of ,coster's invention1 #aed2 and his subsequent attempts to establish its credibility1 #aee4 ,mentelin1 ,john1 printer1 of ,strasburg1 formerly an illuminator1 #aba4 ,mentonnire1 #dfe1 #egd4 ,merchants'-marks1 #ag4 ,metallic relief engraving1 erroneous statements about1 #cje2 ,blake's metallic relief engraving1 #fcb2 portrait thus executed by ,lizars1 #fcc2 ,woone's1 #fcd2 ,schonberg's1 ib42 ,branston's1 ib42 ,hancock's patent1 #fce2 ,sly's experiments1 #fcf2 ,messrs4 ,best1 ,andrew1 and ,leloir1 ib4 ,meydenbach1 ,john1 said to have been one of ,gutemberg's assistants1 #aff4 ,meydenbach1 ,jacobus1 printer of the ,hortus ,sanitatis1 #adia1 #baj4 ,millais1 ,j4 ,e4 painter1 #eih994 ,mints1 provincial1 for coining money1 #ai4 ,mirror of ,human ,salvation1 #ie4 ,mirror of the ,world1 printed by ,caxton1 #aid4 ,missale ,herbipolense1 with a copper-plate engraving1 #adha1 #bja4 ,moffet's ,theatre of ,insects1 #ddb4 ,monogram1 #ac1 #ae4 ,montagna1 ,benedetto1 wood-cuts of the ,hypnerotomachia ascribed to him1 #bbj4 ,monte ,sancto di ,dio1 an early book1 containing copper-plates1 #adgg1 #bjb4 ,monumental brasses1 #ba4 ,more1 ,sir ,thomas1 #cge4 ,morgan1 ,m4 ,s4 draughtsman1 #eii994 ,morland1 sketch from1 #eib4 ,mort1 les ,simulachres de la1 ,lyons1 #aech1 #cbh4 ,mosses1 ,thomas1 wood engraver1 #edd4 ,mulready1 ,w4 painter1 #eih994 ,munster1 ,sebastian1 his ,cosmography1 #dac2 his letters to ,joachim ,vadianus about an improvement in the mode of printing maps1 #dag4 ,murr1 ,c4 ,g4 ,von1 references to his ,journal of ,art1 and other works1 #b1 #i1 #db1 #dg1 #di1 #ea1 #ef1 #gd1 #bbg1 #bcf1 #bcg1 #bda1 #bdb1 #beg1 #bfj1 #bfb1 #bfd1 #bfg1 #bgc1 #bha1 #bhc1 #bhi1 #bia4 ,n4 ,names of wood engravers at the back of the original blocks of the ,triumphs of ,maximilian1 #bib4 ,naming of ,john the ,baptist1 a piece of sculpture by ,a4 ,durer1 #bei4 ,nash1 ,j4 painter1 #eii994 ,nesbit1 ,charlton1 a pupil of ,bewick1 notice of some of his principal cuts1 #eai-eba4 ,neudrffer1 his account of ,jerome ,resch1 a wood engraver1 contemporary with ,durer1 #bcf4 ,nicholson1 ,isaac1 a pupil of ,bewick1 #ebg4 ,northcote1 ,james1 his mode of composing the cuttings for his ,fables1 #ebi n4 ,notarial stamps1 #ag4 ,nummi bracteati1 #af4 ,nuremberg ,chronicle1 #bab4 ,o4 ,oberlin1 ,j4 ,j4 ,essai d',annales de la ,vie de ,gutenberg1 #abe1 #acj1 #acf1 #ach1 #adj1 #adc4 ,odes1 two1 by ,lloyd and ,colman1 with wood-cuts1 #agfj1 #dgj4 ,ortelius1 ,abraham1 his collection of maps1 engraved on copper1 #aegj1 #dai4 ,ortus ,sanitatis1 #baa4 ,ottley1 ,w4 ,y4 adopts ,papillon's story of the ,cunio1 #dai2 his advocacy of ,coster's pretensions1 #afj2 ascribes the introduction of cross-hatching to ,m4 ,wolgemuth1 #bci2 and the designs of the cuts in the ,hypnerotomachia to ,benedetto ,montagna1 #bbj4 ,outline1 in wood engraving1 the difference between the white and the true1 #ehg2 engravings in1 #eij4 ,overlaying wood-cuts1 mode of1 #fac1 #fde4 ,ovid's ,metamorphoses1 printed at ,venice1 #adig1 #bag4 ,ovingham1 the parsonage at1 #dgc2 the church1 #eab4 ,oxford ,sausage1 with wood-cuts1 #agfd1 #dgj4 ,p4 ,packhouse's machine for tints1 #ehd n4 ,palatino1 ,g4 ,b4 his work on ,penmanship1 #cie4 ,palmer1 ,w4 ,j4 wood-engraver1 #eeg4 ,paper1 proper for printing wood-cuts1 #fdf2 ,india paper1 injurious to wood-cuts1 ib4 ,paper-mark in an old book of wood-cuts1 #ajg4 ,paper money1 early1 #be n4 ,papillon1 ,john1 the elder1 #ddc4 ,papillon1 ,john ,michael1 his story of the ,cunio1 #bf2 his character1 #ce2 notice of his works1 #deg-dfg4 ,parafe1 or ruche1 #ad4 ,parker1 ,archbishop1 his portrait1 engraved by ,r4 ,hogenberg1 #aegb1 #dbb4 ,parkinson's ,paradisus ,terrestris1 #ddb4 ,parmegiano1 chiaro-scuros after his designs1 #djc4 ,pasti1 ,matteo1 supposed to have designed the cuts in ,valturius de ,re ,militari1 #adgb1 #ahf4 ,patin's ,life of ,holbein1 #cgb4 ,patroner1 the word explained1 #ccj n4 ,paul of ,prague1 his definition of 8libripagus10 #ahb4 ,pearson1 ,g4 wood engraver1 #egc991 #egd994 ,pepyr1 ,edmund1 his mark1 #ah4 ,peringskiold1 #ad4 ,petit-,jehan de ,saintr1 ,chronicle of1 #da4 ,petrarch's ,sonnets1 ,lyons1 #aede1 cuts in1 #djj4 ,petronius1 #h1 #ae4 ,pfintzing1 ,melchior1 joint author of ,sir ,theurdank1 #bhb4 ,pfister1 ,albert1 works printed by1 at ,bamberg in #adfa and #adfb1 #agj1 #aha4 ,phillery1 properly ,willem1 de figursnider1 mistakes about a cut of his engraving1 #caj4 ,phiz 7,h4 ,k4 ,browne71 draughtsman1 #eii994 ,piccard1 ,t4 ,nieuhoff1 an unknown discoverer of a painting of the ,dance of ,death1 by ,holbein1 #cfj1 #cfc4 ,pickersgill1 ,f4 ,r4 painter1 #eii994 ,pictura1 a wood-cut sometimes called1 #ceg4 ,pilgrim1 ,john ,ulric1 cuts ascribed to1 #cag4 ,pinkerton1 ,john1 his statement that several of the cuts in ,bewick's ,quadrupeds were drawn on the block by ,r4 ,johnson1 #dia n4 ,pinx4 et ,scalp4 not to be found on early wood-cuts1 #ce4 ,pirkheimer1 ,bilibald1 letters written to him by ,albert ,durer1 #bdb2 his letter to ,j4 ,tscherte1 announcing ,durer's death1 #bgc4 ,pittacia1 small labels1 #h n4 ,playing cards1 #dj4 ,plebanus1 a curate or vicar1 #fa n4 ,pleydenwurff1 ,william1 with ,m4 ,wolgemuth1 superintends the cuts of the ,nuremberg ,chronicle1 #adia1 #bab4 ,ploughman1 ,pierce1 his ,creed1 #ah4 ,plug1 mode of inserting in an engraved wood-block1 #edi4 ,poetry1 specimen of ,durer's1 #bfj2 specimens of ,clennell's1 when insane1 #ebf4 ,poliphili ,hypnerotomachia1 #bah1 #bbj1 #bbd4 ,polo1 ,marco1 #be4 ,poor ,preacher's ,bible1 #hj-id1 #age-agi4 ,portraits of ,bewick1 list of the principal1 #eji4 ,powis1 ,w4 ,h4 wood engraver1 #edd4 ,prayer-book1 ,queen ,elizabeth's1 #aefi1 #dbg4 ,prenters of ,antwerp in #addb1 #aba4 ,press made for ,gutemberg previous to #adch1 #abg4 ,press1 rolling1 for copper-plate printing1 #d4 ,press1 steam1 wood-cuts printed by1 #fdd4 ,preusch1 his attempt to print maps by a typometric process1 #bje4 ,printing1 ,gutemberg occupied with the invention of1 in #adcf1 #abg4 ,printing in colours1 a figure of ,christ1 with the date #aedc1 #djc2 ,savage's decorative printing1 #fbi2 ,g4 ,baxter's improvements1 #fbi2 ,c4 ,knight's patent illuminated prints and maps1 #fcj4 ,printing wood-cuts1 best mode of1 #fdj4 ,priority of editions of the ,speculum ,salvationis1 #ajj4 ,procession1 triumphal1 of ,maximilian1 #bhh1 #bhi4 ,procopius1 #ac4 ,proofs of wood engravings1 mode of unfairly taking1 #dff1 #fjc4 ,prout1 ,j4 ,s4 draughtsman1 #eii994 ,psalter1 printed by ,faust and ,scheffer in #adeg1 #afd4 ,ptolemy's ,cosmography1 with maps1 engraved on wood1 #adhc1 #aii2 an edition printed by ,dominico de ,lapis1 at ,bologna1 #bja2 at ,venice1 by ,j4 ,pentius de ,leucho1 #aeaa1 #bjc4 ,q4 ,quadrin's ,historiques de la ,bible1 #djb4 ,quadrupeds1 ,history of1 with cuts1 by ,bewick1 #agia1 #dhb-dij4 ,queen ,elizabeth's ,prayer-book1 #dbg4 ,quintilian1 his notice of the manner of boys learning to write by tracing the letters through a stencil1 #ab4 ,r4 ,raffaele1 designs for the wood-cuts of the ,hypnerotomachia ascribed to him1 #bai2 a wood-cut after a drawing by1 in ,marcolini's ,sorti1 #chi4 ,rahmenschneiders1 or border-cutters1 #aij1 #cai4 ,raidel1 his ,dissertation on an edition of ,ptolemy1 #bja2 dates1 erroneous in books1 ib4 ,raimbach1 ,abraham1 his engraving of the ,rent-day1 after ,sir ,d4 ,wilkie1 #bac4 ,randell1 a printer's apprentice1 wood-cuts by1 #ahj4 ,raynalde's ,birth of ,mankind1 with three copper-plate engravings1 #aedj1 #dba4 ,read1 ,s4 draughtsman1 #eii994 ,rebus1 or 8name devises10 #cih4 ,redgrave1 ,r4 painter1 #eii994 ,relief1 metallic1 engraving in1 erroneous statements about1 #cje2 practised by ,blake and others1 #fcb-fcf4 ,rembrandt1 cuts copied from etchings by1 #eie1 #eii1 #fjb1 #fje4 ,renaudot1 l',abb1 #bd4 ,rent-day1 engraving of a group from1 after ,sir ,d4 ,wilkie1 #eic4 ,repairing wood-cuts1 #efi n4 ,reperdius1 ,george1 a painter praised by ,nicholas ,bourbon1 #cef4 ,requeno's ,chirotipografia1 #dd n4 ,revelationes ,clestes sanct ,brigitt de ,suecia1 #cba4 ,reynolds1 ,nicholas1 an ,english engraver on copper1 #aege1 #dbj4 ,reyser1 ,george1 printer of the ,missale ,herbipolense1 #adha1 #bjb4 ,roberts1 ,david1 painter1 #eii994 ,robin ,hood's ,garland1 with wood-cut on the title-page1 #afgj1 #ddd1 #dde4 ,rocca1 ,angelus1 mentions a ,donatus on parchment1 #abc n4 ,rogers1 ,harry1 draughtsman1 #eii994 ,rogers1 ,william1 an ,english copper-plate engraver1 about #afjj1 #dbc4 ,rolling-press1 #d4 ,rollers1 composition1 not so good as composition balls for inking certain kinds of wood-cuts1 #fej4 ,roman stamps1 #h1 #aj4 ,rotundity1 how indicated by straight lines1 #ehd4 ,rouen ,cathedral1 #faa4 ,rubbing down1 #chi4 ,rubens4 ,p4 ,p4 his praise of the cuts in the ,lyons ,dance of ,death1 designed by ,holbein1 #cfe2 wood engravings from his designs1 #dch1 #dci4 ,ruche1 or parafe1 #ad4 ,runic cyphers and monograms1 #ae4 ,ryther1 ,augustine1 an ,english engraver on copper1 #aege1 #dbj4 ,s4 ,sachs1 ,hans1 his descriptions of cuts designed by ,jost ,amman1 #djh4 ,salmincio1 ,andrea1 wood-cuts ascribed to1 #dda4 ,sandbag and block1 #ege4 ,sandrart1 ,j4 his notice of the ,dance of ,death1 with cuts designed by ,holbein1 #cfe4 ,saspach1 ,conrad1 his evidence in the ,drytzehns' suit against ,gutemberg1 #adch1 #abh4 ,savage1 ,w4 chiaro-scuros in his hints on ,decorative ,printing1 #fbi2 his opinion as to the best mode of working a form containing wood-cuts1 #fdg4 ,saxton1 ,christopher1 his collection of ,english ,county ,maps1 engraved on copper1 #aegc-aegi1 #dbj4 ,schapf1 ,george1 an early wood engraver1 #adb1 #bbh4 ,schufflein1 ,hans1 painter1 generally supposed to have engraved on wood1 #bha1 #bhc1 #bhd1 #bhe1 #bhg4 ,schedel1 ,hartman1 compiler of the ,nuremberg ,chronicle1 #adic1 #bab4 ,scheffer1 ,peter1 a partner of ,gutemberg and ,faust1 #acb2 mentioned by ,faust as his servant1 #acc2 a clerk1 or copyist of books1 #afg4 ,schelhorn's ,amnitates1 #aac4 ,schpflin1 ,vindici ,typographic1 #abe1 #acb4 ,schn1 ,martin1 #gd1 #bch4 ,schn1 ,erhard1 #djf4 ,schonberg1 ,mr4 his attempts to engrave in metallic relief1 #fcd4 ,schnsperger1 ,hans1 the printer of ,sir ,theurdank1 #bhb4 ,schopper1 ,hartman1 verses by1 in a book of trades and professions1 #dji4 ,schoting of ,nuremberg1 a cut thus inscribed1 the date #aehd1 mistaken for #achd1 #ei4 ,schultheis1 ,hans1 his evidence in the ,drytzehns' suit against ,gutemberg1 #adch1 #abg4 ,schussler1 ,john1 a printer of ,augsburg1 #ahj4 ,schwartz1 ,j4 ,g4 ,documenta de ,origine ,typographi1 #abd1 #acc1 #acd1 #adb4 ,scopoli1 mistakes ,mr4 ,b4 ,white's sign for the name of his partner1 #cac4 ,scott1 ,t4 ,d4 draughtsman1 #eii994 ,scrive1 a tool to mark timber with1 #b4 ,scrivener and ,greffier1 #b n4 ,scriverius1 his account of ,coster's invention1 #aea n4 ,seals1 engraved1 #bj4 ,sebastian1 ,st4 account of an old wood-cut of1 #ee4 ,selous1 ,h4 ,c4 painter1 #eii994 ,shade for the eyes1 #ege4 ,shaw1 ,henry1 draughtsman1 #eii994 ,shields of arms in the block-book called ,the ,apocalypse1 #fe2 in the ,history of the ,virgin1 #ge1 #gf1 #gg1 #gh4 ,sichem1 ,cornelius van1 wood engraver1 #dci4 ,silberrad1 ,dr4 old wood-cuts in the possession of1 #bbg4 ,simulachres et ,histories ,faces de la ,mort1 ,lyons1 #aech1 #cbh4 ,singer's ,researches on the ,history of ,playing ,cards1 #i2 his unacknowledged obligations to ,breitkopf1 #aj4 ,skelton1 ,percival1 #eej1 #efi994 ,skippe1 ,john1 chiaro-scuros engraved by1 #fbh4 ,slader1 ,samuel1 wood engraver1 #edd4 ,sly1 ,stephen1 his experiments in metallic relief1 #fcf4 ,smith1 ,john ,orrin1 wood engraver1 #edd4 ,smith1 ,orrin4 wood engraver1 #ehj994 ,smyth1 ,f4 ,g4 wood-engraver1 #fjj994 ,snuff-box1 ,george the ,fourth's1 with designs1 by ,flaxman1 #eij4 ,solis1 ,virgil1 #djf4 ,solomon1 song of1 illustrations1 #ga1 #gb4 ,solomon1 ,a4 painter1 #eii994 ,solomon1 ,bernard1 of ,lyons1 #cih-dja1 #djg4 ,somervile's ,chase1 with cuts1 designed by ,john ,bewick1 #eac4 ,sonetto figurato1 #cie-cig4 ,sorg1 ,anthony1 of ,augsburg1 account of the ,council of ,constance1 with wood-cuts1 printed by him in #adhc1 #ahi4 ,sorti1 ,marcolini's1 a work containing wood-cuts1 #chi-cic4 ,southey1 ,robert1 his notice of two odes by ,lloyd and ,colman1 with wood-cuts1 #dgj4 ,spanish marks1 #ae4 ,specklin1 ,d4 mentions wooden types1 #aca4 ,speculum ,nostr ,salutis1 #adi4 ,speculum ,salvationis1 a misnamed block-book1 #ie-ajf2 cuts from1 #if1 #ig1 #ih4 ,speed's ,history of ,britain1 #ddb4 ,sporer1 ,hans1 an old briefmaler1 #dc4 ,springinklee1 ,hans1 #bhg1 #cbj4 ,stabius1 ,j4 his description of the triumphal arch of ,maximilian1 #bef4 ,stamham1 ,melchior de1 ,abbot of ,st4 ,ulric and ,afra1 at ,augsburg1 printing-presses bought by him1 #afe n4 ,stampien1 to stamp with the foot as a fiddler beats time1 mistaken for printing1 #abj4 ,stamping of letters in manuscripts1 #dd4 ,stampilla1 #ad4 ,stamps1 ,roman1 #h2 notarial1 #ag4 ,stanfield1 ,clarkson1 ,r4,a4 #egj994 ,steiner1 ,j4 ,m4 his notice of a book printed at ,bamberg in #adfb1 #agj4 ,stencilling1 #ab1 #dj n4 ,stephenson1 ,james1 draughtsman1 #eii994 ,stereotype1 early1 #dah2 modern1 #fcf4 ,stigmata1 #ab4 ,stimmer1 ,christopher1 and ,tobias1 #dac4 ,stocks1 ,lumb1 draughtsman1 #eii994 ,stoke-field1 knights and bannerets created after the battle of1 #aia4 ,stonehouse1 artist1 #eia994 ,stothard1 ,thomas1 ,r4,a4 his ,illustrations of ,rogers's ,poems1 #ahab1 engraved on wood1 #ebd4 ,strephon's ,revenge1 #agbd1 copy of a tail-piece in1 #dec4 ,sueur1 le1 ,peter and ,vincent1 #ddc2 ,nicholas1 #dfg4 ,sulman1 ,t4 draughtsman1 #eii994 ,swain1 ,john1 wood engraver1 #egi991 #eha994 ,swain1 ,joseph1 wood-engraver1 #fjj994 ,swedish coins1 #ae4 ,sweynheim1 ,conrad1 printer1 the first that devised maps engraved on copper1 #bjj4 ,switzer1 cuts engraved by1 #ddb4 ,sylvius1 neas1 his account of the ,barnacle or ,tree goose1 #dae4 ,t4 ,tail-pieces in ,bewick's ,quadrupeds1 #dhf4 ,tell1 ,william1 #daf1 #dag4 ,temple1 ,w4 ,w4 a pupil of ,bewick1 #ebg4 ,tenniel1 ,john1 artist1 #eei1 #efj4 ,terms1 abstract1 derived from names expressive of tangible and visible things1 #bad4 ,terra-cottas1 called ,typi1 #g4 ,testament1 ,figures du ,nouveau1 #djb4 ,theodoric1 his monogram1 #ac4 ,ther-,hoernen1 ,arnold1 prints at ,cologne an edition of the ,fasciculus ,temporum1 with wood-cuts1 #adgd1 #aij4 ,theurdank1 the ,adventures of1 an allegorical poem1 by the ,emperor ,maximilian and his ,secretary1 #bha2 the text erroneously supposed to have been engraved on wood1 #bhc4 ,thomas1 ,g4 ,h4 artist1 #efe99-efg994 ,thomas1 ,w4 ,l4 wood engraver1 #efe991 #efh994 ,thompson1 ,charles1 wood engraver1 #eda n4 ,thompson1 ,eliza1 wood engraver1 #eda n4 ,thompson1 ,john1 wood engraver1 a pupil of ,r4 ,branston1 notice of some of his principal cuts1 #eda1 #efi994 ,thurston1 ,john1 designer on wood1 #eai n4 ,tindale1 ,william1 cuts in his translation of the ,new ,testament1 #aecd1 #chc-che4 ,tinsel money1 #af4 ,tints1 mode of cutting1 #egg-eha4 ,tint-tools1 #egg4 ,titian1 wood-cuts after1 #dcc1 #dce4 ,tools1 wood engravers'1 #egf-ecj4 ,topham1 ,f4 ,w4 draughtsman1 #eii994 ,topsell's ,history of ,four-footed ,beasts1 #ddb4 ,tract printed by ,a4 ,pfister1 at ,bamberg1 #adfa1 #adfb1 #agj1 #aha4 ,transferring old impressions of wood-cuts1 #ajd n2 old wood-cuts and copper-plates1 #fcg4 ,travelling printers1 #ahd4 ,tree goose1 #dad4 ,treitzsaurwein4 ,m4 ,secretary to the ,emperor ,maximilian1 nominal author of the ,weiss ,kunig1 #bhf4 ,treschel1 ,melchior and ,gaspar1 printers of the ,lyons ,dance of ,death1 #aech1 with cuts1 designed by ,hans ,holbein1 #ccj4 ,trimming1 #fjf4 ,triompho di ,fortuna1 #cae-cag4 ,trithemius1 his account of the invention of printing1 #aca4 ,triumphal procession1 usually called the ,triumphs of ,maximilian1 #bhh-cjd4 ,trusler1 ,dr4 his ,progress of ,man and ,society1 with cuts1 by ,john ,bewick1 #fac4 ,turner1 ,dr4 ,william1 his account of the ,tree goose1 #dad4 ,turner1 the ,rev4 ,william1 his opinion of cross-hatching1 #efb4 ,turrecremata1 ,j4 de1 his ,meditationes1 #ahd4 ,typi1 #g4 ,typography1 invention of1 #aah2 not a chance discovery1 #ade4 ,u4 ,ulphilas1 ,gospels of1 #dd4 ,underlaying wood-cuts1 mode of1 #fde n4 ,unger1 father and son1 ,german wood engravers1 #aggi1 #djc1 #dhc1 #ede4 ,urse ,graff1 a cut designed by1 probably copied by ,willem de ,figuersnider1 #cac2 other cuts with his mark1 #cad4 ,v4 ,vagabonds and sturdy beggars1 #ab4 ,valcebro1 ,ferrer de1 his notice of the ,bernacle or ,tree goose1 #daf4 ,valturius1 ,r4 de ,re ,militari1 #ahf4 ,vasari1 ,george1 claims the invention of chiaro-scuro engraving for ,ugo da ,cai1 #bcj4 ,vasey1 ,george1 wood engraver1 #edd4 ,vaugris1 ,v4 printer of a piracy of the ,lyons ,dance of ,death1 at ,venice1 #aedb1 #cic4 ,vecellio1 ,cesare1 his book of ,costumes1 ,venice1 #aehi1 #dcc4 ,vegetable putties1 a theory of ,mr4 ,j4 ,landseer1 #gb4 ,veldener1 ,john1 printer of an edition of the ,speculum ,salvationis1 #adhc1 #ajf2 one of the earliest printers who introduced ornamental borders engraved on wood1 #aia4 ,venice1 foreign cards prohibited to be brought into the city of1 #adda1 #dc4 ,verona1 ,johannes de1 #ahf4 ,vesalius's ,anatomy1 ,basle1 #aedh1 erroneously said to contain cuts designed by ,titian1 #dcc4 ,vignettes1 #fae4 ,vincentini1 ,j4 ,n4 engraver of chiaro-scuros1 #chi4 ,vizetelly1 ,h4 wood engraver1 #eeh1 #egj991 #ega994 ,vostre1 ,simon1 ,heures printed by him1 #bcb4 ,w4 ,waagen1 ,dr4 ,g4 ,f4 extract from his evidence before the ,committee on ,arts and ,manufactures1 #cbb4 ,walsokne1 ,adam de1 his mark1 #ah4 ,walton's ,angler1 cuts of fish in ,major's edition of1 #eda1 #edc4 ,wand-,kalendars1 or sheet almanacks1 #adgj1 #aejj1 #bbe4 ,ward1 ,james1 ,r4,a4 cut of a dray-horse from a drawing by1 #eif4 ,warren1 ,h4 painter1 #eii994 ,watson4 ,j4 ,d4 draughtsman1 #eii994 ,watts1 ,s4 his engravings1 #agjc1 #dga4 ,waved lines1 #ehc4 ,webster1 ,t4 painter1 #eii994 ,wehnert1 ,g4 ,h4 artist1 #eid994 ,weir1 ,harrison1 artist1 #eea1 #eee4 ,weiss-,kunig1 #bhf4 ,west1 ,benjamin1 his design for the diploma of the ,highland ,society1 #ebc4 ,wethemstede1 ,john1 prior of ,st4 ,albans1 #aaa4 ,white1 ,henry1 senior and junior1 wood engravers1 #edd4 ,white outline1 #ehg1 #eih4 ,whitehall1 fictions about a ,dance of ,death painted by ,holbein in the old palace at1 #cfj-cfc4 ,whiting1 ,chas4 his colour-printing1 #fcj4 ,whymper1 ,j4 ,w4 wood engraver1 #edd1 #efi994 ,wilkie1 ,sir ,david1 ,r4,a4 his sketch for his picture of the ,rabbit on the ,wall1 #eia2 group from his ,rent-day1 #eic2 from his ,village ,festival1 #fad4 ,willett1 ,r4 his opinion of wooden types1 #acf4 ,williams1 ,j4 wood engraver1 #ehh994 ,williams1 ,samuel1 artist and wood engraver1 #edd1 #egb994 ,williams1 ,thomas1 wood engraver1 #edd1 #edg4 ,willis1 ,edward1 a pupil of ,bewick1 #ebb n4 ,wimperis1 ,e4 wood-engraver1 #fjj994 ,wimpheling1 verses by him1 celebrating ,gutemberg as the inventor of printing1 #aee4 ,wirtemberg1 ,counts of1 their arms1 #gh4 ,wolf1 ,j4 artist1 #egc991 #egd994 ,wolgemuth1 ,michael1 not the first that introduced cross-hatching in wood engravings1 #bci4 ,women1 engravers on wood1 #bce4 ,wood for the purposes of engraving1 several kinds mentioned by ,papillou1 #dfd2 mode of preparing1 #efb-efh4 ,wood-cut1 the earliest known with a date1 #de4 ,wood-cuts1 largest modern2 directions for cleaning1 #fdi4 ,wood engravers1 early1 unfriendly to the progress of typography1 #agi4 ,wooden types1 #aca1 #acf1 #acg4 ,woods1 ,h4 ,n4 wood-engraver1 #fjj994 ,wootie1 ,mr4 his patent for engraving in metallic relief1 #fcd4 ,worde4 ,w4 de1 cuts in books printed by him1 #aif1 #aih4 ,wordsworth1 ,william1 his high opinion of ,bewick's talents1 #eab4 ,wright1 ,john1 wood engraver1 #edd4 ,wright1 ,w4 wood engraver1 #eed4 ,wyatt1 ,sir ,thomas1 a wood-cut portrait of1 from a drawing1 by ,holbein1 #cgi4 ,wyburd1 ,f4 painter1 #eii994 ,z4 ,zainner1 ,gunther1 of ,augsburg1 #agi2 the ,legenda ,aurea1 with wood-cuts1 printed by him1 in #adga1 #ahh4 ,zainer1 ,john1 of ,reutlingen1 prints at ,ulm in #adgc1 an edition of ,boccacio de ,claris ,mulieribus1 with wood-cuts1 #aij4 ,zani's arguments in favour of ,papillon's story of the ,cunio1 #cf1 #cg4 ,zerlegen1 a word used by ,german printers to denote the distribution of the types1 occurs in connection with ,gutemberg's press in #adch1 #abh4 ,zuyren1 ,j4 ,van1 claims the invention of printing for ,harlem1 #adf4 ,zwecker1 ,john ,b4 draughtsman1 #eii994 ,,the ,,end4 ,,london3 ,,printed ,,by ,r4 ,,clay1 ,,son1 ,,and ,,taylor1 ,,bread ,,street ,,hill4 ,errors and ,inconsistencies 7noted by transcriber7 ,inconsistent spellings were only regularized when there was a strong preponderance2 changes are individually noted4 ,the various spellings of the name now written 8,shakespeare0 are unchanged1 as are the forms 8,albert ,durer0 and 8,gutemberg04 ,german citations consistently omit the period 7full stop7 in references such as 8#b ,theil04 ,other unchanged forms include3 cross line 3 cross-line figuersnider 3 figursnider fore-_/back-ground 3 fore_/background type-founder 3 typefounder wood-cut 3 woodcut wood-engraver 3 wood engraver ,schaufflein 3 ,schufflein ,in the ,index1 missing or inconsistent punctuation was silently regularized4 ,,list ,,of ,,illustrations life of ,st4 ,birinus1 of the twelfth century twelth ,,chapter ,i the loitering cask1 7that bears its _/ date7 from date1 from in the same passage1 8,lyde0 for expected 8,lydus0 is in ,smart and even allowing him to be sincere eve nallowing explain and dictate to me4 text has superfluous close quote which have been alleged in its favour by ,mr4 ,ottley4 ,mr ,ottley4 8,it is possible10 says ,zani1 say ,footnote ,i-#ci 444 the tale of the ,cunio at p4 #hi1 tom4 i4 tom i4 ,,chapter ,,ii ,footnote ,,ii-#b 444 ,that is3 8always excepting open quote missing ,the term ,formschneider1 which was originally used ,fornschneider ,footnote ,,ii-#g 444 der ,spielkarten ,zu erforschen1 ,zuerforschen lustra _/ cors 4 apientie printed as shown3 probably error for 8lustra _/ tor 4 sapientie0 much better calculated to overthrow4,,ii-#dc overthrow40 8,confute the exciseman and puzzle the vicar1--0 close quote missing ,on these ,i have nothing to remark further futher not in the belief that ,i have made any important discovery final t in 8important0 invisible not so old as either the ,apocalypse or the ,history of the ,virgin ,apocalpyse ,mulier autem in paradiso est formata formato ,david with ,goliath's head ,goliah's ,the title at full length is as follows3 8,ars memorandi open quote missing ,,chapter ,,iii 7,displaying thus his meikle skill17 closing parenthesis missing ,footnote ,,iii-#b 444 8,j'ai rendu ,vedelare rendn for in no country are books to be found printed foe in ,,iii-#ai footnote tag missing3 best guess einen sptern tag spatern ,about a hundred and twenty-eight years ago text has superfluous open quote was printed by ,ketelar and ,leempt spelling unchanged ,,chapter ,,iv ,footnote ,,iv-#e 444 written at ,paris in #addi a in 8at0 invisible printed at the press of ,haass the ,younger1 of ,basil spelling unchanged not only in ,germany1 but in ,france1 ,holland1 and ,switzerland ,france ,holland1 or even any of those cuts were designed by him hose cuts 8 0--8at once sweet and bitter40 printed as shown1 matching the illustration2 the quotation is usually given as ,,chapter ,v necessary to examine the grounds of this opinion4 gronnds wood engravings supposed to have been executed by ,albert ,durer excuted ,footnote ,v-#ab 444 we find the words3 8,gedrukt durch ,albrecht ,durer1 ,maler10 open quote missing ,footnote ,v-#ac 444 is called his 8wander-jahre10 open quote missing have evidently been supplied by his own country4 final 4 invisible ,footnote ,v-#bg 444 between page #gcj and page #gca4 final 4 missing ,footnote ,v-#cj 444 impressus vero per ,albertum ,durer4 ,anno ,,mdxxiii40 close quote missing ,footnote ,v-#ce 444 ,for biting-in on steel1 nitric acid is used comma after 8steel0 invisible ,durer proceeded from ,nuremberg direct to ,bamberg foom ,footnote ,v-#dj 444 rather a 8humble friend0 than a menial servant l in 8menial0 invisible ,footnote ,v-#de 444 8,am ,donnerstage nach ,marien ,himmelfahrt10 ,donnnerstage ,footnote ,v-#di 444 was a supporter of the doctrines of ,luther40 close quote missing ,footnote ,v-#ec 444 a letter addressed to 8,hernn ,frey in ,zurich10 spelling unchanged ,footnote ,v-#fb 444 8,go6 ,go6 ,tell that to a girl who reads ,sir ,theurdank1 and wishes that she may have such a husband40 text unchanged3 correct translation is plural 8who read 444 and wish that they4440 ,footnote ,v-#fg 444 nebst von ,hannsen ,burgmair dazu verfertigten ,holzschnitten4 ,herausgeben aus dem ,manuscripte der ,kaiserl4 ,knigl4 ,hofbibliothek 444 printed as shown1 but real title is 444 8nebst den von ,hannsen ,burgmair 444 ,herausgegeben aus dem ,manuscripte40 ,about thirty-five chapters1 from ,,xv4 to ,l41 are chiefly occupied to ,l1 are ,footnote ,v-#hc 8,j'ai trouv dans les ,receueils de l',abb de ,marolles printed as shown1 but source has 8,recueils0 ,footnote ,v-#ij 444 ,by comissyon of ,herodes crueltie4 rueltie ,,chapter ,,vi #aj4 ,die ,keyserinn4--,the ,empress4 anomalous 4 in original ,to ,england straightway let him send1 n in 8send0 invisible ,when ,mr4 ,douce stated that it was ,mr ,douce ,it strikingly exemplifies ,mr4 ,douce's eagerness ,mr ,douce's forms the tail-piece at the end of the volume4 tailpiece ,,vi-#aba footnote tag missing3 best guess ,,chapter ,,vii ,illustration3 _/ ,,thomas ,,bewick the letters of the name itself are the illustration ,footnote ,,vii-#cd 444 about five miles north-north-west of ,kirk-,oswald4 final 4 missing as much in having caught an ass as in the prospect of a ride4 final 4 missing we are led to suppose that he had been indulging too freely on the ,king's birth-day on the the ,footnote ,,vii-#fb 444 at ,morpeth1 named ,rastack1 or ,raistick40 close quote missing ,footnote ,,vii-#fe 444 under the superintendence of ,bewick1 who1 after ,mr4 ,beilby's retirement ,mr ,beilby's ,,chapter ,,viii ,mr4 ,pearson has lately been engaged in engraving ,icthyological subjects spelling unchanged ,favourite ,modern ,ballads1 ,favourite ,english ,poems ,englis ,illustrations ,,specimens ,,of ,,engraving ,,by ,,orlando ,,jewitt4 444 ,,lettern4 word is part of engraving ,,mr4 ,,creswick1 ,r4,a41 the distinguished painter ,r4,a4 the ,,andrews1 ,g4 ,h4 ,figure subjects and ,landscapes2 ,ministering ,children4--,,ansdell1 ,richard4 ,animals2 ,rhymes and ,roundelayes4-- ,,armitage1 ,edward4 ,,andrews ,g4 ,h4 444 ,,armitage ,edward4 ,,archer1 ,j4 ,w4 444 ,barry ,cornwall's ,poems1 ,lays of the ,holy ,land4-- ,,coleman1 ,wm4 444 ,poets of the ,west4--,,dickes1 ,lays of the ,holy ,land-- 444 ,west--,,dickes ,,chapter ,,ix ,footnote ,,ix-#f 444 where it soon eat up everything text unchanged3 probably correct ,,ix-#aj footnote tag missing3 best guess that the colour would be proportionably stronger text unchanged ,messrs4 ,vizetelly1 ,branston1 and ,co4 ,vizitelly by means of a rolling-press1 comma invisible ,,ix-#ch footnote tag missing3 best guess ,,index ,dante1 edition of1 with copper-plates1 #adhb copperplates ,fracture printed as shown1 but body text has 8,fractur0 ,hieroglyphic 444 ,bible1 #dgh4 page reference missing ,packhouse's machine for tints printed and alphabetized as shown1 but body text has 8,parkhouse0 ,sandrart1 ,j4 ,sandrant