Chapter VIII: Modern Wood-Engraving (2)

Of all the work of recent years, however, the best, it is generally admitted, is in the portraits, possibly because the artists are restrained by the definiteness of the form and expression to be conveyed. Mr. Cole’s Modjeska has been already praised, though it is rather a fine figure than a fine portrait. A portrait of Mr. Hunt by Mr. Linton, and of Mr. Fletcher Harper by Mr. Kruell, are also of high merit, and in both a very high level of excellence is sustained. The special character of the new school in portraiture, as a distinct and radical style, is illustrated by Mr. Juengling’s “Spanish Peasant” (Fig. 88). It recalls at once the portrait of Whistler by the same hand. In disposition of color, in certainty of effect, and in skill of execution, all must recognize the engraver’s power; but is the value of the human face, in whose mouldings is expressed the life of years and generations--is the value of the human eye, in which the light never goes out, truly felt? One cannot help feeling that the brutalizing of this face is a matter rather of art than of truth. Contrast the two portraits here given (Figs. 89, 90), one in the bolder, more definite, larger style, admirable in its tones and discrimination of textures, among the very best in this manner; the other finer, with the tendency to fade into the background, but faultless in its rendering of the face, and proving by success the great effectiveness of the fine white cross-line.

“Nay, Love, ’tis you who stand
With almond clusters in your clasping hand.”

Engraved by T. Cole.
]

These illustrations of recent engraving are sufficiently numerous and various to offer a fair test of what has been done in different branches of the art. The capacity of any new school should be judged by the best it has produced; but, even in this best work, it is not difficult to discern at times the same tendencies that have been the main cause of failure in the less good work. The obscuration of leading outlines; the disregard of substance, shape, and material in leaf, cloud, and stuffs; the neglect of relief and perspective, the crowding of the ground with meaningless lines, either undirected or misdirected, or uselessly refined; the aim at an effect by an arrangement of color almost independent of form, the attempt to make a momentary impression on the eye, instead of to give lasting pleasure to the mind through the artistic sense, and--especially in the best work--the lack of perfect and masterly finish in all portions of the design, however insignificant by comparison with the leading parts--these must be counted as defects. How much of such failure is due to the designer, it is impossible to determine without sight of the original drawings; a considerable portion of the fault may rest with him; in wood-engravings, as art-works, the union of designer and craftsman is inseparable--the two stand or fall together. But when all deductions have been made, the best engravers may rightly be very proud of their work, confident of their future, and hopeful of great things. With such perfect technical skill as they possess, with such form and texture as they have represented with care, truth, and beauty; with such softness of tone and power of both delicate and strong line as some of their number have earned the mastery of, the value of future work depends only on the wisdom of their aims. If the fundamental grounds on which the foregoing criticism rests be true, these engravers have won success in so far as they have attended to form and texture as the main business of their art, and they have failed in so far as they have destroyed these. From its peculiar and original powers in the interpretation of form and texture by line-work, either black or white, wood-engraving has derived its value and earned the respect due it as an art, both through its great works in the past and, so far as yet appears, through its best works in the present. Wood-engravers, if the design given them to reproduce is in black line, fit for engraving in wood, must copy it simply, and then, should artist-draughtsmen arise, the art in this manner will again produce works of permanent value as in the days of Holbein; if, on the other hand, the design given them is in color or washed tints, or anything of that sort, they must interpret it by lines of their own creation, and then, too, should any engraver-draughtsmen arise among them, the art will possess a similarly high value; but in no other way than by attending to these two kinds of line-work, separately or together, can wood-engraving remain artistic; and even then its success will depend on the knowledge and skill of the designer, whether artist or engraver, in the use and arrangement of the special lines which are best adapted to the art.

The history of wood-engraving, as it is recorded in the chief monuments of the art, has now been told from its beginning down to the present moment. Its historic and artistic value has been mainly dwelt upon, with the view of showing its utility as a democratic art and its powers as a fine art. It has had an illustrious career. It has shared in the great social movements which transformed mediæval into modern civilization. It entered into the popular life, in its earliest days, by representing the saints whom the people worshipped. It contributed to the cause of popular civilization in the spread of literature. It assisted the introduction of realism into art, and gave powerful aid in the gradual secularization of art. It lent itself to the Italian genius, and was able to preserve something of the loveliness of the Italian Renaissance. It helped the Reformation. It gave enduring form to the imagination and thought of Dürer and Holbein. It fell into inevitable decline; but, when the development of democracy again began in the new age, it entered into the work of popular civilization with ever-increasing vigor and ever-widening influence. It seems still to possess unlimited capacities for usefulness in the future in both the intellectual and artistic education of the people. It may yet crown its career by making this country an art-loving as well as a book-reading Republic.

A LIST OF THE PRINCIPAL WORKS

UPON

WOOD-ENGRAVING USEFUL TO STUDENTS.

ARCHIV für die zeichnenden Künste, mit besonderer Beziehung auf Kupfer-stecher-und Holzschneidekunst. Herausg. von R. Naumann. 1ter-16ter Jahrgang. Leipzig, 1855-’70. 8vo.

BARTSCH (ADAM). Le Peintre-Graveur. Vienne, 1803-’21. 21 T. 8vo; Atlas, 4to.

BECKER (C.). Jobst Amman, Zeichner und Formschneider, etc., nebst Zusätzen von R. Weigel. Leipzig, 1854. 4to.

BERJEAU (J. PH.). Biblia Pauperum. Reproduced in Facsimile from one of the copies in the British Museum, with an historical and bibliographical Introduction. London, 1859. Folio.

Speculum Humanæ Salvationis. Le plus ancien Monument de la Xylographie et de la Typographic réunies. Reproduit en Facsimile, avec Introduction historique et bibliographique. Londres, 1861. Folio.

BERNARD (AUGUSTE). De l’Origine de l’Imprimerie. Paris, 1853. 2T. 8vo.

BIGMORE (E. C.) and WYMAN (C. W. H.). A Bibliography of Printing. With Notes and Illustrations. [Vol. 1.] A-L. London, 1880. 4to.

BILDER-ALBUM zur neueren Geschichte des Holzschnitts in Deutschland. Herausg. vom Albertverein. Leipzig, 1877. 4to.

BLANC (CHARLES). Grammaire des Arts du Dessin, etc. Paris, 1867. 8vo.

BREVIÈRE (A.). De la Xilographie ou Gravure sur bois. Rouen, 1833. 8vo.

CHATTO (W. A.). A Treatise on Wood-engraving. London, 1839. 8vo. Known as Jackson (John) and Chatto’s History.

DERSCHAU (H. A. VON). Holzschnitte alter deutscher Meister in den Originalplatten, gesammelt von Derschau, mit einer Abhandlung über die Holzschneidekunst begleitet, von Rudolph Zacharias Becker. Gotha, 1808-’16. 3 Th. Folio.

DIBDIN (T. F.). A bibliographical, antiquarian, and picturesque Tour in France and Germany. London, 1821. 3 vols. 8vo.

Bibliographical Decameron. London, 1817. 3 vols. 8vo.

Bibliotheca Spenceriana. London, 1814, ’15. 4 vols. 8vo.

DIDOT (AMBROISE FIRMIN). Essai typographique et bibliographique sur l’Histoire de la Gravure sur Bois. Paris, 1863. 8vo.

DOCUMENTS iconographiques et typographiques de la Bibliothèque royale de Belgique. Bruxelles, 1877. Folio.

Première Livr. Spirituale Pomerium, par L. Alvin.

Deuxième Livr. Gravures Criblées, par H. Hymans.

Troisième Livr. La Vierge de 1418, par Ch. Ruelens.

Cinquième Livr. Les neuf Preux, par É. Fétis.

Sixième Livr. Légende de Saint Servais, par Ch. Ruelens.

DUPLESSIS (G. G.). Essai de Bibliographie, contenant l’Indication des Ouvrages relatifs à l’Histoire de la Gravure et des Graveurs. Paris, 1862. 8vo.

Histoire de la Gravure. Paris, 1880. 8vo.

Les Merveilles de la Gravure. Paris, 1869. 8vo.

ÉMERIC-DAVID (T. B.) Discours Historique sur la Gravure en Taille-douce et sur la Gravure en Bois. Paris, 1809. 8vo.

FALKENSTEIN (C. C. VON). Geschichte der Buchdruckerkunst. Leipzig, 1840. 4to.

FOURNIER (P. S.). Dissertation sur l’Origine et les Progrès de l’Art de Graver en Bois. Paris, 1758. 8vo.

De l’Origine et des Productions de l’Imprimerie primitive en Taille de Bois. Paris, 1759. 8vo.

GARNIER (J. M.). Histoire de l’Imagerie populaire et des Cartes à jouer à Chartres. Chartres, 1869. 8vo.

GILKS (T.). A Sketch of the Origin and Progress of the Art of Wood-engraving. London, 1868. 8vo.

HAMERTON (P. G.). The Graphic Arts. London, 1882. Plates. Folio.

HEINECKEN (K. H., BARON VON). Idée générale d’une Collection complette d’Estampes. Leipsic et Vienne, 1771. 8vo.

HELLER (JOSEPH). Geschichte der Holzschneidekunst. Bamberg, 1823. 8vo.

HOLTROP (J. W.). Monumens typographiques des Pays-Bas au quinzième Siècle. La Haye, 1868. Folio.

HUMPHREYS (H. NOEL). A History of the Art of Printing. London, 1867. Folio.

Masterpieces of the early Printers and Engravers. London, 1870. Folio.

ILG (ALBERT). Ueber den kunsthistorischen Werth der Hypnerotomachia Poliphili. Wien, 1872. 8vo.

JANSEN (H.). Essai sur l’Origine de la Gravure en Bois et en Taille-douce. Paris, 1808. 2 T. 8vo.

LABITTE (A.). Gravures sur Bois tirées des Livres français du XVe Siècle. Paris, 1864. 4to.

LA BORDE (HENRI). Notice sur deux Estampes de 1406. Gazette des Beaux-Arts, Mars 1, 1869.

LA BORDE (LÉON E. S. J., MARQUIS DE). Débuts de l’Imprimerie à Strasbourg. Paris, 1840. 8vo.

Essai d’un Catalogue des Artistes originaires des Pays-Bas. Paris, 1849. 8vo.

LACROIX (PAUL). Les Arts au Moyen Âge et à l’Époque de la Renaissance. Paris, 1870. 8vo.

LANZI (L.). Storia pittorica della Italia dal Risorgimento delle Belle Arti fin presso al fine del XVIII secolo. 6a ed. Milano, 1823. 6 vols. 8vo.

MABERLY (J.). The Print Collector. Edited, with Notes and a Bibliography of Engraving, by R. Hoe, Jr. New York, 1880. 4to.

MEISTERWERKE der Holzschneidekunst aus dem Gebriete der Architektur, Sculptur und Malerei. 1ter-3ter Band. Leipzig, 1880, ’81. Folio.

MERLIN (R.). Origine des Cartes à Jouer. Paris, 1869. 4to.

MURR (C. G. VON). Bibliothèque de Peinture, de Sculpture, et de Gravure. Francfort et Leipsic, 1770. 2 vols. 12mo.

OTTLEY (W. Y.). An Inquiry concerning the Invention of Printing. London, 1863. 4to.

An Inquiry into the Origin and early History of Engraving, upon Copper and in Wood. London, 1816. 2 vols. 4to.

PAEILLE (C.). Essai historique et critique sur l’Invention de l’Imprimerie. Lille, 1859. 8vo.

PAPILLON (J. M.). Traité historique et pratique de la Gravure en Bois. Paris, 1766. 3 T. in 2. 8vo.

PASSAVANT (J. D.). Le Peintre-Graveur. Leipsic, 1860-’64. 6 T. 8vo.

RENOUVIER (JULES). Des Gravures en Bois dans les Livres d’Anthoine Verard. Paris, 1859. 8vo.

Des Gravures sur Bois dans les Livres de Simon Vostre. Paris, 1862. 8vo.

Des Types et des Manières des Maîtres Graveurs pour servir à l’Histoire de la Gravure. Montpellier, 1853-’56. 4to.

Histoire de l’Origine et des Progrès de la Gravure dans les Pays-Bas et en Allemagne, jusqu’à la fin du quinzième Siècle. Bruxelles, 1860. 8vo.

RUMOHR (C. F. L. F. VON). Zur Geschichte und Theorie der Formschneidekunst. Leipzig, 1837. 8vo.

RUSKIN (JOHN). Ariadne Florentina. Six Lectures on Wood and Metal Engraving. Orpington, Kent, 1876. 8vo.

SAVAGE (WILLIAM). Practical Hints on decorative Printing, with Illustrations engraved on Wood. London, 1822. 4to.

SCOTT (W. B.). Albert Dürer, his Life and Works. London, 1869. Sm. 8vo. The Little Masters. London, 1879. 8vo.

SINGER (S. WELLER). Researches into the History of Playing Cards; with Illustrations of the Origin of Printing and of Engraving on Wood. London, 1816. 4to.

SOTHEBY (S. L.). Principia Typographica. The Block-books issued in Holland, Flanders, and Germany during the fifteenth Century. London, 1858. 3 vols. Folio.

THAUSING (M.). Albert Dürer, his Life and Works. Translated. With Portraits and Illustrations. London, 1882. 8vo.

UMBREIT (A. E.). Ueber die Eigenhändigkeit der Malerformschnitte. Leipzig, 1840. 8vo.

VRIES (A. DE). Éclaircissemens sur l’Histoire de l’Imprimerie. La Haye, 1843. 8vo.

WAAGEN (G. F.). Treasures of Art in Great Britain, with Supplement. London, 1854-’57. 4 vols. 8vo.

WEIGEL (RUDOLPH). Holzschnitte berühmter Meister in treuen Copien. Leipzig, 1851-’54. Folio.

WEIGEL (T. O.) and ZESTERMANN (A. C. A.). Die Anfänge der Drucker-Kunst in Bild und Schrift. Leipzig, 1866. 2 Bände. Folio.

WILLSHIRE (W. H.). An Introduction to the Study and Collection of ancient Prints. 2d ed. London, 1877. 2 vols. 8vo.

WOLTMANN (ALFRED). Holbein und seine Zeit. Leipzig. 1866-’68. 2 Th. 8vo.

WORNUM (R. N.). Some Account of the Life and Works of Holbein. London, 1867. 8vo.

ZANI (P.). Materiali per servire alla Storia dell’Origine e de’ Progressi dell’Incisione in Rame e in Legno, etc. Parma, 1802. 8vo.

ZORN (PETER). Historia Bibliorum pictorum. Lipsiæ, 1743. 4to.

INDEX.

Adams, Joseph Alexander, 173.

Altdorfer, Albrecht, 111.

America:
earlier history and characteristics of the art, 171-177;
present position and influence, 177, 178;
works in imitation of other arts, 185;
errors in practice 190, 202;
future of the art, 202-206.

Amman, Jobst, 114.

Anderson, Alexander, 172.

Andreani, Andrea, 146.

Anthony, A. V. S., 176.

Ars Memorandi, 43.

Ars Moriendi, 43.

Augsburg:
prints, 26;
playing-cards, 27;
Bible, 52;
press, 46, 57.

Baldung, Hans, 110.

Bamberg: press, 56.

Basle:
characteristics of the city in Holbein’s time, 117.

Behaim, Hans Sebald, 112-114.

Bernard, St.:
his rebuke of art, 14.

Best, Adolphe, 169.

Bewick, Thomas:
the father of modern wood-engraving, 151;
sketch of his life, 154;
reforms effected by him, 154;
character of his genius, 154-160;
his works, 161;
influence on the art in America, 172.

Bible:
the Cologne, 49;
the Nuremberg, 50;
the Augsburg, 52;
the Strasburg, 50;
Coverdale’s, 132;
Le Clerc’s, 139;
Jean de Tournes’, 141;
Harper’s, 173.

Bible cuts:
Behaim’s, 113;
Holbein’s, 129-131;
Jean Moni’s, 141.

_Biblia Pauperum_:
their use, 31;
designs not original, 32;
description, 33;
place of issue, 37.

Blake, William, 162.

Block-printing:
invention, 30, 31, 42;
decline, 45.

Boldrini, Nicolo, 144.

Bouts, Diedrick, 39.

Branston, Robert, 164, 167.

Bray, Theodore de, 147.

Brevière, Henri, 169.

Breydenbach’s Travels, 55.

Brontë, Charlotte, criticism of Bewick, 159-161.

Brosamer, Hans, 114.

Brothers of the Common Lot:
their claim to the authorship of the block-books, 39.

Brussels: print of 1418, 23.

Burgkmaier, Hans:
genius and works, 99-106;
influence on Holbein, 117

Calcar, Jean, 146.

Carpi, Ugo da, 87, 146.

Caxton, William:
Game and Playe of the Chesse, 63.

Chiaroscuro-engraving, 87-89, 146, 148, 187-189.

Christopher, St.:
print of 1423, 22.

Chronicles:
general description, 52;
the Cologne, 53;
the Nuremberg, 53;
the Saxon, 53.

Clennell, Luke, 164, 167.

Cole, T., 197, 200.

Cologne:
early school of art, 42, 43;
Bible, 49;
Chronicle, 53;
press, 57.

Color:
in the holy prints, 26 _note_;
in early German books, 52;
in the _Livres d’Heures_, 60, 61;
in chiaroscuro-engraving, 87.

Color, conventional, 55, 151, 152.

Copperplate-engraving:
influence on wood-engraving, 47, 91, 112, 141, 149, 164, 176, 182.

Coriolano, Bartolemeo, 146.

Coster, Lawrence:
claim to the invention of wood-engraving, 21.

Cousin, Jean, 136-139.

Cranach, Lukas, 110.

Criblée-work:
description, 18;
in France, 62, 63.

Cross-hatching:
first use in Germany, 55;
in Italy, 86;
its propriety in wood-engraving, 152, 186.

Cunio, Isabella and Alexander Alberico, 20.

Dalziel, the Brothers, 168.

Dance of Death:
typical mediæval idea, 121;
Holbein’s, 123-129;
Guyot Marchand’s, 62.

Davis, J. P., 197.

Day, John, 147.

Didot, Firmin (père):
his influence on the French revival of the art, 163.

Dream of Poliphilo, 70-81, 137, 138.

Du Pré, Jean, 60.

Dürer, Albert:
influence on the art, 90;
character of his genius, 91, 92;
Apocalypse of St. John, 93, 94;
Larger Passion, Smaller Passion, Life of the Virgin, 95-97;
single prints, 97;
Car and Gate of Triumph, 97-99.

England:
early woodcuts, 63;
the art in Holbein’s time, 132, 147, 148;
modern revival, 151, 164.

Evans, Edmund, 168.

Form, value of, in wood-engraving, 193.

France:
early books in French, 58;
early woodcuts, 59-63;
influence of Germany and Italy, 62, 135;
character of the French Renaissance and its art, 135-141;
the modern revival, 163, 169.

French, Frank, 196.

Genre art, first appearance in wood-engraving, 121.

Germany:
German block-books, 42, 43;
activity and influence of the early printers, 46, 47;
the free cities, 48;
character of the early press, 48, 56, 57;
influence on France, 62;
on Italy, 67;
on Venice, 68;
chiaroscuro-engraving, 87;
the Renaissance, 91, 97, 110, 111, 115;
decline, 148;
the modern revival, 163, 169.

Gilbert, Sir John, 168.

Goldsmiths, mediæval:
their art-works, 14-16;
position in France and the Netherlands, 17;
their claim to the invention of wood-engraving, 18, 19.

Goltzius, Hendrick, 147.

Goujon, Jean, 139.

Greche, Domenico delle, 145.

Gregory the Great:
his defence of art, 31.

Groups, modern, 195-200.

Gubitz, Friedrich Wilhelm, 163.

Harvey, William, 167.

_Historia Johannis Evangelistæ ejusque Visiones Apocalypticæ_, 42.

_Historia Virginis Mariæ_, 41.

History of the Kings of Hungary, 53, 54.

Holbein, Hans:
the first modern artist, 116;
character and development of his genius, 117-120;
early work, 120; Dance of Death, 123-128;
his democratic, reforming, and sceptical spirit, dramatic and artistic power, 120-127;
Figures of the Bible, 129-131;
his English portraits, 131;
his English woodcuts, 132;
summary of his powers and influence, 132-134.

Holy prints, 21-26.

Hoskin, Robert, 195.

Hypnerotomachia Poliphili:
illustration of the Italian Renaissance, 70-81;
the French reproduction, 137, 138.

Initial letters:
in Faust and Scheffer’s Psalter, 46;
in the Augsburg Bible, 52;
in Italy, 86;
in Holbein’s alphabets, 120, 121.

Italy:
artistic spirit, 65;
democratic civilization, 66;
the Renaissance, 67;
introduction of printing, 68;
early cuts, 68;
general characterization of the engraved work, 85;
decline, 86;
chiaroscuro-engraving, 87-89;
influence on Holbein, 117, 118.

Jackson, John Baptist, 148.

Jegher, Christopher, 147.

Jerome, St., Epistles of, 70, 71.

Juengling, F., 195, 200.

Kerver, Thielman, 62.

King, F. S., 189, 193.

Kirkall, Edward, 148.

Kruell, G., 200.

Landscape, modern, 186-195.

Lavoignat, H., 169.

Le Caron, Pierre, 60.

Le Clerc, Jean, 139, 140.

Leech, John, 168.

Leloir, Auguste, 169.

Le Rouge, Pierre, 60.

Le Sueur, Pierre, 148.

Leyden, Lukas van, 110, 147.

Linton, W. J., 168, 176, 200.

Little Masters, 111.

Livens, Jean, 147.

_Livres d’Heures_, 60-62.

Lorch, Melchior, 114.

Lorme, Philibert de, 140.

Lucchesini, 148.

Lützelburger, Hans, 129.

Lyons:
earliest seat of the art in France, 59;
character of the earlier press, 59;
the later press, 140.

Magazines: use and influence, 167.

Marchand, Guyot, 60, 62.

Marsh, Henry, 176, 186.

Maximilian, Emperor:
life and character, 97;
works executed by his order--the Triumphal Car, 98;
Gate of Triumph, 99;
the Triumphal Procession, 99-105;
The Adventures of Sir Tewrdannckh, 106;
The Wise King, 106;
influence of his patronage, 109.

Mayence press, 46, 53, 55, 57.

Metal-engraving earlier than wood-engraving, 18.

Middle Ages:
position of goldsmiths, 14-18;
impersonal spirit, 26;
value of painting, 28, 31;
immobility of mind, 32;
religious temper and intellectual life, 40, 41;
art, typical, 53;
illustrated by Dürer, 92;
by Maximilian’s works, 99-105;
by the Dance of Death, 121.

Moni, Jean, 141.

Nanto, Francesco da, 145.

Nesbit, Charlton, 164.

Netherlands:
civilization in, 37;
wood-engraving probably invented in, 38;
decline of, 47, 57, 147.

Nicolo, Giuseppe, 146.

Nuremburg:
prints, 26;
playing-cards, 27;
Bible, 50;
Chronicle, 53;
press, 57, 114.

Painting, place of, in mediæval popular civilization, 28, 31.

Papillon, Jean, the Elder, 148;
the Younger, 20.

Paris:
character of the Parisian press, 59, 60;
early books and printers, 60;
the _Livres d’Heures_, 60,
secular books, 62, 63.

Périssin, Jacques, 140.

Pfister, Book of Fables, 56.

Pigouchet, Philippe, 62.

Playing-cards, 27.

Pleydenwurff, William, 53.

Pliny, reference to Varro’s portraits, 20.

Porret, 169.

Porto, Giovanni Battista del, 145.

Portraits, modern, 198, 200-202.

Principles of wood-engraving, 180-185.

Processes:
engraving in relief on wood known to the ancients, 13;
of taking impressions, 17;
_en manière criblée_, 18;
of taking off the holy prints, 21, 22;
of block-printing, 30;
of cross-hatching, 55;
of chiaroscuro-engraving, 87-89;
white-line and Bewick’s other reforms, 151-155.

Pynson, Richard, 64.

Raimondi, Marc Antonio, 96, 142.

Reformation reflected in wood-engraving, 51, 112, 117, 120, 126, 132.

Rembrandt, 147.

Renaissance: in Italy, 67-85;
in Germany, 91, 97, 110, 111, 115;
in France, 135-141.

Romances, popular, 59, 141.

Rubens, P. P.:
reproductions after his designs, 147.

Ruskin, John:
criticism on Holbein, 126;
on Bewick, 155.

Saints’ images, 21-26.

Salomon, Bernard, 140-141.

Sand, George, criticism of Holbein, 124.

Satire: in Bible-cuts, 50, 51;
in the Little Masters, 112;
in Holbein, 120, 132.

Saxony: Chronicle, 53.

_Schatzbehalter_, 54.

Schäuffelin, Hans, 106.

Schön, Erhard, 114.

Scolari, Giuseppe, 145.

Sebastian, St.:
print of 1437, 23.

Secularization of art, 50, 110, 111.

Smith, Orrin, 167.

Solis, Virgil, 114.

_Speculum Humanæ Salvationis_:
description, 34;
place of issue, 36;
authorship, 38, _note_, 39;
character of the cuts, 40.

_Spirituale Pomerium_, 39.

Springinklee, Hans, 106, 110.

Stamps, engraved, early use, 13.

Stimmer, Tobias, 114.

Strasburg:
Bible, 50;
press, 57.

Suger, defence of art, 15.

Tenniel, John, 168.

Tewrdannckh, Sir, Adventures of, 106.

Thompson, John, 164.

Titian, reproductions after his designs, 144-146.

Tortorel, Jean, 140.

Tory, Geoffrey, influence on French engraving, 135.

Trento, Antonio da, 146.

Turrecremata’s, Cardinal, Meditations, 68.

Ulm:
prints, 26;
press, 57.

Unger, Johann Georg, and Johann Gottlieb Friedrich, 163.

Van der Weyden, Roger, 42.

Van Eyck, 36, 37, 42.

Varro, portraits in his works, 20.

Vecellio, Cesare, 146.

Venice:
claim to the origin of wood-engraving, 20;
decree forbidding importation of prints from Germany, 27;
early cuts, 68;
early views of the city, 69;
later cuts, 82-87, 143-147.

Verard, Antoine, 60, 62.

Vesalius’s Anatomy, 145.

Vinci, Leonardo da, 142.

Vostre, Simon, 62.

White line:
description, 151;
influence on the art in Bewick’s hands, 153;
the engraver’s province, 154, 184.

Wise King, The, 106.

Woeiriot, Pierre, 140.

Wohlgemuth, Michael, 53, 54.

Worde, Wynkyn de, 64.

Zainer Gunther, 46, 52.

THE END.

* * * * *

Typographical errors corrected by the etext transcriber:

appendix von Albert Ilg. Wein=> appendix von Albert Ilg. Wien {pg 19}

Guyot Marchand’s La Dance Macabre, first published in 1485=> Guyot Marchand’s La Danse Macabre, first published in 1485 {pg 62}

its bloom in sun difers=> its bloom in sun differs {pg 181}

* * * * *

FOOTNOTES:

[1] “Documents, Iconographiques et Typographiques de la Bibliothèque Royale de Belgique,” Deuxième Livr. Gravure Criblée, par M. H. Hymans. Bruxelles, 1864-1873. Quoted in Willshire, “An Introduction to the Study and Collection of Ancient Prints.” London. 1877; 2 vols.; vol. ii., p. 64.

[2] “Fulget ecclesia in parietibus, et in pauperibus eget. Suos lapides induit auro; et suos filios nudos deserit. * * * Tam multa denique, tamque mira diversarium formarum ubique varietas apparet ut magis legere libeat in marmoribus, quam in codicibus, totum diem occupare singula ista mirando quam in lege Dei meditando.” Sancti Bernardi opera omnia. Recognita, etc., curis Dom. J. Mabillon. 4 vols. Paris, 1839; vol. i., col. 1242-1244, Apologia ad Guillelmum, cap. xii.

[3] “Abundet unusquisque in suo sensu, mihi fateor hoc potissimum placuisse ut quæcumque cariora, quæcumque carissima, sacrosanctæ Eucharistiæ amministrationi super omnia deservire debeant. Si libatoria aurea, si fialæ aureæ et si mortariola aurea ad collectam sanguinis hircorum aut vitulorum aut vaccæ ruffæ, ore Dei aut prophetæ jussu, deserviebant; quanto magis ad susceptionem sanguinis Jesu Christi vasa aurea, lapides preciosi, quæque inter omnes creaturas carissima continuo famulatu, plena devotione exponi debeat.” Œuvres complètes de Suger recueillies, etc., par A. L. de la Marche. Paris, 1867. Sur son administration Abbatiale, p. 199 _et seq._

[4] La Barte, “Histoire des Arts Industriels au Moyen Age et a l’époque de la Renaissance.” 4 tom. (Album, 2 tom.). Paris, 1864. Tom. i., pp. 391-513; tom. ii., pp. 1-592.

[5] Leon Delaborde, “Notice des Emaux et Objets divers exposés au Louvre.” Paris, 1853; p. 84.

[6] Leon Delaborde, “La plus ancienne Gravure du Cabinet des Estampes de la Bibliothèque Royale, est-elle ancienne?” Paris, 1840. Quoted in Willshire, vol. ii., p. 64.

[7] Theophilus Presbyter, “Schedula Diversarum Artium.” Revidirter text, ubersetzung und appendix von Albert Ilg. Wien, 1874; cap. lxxi., lxxii., pp. 281-283.

[8] Renouvier, “Histoire de l’Origine et des Progrès de la Gravure dans les Pays-Bas et en Allemagne, jusqu’à la fin du quinzième Siècle.” Bruxelles, 1860.

[9] The date of 1406 has been assigned to two examples at Paris with great ingenuity, but not unquestionably, by M. le Vte. Henri Delaborde, “Notice sur Deux Estampes de 1406 et sur les commencements de la Gravure Criblée.”--_Gazette des Beaux Arts_, Mars 1, 1869.

[10] Willshire, vol. ii., pp. 62, 63.

[11] Pliny, “Nat. Hist.,” liber xxxv., c. 2.

[12] W. Y. Ottley, “An Inquiry into the Origin and Early History of Engraving upon Copper and in Wood.” London, 1816; 2 vols.; vol. i., pp. 54-59.

[13] Papillon, “Traité Historique de la Gravure en Bois.” Paris, 1766. Trois parties en deux tomes; tom. i., p. 83.

[14] Von Murr, Zani, Émeric David, Ottley.

[15] Heinecken, Lanzi, Mariette, Didot.

[16] Jackson and Chatto, “A Treatise on Wood-engraving.” London, 1839; p. 39.

[17] Meerman, “Orig. Typogr.” Hagæ, Comit., 1765.

[18] Hadriani Junii Batavia. Lugdunum Batavorum, 1588.

[19] S. Sotheby, “Principia Typographica.” The block-books issued in Holland, Flanders, and Germany during the 15th century. London, 1858; 3 vols.; vol. i., p. 179.

[20] Heinecken, “Idée Générale d’une Collection complette d’Estampes.” Leipsic et Vienne, 1771; p. 250.

[21] Those who are curious may consult on this print “Quelques Mots sur la Gravure au millésime de 1418,” par C. D. B. (M. de Brou). Bruxelles, 1846. “La Plus Ancienne Gravure connue avec une date,” Mémoire par M. le Baron de Reiffenberg. Bruxelles, 1845; also, in favor of the date, the works of Ruelens, Luthereau, Renouvier, Berjeau, and against it, the works of Passavant, LaCroix, and Chatto.

[22] This print is described by Ottley in his “Inquiry,” etc. London, 1863. There is another woodcut on the reverse side of the leaf, representing the Virgin holding the dead Christ, of which Ottley gives a fac-simile. The manuscript with these woodcuts is now in the possession of Professor Norton, of Harvard College.

[23] Many fine examples of these prints are reproduced, with their original colors, in Weigel and Zestermann’s “Die Anfänge der Drucker-Kunst in Bild und Schrift.” 2 Bände. Leipzig, 1866.

[24] Four schools of coloring are reckoned: the Suabian School (Augsburg and Ulm), marked by bright colors; the Franconian (Nuremberg and Nördlingen), marked by less lively colors; the Bavarian (Friesing, Tegernsee, Kaisersheim), marked by use of pure carmine and ochre; the Lower Rhine (Cologne, and towns of Burgundy), marked by pure colors in pale tints. See Willshire, vol. i., p. 175 _et seq._

[25] Merlin, “Origine des Cartes à Jouer, Recherches nouvelles,” etc. Paris, 1869.

[26] Printed in Ottley, “An Inquiry,” etc., vol. i., p. 47.

[27] “Nam quod legentibus Scriptura, hoc idiotis præstat pictura cernentibus, quia in ipsa etiam ignorantes vident quid sequi debeant, in ipsa legunt qui litteras nesciunt; unde et præcipue gentibus pro lectione pictura est.” Patrologiæ Cursus Completus, Accurante, J. P. Migne, tom. lxxvii. Sancti Gregorii Magni, tom, iii., liber xi., epis. xiii., col. 1128. _Vide_, also, idem, liber ix., epis. cv., col. 1027.

[28] “Biblia Pauperum.” Reproduced in fac-simile, from one of the copies in the British Museum, with an historical and bibliographical introduction by J. Ph. Berjeau. London, 1859.

[29] “Speculum Humanæ Salvationis.” Le Plus Ancien Monument de la Xylographie et de la Typographie réunies. Reproduit en fac-simile, avec introduction Historique et Bibliographique, par J. Ph. Berjeau. Londres, 1861.

[30] The composition of the poem which forms the text of the _Speculum_ has been attributed to Vincent de Beauvais, who could not have written it, and to Conrad d’Altzheim, who might have written it; the designs have been attributed to various artists, particularly to Steurbout, but on the slightest grounds; the printing has been assigned to Lawrence Coster, in whose doubtful if not fabulous name no confidence can be placed, and to Veldener, Faust and Scheffer, Thierry Martens d’Alost, and other early German and Flemish printers.

[31] Renouvier, “Origine,” etc., p. 91; and Berjeau’s preface to the Fac-simile Reproduction of the _Speculum_. The claims of the Brotherhood are supported most fully by Harzen in “Archiv für die Zeichnenden Künste.” Leipsig, 1855.

[32] Didot, “Essai Typographique et Bibliographique sur l’Histoire de la Gravure sur Bois,” col. 205. Paris, 1863.

[33] Renouvier, “Des Gravures sur Bois dans les Livres de Simon Vostre.” Paris, 1862.

[34] See Duplessis on the works of Simon Vostre, and Brunet’s “Manuel du Libraire,” tom v., at the end, for farther information on the devotional books of the French printers.

[35] _Ante_, p. 18.

[36] _Vide_ Renouvier, Didot, Passavant.

[37] Vespas. Fior., p. 129. Quoted in Burckhardt, “The Civilization of the Period of the Renaissance in Italy.” Translated by S. G. C. Middlemore. Vol. i., p. 271. London, 1878.

[38] _The Academy_, October 15, 1872, pp. 383 _et seq._ _Vide_, also, Albert Ilg, “Ueber den Kunsthistorischen Werth der Hypnerotomachia Poliphili, ein Beitrag zur Geschichte der Kunstliteratur in der Renaissance.” Wien, 1872. The original edition of the Dream of Poliphilo is rare and costly. It was re-issued in Venice, in 1545, and in Paris, with some variations (of which some account is given on a later page), in 1546. There is an abridged translation in French by Legrand, without cuts, printed by Didot in 1804.

[39] “Le Triomphe de l’Empereur Maximilien. Vienne, 1796.”

[40] “La Mare au Diable, par George Sand,” pp. 5-7. Paris, 1869.