inventor of the method. "This was called chiaroscuro, a name still given to it, and was, in fact, a simple form of our modern chromo printing." His woodcuts are in a simple, vigorous style; one of them after Raphael's "Death of Ananias," printed in brown, has a depth and brilliancy which may remind us of the mezzo-tints of Turner's Liber Studiorum. This is proudly signed, "Per Ugo da Carpo," and some copies are said to be dated 1518.

Andrea Andreani (c. 1560-1623), a better known but not a better artist, produced a great number of these tone woodcuts. Several prints after Mantegna's "Triumphs of Caesar" have a special charm from the beauty of the originals; they are printed in three tints of grey besides the "drawing"; the palest of these tints covers the surface, except for high lights cut out of it. A fine print of a Holy Family, about 15×18 inches, has a middle tone of fair blue and a shadow tint of full rich green. Copies of two immense woodcuts at the Victoria and Albert Museum, of Biblical subjects, seem to have been seems to cramp the hand and injure the eyes of all but the most gifted draughtsmen. It is desirable to cultivate the ability to seize and record the "map-form" of any object rapidly and correctly. Some practice in elementary colour-printing would certainly be of general usefulness, and simpler exercises may be contrived by cutting out with scissors and laying down shapes in black or coloured papers unaided by any pattern.

Finally, the hope may be expressed that the beautiful art of wood-cutting as developed in Western Europe and brought to such perfection only a generation ago is only temporarily in abeyance, and that it too may have another day.

W. R. LETHABY.

September 1916.

AUTHOR'S NOTE

This little book gives an account of one of the primitive crafts, in the practice of which only the simplest tools and materials are used. Their method of use may serve as a means of expression for artist-craftsmen, or may be studied in preparation for, or as a guide towards, more elaborate work in printing, of which the main principles may be seen most clearly in their application in the primitive craft.

In these days the need for reference to primitive handicrafts has not ceased with the advent of the machine. The best achievements of hand-work will always be the standards for reference; and on their study must machine craft be based. The machine can only increase the power and scale of the crafts that have already been perfected by hand-work. Their principles, and the art of their design, do not alter under the machine. If the machine disregards these its work becomes base. And it is under the simple conditions of a handicraft that the principles of an art can be most clearly experienced.

The best of all the wonderful and excellent work that is produced to-day by machinery is that which bears evidence in itself of its derivation from arts under the pure conditions of classic craftsmanship, and shows the influence of their study.

The series of which this book is a part stands for the principles and the spirit of the classic examples. To be associated with those fellow-craftsmen who have been privileged to work for the Series is itself an honour of high estimation in the mind of the present writer. If the book contributes even a little toward the usefulness of the series the experiments which are recorded here will have been well worth while.

To my friend Mr. J. D. Batten is due all the credit of the initial work. He began the search for a pure style of colour-printing, and most generously supported and encouraged my own experiments in the Japanese method.

To my old colleague Mr. A. W. Seaby I would also express my indebtedness for his kind help and advice.

F. M. F.

Edinburgh College of Art,
September 1916.

CONTENTS