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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).
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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
List of Illustrations
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)
Index
Errors and Inconsistencies
William Blake.
W. J. Linton.
DEATH’S DOOR.
i
A TREATISE
ON
WOOD ENGRAVING
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.
NOTICE TO THE SECOND EDITION.
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.
vMR. JACKSON’S PREFACE.
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.
MR. CHATTO’S PREFACE.
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
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.
ix
LIST OF ILLUSTRATIONS.
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
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
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
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
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.