,transcriber's ,notes3 ,underscores 80 before and after a word or phrase indicate italics in the original text4 ,equal signs 80 before and after a word or phrase indicate bold in the original text4 ,small capitals have been converted to ,,solid capitals4 ,illustrations have been moved so they do not break up paragraphs4 ,antiquated spellings have been preserved4 ,typographical errors have been silently corrected4 ,illustration ,,on ,,the ,,processes ,,for ,,the ,,production ,,of ,,ex ,,libris 7,,book-,,plates7 ,by ,john ,vinycomb1 ,m4,r4,i4,a4 ,fellow of the ,royal ,society of ,antiquaries of ,ireland ,president of the ,belfast ,art ,society1 #ahia-ib ,member of ,council of the ,ex ,libris ,society ,reprinted from the ,journal of the ,ex ,libris ,society with additional illustrations4 ,illustration ,,london3 ,a4 ,c4 ,,black1 ,,soho ,,square #ahid ,,to ,,arthur ,,vicars1 ,f4,s4,a41 ,,ulster ,,king ,,of ,,arms ,a ,,vice-,,president ,,of ,,the ,,ex ,,libris ,,society ,,and ,,an ,,eminent ,,collector ,i ,,respectfully ,,dedicate ,,this ,,little ,,book4 ,illustration3 ,,franklin ,,press4 ,now at ,philadelphia1 ,u4,s4,a4 ,,preface4 ,in acceding to the author's request that ,i would add a few words of introduction to these reprinted articles1 ,i do so with pleasure1 although entering a mild protest thereon1 inasmuch as the writer has handled his subject so well that it leaves very little to say1 except in commendation of the work to the favourable consideration of those for whom it was written4 ,mr4 ,vinycomb has in these articles aimed to give his readers a practical dissertation upon the modes of execution1 rather than upon the history and classification of styles in the production of book-plates2 and in this he has certainly departed from the beaten track1 and has furnished a very concise and clear account of the various processes by which our book-plates are produced and reproduced1 and the numerous and ingenious methods of manipulation resorted to in their manufacture4 ,some people may take exception to the word manufacture1 used in this connection1 as being inappropriate to a description of what may be defined as one of the modern arts4 ,but the terms1 though by no means synonymous1 are at any rate akin2 for doubtless the majority of book-plates are artistically designed1 but for their reproduction and final manipulation the aid of science must be resorted to4 ,mr4 ,vinycomb1 in his opening remarks1 says3 8,the production of book-plates1 by whatever means1 is but a side branch of the art by which pictorial and decorative illustrations of every kind are executed1 and copies multiplied by some of the ordinary processes of printing40 ,he then tells us that whereas in former times wood engraving and copper engraving were responsible for most of the book-plates existing1 8the advance of modern science has1 however1 changed all that1 and we may now possess a charming book-plate1 which is neither engraved on wood or on copper1 and yet may pass for either the one or the other1 or have characteristics entirely its own40 ,it must be borne in mind1 however1 that many persons have a great abhorrence of processes of all kinds1 and cannot be satisfied with anything short of an ,ex ,libris worked direct from the copper4 ,in the highest interests of ,art1 they are doubtless right2 but whereas it is only the rich man who can purchase the work of an old master or of a modern painter1 by means of the despised process blocks these same works of art can be placed in the hands of everyone4 ,this1 however1 is too wide a subject to be dealt with here2 yet a glance at the pages of the ,studio and other current periodicals should convince the most sceptical that the most beautiful work may be produced by these same processes4 ,it is the same with book-plates1 the artist's handiwork being reproduced in absolute fac-simile4 ,mr4 ,vinycomb leads us1 in these pages1 by easy stages1 through the various developments of engraving1 from the rough woodcuts which are to be found in the earliest printed books to the beautifully finished work of ,drer and other masters of engraving4 ,then comes the engraving on metals and etching2 and last we are let into the secrets of the various means adopted for the duplication of artists' sketches by means of blocks or transfers1 from which any number of copies may be taken4 ,he has1 as we have already stated1 treated his subject in an eminently practical manner1 so that the veriest tyro may be able to understand the methods used in the multiplication of ,ex ,libris2 and by means of the well-selected illustrations1 and the hints so freely scattered over these pages1 it is an easy matter for those who have not studied the art of engraving and process-working to gain a fair knowledge of the subject4 ,some of the illustrations have already appeared in connection with these articles in the ,ex ,libris ,journal 7,vol4 ,,iii41 pp4 #aea1 #agj2 ,vol4 ,,iv41 pp4 #ag1 #dc1 #eg1 #ib72 others are introduced here for the first time2 but they are all well calculated to enhance the value of ,mr4 ,vinycomb's work1 and to show what can be done by the various methods in use4 ,further1 it may be safely assumed that all systematic collectors of book-plates will be glad to have in this handy and independent form an essay upon the practical side of a subject in which they have up to the present taken1 perhaps1 but a general or sentimental interest4 ,thanks to the formation of the ,ex ,libris ,society1 the collection and preservation of book-plates has now reached something akin to a scientific position1 and in large and valuable collections it has become more and more necessary to know how best to classify and arrange our acquisitions4 ,this knowledge can therefore best be secured by studying such works as the present1 by means of which the collector is able to judge of the age and value of a plate1 or at any rate to fix an approximate date to those 7and they are many7 which have no printed date to fix their identity4 ,this little work comes as a valuable companion to ,mr4 ,hamilton's recently published work on 8,dated ,book-plates10 in which he deals with almost all the branches of the subject of most interest or value to collectors1 but has1 naturally1 little to say upon the practical production of ,ex ,libris--leaving that to an expert in the person of the writer of the present essay4 ,for practical engravers ,mr4 ,vinycomb has probably said too much1 or not enough1 or has1 perhaps1 only told them what they knew already2 but as the majority of collectors cannot be classed in this category1 it may fairly be assumed that the author has filled a gap in book-plate literature which no previous writer has attempted to supply1 and that his work will be found of great value to members of the ,ex ,libris ,society1 and to collectors of book-plates in general4 ,w4 ,h4 ,k4 ,,wright1 ,editor ,ex ,libris ,journal4 ,,contents4 ,page ,,preface v4 ,,introduction #a ,,wood ,,engraving #i ,,engraving ,,on ,,copper ,,and ,,steel #bg ,,lithography #eh ,,chromo-,,lithography #fe ,,photo-,,lithography #fe ,,drawing ,,for ,,photo-,,litho4 ,,and ,,process ,,work #fg ,,process ,,blocks--,line ,work #fi 0 ,half-tone ,blocks #hc ,,hints ,,to ,,collectors ,,of ,,ex ,,libris #ia 8,,au ,,revoir0 #ie ,illustration ,,ex ,,libris ,,illustrations4 ,r4 ,s4 ,mansergh--,armorial1 printed in tinctures by ,chromo-,lithography ,frontispiece ,,modern ,,engraved ,,plates-- ,facing ,page ,r4 ,day1 ,f4,s4,a41 engraved by ,c4 ,w4 ,sherborn1 printed from the copper-plate #bg printed by ,r4 ,day1 ,f4,s4,a4--,vesica ,armorial lithography #a ,r4 ,s4 ,mansergh--,armorial 0 #db ,edward ,cox--,circular ,armorial 0 #de ,w4 ,h4 ,k4 ,wright1 ,f4,r4,,hist4,,soc4 --,library ,interior 0 #dg ,r4 ,day1 ,f4,s4,a4--,pictorial1 ,etching 0 #dh ,r4 ,j4 ,welland1 ,bishop of ,down and ,connor and ,dromore 0 #eb ,j4 ,f4 ,wilson--,circular ,armorial 0 #ed ,j4 ,neville ,cross--,circular ,seal ,armorial 0 #ef ,,lithographed ,,and ,,photo-,,lithographed ,,examples-- ,joseph ,mc,chesney--,pictorial #eh ,robert ,day1 ,f4,s4,a4--,library ,interior #fj ,fredk4 ,arthur ,beale--,armorial #fb ,wood ,institute1 ,rugby--,decorative #fd ,robert ,day1 ,f4,s4,a4--,ogham1 ,landscape1 etc4 #ff ,free ,public ,library1 ,belfast--,decorative ,arm4 #gj ,rev4 ,j4 ,h4 ,bibby--,library ,interior #gb ,robert ,cochrane1 ,c4,e41 ,f4,r4,i4,b4,a41 ,f4,s4,a41 etc4 --,armorial #hj ,,ex ,,libris ,,illustrations ,,in ,,the ,,text1 ,reproduced by ,process ,blocks4 ,page ,j4 ,h4 ,fryer--,etching1 ,landscape1 by ,lambert1 ,newcastle #a ,brandenburg or ,buxheim plate--,early wood engraving #h ,hans ,igler plate--,early wood engraving 7double-page7 #ad ,kress of ,kressenstein1 by ,albert ,drer #ag ,wm4 ,taylor1 by ,bewick--,wood engraving #ai 7,no name7 0 0 #ba ,kress of ,kressenstein1 by ,hans ,troschel1 engraved on copper #bh ,samuel ,pepys--,portrait plate by ,r4 ,white1 engraved on copper #ca ,hen4 ,ja4 ,pye--,chippendale plate by ,playner #cc ---- ,barrow--,armorial ,book-pile1 by ,lightboune1 engraved on copper #cf ,william ,cowper--,decorative ,armorial1 engraved on copper #ci ,ellis ,gamble--,decorative ,armorial1 by ,william ,hogarth1 engraved on copper #dj ,william ,hogarth--,decorative ,monogram plate1 engraved on copper #da ,edw4 ,loveden ,loveden--,engraved on copper #dd ,h4 ,stamford--,pictorial1 etching on copper #di ,james ,neild ,two ,pictorial ,etchings by ,bewick #ea ---- ,spence ,joseph ,pollard 0 0 #ec ,chas4 ,fenwick ,charles ,bragge--,urn ,armorial1 etching #eg ,arthur ,vicars1 ,f4,s4,a41 ,ulster ,king of ,arms-- ,pen and ink1 by ,rev4 ,w4 ,fitz,gerald #fh ,francis ,joseph ,bigger1 ,m4,r4,i4,a4--7,old ,belfast7 ,pen and ink #gj ,robert ,day1 ,f4,s4,a4--,armorial ,masonic #gb ,walter ,besant1 ,m4,a4--,library ,interior #gd ,francis ,joseph ,bigger--,armorial #gf ,george ,rollo--,smithy ,interior #gh ,f4 ,d4 ,ward1 ,j4,p41 ,m4,r4,i4,a41 ,,ch4,l4,h4--,armorial #hj ,i4 ,m4 ,f4 ,h4 ,stone1 ,m4,a41 ,f4,l4,s41 ,f4,c4,s4--,armorial #hb ,arthur ,acton--,emblematic #hd ,belfast ,art ,society1 #c sizes--,emblematic #hf ,dublin ,naturalists' ,field ,club #hh ,masonic ,province of ,down--,armorial ,masonic #ij ,john ,vinycomb1 ,m4,r4,i4,a4--,armorial #if ,,fine ,,half-,,tone ,,process ,,blocks-- ,facing ,page ,antiquarian subject1 reproduced from ,mono-tint ,drawing #hc ,virgin and ,child1 reproduced by ,aquatint ,engraving #hi ,george ,g4 ,ward1 reproduced from ,design in ,colours for ,stained ,glass #ic ,vinicombe ,bey1 reproduced from ,soft-ground ,etching #id ,,illustrative ,,cuts ,,in ,,text4 ,franklin ,press1 now at ,philadelphia iv4 ,caxton's 8,printer's ,mark0 #i ,form-,schneider at ,work #ac ,engraver's ,knife1 from ,papillon's ,treatise1 #agff #ae ,press of ,ascensius #af ,engraver's ,tools #bd ,mode of ,engraving #be ,copper-plate ,printing ,press #df ,lithographic ,printing ,press #eh ,illustration3 ,transfer1 direct from ,engraved plate to stone4 ,illustration3 ,etching on copper by ,lambert1 ,newcastle1 reproduced by process block4 ,from the collection of ,w4 ,h4 ,k4 ,wright4 ,,on ,,the ,,processes ,,for ,,the ,,production ,,of ,,ex ,,libris4 ,by ,john ,vinycomb1 ,m4,r4,i4,a4 ,,introductory4 ,the production of book-plates1 by whatever means1 is but a side branch of the ,art by which pictorial and decorative illustrations of every kind are executed1 and copies multiplied by some of the ordinary processes of printing4 ,without1 at this stage1 going minutely into the history of pictorial illustration and printing1 it may be briefly stated that in times past1 the only available modes of reproduction were either by engraved wood blocks with the lines in relief to print with letterpress1 or by engraved copper-plates having the lines cut into the polished surface of the metal and printed by the copper-plate press 7the modus operandi in each method will be explained later on74 ,the processes for the production of ,ex ,libris--as it is now the fashion to term these dainty little works of art we so delight to collect and preserve--are to-day so numerous and so varied in their style and character of work as to be wholly dissimilar1 yet in very many instances we find the results to be so nearly alike that only a practical expert can1 with any degree of certainty1 state how and by what means they have been executed4 ,it is not therefore surprising that the collector--that picker-up of unconsidered trifles--however deeply versed he may be in the literature of the subject1 for want of some technical knowledge should sometimes be mystified and unable to declare how a particular specimen has been produced4 ,in the older examples there is little or no difficulty in distinguishing the difference between a woodcut and a print from a copper-plate2 to one or the other of these two methods it must of necessity belong4 ,the advance of modern science has1 however1 changed all that1 and we may now possess a charming book-plate1 which is neither engraved on wood nor on copper1 and yet may pass for either the one or the other1 or have characteristics entirely its own4 ,some account of these two older methods and their later developments1 as well as a sketch of some of the modern processes arising out of the invention of lithography and photography1 will be of interest to collectors of ,ex ,libris2 particularly the process blocks so much in vogue at the present time for high-class book illustrations1 magazines1 the illustrated weeklies1 etc41 by means of which the artist's drawing1 through a happy union of these later arts and chemical science1 may be translated into a printing surface of metal or other material for giving off impressions by the type press1 the copper-plate press1 by lithography1 or by one of the photo-mechanical processes1 such as calotype1 etc4 ,by reference to representative examples1 it is hoped to enable the collector to form a pretty accurate idea of the mode of execution of similar works4 ,whatever merit of originality or of fancy the earlier examples may possess1 it is interesting to observe how largely book-plates partake of the prevailing style or fashion of the times4 ,by this test alone1 collectors are led almost to a certainty to fix an approximate date when they were designed and engraved4 ,again1 how clearly the character of the artist appears upon the face of each example1 whether he was a 8base mechanick0 at his trade1 or a true artist1 who lent his thought and skilful hand to embellish the library of his friend or client4 ,the artist himself1 in old times1 generally a versatile many-sided man1 adapted himself to his work and wrought out his ideas con amore in whatever direction he might be called upon1 whether it was to paint some great picture1 to draw and perhaps engrave on wood or copper some of his immortal conceptions1 or it may be only a simple book-plate for his friend and patron4 ,such a man was ,albrecht ,drer4 ,a book-plate by him1 cut on wood1 for his friend1 ,bilibaldi ,pirckheimer1 forms the frontispiece to the ,hon4 ,leicester ,warren's book on 8,the ,study of ,book-plates40 ,men like ,michael ,angelo1 who could vary his occupation to every phase of ,art1 now as an architect1 conceiving and carrying out the erection of the great ,church of ,st4 ,peter's at ,rome1 painting the grandest and most sublime pictures1 and in sculpture without a rival1 but who could also bring his lofty mind to the consideration of works of less importance4 ,to him1 to ,hans ,holbein1 and others of highest rank as artists1 we are indebted for the immense advancement of the fine arts at this period1 which1 starting with the ,renaissance of ,literature and ,art in the #aeth and #afth centuries1 gradually dispersed the darkness of the middle ages4 ,drawing and engraving on wood were brought to a high degree of perfection1 and a race of artists was educated1 who devoted themselves exclusively to illustrating books which the recently invented art of printing had called into requisition4 ,wood engraving1 as an adjunct to printed books1 was the earliest form in which good art became popularised3 book illustration by engraved copper-plates was a later development1 though the art was not unknown3 at a later period1 copper-plate illustrations almost entirely superseded wood for the purpose4 ,one who has carefully studied the illustrations in early-printed books--from printer's mark on title-page to colophon--cannot fail to be struck with the manly and vigorous style of drawing in the cuts1 shewing a real grasp of the subject and mastery of detail1 and while we may be amused at the quaint conceits1 and somewhat crude lines1 we cannot but be charmed with the natural simplicity of the drawing1 though lacking almost entirely in local colour4 ,in the infancy of the art of engraving on wood1 it necessarily followed that there should be some want of refinement in the execution4 ,the engraver on wood was born very young1 and had to grope his way by tedious practice to acquire skill and knowledge for his work4 ,the artist1 on the contrary1 like ,minerva1 came into being fully equipped1 or1 to be literal1 he already existed2 with mature experience he adapted his skill to the requirements of the new art1 the first and most important being that1 as the tools of the engraver and the wood he used were unfitted for small details1 the lines to be drawn by the artist on the wood must necessarily be few and well chosen4 ,illustration3 ,the ,brandenburg1 or ,buxheim plate1 circa #adhj4 ,the oldest ,ex ,libris actually connected with a printed book4 ,see ,ex ,libris ,journal1 ,vol4 ,,ii41 p4 #ga4 ,illustration3 ,fig4 #d4--;,,device ,,commonly ,,attributed ,,to ,,caxton4 ,,caxton',s ,,mark4 ,,wood ,,engraving4 ,beyond giving some idea of what wood engraving is and how it is produced1 it is not intended to do more than refer to the early history of the art--a subject on which bulky volumes have been written--or to enter minutely into the details and modes of execution of modern work4 ,to those who desire further information1 special works on the subject may be consulted4#a ,footnote #a3 ,jackson's 8,history and ,practice of ,wood ,engraving02 ,firmin ,didot's 8,essai sur l',histoire de la ,gravure sur ,bois02 8,the ,book1 its ,printers1 ,illustrators1 and ,binders10 by ,henri ,bouchot2 8,wood ,engraving3 a ,manual of ,instruction10 by ,w4 ,j4 ,linton4 ,,wood ,,engraving ,,and ,,copper-,,plate ,,engraving--,,the ,,difference4 ,copper-plate engraving1 which almost entirely superseded wood in the seventeenth and eighteenth centuries1 differs in principle from wood engraving in this--that a woodcut has the lines of the design standing up in relief1 the wood between the lines incised or cut away1 so that when the surface is inked the lines so charged will give off an impression upon paper by rubbing the back1 or by the use of the type press4 ,in the copper-plate the lines are cut into the polished surface of the metal1 which1 when smeared over with printing ink1 and the surface wiped clean1 leaves the incised lines filled with ink2 an impression is taken by the use of a press specially adapted to the purpose4 ,it will be seen that surface printing is the necessity and characteristic of wood engraving4 ,simple and crude in its beginnings1 owing chiefly to the imperfect mechanical means of cutting the wood in sufficiently fine or exact lines2 it was employed first in the production of playing cards1 the outlines of which were formed by impressions from wood blocks1 and the colouring filled in by hand or stencil4 ,in ,europe the earliest application of the art to pictorial illustration took place in ,germany about the close of the fourteenth or beginning of the fifteenth century4 ,the oldest woodcut with a date known is of #adbc4 ,it represents ,st4 ,christopher carrying our ,saviour on his shoulders across a river4 ,other specimens1 though undated1 from their greater rudeness1 have been held to have superior claims to antiquity4 ,with the invention of printing the art soon made rapid strides1 and on the introduction of moveable types to print in conjunction with engraved blocks1 a new impetus was given to the production of engraved wood blocks4 ,in the early part of the sixteenth century1 several artists of celebrity were either designers on wood or engravers4 ,books at this period were profusely illustrated4 ,among the most distinguished in this line was ,albert ,drer1 whose productions as a painter and an engraver on copper and wood are so numerous that he could not possibly have engraved a tithe of the wood engravings attributed to him2 probably he only put the design on the blocks1 leaving them to others to execute4 ,the art was chiefly practised in ,germany1 where it was patronised by the ,emperor ,maximilian1 for whom ,burgmair produced the great work1 8,the ,triumphs of ,maximilian40 ,the next great name in the annals of wood engraving is that of ,hans ,holbein1 whose 8,dance of ,death0 was printed in ,lyons in #aech4 ,in ,england ,caxton brought out his 8,game and ,playe of ,chesse0 in #adgf1 with cuts4 ,there are woodcuts also in the 8,golden ,legend10 #adhc2 8,fables of sop10 #adhd2 ,chaucer's 8,canterbury ,tales10 and other books of his printing--all scarce and poor in execution1 but noticeable in the history of ,art4 ,from #aede to #aehj wood engraving continued to be much used for illustrating books in ,england1 chiefly by ,john ,daye4 ,from this period there is little to be recorded of essential importance till the appearance of ,bewick1 to whom the revival of wood engraving is chiefly to be attributed4 ,illustration3 ,,form-,,schneider4 ,,early ,,method ,,of ,,engraving ,,on ,,the ,,side ,,of ,,the ,,wood ,,with ,,knives4 ,in early days of wood engraving a close-grained slab of wood of a suitable thickness to print with type was used for the purpose by the engraver--cut the long way of the tree1 and not upon the end or section of the wood as in modern work2 and the cutting was necessarily executed with the knife4 ,the quaint and rude cut on the accompanying double page is a fair example of the earliest species of woodcut1 and is the most ancient ,ex ,libris known4 ,regarding the knife as a cutting instrument1 ,mr4 ,w4 ,j4 ,linton1 in his 8,manual of ,wood ,engraving10 p4 #bh1 says3 8,as far as ,i have been able to ascertain1 with the one possible exception of the cuts to ,croxall's ,fables1 #agbb1 all engravings on wood from the earliest time to the time of ,bewick were done with the knife instead of gravers40 ,illustration3 ,rude ,early ,woodcut4 7,actual size47 ,the most ancient ,ex ,libris known4 ,it is ,jean ,knabensberg1 called ,igler1 chaplain to the family of ,schnstett4 ,it represents a hedgehog with a flower in its mouth4 ,in the banderole we read1 8,hanns ,igler das dich ein ,igel ,kuss40 ,its approximate date is #adej4 ,herr ,ludwig ,rosenthal1 antiquariat1 ,munich1 has a copy of this rare plate in his possession1 which he values at #fjj marks4 ,see ,warnecke's 8,die deutschen ,bcherzeichen0 7,ex ,libris71 #ahij4 ,illustration3 ,from ,papillon's ,treatise1 #agff4 ,we can to some extent realise the difficulties the early wood engravers laboured under in this respect in producing fine work1 but when we examine the later works of the ,german engravers1 and observe the gradual improvement from crudeness to really excellent work1 we are amazed that with such disabilities such splendid results were attainable by the knife4 ,the ,form-schneider1 as the engraver of block pictures was termed1 increased in skill and dexterity in deftly cutting the design exactly as it was drawn on the wood1 and with exceeding truthfulness2 using a finer grained and harder wood and tools more perfectly adapted for the work1 so would the art advance by leaps and bounds1 until in the time of ,drer and ,holbein it had reached its high-water mark of excellence4 ,boxwood was then1 as now1 in use1 but for delicate work only1 and cut plank-wise4 ,for larger work softer woods were good enough3 pear and apple woods1 privet1 sycamore1 and any white wood upon which a drawing could be seen--everything being drawn line for line on the plank2 the engraver's business simply to cut away the white spaces between the lines1 cutting1 as before said1 with knives in the smaller spaces1 and with chisels and gouges clearing away the larger to a sufficient depth to escape the ink in printing4 ,illustration3 ,,press ,,of ,,ascensius4 ,illustration3 ,small ,d,,rer ,woodcut1 of the ,nuremberg family of ,kress of ,kressenstein4 ,at the present day1 in the skilfully drawn and engraved block books of the ,japanese1 the illustrations will be found to be drawn with the brush upon the side of the wood1 and cut with a knife2 but we are not now astonished at anything done by this wonderful people1 who have knocked the wind out of us in so many forms of art4 ,,modern ,,wood ,,engraving4 ,to understand the scope and practice of wood engraving1 it will be necessary to glance through the illustrated publications of a few years ago1 before process blocks had to so large extent superseded the work of the graver4 ,the immense popularity the art has obtained in this country owing to the establishment of the ,illustrated ,london ,news1 ,graphic1 ,art ,journal1 ,magazine of ,art1 and similar publications1 not to speak of book illustrations1 has been remarkable4 ,the excellence of the work and the infinite variety of style introduced by the best artists and engravers show it to be capable of representing every artistic quality supposed to be peculiar to copper and steel engraving2 other qualities it has1 such as power and force in the darker portions1 and the use of white-line work on tint1 or solid ground--effects obtained with extreme difficulty upon the metal plate4 ,illustration3 ,ex ,libris engraved on wood by ,bewick1 reproduced by process block4 ,wood engraving for pictorial work may be divided into two kinds3-- ,i4--,,black-,,line or ,,fac-,,simile ,,work4--,the drawing on wood is engraved exactly as it is drawn1 line for line4 ,all examples up to the time of ,bewick1 and a great many since1 are of this kind4 ,as illustrating the best qualities of this style of wood engraving1 no more apt examples could be named than the cartoons and drawings in ,punch by ,tenniel1 ,doyle1 ,leech1 and others1 before the introduction of photo-etched process blocks4 7,bewick himself1 an artist as well as an engraver1 made a departure from the old crude manner of wood engraving by introducing a new style of work1 imitating more truly the local colour and the textures of nature3 drawing the subject of the design on wood in pencil and afterwards tinting in the masses of shade and local colour with washes of china ink2 and with the graver giving all the characteristic markings and minuter details by white lines upon the dark ground4 ,in his ,natural ,history ,cuts he imitated in the most marvellous manner the textures of trees1 grass1 and natural scenery1 the plumage of birds1 the shaggy or smooth coats of animals1 etc4 ,a number of ,ex ,libris executed by him on wood have the same characteristic handling74 ,the two wood engravings by ,bewick are reproduced by process blocks4 ,though inferior to many of his ,natural ,history ,cuts1 they fairly show the style and character of his handiwork--the careful execution of details and the use of white-line work upon solid black ground4 ,illustration3 7,from the ,collection of ,w4 ,h4 ,k4 ,wright1 ,esq474 ,wood ,engraving by ,bewick4 ,,ii4--,,tinted ,,work4--,in this mode the subject is drawn in ,,tints ,,or ,,washes1 and partly with the pencil4 ,to be successful in work of this kind1 to interpret the artist's ideas truly1 the engraver must himself be an artist of considerable ability1 as he has to adapt the lines to the work1 and in this lies rare judgment and discretion1 as not only the direction of the line most conducive to develop the form1 but the width and thickness of the lines and spaces must be accurately judged2 the various qualities of surfaces must likewise be suggested by the engraved lines4 ,,materials ,,and ,,mode ,,of ,,proceeding4 ,the wood used by engravers is boxwood1 on account of its close grain and firm texture2 it is principally imported from ,turkey1 cut transversely or across the grain 7so that the engraving is done upon the end way of the wood74 ,it is made seven-eighths of an inch in thickness 7type height74 ,it takes a beautifully smooth surface1 and cuts under the graver with the utmost clearness and fineness4 ,the polished surface of the wood being unsuitable for drawing on1 a slight 8tooth0 is given to it by a little water-colour white rubbed over the face of the block with the ball of the thumb until nearly dry1 when it presents a pleasant surface for the pencil4 ,the drawing or design having been sketched out and perfected on paper1 it is then traced the reverse way upon the wood block1 and the drawing then worked out1 either in black-line fac-simile or in tints1 as may be intended4 ,the black lead pencil1 of sufficient hardness of lead to stand the pressure upon the solid surface1 is the favourite instrument for drawing4 ,for tinting1 either the pencil or the brush with washes of china ink can be used4 ,illustration ,the tools used are gravers1 tint-tools1 and scoopers1 or cutting out tools--in all about a dozen different sizes2 the several kinds are here indicated4 ,with the gravers the outline and all the details are cut2 the tints1 by which the proper tones or light and shade are obtained1 can best be rendered with tint-tools of various widths of cut4 ,the parts not required to be printed are hollowed out with scoopers4 ,it will be understood that all the blanks or white parts of an engraving have been cut away in the block4 ,illustration3 ,mode of ,engraving on ,wood4 ,there are several et ceteras also required by the engraver1 as1 an oil-stone to sharpen his gravers2 an eye-glass1 when engraving very fine work2 a small circular sand-bag1 on which the block is held while being engraved2 an instrument called a burnisher1 with which to take proofs4 ,a glass globe filled with water1 to concentrate the light from lamp or gas jet upon the block1 is used at night4 ,the engraving being completed1 the surface of the block is inked very lightly with printing ink1 and a piece of ,india paper1 or any fine paper of similar quality1 being laid upon it1 an impression is taken by rubbing the paper with the burnisher until it is fully printed4 ,from this proof the engraver can judge whether any alterations are required and what improvements can be effected4 ,the revival of wood engraving by ,bewick and others1 and the high state of perfection to which it had been brought by his immediate successors1 to a very great extent superseded copper-plate engraving for book illustrations1 though for ,ex ,libris1 copper-plate held1 and still holds its place as the chief and deservedly favourite style4 ,illustration3 ,crest ,ex ,libris of ,r4 ,day1 ,f4,s4,a41 ,cork4 ,engraved by ,c4 ,w4 ,sherborn1 and printed direct from the ,copper-,plate4 ,,engraving ,,on ,,copper ,,and ,,steel4 ,where be the equal now of those glorious editions of the poets1 the 8,annuals10 8,keepsakes10 8,books of ,beauty10 and other delightful volumes that still charm the eyes and glad the hearts of those who have the taste and the wit to possess them8 ,as works of the highest art quality1 they have never since been equalled for beauty of work1 with their engraved titles1 frontispieces1 and illustrations in the text1 drawn by ,stothard1 ,turner1 ,creswick1 ,stanfield1 ,harding1 and a host of the first names in ,british ,art1 and engraved in the rarest and most exquisite manner by men equally eminent in their line4 8,woodcuts10 however1 cut them out for the time1 owing to the excellence to which the art had attained1 and the greater rapidity and cheapness in printing4 ,illustration3 ,,kress ,,book-,,plate4 7,see ,ex ,libris ,journal1 ,vol4 ,,iv41 p4 #i47 ,engraved on ,copper by ,hans ,troschel1 #afii4 ,reproduced by process block4 ,in all the changes and inventions in the modes of art reproduction the engraved plate has steadily held its own as the most finished and perfect4 ,for ,ex ,libris it is particularly suitable2 it is par excellence ,,the ,,style for the attainment of the highest art quality4 ,the ,art ,journal1 supported by one or two similar publications1 has heroically endeavoured to maintain the traditions of the best period of the ,art in its steel-plate illustrations1 but1 except for pictures of this kind1 and of larger size for framing1 illustrations on steel and copper for books may be said to be practically extinct4 ,time1 however1 has its revenges3 wood engraving1 in its turn1 is being rapidly displaced by 8process blocks0 7of which more anon71 and now1 if we take up any recent illustrated book or journal1 we find the bulk of the pictures and designs not wood engravings but process blocks4 ,in every good collection of ,ex ,libris the majority of examples will be found to be printed from engraved plates1 very few relatively being from wood blocks4 ,the reason is not far to seek4 ,the wood engraving as practised in ,england previous to the opening of the present century was poor in execution1 and did not lend itself sufficiently to working out minute details with the same ease and readiness with which they can be executed on copper4 ,illustration3 ,pure ,line ,engraving by ,robert ,white1 from a ,painting by ,sir ,godfrey ,kneller4 ,reproduced by process block4 ,that it was the favourite mode of producing these dainty little works is evident also from the fact that copper-plate pictures for book illustrations of every kind had almost entirely superseded wood engraving1 which had indeed fallen completely into disfavour4 ,until the beginning of the present century1 when ,bewick and others had elevated it into a fine art1 wood engraving was in an exceedingly rude condition1 and little fitted for small works4 ,copper-plate engraving1 on the contrary1 had for several centuries flourished successfully2 every goldsmith was able to 8chase0 and engrave the decorative and heraldic work upon silver plate and goldsmiths' work1 or upon metal of any kind1 in relief1 or intaglio1 as in medals1 coins1 etc4 ,that this is no mere assumption we know from historical evidence1 as well as from a careful comparison of the 8handling10 or the manner of cutting the lines upon silver work1 which is identical with the style of cutting the lines in so very many engraved book-plates of the last and early part of the present century4 ,whatever may be thought of the vagaries of the accessories in the ,jacobean1 ,chippendale1 and other kindred styles--which are essentially silver engraving patterns--much of this class of work shows at least a true heraldic spirit in the treatment of the charges4 ,illustration3 ,a ,chippendale pattern4 ,silver ,engraver's style of work1 reproduced by process block4 ,benvenuto ,cellini1 whose works now bring fabulous prices in goldsmith work1 was an expert engraver as well1 as were probably most of the workers in the precious metals of his time4 ,hogarth1 in the earlier part of his career1 did much in the way of engraving arms1 crests1 etc41 for the silversmiths2 so did ,bewick1 who worked on wood and on metal indifferently4 ,the writer has done a fair share of similar work in his younger days2 and to his knowledge it was the custom in many establishments for the engravers to do both1 as the exigencies of business required1 though the tendency when work was plentiful was to specialise1 each man doing that part for which he seemed to have an aptitude4 ,this refers particularly to graver work2 the pictorial engraver executing his work principally by means of the etching process1 and only finishing up with the graver4 ,no doubt a life-long practice in one particular class of work of this kind is calculated to engender a stiff and formal manner1 and set patterns to become stereotyped1 were it not for the capricious changes of fashion2 sometimes slowly developed1 at other times1 a new fashion suddenly sets in and changes all2 the later chasing the earlier out of the field1 only to be elbowed aside in its turn4 ,styles of ornament1 as they course each other down the stream of time1 invariably leave their high-water marks on the margin1 which serve as valuable data for the student2 the prevailing styles of decorative and heraldic art1 having1 like all mundane things1 their periods of development1 full-blossoming1 and decadence1 the dates of which1 book-plate collectors1 aided by dated specimens1 arrive at with tolerable certainty4 ,the prevalence of a particular style1 its vogue and duration1 will account in a great measure for the family likeness observable in so many book-plates2 the chief factors1 however1 may be set down to the general low state of the art1 the paucity of designers and engravers of merit1 and the ample supply of the ordinary article--the mechanical craftsman4 ,illustration3 ,pure ,line ,engraving1 reproduced by process block4 ,as to the history and development of styles in ,ex ,libris1 a reference to the works of the ,hon4 ,j4 ,leicester ,warren1 ,j4 ,paul ,rylands1 ,f4,s4,a41 ,egerton ,castle1 ,m4,a41 ,f4,s4,a41 ,w4 ,j4 ,hardy1 and the pages of the ,ex ,libris ,journal1 will find the subject fully and plainly set forth4 ,a word as to the origin and history of ,copper-,plate ,engraving4 ,the art of engraving on metal plates1 for taking impressions on paper1 was first practised by ,tommaso ,fineguerra1 a ,florentine goldsmith1 about the year #adfj4 ,some writers have claimed the invention for ,germany1 but it is generally considered that the art was first practised in ,italy1 and had its origin in the workshops of the goldsmith4 ,an assistant is said to have suggested to ,fineguerra the possibility of taking an impression from an engraved design with ink on moistened paper4 ,the first book printed at ,rome was illustrated by the first plate engraving4 ,this work is dated #adgh1 but was commenced in #adgb4 ,engraving made rapid strides towards excellence in ,germany4 ,albert ,drer was a man whose universality of talent extended the boundaries of every department of art1 and carried all to a degree of perfection previously unknown4 ,he had great command of the graver1 and carried his plates to a higher state of finish than his ,italian contemporaries4 ,he is also believed to have invented the art of etching by corrosion3 on examining his etchings1 we see that they have all been corroded at one 8biting-in10 which sufficiently explains their monotonous appearance1 and proves that 8stopping-out0 was not then understood4 ,to the ,dutch and ,flemish schools we owe many improvements in the art4 ,the celebrity of the ,french school dates from the time of ,louis ,,xiv4 ,gerard ,audran was the first engraver who successfully united to any extent the use of the graver and the etching point4 ,the ,english school of engraving dates only from the middle of the eighteenth century1 previous to which those who practised the art in ,england were chiefly foreigners4 ,hogarth engraved many of his own designs4 ,francis ,vivares introduced the art of landscape etching3 he1 ,woollet1 and ,brown produced some of the first landscape engravings extant4 ,sir ,robert ,strange excelled in portrait engraving4 ,of the moderns who have attained eminence in the various branches of the art1 the very enumeration of them would lead to needless length1 the present purpose being chiefly to describe the processes4 ,illustration3 ,pure ,line ,engraving1 reproduced by process block4 ,illustration3 ,line ,engraving by ,william ,hogarth1 reproduced by process block4 ,illustration3 ,william ,hogarth's own book-plate4 ,line ,engraving1 reproduced by process block4 ,,the ,,various ,,modes ,,of ,,engraving ,,on ,,copper ,,and ,,steel-,,plate4 ,there are many kinds of engraving on steel and copper for the purpose of printing by the copper-plate press4 ,we will specify those principally in use and indicate their chief characteristics2 afterwards1 some further explanation may be necessary4 ,it may be here stated that the various processes are of such a technical nature that it would be impossible in a short compass to explain all the details of execution2 we may1 however1 refer those who desire to pursue the subject further to an excellent little handbook 7price one shilling7 published by ,winsor and ,newton1#b which1 as stated in the preface1 will1 by means of any of the modes of engraving on copper therein treated of1 enable anyone 8skilled in pen and ink drawing to reproduce their designs with greater delicacy and added depth of effect40 ,other books on the subject there are1 of greater cost1 as ,hamerton's splendid work1 but for the amateur the handy little manual just named is an admirable guide4 ,footnote #b3 8,the ,art of ,etching explained and illustrated1 with remarks on the allied processes of ,dry-point1 ,mezzotint1 and ,aquatint40 ,by ,h4 ,r4 ,robertson1 ,fellow of the ,society of ,painter-,etchers2 ,author of 8,life on the ,upper ,thames10 etc4 ,winsor and ,newton1 ,limited1 #ch ,rathbone ,place1 ,london4 ,illustration3 ,transfer1 direct from ,engraved plate to stone4 ,illustration3 ,pure ,line ,engraving1 reproduced by process block4 ,illustration3 ,transfer1 direct from ,engraved plate to stone4 ,to one skilled in drawing1 and with some leisure and enthusiasm for the work1 ,,etching offers a delightful field for the exercise of the artistic mind4 ,there are no technical difficulties that may not be surmounted by care and patience4 ,the few tools and necessary appliances are not of a costly nature1 if we except the copper-plate printing press4 ,there are different kinds or methods of engraving1 the six principal varieties of which need only be considered1 namely3-- 7#a7 ,,line ,,engraving4 7#b7 ,,etching4 7#c7 ,,soft-,,ground ,,etching4 7#d7 ,,aquatint ,,engraving4 7#e7 ,,mezzotint ,,engraving4 7#f7 ,,stipple ,,engraving4 ,the distinctive features of all copper-plate and steel-plate engraving consist in this1 that the lines or strokes composing the design are cut or ploughed into the surface of the metal with a fine tool termed a graver1 etched or corroded out with acid or by other means4 ,a ,print is obtained by filling the lines so made with a special ink composed of a drying oil and colour-pigment4 ,during the process of inking the plate is kept warm1 the superfluous ink being wiped off with a coarse muslin rag1 and made perfectly clean4 ,the plate1 placed in the travelling bed of the copper-plate press1 is covered with a sheet of paper slightly damp2 on turning the press1 it is subjected to such pressure as forces the paper into the lines2 by this means the ink is transferred to the paper1 and the result is an impression or proof4 ,illustration3 ,,copper-,,plate ,,printing ,,press4 ,illustration3 ,transfer1 direct from ,engraved plate to stone4 #a4--,,line ,,engraving4 ,the majority of the earlier book-plates are engraved1 or cut into the plate entirely with the graver1 and may properly be termed line engraving par excellence4 ,as early examples of this style of work we are enabled to give reproductions of several book-plates1 viz41 ,kress of ,kressenstein1 by ,hans ,troschel1 #afii1 p4 #bh2 the portrait plate of ,samuel ,pepys1 by ,robert ,white1 p4 #ca2 two plates engraved by ,hogarth1 pp4 #dj-da4 ,the ,ex ,libris of ,,william ,,cowper1 ,clerk of the ,parliaments2 ,,edward ,,loveden ,,loveden2 ---- ,,barrow2 and ,,hen ,,jam ,,pye1 also illustrate the quality of line or graver work alone4 ,the examples interspersed in the text carry their own explanation4 ,as modern examples of this style we are enabled to give several characteristic varieties--the library interior of ,w4 ,h4 ,k4 ,wright1 by ,j4 ,e4 ,wood1 of ,plymouth1 and a number designed by the writer and engraved by ,marcus ,ward ,co41 ,limited1 printed by lithography--all of which will be found useful as keys to the style of handling of graver work alone1 and in combination with etching4 ,among the chief exponents of the art may be mentioned the name of ,c4 ,w4 ,sherborn1 who is facile princeps as an engraver of heraldic subjects4 ,one of his smaller works1 engraved in pure line1 appears facing page #bg1 the dainty crest plate of ,r4 ,day1 ,f4,s4,a41 printed direct from the copper-plate2 a favourite old toast1 in playful allusion to the wings in the crest1 doing duty as a motto4 #b4--;,,etching4 ,this method admits greater freedom of handling than graver work4 ,the design is drawn through a resisting ground with the etching point1 and the exposed lines on the surface of the copper corroded to the requisite depth with aquafortis1 the finishing of the work being usually done with the graver4 ,illustration3 ,transfer1 direct from ,engraved plate to stone4 ,illustration3 ,etching on ,copper reproduced by process block4 ,from the collection of ,w4 ,h4 ,k4 ,wright4 ,machine ruling or tinting is now much used in conjunction with line engraving and etching1 for the even tints of skies and level surfaces in pictorial work1 and for the symbolical lines denoting tinctures in heraldry1 of which several examples are given4 ,steel-plates were used for engraving very fine work1 or when large numbers of copies were required to be printed from the plate4 ,any advantage over copper which steel formerly possessed is now neutralised by the process known as steel facing1 that is1 coating the copper plate with an electro deposit of iron4 ,copper-plate printing1 as it is termed1 though giving the most perfect result1 is slow and tedious1 and necessarily costly4 ,a much speedier method of printing--by ,lithography--is now much used instead1 transfers from the engraved plate being put on the lithographic stone and printed therefrom1 the original plate being retained intact4 7,see examples under ,lithography74 ,illustration ,illustration3 ,two ,etchings on ,copper by ,bewick1 reproduced by process block4 ,from the collection of ,w4 ,h4 ,k4 ,wright4 ,some early examples of etched plates are given4 ,the urn design of ,charles ,bragge1 ,armorial ,landscape1 and ,bewickian ,landscape show the character and handling of etched work as distinguished from line engraving4 ,other examples illustrate the combination of ,line1 ,etching1 and ,machine ,ruling work4 #c4--,,soft-,,ground ,,etching4 ,a very charming style of work which was much used by ,bartolozzi and other engravers of his time1 but now gone entirely out of use4 ,a suitable book-plate engraved in this manner not turning up in time1 the present fine example of the style was selected to illustrate the character of the work1 which bears a close resemblance to a chalk drawing1 and on that account offers considerable difficulties in the way of reproduction by the half-tone process4 ,the result is1 however1 successful in a remarkable degree in translating the peculiar texture of the original4 ,illustration3 ,transfer1 direct from ,engraved plate to stone4 ,illustration ,illustration3 ,two ,etchings on ,copper by ,bewick1 reproduced by process block4 ,from the ,collection of ,w4 ,h4 ,k4 ,wright4 ,the allegorical device represents the turret-crowned goddess ,cybele1 8mother of a hundred gods10 standing upon an isolated rock in the sea1 holding out an olive-branch1 and with her attribute1 the rudder1 as guide and director of the destinies of cities and states2 youthful figures representing the ,arts and ,sciences--which are the glory of a ,state--are disporting themselves in the clouds4 ,though not originally intended for a book-plate1 a friend is desirous of adopting it1 with the motto from ,virgil1 8,fato prudentia major0--to intimate that1 in his opinion1 prudence is greater than fate4 #d4--;,,aquatint ,,engraving4 ,a style of work having all the appearance of a china ink drawing1 and frequently used by artists in conjunction with etching1 to give body and consistency to the tints4 ,an admirable example of this combination of etching and aquatint is the charming book-plate of the ,hon4 ,leicester ,warren1 by ,w4 ,bell ,scott1 well known to collectors4 ,it does not1 however1 lend itself well to reproduction4 ,illustration3 ,transfer1 direct from ,engraved plate to stone4 ,the texture1 which may be of various degrees of fineness1 is produced on the plate by a solution of resin 7dissolved in pure spirit71 which is poured over the surface2 as the spirit evaporates it leaves the resin in minute isolated particles adhering to the plate4 ,the design is traced or transferred upon it1 the highest lights 8stopped out0 with engravers' varnish4 ,the etching 7or biting-in with acid7 is then proceeded with2 repeated stoppings out and etchings are made as the deeper shades are attained4 #e4--,,mezzotint ,,engraving4 ,produced by roughening the surface of the plate by a rocking tool1 and the lights and shades attained by scraping and burnishing4 ,seldom used for small work1 but largely used combined with ,nos4 #a and #b for prints and pictures4 ,the small ,french print of the ,virgin and ,child1 reproduced by half-tone process block1 represents fairly well the character of the work4 7,see example under 8,half-tone ,process ,blocks407 #f4--,,stipple ,,engraving4 ,performed with the graver or other tool1 which is so managed as to produce the tints by small dots4 ,this method is much used for statuary and for portraits particularly1 the rest of the picture being generally executed by some of the other methods1 ,nos4 #a and #b especially4 ,illustration3 ,transfer1 direct from ,engraved plate to stone4 ,illustration3 ,etching on ,copper1 reproduced by process block4 ,illustration3 ,,lithographic ,,printing ,,press4 ,,lithography4 ,lithography1 as one of the modern arts1 dates only from about the end of the last century4 ,the inventor1 ,,aloys ,,senefelder1 the son of an actor1 was born at ,munich in #agga1 and died there on the #bfth ,february1 #ahcd4 ,intended for the profession of the ,law1 he1 on the death of his father1 was obliged to retire from the ,university4 ,illustration3 ,drawn on transfer paper and transferred to stone direct4 ,thrown on his own resources at the age of eighteen1 he turned to his father's profession1 but met with little success4 ,writing for the stage1 he found difficulty1 owing to his poverty1 in getting his writings published1 and it was in trying to find out some ready process to attain this end that he arrived at what we now term the ,art of ,lithography4 ,senefelder lived to perfect his art to a high degree1 and to see it brought into general use1 but without bringing much profit to himself4 ,since his time many advances have taken place1 and new developments in various directions1 as in the beautiful art of chromo-lithography and photo-lithography4 ,the term ,lithography is derived from the ,greek1 lithos1 a stone1 and grapho1 to write4 ,lithographic stone is a species of limestone1 the best qualities of which are obtained from the quarries at ,solenhofen1 near ,munich1 and from ,papenheim1 on the ,danube4 ,the stones are cut into slabs or blocks of various sizes to suit the work required2 to print an octavo page1 quarto1 etc41 up to sixty inches by forty1 and even larger4 ,the thickness varies from an inch and a half in the smaller1 to four or five inches in the larger sizes4 ,the stones are ground perfectly level with sand and water1 and finished off with a fine stone until a perfectly smooth polished surface is produced1 when it is ready to receive the drawing1 or to have transferred to its surface a drawing or writing made upon specially prepared paper 7lithographic transfer paper74 ,for chalk or crayon drawings1 the smooth surface of the stone is grained with sifted silver sand1 which gives a beautifully even granular texture1 and the drawing is made upon it with lithographic chalk4 ,for drawing upon the smooth stone1 or upon transfer paper1 lithographic ink is used4 ,,the ,,principle ,,underlying ,,the ,,process ,,of ,,lithography is simply this3--,the nature of the stone is such that it retains with great tenacity the resinous and oily substances contained in the ink or the crayon employed to form the design4 ,the lithographic stone also absorbs water freely2 this1 combined with the peculiar affinity between resinous substances and their mutual power of repelling water1 causes the ink on the printing roller to adhere to the design and to leave untouched the damp surface of the stone4 ,illustration3 ,drawn on transfer paper and transferred to stone direct4 ,,the ,,process ,,of ,,lithographic ,,printing is as follows3--,after the drawing on the litho4 stone is completed1 it receives a wash of dilute acid and gum arabic1 and this1 by removing the alkali from the ink1 leaves the design on it in a permanent form1 at the same time that it etches away a minute portion of the surface of the stone1 and renders it more absorbent of water4 ,after etching1 all trace of the acid is removed with a sponge and water1 the stone is rubbed over with a damp muslin cloth to equalise the moisture upon the surface1 the lithographic roller charged with printing ink is passed over the surface1 the lines of the design alone taking ink2 the paper is then laid upon the stone1 and a copy is obtained by means of the lithographic press4 ,the damping of the stone and inking is repeated for every impression4 ,,lithographic ,,writing ,,and ,,drawing ,,ink and ,,lithographic ,,crayons for chalk drawing on stone1 are similar in composition1 but different in proportions1 suited to the particular kind of work1 white wax1 shell-lac1 hard soap1 tallow1 and lamp black being the chief ingredients4 ,for writing and drawing all kinds of line work on stone or transfer paper1 the ink is made in sticks1 and rubbed down with water to a proper consistency for use1 and used with a pen or sable pencil4 ,for chalk drawings upon a grained stone1 the ink is cast into the form of crayons1 and used in a port-crayon for convenience in drawing1 sharpening the point as required4 ,,chalk ,,drawing ,,on ,,stone is rarely used for such small work as book-plates4 ,we need not therefore more particularly refer to it1 than to say that excellence in this department of ,lithography may be attained more readily than in fine-line work1 for which constant practice1 and a very delicate handling of the implements1 the lithographic pen and fine sable pencil1 is required4 ,illustration3 ,drawn on transfer paper and transferred to stone direct4 ,the technical difficulties to be overcome in ,lithography are very great2 to the unpractised they seem insuperable3 the magic of handling acquired by long-continued practice in the use of the materials1 as seen in good examples1 exhibits a degree of technical skill which the amateur may not hope to rival4 ,to draw with the pen or small sable pencil with the requisite degree of fineness of line of the expert1 and with the precision and apparent freedom of the accomplished artist1 is a thing of difficult attainment4 ,this is a disadvantage to artists generally1 who are obliged to entrust the translation of their drawings to the professional lithographer--not always with a satisfactory result767 ,,grained ,,or ,,textured ,,paper1 of which there are many varieties specially made with a chalky surface for photo-lithography1 are now much used1 on which the artist makes his drawing in litho-chalk or suitable black lead pencil4 ,as the knife point may be used to scrape out lights on the chalky surface1 it admits of very effective work for pictorial illustrations4 ,a photo-litho transfer is then put to stone1 or a process block made from it1 as may be required4 ,drawings made on this prepared textured paper with lithographic chalk may also be transferred to stone direct1 and printed from4 ,extreme beauty and fineness are1 however1 gained by the photo-reduction4 ,very beautiful ,pictorial and ,heraldic ,ex ,libris have been executed by the lithographic process1 hardly to be distinguished from plate engraving4 ,,engraved ,,plates may have transfers taken from them and printed from stone4 ,a number of examples1 with explanatory titles1 are given of the various modes of lithographic and photo-lithographic reproduction4 ,illustration3 ,drawn on transfer paper and transferred to stone direct4 ,,chromo-,,lithography4 ,some very dainty examples of ,ex ,libris emblazoned in heraldic tinctures are met with1 very charming in their way1 principally ,german ones4 ,colour in the heraldry of book-plates has not found the same favour in this country as on the ,continent2 for what reason it is hard to understand4 ,through the courtesy of ,mr4 ,r4 ,s4 ,mansergh1 ,friarsfield1 co4 ,tipperary1 we are enabled to print as a frontispiece the plate newly designed by the writer1 and executed by ,messrs4 ,marcus ,ward ,co41 of ,belfast4 ,,photo-,,lithography4 ,photo-lithography is now so largely employed for the reproduction of all classes of work that a few words in explanation of it may be very desirable4 ,the process is of a somewhat technical nature1 but simplicity itself when understood6 ,it is founded upon the fact that gelatine1 by the addition of a certain chemical1 is rendered insoluble on exposure to light4 ,a negative photograph from the original drawing in black lines having been taken by the wet or collodion plate1 it is intensified to the required degree1 so that the lines of the design appear perfectly clear upon a dense1 opaque1 black film4 ,it is then 8exposed0 in the printing frame1 upon paper that has been coated 7in the dark7 with the prepared gelatine--now extremely sensitive to light4 ,taken out of the printing frame in the dark room1 the exposed print 7which barely shows any trace of the design at this stage7 is then covered with a thin film or coating of printers' transfer ink4 ,the lines exposed to the light have been rendered insoluble1 while the white ground of the design protected by the negative is still in a soluble condition4 ,floated in a bath of warm water1 the soluble gelatine 7not acted on by the light71 with its coating of ink1 is washed away--the insoluble lines of the design alone remaining1 coated with printers' transfer ink4 ,this 8photo-transfer0 is then ready to be put down to the lithographic stone and printed from1 or it may be transferred to a polished zinc plate1 and etched to the requisite depth as a block for type printing4 ,illustration3 ,drawn on stone direct1 with mechanical ruling added4 ,,drawing ,,for ,,photo-,,litho1 ,,and ,,for ,,process ,,line-,,blocks4 ,the invention of photo-lithography enables the artist to make his own drawings or designs in black and white on a larger scale 7usually one-third or one-half larger than required71 which will be photo-litho'd down to the size required1 thus preserving intact every touch and flexture of line in the original1 and1 by the reduction1 gaining a fineness of line and beauty of finish which the artist could not himself produce on the reduced size4 ,,machine ,,ruling may afterwards be transferred into the design when it is upon the stone1 as in some of the designs in the accompanying examples4 8,process blocks10 which reproduce so admirably all kinds of drawings and engravings1 are1 when carefully printed1 sometimes very difficult to detect from direct lithographs4 ,illustration3 ,ulster ,king of ,arms4 ,pen and ,ink ,drawing by ,rev4 ,wm4 ,fitz,gerald1 reproduced by process block4 ,much reduced4 ,,process ,,blocks4 ,,line ,,work4 ,there are quite a number of processes that have been brought into use with more or less success1 as ,graphotype1 ,dallas-type1 etc41 to which it is not necessary to refer1 as for all practical purposes ,zinc ,etching holds the field against all others1 either for ,,half-,,tone ,,blocks1 or for ,,line-,,blocks of every kind1 of which last a number of examples are here given1 with an explanatory title to each specimen4 ,for work of the very finest kind1 the ,photogravure or ,heliogravure1 printed by the copper-plate press1 bears the palm1 but it has the disadvantage of being very expensive4 ,those desirous of knowing more fully concerning the various processes in use may be referred to a very excellent volume in the 8,book ,lovers' ,library0--8,,modern ,,methods ,,of ,,illustrating ,,books10 by ,h4 ,trueman ,wood1 ,m4,a41 ,secretary to the ,society of ,arts1 and published by ,elliot ,stock4 ,illustration3 ,pen and ,ink ,drawing1 reproduced by process block4 ,slightly reduced4 ,illustration3 ,pen and ,ink ,drawing reproduced by ,photo-lithography4 ,these modern methods provide a most important and valuable means of producing illustrations for printing purposes4 ,by their aid1 any photograph1 drawing1 design1 or engraving of any kind can be translated into a block1 and with such success that1 with suitable subjects1 it is often hardly possible to tell the original from the copy2 and not only do they enable surface blocks to be produced with great rapidity and at slight cost1 but they give blocks capable of producing effects which could not be obtained at all by wood engravings1 or1 if at all1 only at great expense4 ,many artists have hailed with delight the process of ,zinc ,etching1 as by its means they obtain a perfect fac-simile of their work1 more especially pen and ink drawing1 which could never be reproduced by any other method with the same accuracy and delicacy of finish which the zinc process gives1 and which could not by wood engraving be an absolute fac-simile4 ,illustration3 ,pen and ,ink ,drawing1 reproduced by process block4 ,slightly reduced4 ,illustration3 ,pen and ,ink ,drawing reproduced by ,photo-lithography4 ,illustration3 ,pen and ,ink ,drawing1 reproduced by process block4 7,same size47 ,mr4 ,carl ,hentschel1 head of an eminent firm of photo-etchers1 to whom we applied for information upon certain points in the manipulation of his process1 courteously offered some very interesting statements as to the development of zinc etching4 ,he says the process of ,zinc ,engraving was introduced into ,england about thirty years ago1 but really did not 8catch on10 as the ,yankees would say1 for twenty years after2 nor was there any real value attached to it from a commercial point of view until about twelve years ago1 when1 as ,mr4 ,hentschel assures us1 the system he adopted rendered it possible to have blocks of all kinds for newspapers1 books1 magazines1 and journals of every description produced in such time that their delivery could be relied upon for the most urgent publication1 and1 only then1 the vast possibilities of the zinc process began to dawn upon publishers1 and soon the method was gradually adopted for all purposes of engraving4 ,some idea of the extent to which it is made use of may be gathered from the fact that this firm alone delivers weekly about three thousand blocks for various publications throughout the country1 and even to far-off ,india1 where the plates of whole volumes of educational works have been despatched by this enterprising firm4 ,to keep pace with the requirements of the times it has been found necessary recently to add largely to the facilities for the execution of half-tone blocks1 using engine power to the extent of forty horse for the production of the electric light1 essential for this branch of the business1 so that in this respect they are practically independent of sunlight4 ,in cases of emergency it is no unusual thing to deliver half-tone blocks in five to seven hours1 and ,line work1 from transfers1 one and half hours1 and in the case of having to photo the subject1 two and half to three hours4 ,this would have been impossible under the old system1 trusting to daylight1 and this fact1 coupled with the cheaper rate of cost1 has given an impetus to illustrated journalism that could hardly have been dreamt of under the old regime4 ,illustration3 ,pen and ,ink ,drawing1 reproduced by process block4 ,slightly reduced4 ,under the head of photo-lithography1 the initiatory stage in the making of what are termed 8,process ,blocks0 was explained1 namely1 the making of photo-transfer from the original drawing--in printer's ink--for transference to the lithographic stone and printed form4 ,the metal ,zinc possesses the same or similar properties as lithographic stone1 and may be used to print from in the same way4 ,the term ,zincography is applied to the process1 though practically it is the same as lithography4 ,illustration3 ,drawn in pen and ink1 reproduced by process block4 ,to convert the design upon the zinc plate into a relief block to print with type is only one step farther--to so protect the lines of the design on the zinc plate1 as to resist the corrosive action of acid1 and by etching the plate1 produce a relief block4 ,for this purpose1 a resinous or bituminous substance is introduced into the composition of the printing ink4 ,here1 then1 we have the lines of the design in an acid-resisting material upon the surface of a metal plate exceedingly susceptible to the action of acids4 ,if the prepared plate is now placed in an acid bath1 the entire surface of the zinc1 except the protected lines1 will become etched1 or dissolved away1 leaving the design in its integrity1 with the lines standing up in relief3 the etched plate has now only to be mounted upon wood to the height of type to be ready for the printer's use4 ,illustration3 ,pen and ,ink ,drawing1 reproduced by process block4 ,illustration3 ,pen and ,ink ,drawing reproduced by ,photo-lithography4 ,such is a brief outline of the process in the production of ,,line ,,blocks4 ,the design may be put on the metal plate in any of the following ways3-- 7a7 ,by direct drawing on the zinc plate4 7b7 ,by a drawing on transfer paper to zinc or stone4 7c7 ,by transference of a photo-transfer4 7d7 ,by transfer from an engraved plate4 7e7 ,by transfer from a lithographic stone4 7f7 ,by direct photography upon zinc4 ,the most perfect work is said to be obtained by the latter method4 ,there are many technical difficulties to be encountered in working the process1 difficulties which for twenty years kept it at the experimental stage1 and of little practical utility1 as1 for instance1 after etching the plate for a short time the acid has a tendency to bite laterally as well as vertically1 and so undermine and weaken the lines intended to be left standing4 ,this is obviated by some photo etchers in using certain chemicals1 and others by an ingenious manner in the working by etching in stages4 ,this is done by re-inking and dusting with bitumen1 heating the plate after each 8etching10 which has the effect of melting and spreading the resinous or bituminous ink on the face1 and slightly down the sides of the lines4 ,successful work is only attained by attention to the various delicate technical manipulations1 which only experience can give4 ,illustration3 ,pen and ,ink ,drawing1 reproduced by process block4 ,illustration3 ,reproduced by half-tone process block1 from a ,monochrome ,sketch1 reduced in size4 ,,half-,,tone ,,process ,,blocks4 ,the subject1 whether it is a drawing1 engraving1 painting1 or a photo print1 must in each case be photographed to obtain upon the negative the texture which is the means of producing the gradations of light and dark we find in the finished block4 ,the theory is simple enough1 but the practice is extremely difficult1 and one requiring great skill and care4 ,a glass screen having cross lines ruled upon it1 with perfect mechanical regularity 7about seventy lines to the inch for large work1 up to two hundred lines to the inch for very fine half-tone blocks1 as may be best suited to the subject in hand74 ,the screen is fixed in the camera between the lens and the negative to be exposed4 ,the fine black lines of the screen are reproduced upon the negative as white lines1 breaking up the picture into a series of minute square dots1 of varying size according to the light and shade of the original picture4 ,a photo-transfer is then taken as previously explained4 7,in ,hentschel's process the secret of the prepared transfer paper is in the possession of ,mr4 ,hentschel solely47 ,after being transferred to the zinc1 and manipulated with certain chemicals1 the plate is gradually etched until a sufficient depth has been obtained4 ,it is then trimmed and mounted type height ready for the printer4 ,illustration3 ,pen and ,ink ,drawing1 reproduced by process block4 ,illustration3 ,original size4 ,pen and ,ink ,drawing1 reproduced by process block in three sizes4 ,,pen ,,and ,,ink ,,drawing4 ,drawings for reproduction by the modern processes of photo-lithography and photo-etching may be prepared in a variety of ways4 ,the most frequently used is termed ,,pen ,,and ,,ink ,,drawing 7often mistakenly called 8etching10 which is engraving by means of an acid74 ,this class of work is the most popular of all1 and the most easily got at by artists and amateurs2 it is translated with much greater ease1 and at less cost1 than photographs or shaded drawings of any kind4 ,as the term indicates1 it is executed with the pen2 many artists1 however1 have a predilection for the brush 7a fine sable pencil71 which1 though it requires considerable practice to master its use1 becomes in masterly hands a valuable instrument1 capable of greater and more varied effects than the pen4 ,good black ink1 and smooth white paper or cardboard1 are the essentials4 ,much may be said on the style or modes of different artists in drawing1 the kind or quality of the ink1 the pens and paper to be used4 ,the relative values of thick and thin1 open and close lines1 the direction of the lines1 etc41 in producing the varied character and quality of good expressive drawing2 the various textures of surfaces--roughness1 smoothness1 etc4--have all to be considered1 more especially if the drawing is made upon a larger scale1 to be reduced in the photo-etching process of translation4 ,we heartily commend the shilling handbook on ,pen and ,ink drawing published by ,winsor and ,newton4 ,it is an excellent introduction to the art2 it gives full instructions on the best means of working1 and the materials to be used4#c ,footnote #c3 8,the ,art of ,pen and ,ink ,drawing1 commonly called ,etching40 ,by ,h4 ,r4 ,robertson1 ,fellow of the ,society of ,painter-,etchers1 ,author of 8,the ,art of ,etching10 etc4 ,winsor ,newton1 ,limited1 ,london4 ,illustration3 ,,club ,,device ,,and ,,ex ,,libris4 ,pen and ,ink ,drawing1 reproduced by process block4 ,illustration3 ,reproduced by half-tone process block1 from an ,aqua-,tint engraving1 same size4 ,for ,,half-,,tone ,,shaded ,,blocks the design may be executed in washes as a china ink drawing1 or in any other way4 ,the illustrations are reproductions from various kinds of originals1 as explained under each example4 ,messrs4 ,carl ,hentschel ,co41 #ahb-c ,fleet ,street1 have been good enough to prepare several examples to illustrate the half-tone process2 each block having been made from an original executed in a different way1 as indicated by the explanatory title2 and may be considered rather severe tests of what the process is capable4 ,for these favours we are much obliged2 we tender also our thanks for their kindness and courtesy in supplying much of the foregoing information4 ,illustration3 ,pen and ,ink ,drawing1 reproduced by process block4 ,,hints ,,to ,,collectors ,,of ,,ex ,,libris4 ,to distinguish how a book-plate may have been produced4 ,a lithograph or a photo-lithograph may be distinguished from a woodcut1 or from a copper engraving1 by the following3 ,by the quality of the lines1 whether cut with the graver or etched upon copper2 drawn with the pen or with the fine sable pencil4 ,each has a character of handling and manner of its own by which it may be recognised4 ,a little observation of admitted examples with the aid of a strong magnifying glass will generally resolve this4 ,illustration3 ,,ex ,,libris4 ,reproduced by half-tone process block1 from ,coloured ,design for ,stained ,glass ,window4 ,,the ,,difference ,,in ,,engraved ,,or ,,cut ,,lines1 ,,and ,,etched ,,lines4 ,lines cut with the graver are invariably smooth and even1 and have a clear silvery appearance2 in isolated lines or cuts it will be observed that the beginning of the lines are finer where the graver has entered than where it stops4 ,etched lines1 on the contrary1 do not possess the same smooth-edged rigid character as those cut with the graver2 and where greater strength of line is obtained it is by deeper etching with the acid bath1 and in this the difference in the quality of line is more perceptible4 ,,to ,,distinguish ,,an ,,impression ,,from ,,plate4 ,in a plate engraving the lines are slightly in relief 7and1 if strongly engraved1 or the paper thin1 observable on the back74 ,a sensitive finger will detect the stronger raised lines of the engraving4 ,the mark of the plate1 unless cut off1 also betrays it2 the engraved plate by ,mr4 ,sherborn1 facing page #bg1 will illustrate this4 ,,to ,,distinguish ,a ,,woodcut1 ,,or ,,line ,,process ,,block4 ,in a block the lines of the design are indented slightly into the paper1 which shows itself on the back of the print 7unless thoroughly rolled out under heavy pressure74 ,close observation with the magnifying glass will show the edges of the lines to be slightly rough--by the ink from the face of the line being squeezed over the edge2 in good printing this is not so apparent4 ,a weakness with nearly all process blocks is that the edges of fine tints and outlying fine lines are apt to print heavier than they should1 unless very carefully worked4 ,,to ,,distinguish ,a ,,lithograph4 ,in a lithograph the surface of the paper is perfectly smooth1 and not indented in any way4 ,the examples of engraved plates printed from stone1 and the litho4 and photo-litho's printed in brown ink1 will serve to illustrate the qualities of lithography4 ,unless well printed1 the fine lines are apt to show weak and rotten1 or to have become thick and blurred1 either in transferring to the stone or by too much ink on the printing roller4 ,illustration3 ,,fato ,,prudentia ,,major4 ,,ex ,,libris ,,vinicombe ,,bey1 ,colonel d' ,artillerie ,tophan1 ,constantinople4 ,example of soft-ground etching--,reproduced by half-tone process block4 8,,au ,,revoir40 ,having now rehearsed1 ,i hope clearly and concisely1 the various modes by which ,ex ,libris are and have been produced1 and having revealed as many trade secrets as the limited space at command would allow1 ,i beg to thank the ,council of the ,ex ,libris ,society for permission to reprint from the pages of the ,journal the series of articles on the subject--now somewhat expanded--and for the use of the blocks by which they were illustrated4 ,to ,mr4 ,w4 ,h4 ,k4 ,wright1 ,f4,r4,,hist4,,soc41 the able ,editor and ,secretary of the ,ex ,libris ,society 7to whom all collectors are infinitely indebted71 my thanks are due for his valued aid and counsel2 and on whose shoulders ,i have now laid the further obligation of a preface4 ,as a special favour ,i have requested his 8library interior0 plate to appear4 ,a similar favour ,i have desired from ,arthur ,vicars1 ,f4,s4,a41 ,ulster ,king of ,arms1 to whom ,i dedicate this little book4 ,with the exception of these two 8library interiors0 and the crest plate of ,r4 ,day1 ,f4,s4,a41 by ,sherborn1 all the modern ,ex ,libris designs here printed have been made by1 or under the superintendence of1 the writer1 and executed by ,marcus ,ward ,co41 ,limited1 whom ,i beg to thank most heartily for their kind co-operation1 particularly in printing the lithographed specimens1 and the use of additional blocks4 ,i have also to thank several personal friends who have been good enough to lend me their copper-plates and process blocks4 ,illustration3 ,,john ,,vinycomb1 ,m4,r4,i4,a4 ,,riverside1 ,,holywood1 ,,co4 ,,down1 #ahid4 ,,the ,journal ,,of ,,the ,ex ,libris ,society1 ,,published ,,monthly1 ,price1 #as4 #f;d4 ,post ,free1 #as4 #i;d4 ,illustration ,,also1 ,,volume ,i4 ,out of ,print ,,volume ,,ii4 ,out of ,print ,,volume ,,iii4 ,price1 #bas4 ,post ,free1 #bas4 #h;d4 ,cases for the above ,volumes-- ,price1 #as4 #f;d4 ,post ,free1 #as4 #i;d4 ,,adam ,,and ,,charles ,,black1 ,,soho ,,square1 ,,london4 ,,dated ,,book-,,plates 7,ex ,libris71 ,with a ,treatise on their ,origin and ,development4 ,,by ,,walter ,,hamilton1 ,chairman of ,council of the ,ex ,libris ,society2 ,vice-,president of the ,socit ,franaise des ,collectionneurs d',ex ,libris4 ,,with ,,numerous ,,illustrations4 ,a list of ,dated ,plates prior to #agjj appears in ,part ,i41 with fac-similes of ,ex ,libris specially selected as typical examples of early work4 ,part ,,ii4 will contain ,dated ,plates of the #ahth century4 ,part ,,iii4 will contain ,dated ,plates of the #aith century4 ,the work will be printed on paper of the same size as the ,journal of the ,ex ,libris ,society1 so as to range with it4 ,the price of each part will be ,seven ,shillings and ,sixpence net4 ,post free1 #gs4 #aa;d4 ,part ,i4 is now ready4 ,parts ,,ii4 and ,,iii4 will be issued very shortly1 as all the materials are ready for the press4 ,,adam ,,and ,,charles ,,black1 ,,soho ,,square1 ,,london4 ,book-,plate ,annual ,,and ,,armorial ,,year ,,book1 #ahid4 ,edited by ,,john ,,leighton1 ,f4,s4,a4 ,price1 #bs4 #f;d4 ,post ,free1 #bs4 #i;d4 ,,contents-- #a4--;,half ,title1 the ,author1 the ,printer1 the ,bookbinder1 and the lover of ,books4 #b4--,memorandum ,sheet for the entry of ,loans and ,exchanges4 #c4--,the ,ex ,libris of the ,duke of ,york and ,princess4 7,by gracious permission47 #d4--;,description of the ,royal ,wedding ,book-plate4 ,by ,arthur ,jewers1 ,f4,s4,a4 #e4--,portrait of the ,great ,master of ,symbolical ,heraldry1 ,albert ,drer4 #f4--,should ,wales have a place on the ,royal ,standard of ,england4 #g4--,suggestions for a ,welsh ,order of ,knighthood4 ,the ,collar and ,jewel of ,st4 ,david4 #h4--;,cambria upon the ,currency in the fourth quarter4 #i4--,the ,library1 ,books and ,bindings4 ,their ,restoration and ,preservation4 #aj4--;,how to keep ,ex ,libris under any classification or arrangement4 #aa4--,the ,process of ,binding4 ,a ,book from the ,sheets to the ,volume4 #ab4--,taxes upon ,vanity4 ,armorial1 ,servants1 ,horses1 and ,carriages4 #ac4--;,arms of ,participation4 ,an ,economy in a high ,luxury4 #ad4--,rebinding ,old ,books of value2 what should be done8 #ae4--,the ,find of the ,year4 ,the ,virginian ,book-plate confirmed in ,america4 #af4--;,cut and come again4 ,the ,trimming of ,books and ,cutting ,down4 ,,adam ,,and ,,charles ,,black1 ,,soho ,,square1 ,,london4 ,,the ,,dryburgh ,,edition ,,of ,,the ,waverley ,novels4 ,with #bej ,page ,illustrations1 specially ,drawn for this ,edition by the well known ,artists whose names are given below1 and engraved on wood by ,mr4 ,j4 ,d4 ,,cooper4 ,in ,twenty-five ,volumes4 ,crown #hvo1 ,cloth4 ,price1 #es4 each4 ,,charles ,,green ,,waverley4 ,,gordon ,,browne ,,guy ,,mannering4 ,,paul ,,hardy ,,the ,,antiquary4 ,,lockhart ,,bogle ,,rob ,,roy4 ,,walter ,,paget ,,black ,,dwarf4 ,,lockhart ,,bogle ,,legend ,,of ,,montrose4 ,,frank ,,dadd1 ,r4,i4 ,,old ,,mortality ,,william ,,hole1 ,r4,s4,a4 ,,heart ,,of ,,midlothian4 ,,john ,,williamson ,,bride ,,of ,,lammermoor4 ,,gordon ,,browne ,,ivanhoe4 ,,john ,,williamson ,,the ,,monastery4 ,,john ,,williamson ,,the ,,abbot4 ,h4 ,m4 ,,paget ,,kenilworth4 ,w4 ,h4 ,,overend ,,the ,,pirate4 ,,godfrey ,c4 ,,hindley ,,fortunes ,,of ,,nigel4 ,,stanley ,,berkeley ,,peveril ,,of ,,the ,,peak4 ,h4 ,m4 ,,paget ,,quentin ,,durward4 ,,hugh ,,thomson ,,st4 ,,ronan',s ,,well4 ,,george ,,hay1 ,r4,s4,a4 ,,redgauntlet4 ,,godfrey ,c4 ,,hindley ,,the ,,betrothed4 ,,highland ,,widow4 ,,godfrey ,c4 ,,hindley ,,the ,,talisman4 ,,stanley ,,berkeley ,,woodstock4 ,c4 ,m4 ,,hardie1 ,a4,r4,s4,a4 ,,fair ,,maid ,,of ,,perth4 ,,paul ,,hardy ,,anne ,,of ,,geierstein4 ,,gordon ,,browne ,,count ,,robert ,,of ,,paris4 ,,paul ,,hardy ,,the ,,surgeon',s ,,daughter4 ,,walter ,,paget ,,castle ,,dangerous4 ,,adam ,,and ,,charles ,,black1 ,,soho ,,square1 ,,london4