This text uses UTF-8 (Unicode) file encoding. If the apostrophes and quotation marks in this paragraph appear as garbage, you may have an incompatible browser or unavailable fonts. First, make sure that your browser’s “character set” or “file encoding” is set to Unicode (UTF-8). You may also need to change the default font.
Footnotes have been numbered continuously within each chapter. Text printed in blackletter (“gothic”) type is shown in the e-text as sans-serif.
There is no table of contents, but the List of Illustrations gives the same information. The nine chapters of the printed book are distributed among separate files: Chapters I-III, Chapters IV-V, and then a separate file for each of Chapters VI-IX. Note that pages 561*-600* (most of Chapter VIII) come before pages 561-600 (Chapter IX).
In the printed book, lines were about this long:
Among the more remarkable single subjects engraved on wood
from
Durer’s designs, the following are most frequently referred to: God
the
Father bearing up into heaven the dead body of Christ, with the
date
If you are reading this text in a browser, you may like to adjust your window accordingly.
Notice to the Second Edition (by Henry Bohn)
Mr. Jackson’s Preface
Mr. Chatto’s Preface
Chapter I (separate file)
Chapter II (separate
file)
Chapter III (separate
file)
Chapter IV (separate file)
Chapter V (separate file)
Chapter VI (separate file)
Chapter VII (separate file)
Chapter VIII (separate file)
Chapter IX (separate file)
William Blake.
W. J. Linton.
DEATH’S DOOR.
Historical and Practical
WITH UPWARDS OF THREE HUNDRED ILLUSTRATIONS
ENGRAVED ON WOOD
BY JOHN JACKSON.
THE HISTORICAL PORTION BY W. A. CHATTO.
Second Edition
WITH A NEW CHAPTER ON THE ARTISTS OF THE PRESENT DAY
BY HENRY G. BOHN
AND 145 ADDITIONAL WOOD ENGRAVINGS.
LONDON
HENRY G. BOHN, YORK STREET, COVENT
GARDEN.
M.DCCC.LXI.
Richard Clay / Breads Hill / Sola Lux Mihi Laus / London
The former edition of this History of Wood Engraving having become extremely scarce and commercially valuable, the publisher was glad to obtain the copyright and wood-blocks from Mr. Mason Jackson, son of the late Mr. Jackson, original proprietor of the work, with the view of reprinting it.
It will be seen by the two distinct prefaces which accompanied the former edition, and are here reprinted, that there was some existing schism between the joint producers at the time of first publication. Mr. Jackson, the engraver, paymaster, and proprietor, conceived that he had a right to do what he liked with his own; while Mr. Chatto, his literary coadjutor, very naturally felt that he was entitled to some recognition on the title-page of what he had so successfully performed. On the book making its appearance without Mr. Chatto’s name on the title-page, and with certain suppressions in his preface to which he had not given consent, a virulent controversy ensued, which was embodied in a pamphlet termed “a third preface,” and afterwards carried on in the Athenæum of August and September, 1839. As this preface has nothing in it but the outpourings of a quarrel which can now interest no one, I do not republish any part of it; and looking back on the controversy after the lapse of twenty years, I cannot help feeling that Mr. Chatto had reasonable ground for complaining that his name was omitted, although I think Mr. Jackson had full right to determine what the book should be called, seeing that it was his own exclusive speculation. It is not for me to change a title now so firmly established, but I will do Mr. Chatto the civility to introduce his name on it, without concerning myself with the question of what he did or did not do, or what Mr. Jackson contributed beyond his practical remarks and anxious superintendence.
Although I have the pleasure of a personal acquaintance with Mr. Chatto, and communicated to him my intention of republishing iv the work, I declined letting him see it through the press; resolving to stand wholly responsible for any alterations or improvements I might choose to make. On the other hand, I have been quite as chary of letting even the shade of Mr. Jackson raise a new commotion—I say the shade, because, having his own copy full of manuscript remarks, it was at my option to use them; but I have adopted nothing from this source save a few palpable amendments. What additions have been made are entirely my own, and have arisen from a desire to increase the number of illustrations where I thought them previously deficient and had the means of supplying them. With the insertion of these additional illustrations, which it appears amount to seventy-five, it became necessary to describe them, and this has occasioned the introduction of perhaps a hundred or two lines, which are distributed in the form of notes or paragraphs throughout the volume. For the chief of these additions the critical examiner is referred to the following pages: 321, 322, 340, 352, 374, 428, 468, 477, 480, 493, 530, 531, 532, 539, 540, 541, 542, 543, 545, 546, 547, 548, 617, 639. The chapter on the artists of the present day is entirely new, and was not contemplated, as may be gathered from the remarks at pages 549 and 597, until the book was on the eve of publication. It contains upwards of seventy high class wood engravings, and gives a fair specimen of the talents of some of our most distinguished artists. Getting that supplementary matter together and into shape, was not so light and sudden a task as I meant it to be; but now it is done I feel that it was right to do it, and I can only hope that my unpretending labours will be deemed a step in the right direction. Should I retain my health, strength, and means, I purpose, at no very distant period, to follow up the present volume with one perhaps as large, giving a more complete series of Examples of the artists of the day, as well those of France and Germany as of England.
In conclusion, I think it due to Mr. Clay to acknowledge the attention and skill which he has exercised in “bringing up” the numerous and somewhat difficult cuts to the agreeable face they now present. A good engraving without good printing is like a diamond without its polish.
HENRY G. BOHN.
January 4th, 1861.
v
I feel it my duty to submit to the public a few remarks, introductory to the Preface, which bears the signature of Mr. Chatto.
As my attention has been more readily directed to matters connected with my own profession than any other, 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 engraving. From the first occasion on which my attention was directed to the subject, to the present time, I have had frequent occasion to regret, that the early history and practice of the art were not to be found in any book in the English language. In the most expensive works of this description the process itself is not even correctly described, so that the reader—supposing him to be unacquainted with the subject—is obliged to follow the author in comparative darkness. It has not been without reason I have come to the conclusion, that, if the practice, as well as the history of wood engraving, were better understood, we should not have so many speculative opinions put forth by almost all writers on the subject, taking on trust what has been previously written, without giving themselves the trouble to examine and form an opinion of their own. Both with a view to amuse and improve myself as a wood engraver, I had long been in the habit of studying such productions of the old masters as came within my reach, and could not help noting the simple mistakes that many authors made in consequence of their knowing nothing of the practice. The farther I prosecuted the inquiry, the more interesting it became; every additional piece of information strengthening my first opinion, that, “if the practice, as well as the history of wood engraving, were better understood,” we should not have so many erroneous statements respecting both the history and capabilities of the art. At length, I determined upon engraving at my leisure hours a fac-simile of anything I thought worth preserving. For some time I continued to pursue this course, reading such English authors as have written on the origin and early history of wood engraving, and making memoranda, without proposing to myself any particular plan. 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 purpose. vi My plan, at this time, was to give a short introductory history to precede the practice of the art, which I proposed should form the principal feature in the Work. At this period, I was fortunate in procuring the able assistance of Mr. W. A. Chatto, with whom I have examined every work that called for the exercise of practical knowledge. This naturally anticipated much that had been reserved for the practice, and has, in some degree, extended the historical portion beyond what I had originally contemplated; although, I trust, the reader will have no occasion to regret such a deviation from the original plan, or that it has not been written by myself. The number and variety of the subjects it has been found necessary to introduce, rendered it a task of some difficulty to preserve the characteristics of each individual master, varying as they do in the style of execution. It only remains for me to add, that, although I had the hardihood to venture upon such an undertaking, it was not without a hope that the history of the art, with an account of the practice, illustrated with numerous wood engravings, would be looked upon with indulgence from one who only professed to give a fac-simile of whatever appeared worthy of notice, with opinions founded on a practical knowledge of the art.
JOHN JACKSON.
London, December 15th, 1838.
Though several English authors have, in modern times, written on the origin and early history of wood engraving, yet no one has hitherto given, in a distinct work, a connected account of its progress from the earliest period to the present time; and no one, however confidently he may have expressed his opinion on the subject, appears to have thought it necessary to make himself acquainted with the practice of the art. The antiquity and early history of wood engraving appear to have been considered as themes which allowed of great scope for speculation, and required no practical knowledge of the art. It is from this cause that we find so many erroneous statements in almost every modern dissertation on wood engraving. Had the writers ever thought of appealing to a person practically acquainted with the art, whose early productions they professed to give some account of, their conjectures might, in many instances, have been spared; and had they, vii in matters requiring research, taken the pains to examine and judge for themselves, instead of adopting the opinions of others, they would have discovered that a considerable portion of what they thus took on trust, was not in accordance with facts.
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 art, it has been thought that such a work as the present, combining the history with the practice of the art, and with numerous cuts illustrative of its progress, decline, and revival, might not be unfavourably received.
In the first chapter an attempt is made to trace the principle of wood engraving from the earliest authentic period; and to prove, by a continuous series of facts, that the art, when first applied to the impression of pictorial subjects on paper, about the beginning of the fifteenth century, was not so much an original invention, as the extension of a principle which had long been known and practically applied.
The second chapter contains an account of the progress of the art as exemplified in the earliest known single cuts, and in the block-books which preceded the invention of typography. In this chapter there is also an account of the Speculum Salvationis, which has been ascribed to Laurence Coster by Hadrian Junius, Scriverius, Meerman, and others, and which has frequently been described as an early block-book executed previous to 1440. A close examination of two Latin editions of the book has, however, convinced me, that in the earliest the text is entirely printed from movable types, and that in the other—supposed by Meerman to be the earliest, 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 types. Fournier was the first who discovered that one of the Latin editions was printed partly from types, and partly from wood-blocks; and the credit of showing, from certain imperfections in the cuts, that this edition was subsequent to the other with the text printed entirely from types, is due to the late Mr. Ottley.
As typography, or printing from movable types, was unquestionably suggested by the earliest block-books with the text engraved on wood, the third chapter is devoted to an examination of the claims of Gutemberg and Coster to the honour of this invention. In the investigation of the evidence which has been produced in the behalf of each, the writer has endeavoured to divest his mind of all bias, and to decide according to facts, without reference to the opinions of either party. He has had no theory to support; and has neither a partiality for Mentz, nor a dislike to Harlem. It perhaps may not be unnecessary to mention here, that viii the cuts of arms from the History of the Virgin, given at pages 75, 76, and 77, were engraved before the writer had seen Koning’s work on the Invention of Printing, Harlem, 1816, where they are also copied, and several of them assigned to Hannau, Burgundy, Brabant, Utrecht, and Leyden, and to certain Flemish noblemen, whose names are not mentioned. It is not improbable that, like the two rash Knights in the fable, we may have seen the shields on opposite sides;—the bearings may be common to states and families, both of Germany and the Netherlands.
The fourth chapter contains an account of wood engraving in connexion with the press, from the establishment of typography to the latter end of the fifteenth century. The fifth chapter comprehends the period in which Albert Durer flourished,—that is, from about 1498 to 1528. The sixth contains a notice of the principal wood-cuts designed by Holbein, with an account of the extension and improvement of the art in the sixteenth century, and of its subsequent decline. In the seventh chapter the history of the art is brought down from the commencement of the eighteenth century to the present time.
The eighth chapter contains an account of the practice of the art, with remarks on metallic relief engraving, and the best mode of printing wood-cuts. As no detailed account of the practice of wood engraving has hitherto been published in England, it is presumed that the information afforded by this part of the Work will not only be interesting to amateurs of the art, but useful to those who are professionally connected with it.
It is but justice to Mr. Jackson to add, that the Work was commenced by him at his sole risk; that most of the subjects are of his selection; and that nearly all of them were engraved, and that a great part of the Work was written, before he thought of applying to a publisher. The credit of commencing the Work, and of illustrating it so profusely, regardless of expense, is unquestionably due to him.
W. A. CHATTO.
London, December 5th, 1838.
Links in the List lead to the Chapter or Illustration named. The word “ditto”—written out—was printed as shown.
Chapter I •
Chapter II •
Chapter III •
Chapter IV •
Chapter V
Chapter VI •
Chapter VII •
Chapter VIII •
Chapter IX
| CHAPTER I ANTIQUITY OF ENGRAVING, 1-39. |
|
| PAGE | |
| Initial letter A,—an ancient Greek scriving on a tablet of wood, drawn by W. Harvey | 1 |
| View of a rolling-press, on wood and on copper, showing the difference between a woodcut and a copper-plate engraving when both are printed in the same manner | 4 |
| Back and front view of an ancient Egyptian brick-stamp | 6 |
| Copy of an impression on a Babylonian brick | 7 |
| Roman stamp, in relief | 8 |
| Roman stamps, in intaglio | 10 |
| Monogram of Theodoric, king of the Ostrogoths | 13 |
| Monogram of Charlemagne | 14 |
| Gothic marks and monograms | 15 |
| Characters on Gothic coins | 16 |
| Mark of an Italian notary, 1236 | 16 |
| Marks of German notaries, 1345-1521 | 17 |
| English Merchants’-marks of the fourteenth and fifteenth centuries | 18 |
| Tail-piece, illustrative of the antiquity of engraving,—Babylonian brick, Roman earthenware, Roman stamp, and a roll with the mark of the German Emperor Otho in the corner | 39 |
| CHAPTER II PROGRESS OF WOOD ENGRAVING, 40-117. |
|
| Initial letter F, from an old book containing an alphabet of similar letters, engraved on wood, formerly belonging to Sir George Beaumont | 40 |
| St. Christopher, with the date 1423, from a cut in the possession of Earl Spencer | 46 |
| The Annunciation, from a cut probably of the same period, in the possession of Earl Spencer | 50 |
| St. Bridget, from an old cut in the possession of Earl Spencer | 52 |
| Shields from the Apocalypse, or History of St. John, an old block-book | 65 |
| St. John preaching to the infidels, and baptizing Drusiana, from the same book | 66 |
| The death of the Two Witnesses, and the miracles of Antichrist, from the same book | 67 |
| Group from the History of the Virgin, an old block-book | 71 |
| Copy of a page of the same book | 72 |
| Figures and a shield of arms, from the same book | 75 |
| Shields of arms, from the same book | 76-78 |
| Copy of the first page of the Poor Preachers’ Bible, an old block-book | 86 |
| Heads from the same book | 88 |
| Christ tempted, a fac-simile of one of the compartments in the first page of the same book | 89 |
| Adam and Eve eating of the forbidden fruit, from the same book | 90 |
| Esau selling his birthright, ditto | 91 |
| Heads ditto | 92 |
| xFirst cut in the Speculum Salvationis, which has generally, but erroneously, been described as a block-book, as the text in the first edition is printed with types | 96 |
| Fall of Lucifer, a fac-simile of one of the compartments of the preceding | 97 |
| The Creation of Eve, a fac-simile of the second compartment of the same | 98 |
| Paper-mark in the Alphabet of large letters composed of figures, formerly belonging to Sir George Beaumont | 107 |
| Letter K, from the same book | 109 |
| Letter L, ditto | 110 |
| Letter Z, ditto | 111 |
| Flowered ornament, ditto | 112 |
| Cuts from the Ars Memorandi, an old block-book | 115 |
| CHAPTER III THE INVENTION OF TYPOGRAPHY, 118-163. |
|
| Initial letter B, from a manuscript life of St. Birinus, of the twelfth century | 118 |
| Tail piece-portraits of Gutemberg, Faust, and Scheffer | 163 |
| CHAPTER IV WOOD ENGRAVING IN CONNEXION WITH THE PRESS, 164-229. |
|
| Initial letter C, from Faust and Scheffer’s Psalter | 164 |
| Apes, from a book of Fables printed at Bamberg by Albert Pfister, 1461 | 171 |
| Heads, from an edition of the Poor Preachers’ Bible, printed by Pfister | 177 |
| Christ and his Disciples, from the same | 177 |
| Joseph making himself known to his Brethren, from the same | 178 |
| The Prodigal Son’s return, from the same | 178 |
| The Creation of Animals, from Meditationes Joannis de Turrecremata, printed at Rome, 1467 | 185 |
| A bomb-shell and a man shooting from a kind of hand-gun, from Valturius de Re Militari, printed at Verona, 1472 | 188 |
| A man shooting from a cross-bow, from the same | 189 |
| The Knight, from Caxton’s Book of Chess, about 1476 | 193 |
| The Bishop’s pawn, from the same | 194 |
| Two figures—Music, from Caxton’s Mirrour of the World, 1480 | 196 |
| Frontispiece to Breydenbach’s Travels, printed at Mentz, 1486 | 207 |
| Syrian Christians, from the same | 209 |
| Old Woman with a basket of eggs on her head, from the Hortus Sanitatis, printed at Mentz, 1491 | 211 |
| Head of Paris, from the book usually called the Nuremberg Chronicle, printed at Nuremberg, 1493 | 212 |
| Creation of Eve, from the same | 215 |
| The same subject from the Poor Preachers’ Bible | 216 |
| The difficult Labour of Alcmena, from an Italian translation of Ovid’s Metamorphoses, 1497 | 217 |
| Mars, Venus, and Mercury, from Poliphili Hypnerotomachia, printed at Venice, 1499 | 221 |
| Cupid brought by Mercury before Jove, from the same | 222 |
| Cupid and his Victims, from the same | 222 |
| Bacchus, from the same | 223 |
| Cupid, from the same | 224 |
| A Vase, from the same | 224 |
| Cat and Mouse, from a supposed old wood-cut printed in Derschau’s Collection, 1808-1816 | 226 |
| Man in armour on horseback, from a wood-cut, formerly used by Mr. George Angus of Newcastle | 228 |
| Tail-piece—the press of Jodocus Badius Ascensianus, from the title-page of a book printed by him about 1498 | 229 |
|
xi
CHAPTER V WOOD ENGRAVING IN THE TIME OF ALBERT DURER, 230-323. |
|
| Initial letter M, from an edition of Ovid’s Tristia, printed at Venice by J. de Cireto, 1499 | 230 |
| Peasants dancing and regaling, from Heures a l’Usaige de Chartres, printed at Paris by Simon Vostre about 1502. The first of these cuts occurs in a similar work—Heures a l’Usaige de Rome—printed by Simon Vostre in 1497 | 233 |
| The woman clothed with the sun, from Albert Durer’s illustrations of the Apocalypse, 1498 | 240 |
| The Virgin and Infant Christ, from Albert Durer’s illustrations of the History of the Virgin, 1511 | 243 |
| The Birth of the Virgin, from the same work | 244 |
| St. Joseph at work as a carpenter, with the Virgin rocking the Infant Christ in a cradle, from the same | 246 |
| Christ mocked, from Durer’s illustrations of Christ’s Passion, about 1511 | 247 |
| The Last Supper, from the same | 248 |
| Christ bearing his Cross, from the same | 249 |
| The Descent to Hades, from the same | 250 |
| Caricature, probably of Luther | 268 |
| Albert Durer’s Coat-of-arms | 271 |
| His portrait, from a cut drawn by himself, 1527, the year preceding that of his death | 272 |
| Holy Family, from a cut designed by Lucas Cranach | 277 |
| Samson and Delilah, from a cut designed by Hans Burgmair | 279 |
| Aristotle and his wife, from a cut designed by Hans Burgmair | 280 |
| Sir Theurdank killing a bear, from the Adventures of Sir Theurdank, 1517 | 284 |
| The punishment of Sir Theurdank’s enemies, from the same work | 285 |
| A figure on horseback, from the Triumphs of Maximilian | 294 |
| Another, from the same work | 295 |
| Ditto, ditto | 296 |
| Ditto, ditto | 297 |
| Ditto, ditto | 298 |
| Ditto, ditto | 299 |
| Three knights with banners, from the same work | 301 |
| Elephant and Indians, from the same | 302 |
| Camp followers, probably designed by Albert Durer, from the same | 303 |
| Horses and Car, from the same | 305 |
| Jael and Sisera, from a cut designed by Lucas van Leyden | 309 |
| Cut printed at Antwerp by Willem de Figursnider, probably copied from a cut designed by Urse Graff | 312 |
| Three small cuts from Sigismund Fanti’s Triompho di Fortuna, printed at Venice, 1527 | 316 |
| Fortuna di Africo, an emblem of the South wind, from the same work | 316 |
| Michael Angelo at work on a piece of sculpture, from the same | 317 |
| Head of Nero, from a work on Medals, printed at Strasburg, 1525 | 320 |
| Cut of Saint Bridget, about 1500, from Dr. Dibdin’s Bibliomania | 321 |
| Ditto of her Revelations | 322 |
| Tail-piece—a full length of Maximilian I. Emperor of Germany, from his Triumphs | 323 |
| CHAPTER VI FURTHER PROGRESS AND DECLINE OF WOOD ENGRAVING, 324-445. |
|
| Initial letter T, from a book printed at Paris by Robert Stephens, 1537 | 324 |
| Adam and Eve eating the forbidden fruit, from a cut designed by Hans Holbein in the Dance of Death, first printed at Lyons in 1538 | 339 |
| Death’s Coat of Arms, from the same work | 340 |
| The Old Man, from the same | 341 |
| The Duchess, from the same | 342 |
| The Child, from the same | 343 |
| xii The Waggoner, from Holbein’s Dance of Death | 344 |
| Child with a shield and dart, from the same | 345 |
| Children with the emblems of a triumph, from the same | 346 |
| Holbein’s Alphabet of the Dance of Death | 352 |
| Abraham about to sacrifice Isaac, from a cut designed by Holbein in his Bible-prints, Lyons, 1539 | 368 |
| The Fool, from the same work | 369 |
| The sheath of a dagger, intended as a design for a chaser | 374 |
| Portrait of Sir Thomas Wyatt from a cut designed by Holbein in Leland’s Næniæ, 1542 | 379 |
| Prayer, from a cut designed by Holbein in Archbishop Cranmer’s Catechism, 1548 | 380 |
| Christ casting out Devils, from another cut by Holbein, in the same work | 381 |
| The Creation, from the same work | 382 |
| The Crucifixion, from the same | 382 |
| Christ’s Agony, from the same | 382 |
| Genealogical Tree, from an edition of the New Testament, printed at Zurich by Froschover, 1554 | 383 |
| St. Luke, from Tindale’s Translation of the New Testament, 1534 | 384 |
| St James, from the same | 384 |
| Death on the Pale Horse, from the same | 384 |
| Cain killing Abel, from Coverdale’s Translation of the Old and New Testament, 1535 | 386 |
| Abraham about to sacrifice Isaac, from the same | 387 |
| The Two Spies, from the same | 387 |
| St. Matthew, from the same | 388 |
| St. John the Baptist, from the same | 388 |
| St. Paul writing, from the same | 388 |
| Frontispiece to Marcolini’s Sorti, Venice, 1540, by Joseph Porta Garfagninus, after a Study by Raffaele for the School of Athens | 390 |
| Punitione, from the same work | 392 |
| Matrimony, from the same | 392 |
| Cards, from the same | 393 |
| Truth saved by Time, from the same | 393 |
| The Labour of Alcmena, from Dolce’s Transformationi, Venice, 1553 | 394 |
| Monogram, from Palatino’s Treatise on Writing, Rome, 1561 | 396 |
| Hieroglyphic Sonnet, from the same work | 396 |
| Portraits of Petrarch and Laura, from Petrarch’s Sonetti, Lyons, 1547 | 400 |
| Adam and Eve driven out of Paradise, from Quadrins Historiques de la Bible, Lyons, 1550-1560 | 401 |
| Christ tempted by Satan, from Figures du Nouveau Testament, Lyons, 1553-1570 | 402 |
| Briefmaler, from a book of Trades and Professions, Frankfort, 1564-1574 | 410 |
| Formschneider, from the same | 411 |
| The Goose Tree, from Sebastian Munster’s Cosmography, Basle, 1550-1554 | 414 |
| William Tell about to shoot at the apple on his son’s head, from the same | 416 |
| Portrait of Dr. William Cuningham, from his Cosmographical Glass, London, 1559 | 424 |
| Four initial letters, from the same work | 425, 426, 427 |
| Portrait of Queen Elizabeth, from the Books of Christian Prayers printed by John Daye, 1569 | 428 |
| Large initial letter, from Fox’s Acts and Monuments, 1576 | 429 |
| Initial letter, from a work printed by Giolito at Venice, about 1550 | 430 |
| Two Cats, from an edition of Dante, printed at Venice, 1578 | 431 |
| Emblem of Water, from a chiaro-scuro by Henry Goltzius, about 1590 | 433 |
| Caricature of the Laocoon, after a cut designed by Titian | 435 |
| The Good Householder, from a cut printed at London, 1607 | 437 |
| Virgin and Christ, from a cut designed by Rubens, and engraved by Christopher Jegher | 438 |
| The Infant Christ and John the Baptist, from a cut designed by Rubens, and engraved by Christopher Jegher | 439 |
| xiii Jael and Sisera, from a cut designed by Henry Goltzius, and engraved by C. Van Sichem | 440 |
| Tail-piece, from an old cut on the title-page of the first known edition of Robin Hood’s Garland, 1670 | 445 |
| CHAPTER VII REVIVAL OF WOOD ENGRAVING, 446-548. |
|
| Initial letter A, from a French book, 1698 | 446 |
| Fox and Goat, from a copper-plate by S. Le Clerc, about 1694 | 450 |
| The same subject from Croxall’s Æsop’s Fables, 1722 | 450 |
| The same subject from Bewick’s Fables, 1818-1823 | 451 |
| English wood-cut with the mark F. H., London, 1724 | 453 |
| Adam naming the animals, copy of a cut by Papillon, 1734 | 460 |
| The Pedagogue, from the Ship of Fools, Pynson, 1509 | 468 |
| The Poet’s Fall, from Two Odes in ridicule of Gray and Mason, London, 1760 | 470 |
| Initial letters, T. and B., composed by J. Jackson from tail-pieces in Bewick’s History of British Birds | 471 |
| The house in which Bewick was born, drawn by J. Jackson | 472 |
| The Parsonage at Ovingham, drawn by George Balmer | 473 |
| Fac-simile of a diagram engraved by Bewick in Hutton’s Mensuration, 1768-1770 | 475 |
| The Old Hound, a fac-simile of a cut by Bewick, 1775 | 476 |
| Original cut of the Old Hound | 477 |
| Cuts copied by Bewick from Der Weiss Kunig, and illustrations of Ovid’s Metamorphoses by Virgilium Solis | 483 |
| Boys and Ass, after Bewick | 485 |
| Old Man and Horse, ditto | 486 |
| Child and young Horse, ditto | 487 |
| Ewe and Lamb | 488 |
| Old Man and young Wife, ditto | 488 |
| Common Duck, ditto | 493 |
| Partridge, ditto | 495 |
| Woodcock, ditto | 496 |
| The drunken Miller, ditto | 499 |
| The Snow Man, ditto | 499 |
| Old Man and Cat, ditto | 500 |
| Crow and Lamb, Bewick’s original cut to the Fable of the Eagle | 503 |
| The World turned upside down, after Bewick | 504 |
| Cuts commemorative of the decease of Bewick’s father and mother, from his Fables, 1818-1823 | 506 |
| Bewick’s Workshop, drawn by George Balmer | 508 |
| Portrait of Bewick | 510 |
| View of Bewick’s Burial-place | 511 |
| Funeral, View of Ovingham Church, drawn by J. Jackson | 512 |
| The sad Historian, from a cut by John Bewick, in Poems by Goldsmith and Parnell, 1795 | 515 |
| Fac-simile of a cut by John Bewick, from Blossoms of Morality | 516 |
| Copy of a cut engraved by C. Nesbit, from a drawing by R. Johnson | 518 |
| View of a monument erected to the memory of R. Johnson, against the south wall of Ovingham Church | 518 |
| Copy of a view of St. Nicholas Church, engraved by C. Nesbit, from a drawing by R. Johnson | 519 |
| Copy of the cut for the Diploma of the Highland Society, engraved by L. Clennell, from a drawing by Benjamin West | 523 |
| Bird and Flowers, engraved by L. Clennell, when insane | 526 |
| Seven Engravings by William Harvey, from Dr. Henderson’s History of Wines | 530 |
| Milton, designed by W. Harvey, engraved by John Thompson | 531 |
| Three Illustrations by W. Harvey, engraved by S. Williams, Orrin Smith, and C. Gray | 532 |
| xiv Cut from the Children in the Wood, drawn by W. Harvey, and engraved by J. Thompson | 533 |
| Cut from the Blind Beggar of Bethnal Green, drawn by W. Harvey, and engraved by C. Nesbit | 534 |
| Copy of a part of the Cave of Despair, engraved by R. Branston, from a drawing by J. Thurston | 535 |
| Three cuts engraved by Robert Branston, after designs by Thurston, for an edition of Select Fables, in rivalry of Bewick | 537 |
| Bird, engraved by Robert Branston | 538 |
| Pistill Cain, in North Wales, drawn and engraved by Hugh Hughes | 539 |
| Moel Famau, ditto, ditto | 539 |
| Wrexham Church, ditto, ditto | 540 |
| Pwll Carodoc, ditto, ditto | 540 |
| Salmon, Group of Fish, and Chub, engraved by John Thompson | 541 |
| Pike, by Robert Branston | 542 |
| Eel, by H. White | 542 |
| Illustration from Hudibras, engraved by John Thompson | 543 |
| Hogarth’s Rake’s Progress, engraved by John Thompson | 544 |
| The Temptation, engraved by John Jackson, after John Martin | 545 |
| The Judgment of Adam and Eve, engraved by F. W. Branston, after ditto | 545 |
| The Assuaging of the Waters, engraved by E. Landells, after ditto | 546 |
| The Deluge, engraved by W. H. Powis, after ditto | 546 |
| The Tower of Babel engraved by Thomas Williams, after ditto | 547 |
| The Angel announcing the Nativity, engraved by W. T. Green, after ditto | 547 |
| Tail piece—Vignette, engraved by W. T. Green, after W. Harvey | 548 |
| CHAPTER VIII ARTISTS AND ENGRAVERS ON WOOD OF THE PRESENT DAY, 549-560. |
|
| The Sierra Morena, engraved by James Cooper, after Percival Skelton | 550 |
| The Banks the Nith, engraved by ditto, after Birket Foster | 551 |
| The Twa Dogs, engraved by ditto, after Harrison Weir | 551 |
| To Auld Mare Maggie, engraved by ditto, after ditto | 552 |
| The Poetry of Nature, engraved by J. Greenaway, after Harrison Weir | 553 |
| From Bloomfield’s Farmer’s Boy, engraved by W. Wright, after ditto | 554 |
| From Campbell’s Pleasures of Hope, engraved by J. Greenaway, after ditto | 554 |
| From the same, by the same | 555 |
| Wild Flowers, engraved by E. Evans, after Birket Foster | 556 |
| From Lays of the Holy Land, engraved by W. J. Palmer, after Birket Foster | 557 |
| From Longfellow’s Evangeline, engraved by H. Vizetelly, after ditto | 558 |
| From Moore’s Lalla Rookh, engraved by Dalziel, after John Tenniel | 559 |
| Death of Sforza, from Barry Cornwall, engraved by Dalziel, after ditto | 560 |
| Sforza, ditto, ditto | 560 |
| Antony and Cleopatra, engraved by Dalziel Brothers, after John Gilbert | 561* |
| The Florentine Party, from Barry Cornwall, engraved by Dalziel Brothers, after Thomas Dalziel | 562* |
| Prince Arthur and Hubert de Bourg, engraved by Kirchner, after John Gilbert | 563* |
| From Maxwell’s Life of the Duke of Wellington, designed by John Gilbert | 563* |
| The Demon Lover, designed by John Gilbert, engraved by W. A. Folkard | 564* |
| From Longfellow’s Hiawatha, engraved by W. L. Thomas, after G. H. Thomas | 565* |
| From the same, engraved by Horace Harral, after G. H. Thomas | 566* |
| From the same, engraved by Dalziel Brothers, after ditto | 566* |
| John Anderson my Jo, from Burns’ Poems, engraved by E. Evans, after ditto | 567* |
| Vignette from Hiawatha, engraved by E. Evans, after ditto | 567* |
| From Tennyson’s Princess, engraved by W. Thomas, after D. Maclise | 568* |
| From Bürger’s Leonora, engraved by J. Thompson, after Maclise | 569* |
| From Childe Harold, engraved by J. W. Whimper, after Percival Skelton | 569* |
| xv From Marryat’s Poor Jack, engraved by H. Vizetelly, after Clarkson Stanfield | 570* |
| Christmas in the olden time, engraved by H. Vizetelly, after Birket Foster | 571* |
| Two illustrations from Thomson’s Seasons, designed and engraved by Sam Williams. | 572* |
| Eagles, Stags, and Wolves, engraved by George Pearson, after John Wolf | 573* |
| Hare Hawking, engraved by George Pearson, after John Wolf | 574* |
| Falls of Niagara, engraved by George Pearson | 574* |
| From Sandford and Merton, engraved by Measom, after H. Anelay | 575* |
| From Longfellow’s Miles Standish, engraved by Thomas Bolton, after John Absolon | 576* |
| Flaxman’s ‘Deliver us from Evil,’ a specimen of Mr. Thomas Bolton’s new process of photographing on wood | 577* |
| From Montalva’s Fairy Tales, engraved by John Swain, after R. Doyle | 578* |
| From ‘Brown, Jones, and Robinson,’ engraved by John Swain, after Doyle | 579* |
| From Uncle Tom’s Cabin, engraved by Orrin Smith, after John Leech | 580* |
| From Mr. Leech’s Tour in Ireland, engraved by John Swain, after John Leech | 581* |
| From ‘Moral Emblems of all Ages,’ engraved by H. Leighton, after John Leighton | 582* |
| Two subjects from the Illustrated Southey’s Life of Nelson, engraved by H. Harral, after E. Duncan | 583* |
| North porch of St. Maria Maggiore, drawn and engraved by Orlando Jewitt | 584* |
| Shrine in Bayeux Cathedral, by Orlando Jewitt | 585* |
| Hearse of Margaret Countess of Warwick and other specimens from Regius Glossary of Ecclesiastical Ornament, by Orlando Jewitt | 586* |
| Brick Tracery, St. Stephen’s Church, Tangermunde, Prussia, by ditto | 587* |
| The Nut Brown Maid, engraved by J. Williams, after T. Creswick | 588* |
| Vignette from Bohn’s Illustrated Edition of Walton’s Angler, by M. Jackson, after T. Creswick | 589* |
| Paul preaching at Athens, engraved by W. J. Linton, after John Martin | 590* |
| Vignette from the Book of British Ballads, engraved by ditto, after R. McIan | 590* |
| From Milton’s L’Allegro, engraved by ditto, after Stonehouse | 591* |
| From the same, engraved by ditto, after J. C. Horsley | 591* |
| Ancient Gambols, drawn and engraved by F. W. Fairholt | 592* |
| Vignette from the Illustrated Edition of Robin Hood, by ditto | 592* |
| Two illustrations from Dr. Mantell’s Works, engraved by James Lee, after Joseph Dinkel | 593* |
| From Coleridge’s Ancient Mariner, engraved by H. Harral, after E. H. Wehnert | 594* |
| Three illustrations drawn and engraved by George Cruikshank, from ‘Three Courses and a Dessert’ | 595* |
| Two illustrations by ditto from the Universal Songster | 596* |
| Three illustrations from the Pictorial Grammar, by Crowquill | 597* |
| Vignette from the Book of British Ballads by Kenny Meadows | 597* |
| CHAPTER IX THE PRACTICE OF WOOD ENGRAVING, 561-652. |
|
| Initial letter P, showing a wood engraver at work, with his lamp and globe, drawn by R. W. Buss | 561 |
| Diagram, showing a block warped | 566 |
| Cut showing the appearance of a plug-hole in the engraving, drawn by J. Jackson | 570 |
| Diagrams illustrative of the mode of repairing a block by plugging | 570 |
| Cut showing a plug re-engraved | 571 |
| Diagram showing the mode of pulling the string over the corner of the block | 572 |
| The shade for the eyes, and screen for the mouth and nose | 574 |
| Engraver’s lamp, glass, globe, and sand-bag | 575 |
| Graver | 576 |
| Diagram of gravers | 576 |
| Diagrams of tint-tools, &c. | 577 |
| Diagrams of gouges, chisels, &c. | 578 |
| xvi Gravers | 579 |
| Cuts showing the manner of holding the graver | 579, 580 |
| Examples of tints | 581, 582, 583, 584 |
| Examples of curved lines and tints | 585, 586 |
| Cuts illustrative of the mode of cutting a white outline | 588 |
| Outline engraving previous to its being blocked out—the monument to the memory of two children in Lichfield Cathedral by Sir F. Chantrey | 589 |
| The same subject finished | 590 |
| Outline engraving, after a design by Flaxman for a snuff-box for George IV. | 590 |
| Cut after a pen-and-ink sketch by Sir David Wilkie for his picture of the Rabbit on the Wall | 591 |
| Figures from a sketch by George Morland | 592 |
| Group from Sir David Wilkie’s Rent Day | 593 |
| Figure of a boy from Hogarth’s Noon, one of the engravings of his Four Parts of the Day | 594 |
| A Hog, after an etching by Rembrandt | 595 |
| Dray-horse, drawn by James Ward, R.A. | 596 |
| Jacob blessing the Children of Joseph, after Rembrandt | 597 |
| Two cuts—View of a Road-side Inn—showing the advantage of cutting the tint before the other parts of a subject are engraved | 598 |
| Head, from an etching by Rembrandt | 599 |
| Impression from a cast of part of the Death of Dentatus, engraved by W. Harvey | 601 |
| Christ and the Woman at the Well, from an etching by Rembrandt | 602 |
| The Flight into Egypt, from an etching by Rembrandt | 605 |
| Sea-piece, drawn by George Balmer | 606 |
| Sea-piece, moonlight, drawn by George Balmer | 606 |
| Landscape, evening, drawn by George Balmer | 607 |
| Impression from a cast of part of the Death of Dentatus, engraved by W. Harvey | 609 |
| View of Rouen Cathedral, drawn by William Prior | 611 |
| Map of England and Wales, with the part of the names engraved on wood, and part inserted in type | 612 |
| Group from Sir David Wilkie’s Village Festival | 614 |
| Natural Vignette, and an old ornamented capital from a manuscript of the thirteenth century | 616 |
| Specimens of ornamental capitals, chiefly taken from Shaw’s Alphabets | 617 |
| Impressions from a surface with the figures in relief—subject, the Crown-piece of George IV. | 618 |
| Impressions from a surface with the figures in intaglio—same subject | 619 |
| Shepherd’s Dog, drawn by W. Harvey | 620 |
| Egret, drawn by W. Harvey | 621 |
| Winter-piece, with an ass and her foal, drawn by J. Jackson | 622 |
| Salmon-Trout, with a view of Bywell-Lock, drawn by J. Jackson | 623 |
| Boy and Pony, drawn by J. Jackson | 624 |
| Heifer, drawn by W. Harvey | 624 |
| Descent from the Cross, after an etching by Rembrandt—impression when the block is merely lowered previous to engraving the subject | 626 |
| Descent from the Cross—impression from the finished cut | 627 |
| Copies of an ancient bust in the British Museum—No. 1 printed from a wood-cut, and No. 2 from a cast | 637 |
| Block reduced from a Lithograph by the new Electro-printing Block process | 639 |
| Horse and Ass, drawn by J. Jackson—improperly printed | 641 |
| Same subject, properly printed | 642 |
| Landscape, drawn by George Balmer—improperly printed | 644 |
| Same subject, properly printed | 644 |
| Tail-piece, drawn by C. Jacques | 652 |