William Blake.
W. J. Linton.
DEATH’S DOOR.
Title: A Treatise on Wood Engraving, Historical and Practical
Author: William Andrew Chatto
Henry G. Bohn
John Jackson
Release date: May 16, 2013 [eBook #42719]
Language: English
Credits: Produced by Louise Hope, Charlene Taylor,
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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
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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.
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 |
life of St. Birinus, of the twelfth century
twelth
Links in the Index lead to the top of the named page. All are in separate files.
Absolon, John, artist, 576*.
Accursius, Mariangelus, note written by, in a Donatus, 123.
Advertisements, wood-cuts prefixed to, 446 n.
Allegory of Death, a tract printed at Bamberg, 1462, 171.
Almanach de Paris, with wood-cuts, by Papillon, 459.
Almanacks, sheet, 1470, 1500, 225.
Alphabet of figures, engraved on wood, in the British Museum, 106;
cuts from, 109, 110, 111, 112;
with figures, of a Dance of Death, preserved in the public library at Basle, 352.
Altdorffer, A. 320.
Amman, Jost, cuts designed by, in a book of trades and professions, 408, 409;
other cuts designed by him, 411.
Amonoph, a name on an Egyptian brick-stamp, 6 n.
Andreani, Andrea, chiaro-scuros engraved by, 432.
Andrews, G. H. painter, 598*.
Anelay, H. artist, 575*.
Angus, George, of Newcastle-on-Tyne, printer, wood-cuts used by, in cheap works, 180, 228.
Annunciation, old cut of the, 50.
Ansdell, Richard, painter, 598*.
Ansgarius, St., supposed to have been the compiler of the Biblia Pauperum, 94.
Antichrist, cuts of, 61.
Antonianus, Silvius, a cardinal, claimed by Papillon as a wood engraver, 337.
Antonio, Marc, his copies of the Little Passion and the Life of the Virgin, designed by Durer, 251.
Antwerp, painters’ company of, entertain Durer, 261;
procession in honour of the Virgin, ib.
Apelles, the image of the life of man as painted in a table by, 436 n.
Apocalypse, an ancient block-book, 61, 68;
cuts in illustration of, from Durer’s designs, 239.
Appeal to Christendom, early specimen of typography, 138.
Arch, triumphal, of Maximilian, designed by Durer, 255.
Archer, J. draughtsman, 599*.
Archer, J. W. draughtsman, 599*.
Aretin, J. C. von, 114.
Armitage, Edward, painter, 598*.
Armstrong, T. engraver, 592*.
Armstrong, Wm. engraver, 600*.
Ars Memorandi, 113;
cut from, 115.
Ars Moriendi, an old block-book, 116.
Art, early German, 3.
Assen, J. W. van, 318.
Astle’s Origin and Progress of Writing, 20.
Atkinson, G. C., his Life of Bewick, 477, 478, 480, 482, 492, 501, 503, 505.
Austin, an English wood-engraver, 538.
Babylonian brick, 7.
Balls, leather, formerly used by pressmen, not so elastic as composition rollers, 620.
Bamberg, a book of fables printed at, in 1461, 171.
Bämler, John, a printer of Augsburg, 180.
Baptism of Drusiana, 66.
Bartsch, Adam, of opinion that Albert Durer did not engrave on wood, 237.
Battailes, La Fleur des, 1505, 210.
Baxter, George, his improvements in printing in colours, 406;
his chiaro-scuros and picture-prints, 629.
Beating time with the foot mistaken for printing, 120.
Beaumont, Sir George, curious alphabet of figures engraved on wood, formerly belonging to, 106.
Bechtermuntze, Henry and Nicholas, early printers, related to Gutemberg, 142.
Beddoes, Dr. Thomas, his poem of Alexander’s expedition down the Hydaspes, with wood-cuts, by E. Dyas, 1792, 463 n.
Behaim, Michael, letter to, from Albert Durer, 235.
654Beilby, Ralph, the partner of Bewick, 479.
Beildeck, Lawrence, his evidence in the suit of the Drytzehns against Gutemberg, 1438, 128.
Bekker, R. Z. editor of a collection of wood-cuts, from old blocks in the possession of the Baron Von Derschau, 226.
Bellini, Giovanni, his praise of Durer, 242.
Bells, inscriptions on, 20.
Bennett, C. draughtsman, 599*.
Benting, William, Lord of Rhoon and Pendraght, a fictitious character, mentioned by T. Nieuhoff Piccard, 360, 361 n, 363.
Bernacle or Barnacle Goose, 414.
Bernardin, St. account of an old wood-cut of, 56.
Beroaldus, Peter, editor of an edition of Ptolemy, 201.
Best, Andrew, and Leloir, their metallic relief engraving, 636.
Bethemsted, a name in an old book of wood-cuts, 111.
Beugnet, a French wood engraver, 547.
Bewick, Thomas, his birth, 1753, 472;
apprenticed to Mr. R. Beilby, 474;
engraves the diagrams in Hutton’s Mensuration, 1768-1770, 475;
receives a premium for his cut of the Old Hound, 1775, 476;
visits London, 477;
cuts engraved by him in a Hieroglyphic Bible, 478;
his love of the country, 479;
his partnership with Beilby, ib.;
his cuts in Gay’s Fables, 480;
his cut of the Chillingham Bull, 481;
his Quadrupeds, 1791, 482-490;
his British Birds, 1797-1804, 490-502;
his Select Fables, 1818, 502-506;
his cut of the Old Horse waiting for Death, 510;
his diligence, 507;
his death, ib.;
tribute to his merits from Blackwood’s Magazine, 512;
list of portraits of him, 509 n.
Bewick, John, notice of his principal works, 513.
Bible, the Mazarine, printed prior to August, 1456, 139.
Bible supposed to have been printed by Pfister, at Bamberg, 181.
Bible cuts, Lyons, 1538, designed by Holbein, 365-371;
engravings from 86, 88, 89, 90, 91, 92.
Bible, Quadrins Historiques de la, 402.
Biblia Pauperum, 80-94.
Biblia Pauperum Predicatorum, 83.
Bildhauer, 2.
Binding, old, 60.
Birds, engraved by Bewick’s pupils, 492 n.
Birkman, Arnold, Dance of Death, copied from the Lyons edition, published by his heirs, Cologne, 1555-1572, 336.
Blake, William, his mode of engraving in metallic relief, 632;
his drawing of Death’s Door, engraved by Linton, 591.
Blind Beggar of Bethnal Green, cut from, 534.
Blocking out, 589.
Block-books claimed for Lawrence Coster, 58.
Blocks, original, of the Triumphs of Maximilian, preserved at Vienna, 291.
Bolton, Thomas, wood engraver, 576*, 577*.
Bombo, the name of a dog, supposed by Papillon to be the name of a wood-engraver, 337 n.
Bomb shell, cut of a, from a book printed in 1472, 187.
Borbonius, or Bourbon, Nicholas, verses by, in praise of Holbein, 356, 357, 362, 367.
Borders, flowered, earliest specimens of in books, 209.
Böttiger, C. A. 21.
Box-wood, different qualities of, 563, 566.
Brandling, H. draughtsman, 599*.
Brands for marking cattle, 11.
Branston, Robert, notice of his principal wood-cuts, 535-538.
Branston, R. the younger, wood-engraver, 544;
his method of engraving in metallic relief, 634.
Branston, F. W. wood-engraver, 544, 545.
Brass stamps, 10.
Brasses, monumental, 21.
Braunche, Robert, his monument at Lynn, 22.
Breitkopf, G. J. his attempt to print maps with separative pieces of type-metal, 1776, 205.
Breydenbach’s Travels, 1486, 206-209.
Bricks, from Egypt and Babylon, 6, 7.
Bridget, St., early cut of, 52.
Brief of Indulgence, 1454, an early specimen of typography, 137.
Briefe, cards so called in Germany, 42.
Briefmaler and Briefdrucker, 43, 410.
British Birds, History of, with cuts by Bewick, 490-502.
Broughton, Hugh, his Concent of Scripture, with copper-plate engravings, 1591, 423.
Büchel, Emanuel, a Dance of Death copied by, in water-colours, 326.
Bukinck, Arnold, printer, his edition of Ptolemy, 1478, with maps, engraved on copper, 200.
Bullet, J. B. his Researches on Playing Cards, 40.
Bulwer, Sir E. Lytton, quoted, 398.
Burgmair, Hans, painter, and designer on wood, 277.
Burleigh, Lord, his portrait in Archbishop Parker’s edition of the Bible, 1568, 419.
Burnet, John, his engraving of Chelsea Pensioners, after Wilkie, 213.
Burning in the hand, 12.
Bury, Richard de, makes no mention of wood engraving, 39.
Businck, chiaro-scuros engraved by, 440.
Buttons, silver, engraved by Bewick, 479.
Bybel, Historische School en Huis, Amsterdam, 1743, with wood-cuts, 459.
Byfield, John, wood engraver, 544.
Calcar, John, a Flemish painter, 434.
Calderinus, D. editor of an edition of Ptolemy, 208.
Camus, his account of a book printed at Bamberg, 1462, 171.
Canticles, illustrations of, 71, 72.
655Capitals, ornamented, in Faust and Scheffer’s Psalter, 426;
in English and other books, 616, 617.
Car, triumphal, of Maximilian, designed by Durer, 255.
Cards, known in 1340, 40.
Caron, Nicholas, wood engraver, his portrait of Papillon, 466 n.
Carpi, Ugo da, engraver of chiaro-scuros, on wood, 230, 307.
Cartouch, 28 n.
Casts, stereotype, early, 418;
modern, 636;
clichage, 637.
Cat edition of Dante, Venice, 1578, 431.
Catherine, St. patroness of learned men, 207.
Catholicon Johannis Januensis, 135 n.
Cauteria, 12.
Caxton, W. books printed by,—Game of Chess, 191;
Mirror of the World, 194;
Golden Legend, Fables of Esop, Canterbury Tales, 195.
Caylus, Count, chiaro-scuros executed by, and N. Le Sueur, 456 n.
Cessolis, J. de, his work on Chess, 197.
Champollion, 6 n.
Chantrey, Sir F. monument by, in Lichfield Cathedral, 589, 590.
Characters in an old Dutch Dance of Death, 318, 329 n.
Charlemagne, his monogram, 14.
Chelsea Pensioners, engraving of, after Sir D. Wilkie, 213.
Chaucer’s Canterbury Tales, 48.
Chess, the Game of, printed by Caxton, 191.
Chiaro-scuro, engraving on wood, known in Germany, in 1509, 230.
Chiaro-scuros, 307, 402, 432, 440, 451, 455, 467, 628.
Children in the Wood, cut from, 533.
Chillingham bull, cut of, by Bewick, 481.
Chinese engraving and printing, 23.
Chirotipografia, or hand-printing, 44 n.
Chisels, 578.
Christopher, St. wood-cut of, in the possession of Earl Spencer, 45, 46.
Chrysographus, 121.
Circular wood engravings in the British Museum, 54 n.
Clayton, J. R. draughtsman, 599*.
Cleaning wood cuts after printing, mode of, 649.
Clennell, Luke, a pupil of Bewick, biographical notice of, 521-527.
Clerc, Sebastian le, cuts in Croxall’s Æsop’s Fables, copied from his engravings, 450.
Clichage, a mode of taking a cast from a wood engraving, 637.
Coeck, Peter, of Alost, his Costumes and Manners of the Turks, 402.
Coining, its antiquity, 19.
Cole, Humphrey, an English engraver, 1572, 419.
Coleman, Wm. artist, 599*.
Collation of editions of the Speculum Salvationis, 102.
Cologne Chronicle, unfairly quoted by the advocates of Coster, 122.
Colonna, Francis, author of the Hypnerotomachia, 218.
Colour, the meaning of the word when applied to engravings, 213.
Committee of the House of Commons on Arts and their Connexion with Manufactures, 305.
Congreve’s, Sir Wm. mode of colour printing, 630.
Concanen, M. wood cut in Miscellaneous Poems, published by, 1724, 453.
Cooper, James, wood-engraver, 550, 552.
Coornhert, Theodore, claims the invention of printing for Harlem, 146.
Cope, C. W. painter, 598*.
Copperplate engraving, its invention ascribed to Varro, 21.
Copperplates, earliest books containing, 200;
the earliest engraved in England, 419.
Corbould, E. H. painter, 598*.
Coriolano, Bartolomeo, chiaro-scuros engraved by, 440.
Cornelius, a bookbinder, his account of Coster’s invention, 150-152.
Coster, Lawrence, first mentioned by Hadrian Junius as the inventor of printing, 147;
account of his invention, 149.
Cotman’s Sepulchral Brasses, 22 n.
Coverdale, Miles, cuts in his translation of the Bible, 1535, 385-389.
Cowper, Edward, his invention for piercing wood blocks for map engraving, 205.
Cracherode, Rev. C. M. prints and books presented by him to the British Museum, 72, 231, 355, 385.
Cranach, Lucas, painter and designer on wood, 275;
chiaro-scuros cut after, 276;
figure of Christ printed in colours, supposed to be by him, 404.
Cranmer, Archbishop, his Catechism, 1548, with wood cuts, 380-382.
Creswick, T. artist. 588*, 589*.
Cropsey, Jasper, painter, 598*.
Crown-piece of George IV., impressions of casts from, 618.
Crowquill, Alfred, artist, 597*.
Cross-hatching, 224, 234, 562.
Croxall’s Æsop’s Fables, wood cuts in, 1722, 448-451.
Cruikshank, George, artist, 595*, 596*.
Cuningham’s, Dr. William, Cosmographical Glass, 1559, 421, 425;
his portrait, 424;
cuts from his book, 425, 426, 427.
Cunio, Alberic and Isabella, pretended wood engravers, 26.
Curved lines, the effect of, 585.
Cutting tools, 576.
Dalziel, Bros. wood engravers, 559-562*, 566*.
Dalziel, Thomas, artist, 562*.
Dammetz, Lucas, called also Lucas Van Leyden, 308.
Dampth, its effect on box-wood, 564.
Dance of Death, in old churches, 325;
at Basle, 326;
in old French and other books, 328;
the Lyons Dance of Death, 1538, with cuts, designed by Hans Holbein, 329-364;
656his Alphabet containing his Dance of Death, 352.
Dante, edition of, with copper-plates, 1482;
the cat edition of, Venice, 1578, 431.
Darley, Felix, draughtsman, 599*.
Dates of block books and cuts, mistake about, 58.
Day, John, an English printer, supposed to have also engraved on wood, 425.
Denecker, Jobst, publisher of a Dance of Death at Augsburg, 1544, 336.
Dentatus, the large cut of the death of, engraved by W. Harvey, 528;
Derschau, the Baron Von, his collection of old wood blocks, 93, 226;
his character, 236 n.
Desroches, M. ascribes the invention of printing to “Vedelare Lodewyc,” 119.
Deutsch, N. E. 314.
Dickes, W. draughtsman, 599*.
Dinkel, Joseph, draughtsman, 593*.
Doctrinale gette en mole, 122.
Dodd, Daniel and John, wood engravers, 544.
Dodgson, G. painter, 598*.
Dolce, Ludovico, his Transformationi, a paraphrase of Ovid’s Metamorphoses, 394.
Dominicals, stamped on paper, 120.
Dominotiers, 45.
Donatus, a grammatical treatise so called, printed from wood blocks, 117;
one supposed to have been stamped, 1340, 121;
idea of typography perhaps suggested by such a work, 123.
Douce, Francis, his opinion about the name Machabre, 325;
his list of books containing figures of a Dance of Death, 328;
his edition of the Dance of Death, 1833, 338;
denies that the cuts in the Lyons edition were designed by Holbein, 346;
but believes, on the authority of an unknown writer, named Piccard, that Holbein painted a Dance of Death in the old palace at Whitehall, 360.
Dovaston’s account of Bewick, 478 n.
Drawings, of a Dance of Death, supposed to be originals, by Holbein, 357;
by Robert Johnson, purchased of Beilby and Bewick, by the Earl of Bute, 517;
on wood, mode of preparing the block for, 570;
for wood engraving, difficulty of obtaining good, 592.
Drytzehn, Andrew, a partner of Gutemberg’s, 126.
Duncan, Edward, artist, 583*.
Dünne, Hans, work done by him for Gutemberg, on account of printing, previous to 1438, 129.
Durer, Albert, placed as pupil under Michael Wolgemuth, 238;
earliest known copper-plate of his engraving, 1494, 239;
his illustrations of the Apocalypse, ib.;
his visit to Venice, 241;
his illustrations of the History of the Virgin, 243-246;
of Christ’s Passion, 246-250;
triumphal car, 255;
triumphal arch, ib.;
his earliest etchings, 257;
specimen of his carving in the British Museum, 258;
his poetry, 260 n;
his visit to Flanders, 260-270;
his portrait, 272;
lock of his hair preserved, 321 n;
his death, said to have been hastened through his wife’s bad temper, 239, 273.
Dyas, E. a self-taught wood engraver, 463 n.
Dyers of Ovingham, 501.
Edmonston, S. draughtsman, 599*.
Electro-printing block process, specimen of, 639.
Electrotyping, 638.
Elizabeth, Queen, portrait of, in Archbishop Parker’s Bible, 1568, 419;
Emblems of Mortality, with cuts, engraved by John Bewick, 1789, 329, 513.
Emblems, Religious, with wood-cuts, 1808, 520.
English book, the earliest, that contains wood-cuts, 191-194.
Engraving, the word explained, 1;
Enschedius, J., specimen of typography discovered by him, 161.
Entkrist, Der, an old block-book, 1.
Erasmus, portrait of, painted by Durer, 263;
invoked by Durer to exert himself in behalf of the Reformation, 267;
his worldly wisdom displayed in his letter introducing Holbein to Aegidius, 375;
his Ship of Fools, with cuts by Seb. Brandt, 468.
Etching, the process of, explained, 258 n;
in metallic relief, 632.
Evans, Edmund, wood engraver, 556, 567*.
Eve, creation of, conventional mode of representing, 215, 216.
Eyck, Hubert and J. van, paintings by them, 265.
Fables, book of, printed at Bamberg, 1461, 171;
Æsop’s, 1722, 448;
Select, with cuts, by Bewick, 1818, 502-506.
Fairholt, F. W. artist, 592*.
Falconer’s Shipwreck, 1808, with cuts by Clennell, 522.
Fanti, Sigismond, his Triompho di Fortuna, Venice, 1527, 315.
Fantuzzi, Antonio, called also Antonio da Trente, engraver of chiaro-scuros, 389.
Fasciculus Temporum, with wood-cuts, 1474, 190.
Faust, John, becomes a partner of Gutemberg, 131;
sues him for money advanced, 133;
gains the cause, 134.
Faust and Scheffer’s Psalter of 1457, 164.
Fellowship, or Guild of St. Luke, at Antwerp, 121.
Figures du Nouveau Testament, 402.
Flaxman’s Lectures, print of the creation of Eve in, 217;
cut from his relief, “Deliver us from evil,” 577*;
his opinion of expressionand sentiment in art, 585;
657cut from a design by, 590.
Folkard, W. A. wood engraver, 544, 564*.
Forma, a shape or mould, 42.
Formschneider, 19, 43, 44, 410.
Foster, Birket, artist, 551, 556-558, 570*, 571*.
Fournier, P. S. his discoveries with respect to the Speculum Salvationis, 101;
his opinion of wooden types, 136;
his works, 467-469.
Fox’s, John, Acts and Monuments, 428.
Fracture, 283 n.
Franklin, John, draughtsman, 599*.
Frellon, John and Francis, publishers of the second edition of the Lyons Dance of Death, 366.
French wood-cuts, 610.
Frey, Agnes, the wife of Durer, her avarice and ill-temper said to have hastened her husband’s death, 273.
Frith, W. P. painter, 59.
Gænsfleisch, a surname of the family of Gutemberg, 124.
Galenus de Temperamentis, with a title-page, engraved on copper, printed at Cambridge, 1521, 421.
Galius, Nicholas, tells the story of Coster’s invention to H. Junius, 150.
Gamperlin, Von, cuts ascribed to, 314.
Garfagninus, Joseph Porta, 390.
Gebhard, L. A. his notice of the History of the Council of Constance, with cuts of arms, 189.
Gemini, Thomas, his Compendium of Anatomy, with copper-plate engravings, London, 1545, 422.
Gent, Thomas, wood-cuts in his History of Ripon, 181.
George IV. his signature stamped, 14;
his snuff-box, with designs by Flaxman, 590.
Gesner, Conrad, expressly mentions the cuts in the Lyons Dance of Death, as having been designed by Holbein, 364.
Ghesquiere, M. his answer to M. Desroches, 120.
Gilbert, John, artist, 561*, 563*, 564*.
Gilpin, Rev. William, his definition of tint, 213.
Giolito, Gabriel, printer, of Venice, 394.
Giraffe, wood-cut of a, in Breydenbach’s Travels, 1486, 269.
Glasses, observations on the use of, 573.
Globe, glass, the engraver’s, to concentrate the light of the lamp, 575.
Glockendon, George, an early German wood engraver, 227.
Glockenton, A. cuts ascribed to, 317.
Goethe, allusion to Sir Theurdank, in his Götz Von Berlichingen, 281 n.
Golden Legend, printed by W. de Worde, 1493, large cut in, 195.
Goldsmith and Parnell’s Poems, printed by Bulmer, 513.
Goltzius, Henry, chiaro-scuros by, 432.
Goltzius, Hubert, his portraits of the Roman Emperors in chiaro-scuro, from plates of metal, 1557, 405.
Goodall, E. painter, 598*.
Goodall, W. draughtsman, 599*.
Goose, Bernacle or Barnacle, said to be produced from a tree, 414.
Gorway, Charles, wood engraver, 544, 600*.
Gospels of Ulphilas, 44.
Gothic monograms, 15.
Grand-duc de l’armée céleste, 173.
Grant, W. J. painter, 598*.
Gratture, the French term for the process of thickening the lines in a wood-cut by scraping them down, 464.
Gray, Charles, wood-engraver, 544.
Green, W. T. wood-engraver, 544, 547, 548.
Greenaway, J. wood-engraver, 553-555.
Greff, Jerome, publisher of a pirated edition of Durer’s Illustrations of the Apocalypse, 241.
Greffier and Scrivener, 2 n.
Gregson, Mr. C., letter to, from Bewick, 474, 479.
Gringonneur, Jacquemin, cards painted by, 41.
Gritner, a French wood-engraver, 547.
Grotesque, 9 n.
Grün, H. B. 320.
Gubitz, a modern German wood-engraver, 546.
Guicciardini, L. mentions the report of printing having been invented at Harlem, 146.
Gutemberg, John, his birth, 124;
residing at Strasburg in 1434, 125;
his partnership with Andrew Drytzehn, ib.;
evidences of his having a press in 1438, for the purpose of printing, 127;
his return to Mentz and partnership with Faust, 131;
partnership dissolved, 133;
proofs of his having afterwards had a press of his own, 140;
his death and epitaph, 144.
Hahn, Ulric, Meditationes J. de Turrecremata, printed by, in 1467, 184.
Hammond, —, wood-engraver, 600*.
Hancock, Charles, his patent for engraving in metallic relief, 635.
Handgun, figure of one seen in cut in Valturius, de Re Militari, 1472, 187.
Hans, Young, Briefmaler, 116, 225.
Harral, Horace, wood-engraver, 566*, 583*, 594*.
Harrington, Sir John, his translation of Ariosto, with copper-plate engravings, 1591, 423.
Hartlieb, Dr. Cyromantia, 116.
Harvey, William, a pupil of Bewick, notice of his works as an engraver and designer, 527-534.
Hawkins, John Sidney, editor of Emblems of Mortality, 1789, 329.
Hawkins, Sir John, wood-cuts in his History of Music, 1776, 471.
658Haydock, R. his translation of Lomazzo, with copper-plate engraving, 1598, 423.
Head of Paris, the lover of Helen, serves for that of Thales, Dante, and others, 212.
Hegner, Ulrich, author of Life of Holbein, his notice of the Dance of Death, at Basle, 326;
of the German names in proof impressions of the cuts in the Lyons Dance of Death, 331;
of Hans Lutzelburger, 351;
his Life of Holbein, 372.
Heilman, Anthony, his evidence in the suit of the Drytzehns against Gutemberg, 1438, 128.
Heineken, Charles, Baron Von, his disbelief of Papillon’s story of the Cunio, 27;
his opinion that cards were invented in Germany, 40;
his notice of the old wood-cut of St. Christopher, 46;
of the History of the Virgin, 68;
of the Apocalypse, 80;
of the Poor Preacher’s Bible, 82, 94;
of the Speculum Salvationis, 100;
his erroneous account of a Dutch wood-cut, by Phillery [Willem] de figuersnider, 309.
Helgen, or Helglein, figures of Saints, 45.
Henderson, Dr. his History of Wines, with Illustrations, by W. Harvey, 530.
Henry VIII. his signature stamped, 14.
Heures a l’Usaige de Chartres, printed by S. Vostre, 1502, 232.
Hicks, G. E. painter, 598*.
Hieroglyphic sonnet, 396;
Bible, 478.
Highland Society, diploma of, 523.
Historiarum Veteris Testamenti Icones, or Bible-cuts, designed by Holbein, 365-371.
Histories, the Four, dated 1462, 172-175.
History of the Virgin, an ancient block-book, 68-80.
Hodgson, Solomon, printer of the first four editions of Bewick’s Quadrupeds, 488.
Hodgson, T. the engraver of a cut in Sir John Hawkins’s History of Music, 1776, 471.
Hogarth, cut from projected edition of, 544;
sketch from, 594.
Hogenberg, R. portrait of Archbishop Parker engraved by, 1572, 422.
Holbein, Hans, the designer of the cuts in the Dance of Death printed at Lyons, 371;
his birth, ib.;
his marriage, 372;
how employed at Basle, 373;
visits England, ib.;
revisits Basle, 376;
his death, 378;
his satirical drawings, 378 n;
his Alphabet, 352.
Hole, Henry, a pupil of Bewick, 492 n.
Holl, Leonard, printer of Ulm, his edition of Ptolemy, 1483, 199.
Hollar, W. his etchings of the Dance of Death, 337.
Holzschneider, 2.
Horace, his well-stored wine, 9.
Horne, Rev. T. H. probably incorrect with respect to a date, 60.
Horsley, J. C. artist, 591*, 598*.
Hortus Sanitatis, 1491, 210.
Householder, the Good, 438.
Howel’s Medulla Historiæ Anglicanæ, with wood-cuts, 1712, 446.
Hughes, Hugh, his Beauties of Cambria, 538-548.
Hughes, William, wood-engraver, 538.
Hudibras, 1819, cut from, 543.
Hulme, F. W. draughtsman, 599*.
Humanæ Vitæ Imago, 436 n.
Humphreys, Noel, draughtsman, 599*.
Hunt, W. Holman, painter, 598*.
Hunting and Hawking, Book of, printed at St. Alban’s, 1486, and at Westminster in 1496, 195.
Hutton’s Mensuration, with diagrams engraved by Bewick, 1768-1770, 475.
Hypnerotomachia Poliphili, 218, 220, 224.
Images of the Old Testament, with cuts, designed by Holbein, 365-370.
Impressions from wood and from copper, the difference in the mode of taking, 4.
Initial letters, flowered, 191, 429.
Insanity of engravers, 458 n.
Inscriptions on bells, 20.
Intaglio engraving on wood, so that the outlines appear white upon black, 225, 482, 618, 619.
Jackson, John, wood-engraver, 545.
Jackson, John Baptist, an English wood engraver, perhaps a pupil of Kirkall, 453;
Papillon’s notice of him, 454;
engraves several chiaro-scuros at Venice, 455;
establishes a manufactory for paper-hangings at Battersea, and publishes an essay on chiaro-scuro engraving, 455-457.
Jackson, John, 545.
Jackson, Mason, wood-engraver, 589*, 600*.
Jacob blessing the children of Joseph, 596, 597.
Janszoon, Lawrence, supposed to be the same person as Lawrence Coster, 162.
Javelin-headed characters, 7.
Jean-le-Robert, his Journal, 122.
Jegher, Christopher, wood engravings by, from drawings by Rubens, 437.
Jettons, or counters, 19.
Jewitt, Orlando, draughtsman and wood-engraver, 584*-587*.
John, St. old wood-cuts of, 60.
Johnson, John, a pupil of Bewick, 517 n.
Johnson, Robert, a pupil of Bewick’s, list of tail-pieces in the British Birds designed by, 497;
notice of his life, 516.
Jones, Owen, draughtsman, 599*.
Journal, Albert Durer’s, of his visit to Flanders, 260.
Judith, with the head of Holofernes, 440.
Junius, Hadrian, claims the invention of printing for Lawrence Coster, 147-150.
Kartenmachers in Germany, in the fifteenth century, 43.
Keene, Charles, draughtsman, 599*.
659Killing the black, a technical term in wood engraving, explained, 232.
Kirchner, —, wood-engraver, 563*.
Kirkall, E. copper-plate frontispiece to Howel’s Medulla Historiæ Anglicanæ, engraved by, 1712, 447;
chiaro-scuros engraved by, 451;
copper-plates engraved by, in Rowe’s translation of Lucan’s Pharsalia, and other works, 452.
Klauber, H. H., repainted the Dance of Death in the church-court of the Dominicans, at Basle, 327.
Knight, R. Payne, his bequest of a piece of sculpture, by A. Durer, to the British Museum, 258.
Knight, C. his patent illuminated prints and maps, 630.
Koburger, Anthony, printer of the Nuremberg Chronicle, 1493, 212.
Koning, J. a modern advocate of Coster’s invention, 154.
Krismer, librarian of the Convent of Buxheim, 49 n.
Kunig, der Weiss, the title of a work, with wood-cuts, chiefly written by the Emperor Maximilian, 286, 483;
summary of its contents, ib.
Kupfer-stecher, 2.
Küttner, K. G. his opinion of Sir Theurdank, 282.
Kyloe Ox, by Bewick, 485 n.
Ladenspelder, Hans, 355.
Laer, W. Rolewinck de, his Fasciculus Temporum, with wood-cuts, 1474, 190.
Lamp, the engraver’s, 575.
Landells, Ebenezer, wood-engraver, 544.
Landseer, Mr. Edwin, on vignettes, 615.
Landseer, Mr. John, his theory of vegetable putties, 72;
his observations on the term colour, as applied to engravings, 213.
Laocoon, burlesque of the, by Titian, 435.
Lapis, Dominico de, printer of Bologna, his edition of Ptolemy, with an erroneous date, 201.
Lar, the word on a Roman stamp, 8.
Lawless, M. J. draughtsman, 599*.
Lee, James, wood-engraver, 593*.
Lee, John, wood-engraver, 534.
Leech, John, artist, 580*, 581*.
Leglenweiss, the word explained, 44.
Legrand, J. G. his translation of the Hypnerotomachia, 219.
Lehne, F. his observations on a passage in the Cologne Chronicle, 122 n;
his Chronology of the Harlem Fiction, 155;
his remarks on Koning, 157.
Leicester, Robert Earl of, his portrait in Archbishop Parker’s edition of the Bible, 1568, 419.
Leighton, John, artist, 582*.
Leighton, Henry, wood-engraver, 582*.
Le Jeune, H. painter, 598*.
Leland, John, his Næniæ, 1542, contains a portrait, engraved on wood, of Sir Thomas Wyatt, 379.
Le Sueurs, French wood-engravers, 443, 467.
Letania Lauretana, with wood-cuts, Valencia, 1768, 469.
Lettere Cifrate, 395.
Leyden, Lucas van, visited by Durer, 269;
his engravings, 308.
Lhuyd, Humphrey, erroneously described by Walpole as an engraver, 420.
Libripagus, a definition of the word, by Paul of Prague, 182.
Lignamine, P. de, in his Chronicle, 1474, mentions Gutemberg and Faust, as printers, at Mentz in 1458, 140.
Linton, W. J. wood-engraver, 544, 590*, 591*.
Lobel and Pena’s Stirpium Adversaria, with copper-plate title-page, London, 1570, 423.
Lodewyc von Vaelbeke, a fidler, supposed to have been the inventor of printing, 119.
Logography, 417.
Lorenzo, Nicolo, books containing copper-plates printed by him, 1477-1481, 202.
Lorich, Melchior, 408.
Loudon’s Arboretum, with cuts printed from casts of etchings, by Branston, 634.
Loudon, J. wood-engraver, 600*.
Lowering, the practice of, no recent invention, 465.
Lowering, concave, 618.
Lowering, advantages of, 624.
Lowering, complicated, 625.
Lowering, the difference between cylindrical rollers and the common press, so far as relates to, 640 n.
Lucas van Leyden, 308.
Lucchesini, an Italian wood-engraver, about 1770, 469.
Luther, Martin, his cause espoused by Durer, 265;
caricature portraits of, 267.
Lutzelburger, Hans, a wood-engraver, 351.
Lydgate, John, mentions vignettes in his Troy Book, 616.
Lysons, Mr. Samuel, letter from, to Sir George Beaumont, 108.
Mabillon, 14.
Machabre, The Dance of, 325-329.
Maclise, D. artist, 568*, 569*.
Macquoid, T. draughtsman, 599*.
Mair, an engraver, a supposed chiaro-scuro by, 1499, 231.
McIan, R. R. artist, 588*, 590*.
Maittaire’s Latin Classics, wood-cut ornaments in, 1713, 448.
Mallinkrot, his translation of a passage in the Cologne Chronicle, 123.
Mander, C. Van, ascribes the Lyons Dance of Death to Holbein, 365.
Mantegna, Andrea, wood-cuts of the Hypnerotomachia ascribed to, 219.
Manung, widder die Durken, an early specimen of typography, 138.
Map engraved on wood, specimen of a, 612.
660Maps engraved on wood and on copper, the earliest, 199;
names of places in, printed in type, 1511, 203;
printed in colours, 1538, 204;
improvements in engraving, ib.;
printed in separate pieces, with types, 1776, 205;
improvements in printing, 417;
early, on copper, published in England, 419;
Knight’s patent illuminated, 630.
Marcolini, F. wood-cuts in his Sorti, 1540, 389, 391.
Marks, double, on wood-cuts, 350.
Marshall, J. R. wood engraver, 596*.
Martin, John, artist, 545, 546, 547, 590*.
Martin, J. wood-engraver, 544.
Mary de Medici, her portrait mistaken by Papillon and Fournier for a specimen of her own engraving on wood, 461.
Masters, little, 320 n.
Matsys, Quintin, entertains Durer, 261.
Maude, Thomas, extract from his poem of the School Boy, 473.
Maugerard, M. copy of an early edition of the Bible discovered by, 139.
Maximilian the First, Emperor of Germany, his triumphal car and arch, designed by Durer, 255;
the Adventures of Sir Theurdank, the joint composition of himself and his secretary, 282-285;
works celebrating his actions,—The Wise King, 286;
the Triumphal Procession, 288, 289.
Mazarine Bible, 139 n.
Meadows, Kenny, artist, 597*.
Measom, Geo. wood engraver, 575*.
Mechel, Christian von, of Basle, his engravings after Holbein, 350.
Medals, 320.
Meditationes Joannis de Turrecremata, 184.
Meerman, G. his disbelief of the story of Coster’s invention, 154;
and his subsequent attempts to establish its credibility, 155.
Mentelin, John, printer, of Strasburg, formerly an illuminator, 121.
Merchants’-marks, 17.
Metallic relief engraving, erroneous statements about, 305;
Blake’s metallic relief engraving, 632;
portrait thus executed by Lizars, 633;
Woone’s, 634;
Schonberg’s, ib.;
Branston’s, ib.;
Hancock’s patent, 635;
Sly’s experiments, 636;
Messrs. Best, Andrew, and Leloir, ib.
Meydenbach, John, said to have been one of Gutemberg’s assistants, 166.
Meydenbach, Jacobus, printer of the Hortus Sanitatis, 1491, 210.
Millais, J. E. painter, 598*.
Mints, provincial, for coining money, 19.
Mirror of Human Salvation, 95.
Mirror of the World, printed by Caxton, 194.
Missale Herbipolense, with a copper-plate engraving, 1481, 201.
Moffet’s Theatre of Insects, 442.
Montagna, Benedetto, wood-cuts of the Hypnerotomachia ascribed to him, 220.
Monte Sancto di Dio, an early book, containing copper-plates, 1477, 202.
Monumental brasses, 21.
More, Sir Thomas, 375.
Morgan, M. S. draughtsman, 599*.
Morland, sketch from, 592.
Mort, les Simulachres de la, Lyons, 1538, 328.
Mosses, Thomas, wood engraver, 544.
Mulready, W. painter, 598*.
Munster, Sebastian, his Cosmography, 413;
his letters to Joachim Vadianus about an improvement in the mode of printing maps, 417.
Murr, C. G. Von, references to his Journal of Art, and other works, 2, 9, 42, 47, 49, 51, 56, 74, 227, 236, 237, 241, 242, 257, 260, 262, 264, 267, 273, 281, 283, 289, 291.
Names of wood engravers at the back of the original blocks of the Triumphs of Maximilian, 292.
Naming of John the Baptist, a piece of sculpture by A. Durer, 259.
Nash, J. painter, 599*.
Nesbit, Charlton, a pupil of Bewick, notice of some of his principal cuts, 519-521.
Neudörffer, his account of Jerome Resch, a wood engraver, contemporary with Durer, 236.
Nicholson, Isaac, a pupil of Bewick, 527.
Northcote, James, his mode of composing the cuttings for his Fables, 529 n.
Notarial stamps, 17.
Nummi bracteati, 16.
Nuremberg Chronicle, 212.
Oberlin, J. J. Essai d’Annales de la Vie de Gutenberg, 125, 130, 136, 138, 140, 143.
Odes, two, by Lloyd and Colman, with wood-cuts, 1760, 470.
Ortelius, Abraham, his collection of maps, engraved on copper, 1570, 419.
Ortus Sanitatis, 211.
Ottley, W. Y. adopts Papillon’s story of the Cunio, 419;
his advocacy of Coster’s pretensions, 160;
ascribes the introduction of cross-hatching to M. Wolgemuth, 239;
and the designs of the cuts in the Hypnerotomachia to Benedetto Montagna, 220.
Outline, in wood engraving, the difference between the white and the true, 587;
engravings in, 590.
Overlaying wood-cuts, mode of, 613, 645.
Ovid’s Metamorphoses, printed at Venice, 1497, 217.
Ovingham, the parsonage at, 473;
the church, 512.
Oxford Sausage, with wood-cuts, 1764, 470.
Packhouse’s machine for tints, 584 n.
Palatino, G. B. his work on Penmanship, 395.
661Palmer, W. J. wood-engraver, 557.
Paper, proper for printing wood-cuts, 646;
India paper, injurious to wood-cuts, ib.
Paper-mark in an old book of wood-cuts, 107.
Paper money, early, 25 n.
Papillon, John, the elder, 443.
Papillon, John Michael, his story of the Cunio, 26;
his character, 35;
notice of his works, 457-467.
Parafe, or ruche, 14.
Parker, Archbishop, his portrait, engraved by R. Hogenberg, 1572, 422.
Parkinson’s Paradisus Terrestris, 442.
Parmegiano, chiaro-scuros after his designs, 403.
Pasti, Matteo, supposed to have designed the cuts in Valturius de Re Militari, 1472, 186.
Patin’s Life of Holbein, 372.
Patroner, the word explained, 330 n.
Paul of Prague, his definition of “libripagus,” 182.
Pearson, G. wood engraver, 573*, 574*.
Pepyr, Edmund, his mark, 18.
Peringskiold, 14.
Petit-Jehan de Saintré, Chronicle of, 41.
Petrarch’s Sonnets, Lyons, 1545, cuts in, 400.
Pfintzing, Melchior, joint author of Sir Theurdank, 282.
Pfister, Albert, works printed by, at Bamberg in 1461 and 1462, 170, 181.
Phillery, properly Willem, de figursnider, mistakes about a cut of his engraving, 310.
Phiz (H. K. Browne), draughtsman, 599*.
Piccard, T. Nieuhoff, an unknown discoverer of a painting of the Dance of Death, by Holbein, 360, 363.
Pickersgill, F. R. painter, 599*.
Pictura, a wood-cut sometimes called, 357.
Pilgrim, John Ulric, cuts ascribed to, 317.
Pinkerton, John, his statement that several of the cuts in Bewick’s Quadrupeds were drawn on the block by R. Johnson, 491 n.
Pinx. et Scalp. not to be found on early wood-cuts, 35.
Pirkheimer, Bilibald, letters written to him by Albert Durer, 242;
his letter to J. Tscherte, announcing Durer’s death, 273.
Pittacia, small labels, 8 n.
Playing cards, 40.
Plebanus, a curate or vicar, 61 n.
Pleydenwurff, William, with M. Wolgemuth, superintends the cuts of the Nuremberg Chronicle, 1491, 212.
Ploughman, Pierce, his Creed, 18.
Plug, mode of inserting in an engraved wood-block, 549.
Poetry, specimen of Durer’s, 260;
specimens of Clennell’s, when insane, 526.
Poliphili Hypnerotomachia, 218, 220, 224.
Polo, Marco, 25.
Poor Preacher’s Bible, 80-94, 175-179.
Portraits of Bewick, list of the principal, 509.
Powis, W. H. wood engraver, 544.
Prayer-book, Queen Elizabeth’s, 1569, 427.
Prenters of Antwerp in 1442, 121.
Press made for Gutemberg previous to 1438, 127.
Press, rolling, for copper-plate printing, 4.
Press, steam, wood-cuts printed by, 644.
Preusch, his attempt to print maps by a typometric process, 205.
Printing, Gutemberg occupied with the invention of, in 1436, 127.
Printing in colours, a figure of Christ, with the date 1543, 403;
Savage’s decorative printing, 629;
G. Baxter’s improvements, 629;
C. Knight’s patent illuminated prints and maps, 630.
Printing wood-cuts, best mode of, 640.
Priority of editions of the Speculum Salvationis, 100.
Procession, triumphal, of Maximilian, 288, 289.
Procopius, 13.
Proofs of wood engravings, mode of unfairly taking, 466, 603.
Prout, J. S. draughtsman, 599*.
Psalter, printed by Faust and Scheffer in 1457, 164.
Ptolemy’s Cosmography, with maps, engraved on wood, 1483, 199;
an edition printed by Dominico de Lapis, at Bologna, 201;
at Venice, by J. Pentius de Leucho, 1511, 203.
Quadrin’s Historiques de la Bible, 402.
Quadrupeds, History of, with cuts, by Bewick, 1791, 482-490.
Queen Elizabeth’s Prayer-book, 427.
Quintilian, his notice of the manner of boys learning to write by tracing the letters through a stencil, 12.
Raffaele, designs for the wood-cuts of the Hypnerotomachia ascribed to him, 219;
a wood-cut after a drawing by, in Marcolini’s Sorti, 389.
Rahmenschneiders, or border-cutters, 190, 319.
Raidel, his Dissertation on an edition of Ptolemy, 201;
dates, erroneous in books, ib.
Raimbach, Abraham, his engraving of the Rent-day, after Sir D. Wilkie, 213.
Randell, a printer’s apprentice, wood-cuts by, 180.
Raynalde’s Birth of Mankind, with three copper-plate engravings, 1540, 421.
Read, S. draughtsman, 599*.
Rebus, or “name devises,” 398.
Redgrave, R. painter, 599*.
Relief, metallic, engraving in, erroneous statements about, 305;
practised by Blake and others, 632-636.
Rembrandt, cuts copied from etchings by, 595, 599, 602, 605.
Renaudot, l’Abbé, 24.
Rent-day, engraving of a group from, after Sir D. Wilkie, 593.
Repairing wood-cuts, 569 n.
662Reperdius, George, a painter praised by Nicholas Bourbon, 356.
Requeno’s Chirotipografia, 44 n.
Revelationes Cœlestes sanctæ Brigittæ de Suecia, 321.
Reynolds, Nicholas, an English engraver on copper, 1575, 420.
Reyser, George, printer of the Missale Herbipolense, 1481, 202.
Roberts, David, painter, 599*.
Robin Hood’s Garland, with wood-cut on the title-page, 1670, 444, 445.
Rocca, Angelus, mentions a Donatus on parchment, 123 n.
Rogers, Harry, draughtsman, 599*.
Rogers, William, an English copper-plate engraver, about 1600, 423.
Rolling-press, 4.
Rollers, composition, not so good as composition balls for inking certain kinds of wood-cuts, 650.
Rotundity, how indicated by straight lines, 584.
Rouen Cathedral, 611.
Rubbing down, 389.
Rubens. P. P. his praise of the cuts in the Lyons Dance of Death, designed by Holbein, 365;
wood engravings from his designs, 438, 439.
Ruche, or parafe, 14.
Runic cyphers and monograms, 15.
Ryther, Augustine, an English engraver on copper, 1575, 420.
Sachs, Hans, his descriptions of cuts designed by Jost Amman, 408.
Salmincio, Andrea, wood-cuts ascribed to, 441.
Sandbag and block, 575.
Sandrart, J. his notice of the Dance of Death, with cuts designed by Holbein, 365.
Saspach, Conrad, his evidence in the Drytzehns’ suit against Gutemberg, 1438, 128.
Savage, W. chiaro-scuros in his hints on Decorative Printing, 629;
his opinion as to the best mode of working a form containing wood-cuts, 647.
Saxton, Christopher, his collection of English County Maps, engraved on copper, 1573-1579, 420.
Schapf, George, an early wood engraver, 142, 228.
Schäufflein, Hans, painter, generally supposed to have engraved on wood, 281, 283, 284, 285, 287.
Schedel, Hartman, compiler of the Nuremberg Chronicle, 1493, 212.
Scheffer, Peter, a partner of Gutemberg and Faust, 132;
mentioned by Faust as his servant, 133;
a clerk, or copyist of books, 167.
Schelhorn’s Amœnitates, 113.
Schœpflin, Vindiciæ Typographicæ, 125, 132.
Schön, Erhard, 406.
Schonberg, Mr. his attempts to engrave in metallic relief, 634.
Schönsperger, Hans, the printer of Sir Theurdank, 282.
Schopper, Hartman, verses by, in a book of trades and professions, 409.
Schoting of Nuremberg, a cut thus inscribed, the date 1584, mistaken for 1384, 59.
Schultheis, Hans, his evidence in the Drytzehns’ suit against Gutemberg, 1438, 127.
Schussler, John, a printer of Augsburg, 180.
Schwartz, J. G. Documenta de Origine Typographiæ, 124, 133, 134, 142.
Scopoli, mistakes Mr. B. White’s sign for the name of his partner, 313.
Scott, T. D. draughtsman, 599*.
Scrive, a tool to mark timber with, 2.
Scrivener and Greffier, 2 n.
Scriverius, his account of Coster’s invention, 151 n.
Seals, engraved, 20.
Sebastian, St. account of an old wood-cut of, 55.
Selous, H. C. painter, 599*.
Shade for the eyes, 575.
Shaw, Henry, draughtsman, 599*.
Shields of arms in the block-book called The Apocalypse, 65;
in the History of the Virgin, 75, 76, 77, 78.
Sichem, Cornelius van, wood engraver, 439.
Silberrad, Dr. old wood-cuts in the possession of, 227.
Simulachres et Historiées Faces de la Mort, Lyons, 1538, 328.
Singer’s Researches on the History of Playing Cards, 9;
his unacknowledged obligations to Breitkopf, 10.
Skippe, John, chiaro-scuros engraved by, 628.
Slader, Samuel, wood engraver, 544.
Sly, Stephen, his experiments in metallic relief, 636.
Smith, John Orrin, wood engraver, 544.
Smith, Orrin. wood engraver, 580*.
Smyth, F. G. wood-engraver, 600*.
Snuff-box, George the Fourth’s, with designs, by Flaxman, 590.
Solis, Virgil, 406.
Solomon, song of, illustrations, 71, 72.
Solomon, A. painter, 599*.
Solomon, Bernard, of Lyons, 398-401, 407.
Somervile’s Chase, with cuts, designed by John Bewick, 513.
Sonetto figurato, 395-397.
Sorg, Anthony, of Augsburg, account of the Council of Constance, with wood-cuts, printed by him in 1483, 189.
Sorti, Marcolini’s, a work containing wood-cuts, 389-393.
Southey, Robert, his notice of two odes by Lloyd and Colman, with wood-cuts, 470.
Spanish marks, 15.
Specklin, D. mentions wooden types, 131.
Speculum Nostræ Salutis, 149.
Speculum Salvationis, a misnamed block-book, 95-106;
663Speed’s History of Britain, 442.
Sporer, Hans, an old briefmaler, 43.
Stabius, J. his description of the triumphal arch of Maximilian, 256.
Stamham, Melchior de, Abbot of St. Ulric and Afra, at Augsburg, printing-presses bought by him, 165 n.
Stampien, to stamp with the foot as a fiddler beats time, mistaken for printing, 120.
Stamping of letters in manuscripts, 44.
Stampilla, 14.
Stamps, Roman, 8;
notarial, 17.
Stanfield, Clarkson, R.A. 570*.
Steiner, J. M. his notice of a book printed at Bamberg in 1462, 170.
Stephenson, James, draughtsman, 599*.
Stereotype, early, 418;
modern, 636.
Stigmata, 12.
Stimmer, Christopher, and Tobias, 413.
Stocks, Lumb, draughtsman, 599*.
Stoke-field, knights and bannerets created after the battle of, 191.
Stonehouse, artist, 591*.
Stothard, Thomas, R.A. his Illustrations of Rogers’s Poems, 1812, engraved on wood, 524.
Strephon’s Revenge, 1724, copy of a tail-piece in, 453.
Sueur, le, Peter and Vincent, 443;
Nicholas, 467.
Sulman, T. draughtsman, 599*.
Swain, John, wood engraver, 579*, 581*.
Swain, Joseph, wood-engraver, 600*.
Swedish coins, 15.
Sweynheim, Conrad, printer, the first that devised maps engraved on copper, 200.
Switzer, cuts engraved by, 442.
Sylvius, Æneas, his account of the Barnacle or Tree goose, 415.
Tail-pieces in Bewick’s Quadrupeds, 486.
Temple, W. W. a pupil of Bewick, 527.
Tenniel, John, artist, 559, 560.
Terms, abstract, derived from names expressive of tangible and visible things, 214.
Terra-cottas, called Typi, 7.
Testament, Figures du Nouveau, 402.
Theodoric, his monogram, 13.
Ther-Hoernen, Arnold, prints at Cologne an edition of the Fasciculus Temporum, with wood-cuts, 1474, 190.
Theurdank, the Adventures of, an allegorical poem, by the Emperor Maximilian and his Secretary, 281;
the text erroneously supposed to have been engraved on wood, 283.
Thomas, G. H. artist, 565*-567*.
Thomas, W. L. wood engraver, 565*, 568*.
Thompson, Charles, wood engraver, 541 n.
Thompson, Eliza, wood engraver, 541 n.
Thompson, John, wood engraver, a pupil of R. Branston, notice of some of his principal cuts, 541, 569*.
Thurston, John, designer on wood, 519 n.
Tindale, William, cuts in his translation of the New Testament, 1534, 383-385.
Tinsel money, 16.
Tints, mode of cutting, 577-581.
Tint-tools, 577.
Titian, wood-cuts after, 433, 435.
Tools, wood engravers’, 576-530.
Topham, F. W. draughtsman, 599*.
Topsell’s History of Four-footed Beasts, 442.
Tract printed by A. Pfister, at Bamberg, 1461, 1462, 170, 181.
Transferring old impressions of wood-cuts, 104 n;
old wood-cuts and copper-plates, 637.
Travelling printers, 184.
Tree goose, 414.
Treitzsaurwein. M. Secretary to the Emperor Maximilian, nominal author of the Weiss Kunig, 286.
Treschel, Melchior and Gaspar, printers of the Lyons Dance of Death, 1538, with cuts, designed by Hans Holbein, 330.
Trimming, 606.
Triompho di Fortuna, 315-317.
Trithemius, his account of the invention of printing, 131.
Triumphal procession, usually called the Triumphs of Maximilian, 288-304.
Trusler, Dr. his Progress of Man and Society, with cuts, by John Bewick, 613.
Turner, Dr. William, his account of the Tree goose, 414.
Turner, the Rev. William, his opinion of cross-hatching, 562.
Turrecremata, J. de, his Meditationes, 184.
Typi, 7.
Typography, invention of, 118;
not a chance discovery, 145.
Ulphilas, Gospels of, 44.
Underlaying wood-cuts, mode of, 645 n.
Unger, father and son, German wood engravers, 1779, 403, 483, 545.
Urse Graff, a cut designed by, probably copied by Willem de Figuersnider, 313;
other cuts with his mark, 314.
Vagabonds and sturdy beggars, 12.
Valcebro, Ferrer de, his notice of the Bernacle or Tree goose, 416.
Valturius, R. de Re Militari, 186.
Vasari, George, claims the invention of chiaro-scuro engraving for Ugo da Cai, 230.
Vasey, George, wood engraver, 544.
Vaugris, V. printer of a piracy of the Lyons Dance of Death, at Venice, 1542, 393.
Vecellio, Cesare, his book of Costumes, Venice, 1589, 433.
Vegetable putties, a theory of Mr. J. Landseer, 72.
Veldener, John, printer of an edition of the Speculum Salvationis, 1483, 106;
one of the earliest printers who introduced ornamental borders engraved on wood, 191.
664Venice, foreign cards prohibited to be brought into the city of, 1441, 43.
Verona, Johannes de, 186.
Vesalius’s Anatomy, Basle, 1548, erroneously said to contain cuts designed by Titian, 433.
Vignettes, 615.
Vincentini, J. N. engraver of chiaro-scuros, 389.
Vizetelly, H. wood engraver, 558, 570*, 571*.
Vostre, Simon, Heures printed by him, 232.
Waagen, Dr. G. F. extract from his evidence before the Committee on Arts and Manufactures, 322.
Walsokne, Adam de, his mark, 18.
Walton’s Angler, cuts of fish in Major’s edition of, 541, 543.
Wand-Kalendars, or sheet almanacks, 1470, 1500, 225.
Ward, James, R.A. cut of a dray-horse from a drawing by, 596.
Warren, H. painter, 599*.
Watson. J. D. draughtsman, 599*.
Watts, S. his engravings, 1703, 471.
Waved lines, 583.
Webster, T. painter, 599*.
Wehnert, G. H. artist, 594*.
Weir, Harrison, artist, 551, 555.
Weiss-Kunig, 286.
West, Benjamin, his design for the diploma of the Highland Society, 523.
Wethemstede, John, prior of St. Albans, 111.
White, Henry, senior and junior, wood engravers, 544.
Whitehall, fictions about a Dance of Death painted by Holbein in the old palace at, 360-363.
Whiting, Chas. his colour-printing, 630.
Whymper, J. W. wood engraver, 544, 569*.
Wilkie, Sir David, R.A. his sketch for his picture of the Rabbit on the Wall, 591;
group from his Rent-day, 593;
from his Village Festival, 614.
Willett, R. his opinion of wooden types, 136.
Williams, J. wood engraver, 588*.
Williams, Samuel, artist and wood engraver, 544, 572*.
Williams, Thomas, wood engraver, 544, 547.
Willis, Edward, a pupil of Bewick, 522 n.
Wimperis, E. wood-engraver, 600*.
Wimpheling, verses by him, celebrating Gutemberg as the inventor of printing, 155.
Wirtemberg, Counts of, their arms, 78.
Wolgemuth, Michael, not the first that introduced cross-hatching in wood engravings, 239.
Women, engravers on wood, 235.
Wood for the purposes of engraving, several kinds mentioned by Papillou, 464;
mode of preparing, 562-568.
Wood-cut, the earliest known with a date, 45.
Wood-cuts, largest modern; directions for cleaning, 649.
Wood engravers, early, unfriendly to the progress of typography, 179.
Woods, H. N. wood-engraver, 600*.
Wootie, Mr. his patent for engraving in metallic relief, 634.
Worde. W. de, cuts in books printed by him, 196, 198.
Wordsworth, William, his high opinion of Bewick’s talents, 512.
Wright, John, wood engraver, 544.
Wright, W. wood engraver, 554.
Wyatt, Sir Thomas, a wood-cut portrait of, from a drawing, by Holbein, 379.
Wyburd, F. painter, 599*.
Zainner, Gunther, of Augsburg, 179;
the Legenda Aurea, with wood-cuts, printed by him, in 1471, 188.
Zainer, John, of Reutlingen, prints at Ulm in 1473, an edition of Boccacio de Claris Mulieribus, with wood-cuts, 190.
Zani’s arguments in favour of Papillon’s story of the Cunio, 36, 37.
Zerlegen, a word used by German printers to denote the distribution of the types, occurs in connection with Gutemberg’s press in 1438, 128.
Zuyren, J. Van, claims the invention of printing for Harlem, 146.
Zwecker, John B. draughtsman, 599*.
Dante, edition of, with copper-plates, 1482
copperplates
Fracture
printed as shown, but body text has “fractur”
Hieroglyphic ... Bible, 478.
page reference missing
Packhouse’s machine for tints
printed and alphabetized as shown, but body text has
“Parkhouse”
Sandrart, J.
Sandrant
LONDON:
PRINTED BY R. CLAY, SON, AND TAYLOR,
BREAD STREET HILL.
Inconsistent spellings were only regularized when there was a strong preponderance; changes are individually noted. The various spellings of the name now written “Shakespeare” are unchanged, as are the forms “Albert Durer” and “Gutemberg”. German citations consistently omit the period (full stop) in references such as “2 Theil”. Other unchanged forms include:
cross line : cross-line
figuersnider : figursnider
fore-/back-ground : fore/background
type-founder : typefounder
wood-cut : woodcut
wood-engraver : wood engraver
Schaufflein : Schäufflein
In the Index, missing or inconsistent punctuation was silently regularized. All other errors are noted in two ways: with mouse-hover popups where the error occurs, and again at the end of each chapter or section, after any footnotes.
