A Treatise on Wood Engraving

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 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
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
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
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
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*
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
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

Erratum

life of St. Birinus, of the twelfth century
twelth

Note

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