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diff --git a/40589-h/40589-h.htm b/40589-h/40589-h.htm index 5dbfb3b..a8b06fc 100644 --- a/40589-h/40589-h.htm +++ b/40589-h/40589-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml"> <head> -<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> <title>The Project Gutenberg eBook of A Brief History of Wood-engraving from Its Invention, by Joseph Cundall</title> <style type="text/css"> p, h5 { margin-top:.75em; margin-bottom:.75em; } @@ -66,26 +66,10 @@ </style> </head> <body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40589 ***</div> <h1 class="center">The Project Gutenberg eBook, A Brief History of Wood-engraving from Its Invention, by Joseph Cundall</h1> -<p>This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a></p> -<p>Title: A Brief History of Wood-engraving from Its Invention</p> -<p>Author: Joseph Cundall</p> -<p>Release Date: August 27, 2012 [eBook #40589]</p> -<p>Language: English</p> -<p>Character set encoding: ISO-8859-1</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK A BRIEF HISTORY OF WOOD-ENGRAVING FROM ITS INVENTION***</p> <p> </p> -<h4 class="center">E-text prepared by Chris Curnow, Keith Edkins,<br /> - and the Online Distributed Proofreading Team<br /> - (<a href="http://www.pgdp.net">http://www.pgdp.net</a>)<br /> - from page images generously made available by<br /> - Internet Archive<br /> - (<a href="http://archive.org">http://archive.org</a>)</h4> <p> </p> <table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> <tr> @@ -150,7 +134,7 @@ FETTER LANE, FLEET STREET, E.C.<br /> <tr><td class="ar sm" colspan="2">PAGE </td></tr> <tr><td class="tcapt"> On Pictures of Saints—The print of <i>The Virgin with the -Holy Child in her Lap</i> in the Bibliothèque Royale de +Holy Child in her Lap</i> in the Bibliothèque Royale de Belgique—On the print of <i>St. Christopher</i> in the Spencer Library at Manchester—The <i>Annunciation</i> and the <i>St. Bridget</i> of Sweden</td> @@ -172,7 +156,7 @@ Diaboli</i>—<b>Canticum Canticorum</b>, and others</td> <tr><td class="tcapt"> Block Book—<b>Speculum Humanae Salvationis</b>—<i>Casus Luciferi</i>—The Mentz Psalter of 1459—Book of Fables—The -Cologne Bible—Nürnberg Chronicle—Breydenbach's +Cologne Bible—Nürnberg Chronicle—Breydenbach's Travels</td> <td class="ar vbm w10"> <a href="#page28">28</a> </td></tr> @@ -192,7 +176,7 @@ CHAPTER VI </td></tr> on Metal Blocks—'Books of Hours'—Famous French Publishers: Pierre Le Rouge, Simon Vostre, Antoine Verard, Thielman Kerver, Guyot Marchant, -Philippe Pigouchet, Jean Dupré, and others</td> +Philippe Pigouchet, Jean Dupré, and others</td> <td class="ar vbm w10"> <a href="#page51">51</a> </td></tr> <tr><td class="ac pt2" colspan="2"> CHAPTER VII </td></tr> @@ -206,7 +190,7 @@ the Chesse</i>, &c.—Wynkyn de Worde—Richard Pynson</td> <tr><td class="ac pt2" colspan="2"> CHAPTER VIII </td></tr> <tr><td class="tcapt"> Wood-Engraving in Germany in the Sixteenth Century—Albrecht -Dürer—<i>Coronation of the Virgin</i>—The Apocalypse—The +Dürer—<i>Coronation of the Virgin</i>—The Apocalypse—The Little Passion—His Engravings on Copper—The Triumphs of Maximilian—The <i>Triumphal Arch</i>—The <i>Triumphal Car</i>—The <i>Triumphal Procession</i></td> @@ -214,7 +198,7 @@ Triumphs of Maximilian—The <i>Triumphal Arch</i>—The <tr><td class="ac pt2" colspan="2"> CHAPTER IX </td></tr> -<tr><td class="tcapt"> Hans Holbein—<i>Dance of Death</i>—Bible Cuts—Hans Lützelburger—<i>Dance +<tr><td class="tcapt"> Hans Holbein—<i>Dance of Death</i>—Bible Cuts—Hans Lützelburger—<i>Dance of Death Alphabet</i>—The Little Masters—Altdorfer—Beham—Brosamer—Aldegrever—Cranach</td> <td class="ar vbm w10"> <a href="#page81">81</a> </td></tr> @@ -236,14 +220,14 @@ Venice—Printing in Colour in Germany—<i>Habiti Antichi e Moderni</i> by Vecellio—Wood-Engraving in England—Foxe's <i>Acts and Monuments</i>—Holinshed's <i>Chronicles</i>—<i>A Booke of Christian Prayers</i>—Dr. Cuningham's <i>Cosmographical -Glasse</i>—<i>Æsop's Fables</i>—The French engraver +Glasse</i>—<i>Æsop's Fables</i>—The French engraver Papillon</td> <td class="ar vbm w10"> <a href="#page99">99</a> </td></tr> <tr><td class="ac pt2" colspan="2"> CHAPTER XII </td></tr> <tr><td class="tcapt"> Thomas Bewick and his Pupils—<i>Select Fables</i>—<i>History of -Quadrupeds</i>—<i>History of British Birds</i>—<i>Æsop's Fables</i>—Prices +Quadrupeds</i>—<i>History of British Birds</i>—<i>Æsop's Fables</i>—Prices at which these books were published—Death of Bewick</td> <td class="ar vbm w10"> <a href="#page108">108</a> </td></tr> @@ -344,7 +328,7 @@ English Engravers</td> <a href="images/i_014.png"><img style="width:100%" src="images/i_014.png" alt="The Virgin with four Saints" title="The Virgin with four Saints" /></a> THE VIRGIN WITH FOUR SAINTS<br /> - <i>In the Bibliothèque Royale de Belgique</i> + <i>In the Bibliothèque Royale de Belgique</i> </div> <p><!-- Page 4 --><span class="pagenum"><a name="page4"></a>{4}</span></p> @@ -355,14 +339,14 @@ English Engravers</td> each side of her. But the most important part of the print is the very solid three-barred gate at the entrance to the garden, for on the uppermost of the bars we distinctly read <b>m: cccc<sup>o</sup> - xviii<sup>o</sup></b>. The print itself measures 14½ inches in height by + xviii<sup>o</sup></b>. The print itself measures 14½ inches in height by 9 inches in width, without reckoning the border lines. It was found pasted at the bottom of an old coffer in the possession of an innkeeper at Malines in 1844 by a well-known architect, M. de Noter, who, recognising its great importance, offered it to the Royal Library at Brussels. It has been reproduced in scrupulously exact facsimile and fully described in the work entitled 'Documents iconographiques et - typographiques de la Bibliothèque Royale de Belgique,' published by MM. + typographiques de la Bibliothèque Royale de Belgique,' published by MM. Muquardt of Brussels. The small letters <sup>o</sup> are supposed to represent nails in the gate.</p> @@ -396,7 +380,7 @@ English Engravers</td> <p>Our illustration gives an idea of the original, which is still in the cover of the book in which it was discovered, and now in the Spencer - Library at Manchester. The cut measures 11½ inches in height by 8½ inches + Library at Manchester. The cut measures 11½ inches in height by 8½ inches in width, and is coloured after the manner of the time; that is, the Saint's robe is tinted with red and the lining with yellow ochre, the nimbuses are of the same kind of yellow; the robes of Christ and the monk @@ -429,7 +413,7 @@ English Engravers</td> <a href="images/i_017.png"><img style="width:100%" src="images/i_017.png" alt="St. Christopher" title="St. Christopher" /></a> ST. CHRISTOPHER<br /> - <i>The original (11½ in. by 8½ in.) is pasted inside the cover of an + <i>The original (11½ in. by 8½ in.) is pasted inside the cover of an old manuscript book in the Spencer Library now at Manchester.</i> </div> @@ -482,7 +466,7 @@ English Engravers</td> <a href="images/i_019.png"><img style="width:100%" src="images/i_019.png" alt="The Annunciation" title="The Annunciation" /></a> THE ANNUNCIATION<br /> - <i>The original (11½ in. by 8½ in.) is pasted inside the cover of an + <i>The original (11½ in. by 8½ in.) is pasted inside the cover of an old manuscript book in the Spencer Library.</i> </div> @@ -498,7 +482,7 @@ English Engravers</td> <p>The other print is of St. Bridget of Sweden (who died in 1373). She is seated at a sloping desk, writing with a stylus in a book. The motto - above her head is <b>o brigita bit got für uns</b> ('O Bridget, pray to + above her head is <b>o brigita bit got für uns</b> ('O Bridget, pray to God for us'). In the left upper corner is a small representation of the Virgin with the Holy Infant in her arms, opposite is a shield with the letters <span class="sm">S.P.Q.R.</span> on it, referring to her journey @@ -614,7 +598,7 @@ English Engravers</td> <a href="images/i_024.png"><img style="width:100%" src="images/i_024.png" alt="Biblia Pauperum Tenth Page" title="Biblia Pauperum Tenth Page" /></a> BIBLIA PAUPERUM—TENTH PAGE<br /> - (<i>Reduced from 10 in. by 7½ in.</i>) + (<i>Reduced from 10 in. by 7½ in.</i>) </div> <p><!-- Page 14 --><span class="pagenum"><a name="page14"></a>{14}</span></p> @@ -714,7 +698,7 @@ And as a son replaced,</td></tr> 'Worshippers of Idols spying on his acts.' Two of the idolaters are armed with hatchets, as if they intended to break open the door. [The Latin words, in accordance with the usual practice of the monks, are contracted - in a manner very puzzling to those unused to these mediæval writings.] + in a manner very puzzling to those unused to these mediæval writings.] There are several editions of the Apocalypsis, all apparently of German origin. <!-- Page 17 --><span class="pagenum"><a name="page17"></a>{17}</span></p> @@ -750,7 +734,7 @@ And as a son replaced,</td></tr> />r=<i>aliter</i>, a<img src="images/abb_ltilde.png" style="width:0.37em;" alt="symbol" />ia=<i>animalia</i>, abla<img src="images/abb_cbar.png" style="width:0.4em;" alt="symbol" - />o=<i>ablatio</i>, Wintoñ=Wintonia, no<img src="images/abb_btilde.png" + />o=<i>ablatio</i>, Wintoñ=Wintonia, no<img src="images/abb_btilde.png" style="width:0.5em;" alt="symbol" />=<i>nobis</i>, &c. A straight line through a consonant also denotes the omission of one or more letters, <i>e.g.</i> vo<img src="images/abb_bbar.png" @@ -763,13 +747,13 @@ And as a son replaced,</td></tr> style="width:0.43em;" alt="symbol" />ra=<i>terra</i>, <img src="images/abb_pre.png" style="width:0.5em; position:relative; top:0.6ex;" alt="symbol" />dictus=predictus, <i>i.e.</i> - <i>prædictus</i>.</p> + <i>prædictus</i>.</p> <p>3. The diphthong is sometimes represented thus, terr<img src="images/abb_ae1.png" style="width:0.4em; position:relative; top:0.6ex;" alt="symbol" /> or terr<img src="images/abb_ae2.png" style="width:0.37em; position:relative; top:0.93ex;" alt="symbol" - />=<i>terræ</i>.</p> + />=<i>terræ</i>.</p> <p>4. A straight or curved line through the letter p, thus, <img src="images/abb_per1.png" style="width:0.5em; position:relative; @@ -829,7 +813,7 @@ And as a son replaced,</td></tr> <p>9. <i>Est</i> is sometimes written <img src="images/abb_est.png" style="width:0.43em; position:relative; top:0.2ex;" alt="symbol" /> - ÷.</p> + ÷.</p> <p>10. Points or dots after letters often denote contractions, <i>e.g.</i> di. et fi.=<i>dilectus et fidelis</i>, e. for <i>est</i>, @@ -928,7 +912,7 @@ And as a son replaced,</td></tr> <p>There is but one quite perfect copy of the first edition of this book known, and this fortunately is in the British Museum. It was bought at - the Weigel sale in Leipsic in 1872 for the large sum of £1,072 + the Weigel sale in Leipsic in 1872 for the large sum of £1,072 10<i>s.</i>, exclusive of commission.</p> <p><b>Canticum Canticorum.</b>—The Church's Love unto Christ @@ -980,7 +964,7 @@ And as a son replaced,</td></tr> subjects, and these have given rise to long dissertations by writers on heraldry. Mr. Chatto's book has engravings of eighteen of them with descriptions. One is the shield of Alsace, another of the house of - Würtemberg, a third of the city of Ratisbon; and the cross-keys, the + Würtemberg, a third of the city of Ratisbon; and the cross-keys, the <i>fleur-de-lis</i>, the black spread-eagle, and a rose (much like our Tudor rose), may be seen on others. Several copies of the 'Canticum' have been found, coloured and uncoloured. Two editions of the Canticum @@ -1092,16 +1076,16 @@ And as a son replaced,</td></tr> <h5>CHAPTER IV</h5> -<h5><i>SPECULUM HUMANÆ SALVATIONIS</i></h5> +<h5><i>SPECULUM HUMANÆ SALVATIONIS</i></h5> <p>Historians tell us that in the fourteenth and fifteenth centuries the cities of the Netherlands were the most populous and the richest in all - Western Europe. Bruges, Ghent, Liège and Brussels by their manufactures, + Western Europe. Bruges, Ghent, Liège and Brussels by their manufactures, and Antwerp by her commerce, in which she rivalled Venice, had become celebrated for their great wealth, the grandeur of their rulers, and the magnificence of their great Guilds. The more northern towns, too, Amsterdam, Haarlem, and Utrecht, and many cities of Germany, such as - Mentz, Cologne, Strasburg, Nürnberg, Augsburg, and Basel, were rich and + Mentz, Cologne, Strasburg, Nürnberg, Augsburg, and Basel, were rich and prosperous. It was among these cities that the sister arts of printing and wood-engraving first flourished.</p> @@ -1132,8 +1116,8 @@ And as a son replaced,</td></tr> <div class="figcenter" style="width:48%;"> <a href="images/i_040.png"><img style="width:100%" src="images/i_040.png" - alt="First Page of the Speculum Humanæ Salvationis" title="First Page of the Speculum Humanæ Salvationis" /></a> - FIRST PAGE OF THE SPECULUM HUMANÆ SALVATIONIS + alt="First Page of the Speculum Humanæ Salvationis" title="First Page of the Speculum Humanæ Salvationis" /></a> + FIRST PAGE OF THE SPECULUM HUMANÆ SALVATIONIS </div> <p>The first book of importance that was printed at a press <!-- Page 30 @@ -1141,7 +1125,7 @@ And as a son replaced,</td></tr> type was the celebrated Bible<a name="NtA_2" href="#Nt_2"><sup>[2]</sup></a> which Gutenberg produced at Mentz about the year 1455. About the same time it is asserted that Laurent Janszoon - Coster of Haarlem issued the <i>Speculum Humanæ Salvationis</i>, and much + Coster of Haarlem issued the <i>Speculum Humanæ Salvationis</i>, and much discussion has risen as to which book has the prior claim. The Dutch insist on Coster as being the proto-printer; the Germans not only assert the claim of Gutenberg but say that Coster is a myth! The controversy is @@ -1233,7 +1217,7 @@ And as a son replaced,</td></tr> they picture the principal intellectual life of the Middle Ages; they show the sources of that deep feeling in the earlier Dutch artists which gave dignity and sweetness to their works. Even in the rudeness of these - books, in the texts as well as in the designs, there is a <i>naïveté</i>, + books, in the texts as well as in the designs, there is a <i>naïveté</i>, an openness and freshness of nature, a confidence in limited experience and contracted vision, which make the sight of these cuts as charming as conversation with one who had never heard of America or dreamed of @@ -1278,8 +1262,8 @@ And as a son replaced,</td></tr> leaves, containing eighty-five fables in rhyme in the old German language, illustrated with a hundred and one cuts. They are of little merit and show no advancement in the art of wood-engraving. The only - known copy of this book, which is in the Wolfenbüttel Library, was taken - away by the French under Napoleon's orders and added to the Bibliothèque + known copy of this book, which is in the Wolfenbüttel Library, was taken + away by the French under Napoleon's orders and added to the Bibliothèque Nationale; it was restored at the surrender of Paris in 1815.</p> <p>We cannot give a list of all the books containing woodcuts that were @@ -1291,10 +1275,10 @@ And as a son replaced,</td></tr> about equal in merit to those in the 'Biblia Pauperum,' but show no improvement. The subject of the cut is 'The Grief of Hannah.' We see Elkanah and his two wives, Hannah and Peninnah, in a room from which the - artist has obligingly taken away one of the sides. In the Nürnberg Bible, + artist has obligingly taken away one of the sides. In the Nürnberg Bible, printed in 1482, we find the same set of cuts.</p> - <p>The <b>Nürnberg Chronicle</b>, often quoted as an example of early + <p>The <b>Nürnberg Chronicle</b>, often quoted as an example of early German wood-engraving, is a folio volume containing more than two thousand cuts, which include views of cities, portraits of saints and other holy men, scenes from Biblical and profane history, and a great @@ -1310,7 +1294,7 @@ And as a son replaced,</td></tr> superintendence of Wolgemuth, who was an artist of repute. Chatto says they are the most tasteless and worthless things that are to be found in any book, ancient or modern—but this is too sweeping an assertion. - The work was compiled by Hartman Schedel, a physician of Nürnberg, and + The work was compiled by Hartman Schedel, a physician of Nürnberg, and printed in that city by Anthony Koburger in 1493.</p> <p>The most important book of this time, so far as the woodcuts are @@ -1546,7 +1530,7 @@ And as a son replaced,</td></tr> 1506 to 1510, and he sold his books at a rate too cheap to be remunerative.</p> - <p>The first printed edition of <span class="sc">Æsop's Fables</span>, + <p>The first printed edition of <span class="sc">Æsop's Fables</span>, which appeared at Verona as early as 1481, and was reprinted at Venice in 1491, contains many excellent engravings inclosed in ornamental borders, thoroughly Italian in character. The figures are not unlike those in the @@ -1585,7 +1569,7 @@ And as a son replaced,</td></tr> class="sc">Decameron</span>,' with many excellent cuts, one of which, representing a bootmaker's shop, we give as an illustration, was printed by the brothers Gregorio at Venice in 1492. And there are some - illustrations in a book called '<span class="sc">Fiore di Virtù</span>,' + illustrations in a book called '<span class="sc">Fiore di Virtù</span>,' which appeared in Venice in the same year, that may be praised for the work of the wood-engraver, though the designer shows a sad ignorance of the laws of perspective and proportion. And we have before us an @@ -1670,7 +1654,7 @@ And as a son replaced,</td></tr> engraving was done on some material of this kind, not too hard to cut, not too soft to wear away. It will be noticed that the groundwork of many borders in the French books is filled with little white dots, - <i>criblé</i> it was called; these dots are, in the first place, to + <i>criblé</i> it was called; these dots are, in the first place, to imitate similar work in the gold grounds of the borders of illustrated missals, and, in the second place, to save the labour of cutting away so much of the metal as would be required for a white ground. These dots @@ -1724,17 +1708,17 @@ And as a son replaced,</td></tr> Manuscripts containing their miniature paintings command a large sum whenever they are offered for sale at the present day. These artists, it is said, gave their aid to the publishers of the 'Book of Hours' - (<i>Heures à l'usage de Rome</i>), which had such an enormous sale that + (<i>Heures à l'usage de Rome</i>), which had such an enormous sale that each publisher produced an edition for himself. Mr. Noel Humphreys asserts, in his 'History of the Art of Printing,' that no fewer than sixty editions were published between 1484 and 1494. In his 'Introduction to the Study and Collection of Ancient Prints,' Dr. Willshire says: 'Towards the end of the fifteenth and beginning of the sixteenth - centuries some well-known French printers—Pigouchet, Jean Dupré, + centuries some well-known French printers—Pigouchet, Jean Dupré, Antoine Verard, and Simon Vostre—published some beautiful "Books of Hours," ornamented with engravings having some peculiar characters. The chief of these were that the ground and often the dark portions of the - print were finely <i>criblé</i> or dotted white, serving as a means of + print were finely <i>criblé</i> or dotted white, serving as a means of "killing black"—a practice then prevalent among French engravers; secondly, each page of text was surrounded by a border of little subjects engraved in the same manner, and often repeated at every third page.... @@ -1770,7 +1754,7 @@ And as a son replaced,</td></tr> of the cut is from an illuminated manuscript. In another of Vostre's Missals we find a copy of an engraving after the German painter, Martin Schongauer, 'Christ bearing the Cross,' enclosed in a French Renaissance - frame. In the sky there is a good example of the <i>criblé</i> work of + frame. In the sky there is a good example of the <i>criblé</i> work of which we have spoken. The towers of Jerusalem in the background must have been evolved from the artist's inner consciousness: he certainly never saw the Holy City.</p> @@ -1779,10 +1763,10 @@ And as a son replaced,</td></tr> href="#Nt_5"><sup>[5]</sup></a> very much like Vostre's. We are told that he frequently printed a few copies on the finest vellum and had them coloured in exact imitation of the illuminated Missals. One of Verard's - patrons was the Duc d'Angoulême, a noted bibliophile, who commissioned + patrons was the Duc d'Angoulême, a noted bibliophile, who commissioned him to print on vellum the romance of '<span class="sc">Tristan</span>,' - the 'Book of Consolation' of Boethius, the 'Ordinaire du Chrétien,' and - the 'Heures en François,' all with illuminated borders and handsome + the 'Book of Consolation' of Boethius, the 'Ordinaire du Chrétien,' and + the 'Heures en François,' all with illuminated borders and handsome bindings. For this great amount of work Verard received about 240<i>l.</i>, then equivalent perhaps to 1,000<i>l.</i> of the present day. We give an outline copy of one of the pages of the romance of '<span @@ -1806,7 +1790,7 @@ And as a son replaced,</td></tr> piracy of this kind was rampant all over Europe, and but little regarded. We give <!-- Page 59 --><span class="pagenum"><a name="page59"></a>{59}</span>a reduced copy of Kerver's book-mark; in the - original it will be seen that the background is <i>criblé</i>, thus + original it will be seen that the background is <i>criblé</i>, thus suggesting that it was cut on metal.</p> <div class="figcenter" style="width:26%;"> @@ -1835,7 +1819,7 @@ And as a son replaced,</td></tr> <p>A special chapter might well be devoted to the beautiful marks used by French printers. Guyot Marchant's mark represents leather-workers engaged at their trade, and above are a few musical notes. There are two - varieties of this device. The mark of Jehan Du Pré is an elaborate piece + varieties of this device. The mark of Jehan Du Pré is an elaborate piece of work, in which heraldry plays a conspicuous part, while that of Antoine Caillaut is pictorial. The Le Noirs used devices in which the heads of negroes figured prominently. The well-known mark of Badius @@ -1927,7 +1911,7 @@ And as a son replaced,</td></tr> Museum. He produced the first printed edition of Chaucer, Lydgate, Gower, and Sir Thomas Malory's 'King Arthur.' He was an accomplished linguist, and translated and published Cicero's Orations 'De Senectute' and 'De - Amicitia,' Virgil's 'Æneid' and many other classical works.</p> + Amicitia,' Virgil's 'Æneid' and many other classical works.</p> <div class="figcenter" style="width:42%;"> <a href="images/i_075.png"><img style="width:100%" src="images/i_075.png" @@ -2035,7 +2019,7 @@ And as a son replaced,</td></tr> <p>We must now retrace our brief history to Germany, where, under the immediate direction and control of such well-known artists as Albrecht - Dürer of Nürnberg (<i>b.</i> 1471, <i>d.</i> 1528) and Hans Burgkmair of + Dürer of Nürnberg (<i>b.</i> 1471, <i>d.</i> 1528) and Hans Burgkmair of Augsburg (<i>b.</i> 1472, <i>d.</i> 1531), as well as of Lucas Cranach, a Franconian (<i>b.</i> 1472, <i>d.</i> 1553), and, afterwards, of Hans Holbein of Augsburg (<i>b.</i> 1497, <i>d.</i> 1543), the art of @@ -2050,10 +2034,10 @@ And as a son replaced,</td></tr> completed when the Emperor died in 1519, we must speak in their proper place.</p> - <p>It was to the genius of Albrecht Dürer and the engravers who + <p>It was to the genius of Albrecht Dürer and the engravers who translated his drawings into woodcuts that the art received its new vigour. Up to this time wood-engraving in Germany had been the work of - craftsmen who were little better than mechanics; but when Dürer and + craftsmen who were little better than mechanics; but when Dürer and Burgkmair, who knew the capabilities of the art, made drawings on the wood expressly for the engravers to reproduce in exact lines, there <!-- Page 70 --><span class="pagenum"><a name="page70"></a>{70}</span>was a @@ -2061,7 +2045,7 @@ And as a son replaced,</td></tr> half a century. After the death of Holbein and his immediate successors, the art faded into insignificance in Germany for many years.</p> - <p>The first important work of the early life of Albrecht Dürer was a + <p>The first important work of the early life of Albrecht Dürer was a series of fifteen large drawings on wood representing allegorical Scenes from the Apocalypse. They are mystical, indeed almost incomprehensible; at the same time we are obliged to notice the tremendous vigour and the @@ -2075,14 +2059,14 @@ And as a son replaced,</td></tr> a wonderfully grand conception of the Four Horsemen going forth to conquer; Death on the pale horse below, and 'Hell following him.' (Revelation vi. 8.) King, burgher, peasant and priest, have all fallen - beneath him. Although we are expressly told that Dürer himself printed + beneath him. Although we are expressly told that Dürer himself printed this work in 1498, it by no means follows that he engraved the woodcuts; they are greatly in advance of any previous work of the kind, and this may be attributed to the fact that the artist who designed them knew the best capabilities of the art. If he and the unknown engraver had learned the advantages of lowering the face of the wood when delicate lines were required, and the present methods of overlaying the cuts to produce - greater intensity of colour, some of the engravings of Dürer's time would + greater intensity of colour, some of the engravings of Dürer's time would be models of excellence.</p> <p>The series of the Apocalypse was succeeded by three others in which @@ -2097,7 +2081,7 @@ And as a son replaced,</td></tr> development. They were all published between 1510 and 1512, and so great was their popularity that the celebrated Italian engraver, Marc Antonio Raimondi, reproduced the whole of 'The Smaller Passion' in - copper-plate—much, as may be imagined, to Dürer's annoyance.</p> + copper-plate—much, as may be imagined, to Dürer's annoyance.</p> <p>In the 'Larger Passion of Our Lord' we find representations of the Last Supper, Christ on the Mount of Olives, the Betrayal, the Scourging, @@ -2113,17 +2097,17 @@ And as a son replaced,</td></tr> the Holy Land.</p> <p>The series of twenty large engravings called 'The Life of the Virgin' - was published and sold by Dürer himself in book form at about the same + was published and sold by Dürer himself in book form at about the same time (1510), and was equally well received by the German people, who were at that time in a state of religious ferment consequent on the preachings - of Martin Luther, and Dürer was one of his prominent disciples.</p> + of Martin Luther, and Dürer was one of his prominent disciples.</p> <p><!-- Page 72 --><span class="pagenum"><a name="page72"></a>{72}</span></p> <div class="figcenter" style="width:47%;"> <a href="images/i_083.png"><img style="width:100%" src="images/i_083.png" alt="The Virgin Crowned by two Angels" title="The Virgin Crowned by two Angels" /></a> - THE VIRGIN CROWNED BY TWO ANGELS. BY ALBRECHT DÜRER<br /> + THE VIRGIN CROWNED BY TWO ANGELS. BY ALBRECHT DÃœRER<br /> <i>Engraved by Jerome Andre</i> (<i>?</i>) </div> @@ -2142,14 +2126,14 @@ And as a son replaced,</td></tr> href="#Nt_6"><sup>[6]</sup></a> with an exhaustive introduction by Mr. Cole.</p> - <p>The most admired of all the works of Dürer are the large plates known + <p>The most admired of all the works of Dürer are the large plates known as 'The Knight, Death, and the Devil,' 'The Conversion of St. Eustace,' 'Melencolia,' 'St. Jerome in his Chamber,' and several others which he engraved or etched on copper with his own hands and which he himself published. Fine impressions of these marvellous works are now as eagerly sought for as celebrated Rembrandt etchings.</p> - <p>Dürer made also many drawings on wood which were engraved and printed + <p>Dürer made also many drawings on wood which were engraved and printed under his immediate supervision, and issued in separate sheets. Of one of the most beautiful, of these, 'The Virgin crowned by two Angels,' we are able to give an impression which is an exact facsimile (reduced) of a @@ -2158,12 +2142,12 @@ And as a son replaced,</td></tr> not for the hardness of the lines in the faces and other objects where softness is required, no craftsman of the present day could surpass its excellence as a product of the printing-press. Many other separate large - wood-engravings, after Dürer's drawings, appeared between the years 1510 + wood-engravings, after Dürer's drawings, appeared between the years 1510 and 1518, such as 'The Holy Family with the three Rabbits,' 'St. Jerome in his Chamber,' 'The Flight into Egypt,' 'Beheading of St. John the Baptist,' and, among other strange subjects, a representation of a Rhinoceros. <!-- Page 74 --><span class="pagenum"><a - name="page74"></a>{74}</span>Dürer also designed a frontispiece to his + name="page74"></a>{74}</span>Dürer also designed a frontispiece to his own book of poems, published in 1510.</p> <p>Three magnificent books illustrated with woodcuts of great size, the @@ -2171,7 +2155,7 @@ And as a son replaced,</td></tr> early in the sixteenth century. The first is an epic relating to the Emperor Maximilian's journey to Burgundy on matrimonial affairs; it was published in 1517. Hans Schaufelein drew the designs for a hundred and - eighteen cuts, measuring 6½ inches by 5½ inches each. The second is in + eighteen cuts, measuring 6½ inches by 5½ inches each. The second is in honour of the Emperor's journeys in distant lands, and the third to celebrate his deeds of prowess. There are 237 designs, chiefly by Hans Burgkmair of Augsburg, in the 'Werskunig'; the blocks are still @@ -2188,18 +2172,18 @@ And as a son replaced,</td></tr> magnificence of his court, the splendour of his victories, and the extent of his dominions. It consists of three distinct sets of designs: (I.) The 'Triumphal Arch,' (II.) the 'Triumphal Car,' both from the hand of - Albrecht Dürer, and (III.) the 'Triumphal Procession,' by Hans Burgkmair. + Albrecht Dürer, and (III.) the 'Triumphal Procession,' by Hans Burgkmair. The size of the work is immense; if the whole series were laid out side by side it would cover about one hundred and ninety-two feet (64 yards!) The drawings were made on pear-wood and were cut by about eleven - different engravers, of whom the most famous was Jerome of Nürnberg. Many + different engravers, of whom the most famous was Jerome of Nürnberg. Many of the original blocks are happily preserved in the Imperial Library at Vienna, and on the backs of them are written the names or <!-- Page 75 --><span class="pagenum"><a name="page75"></a>{75}</span>initials of the various engravers. It is evident, therefore, that at the beginning of the sixteenth century there was a recognised school of wood-engravers in Germany of considerable importance. One of them, Jobst de Neger, or - Dienecker, came from Antwerp; a few lived at Nürnberg, others at + Dienecker, came from Antwerp; a few lived at Nürnberg, others at Augsburg.</p> <p>Some idea of the 'Triumphal Arch' is conveyed to our mind when we @@ -2211,7 +2195,7 @@ And as a son replaced,</td></tr> Power, on the right is the Gate of Nobility, on the left the Gate of Fame, a part of which is seen in the illustration. The arch itself is decorated with portraits of the Roman Emperors from the time of Julius - Cæsar, shields of arms showing the descent of the Emperor and his + Cæsar, shields of arms showing the descent of the Emperor and his alliances, representations of his most famous exploits, including his adventures while chamois-hunting in the Tyrol, with explanatory verses in the German language cut in the wood. Above the central entrance is a @@ -2221,7 +2205,7 @@ And as a son replaced,</td></tr> historiographer and poet of the Emperor. The work was begun in 1515—four years before the Emperor's death—and was not quite finished at the time of the death of the artist in 1528. Although we do - not see the greatest excellence of Dürer's peculiar genius in this + not see the greatest excellence of Dürer's peculiar genius in this immense production executed to order, for it is too full of German fantasies and very unlike the classic simplicity of the old Roman arches, it will be found to contain the finest work of the wood-engraver at that @@ -2233,13 +2217,13 @@ And as a son replaced,</td></tr> <a href="images/i_087.png"><img style="width:100%" src="images/i_087.png" alt="The Gate of Fame" title="The Gate of Fame" /></a> THE GATE OF FAME<br /> - (<i>From the 'Triumphal Arch' by Albrecht Dürer. Engraved by Jerome + (<i>From the 'Triumphal Arch' by Albrecht Dürer. Engraved by Jerome Andre.</i>) </div> <p><!-- Page 77 --><span class="pagenum"><a name="page77"></a>{77}</span></p> - <p>The 'Triumphal Car,' also designed by Dürer at the suggestion of + <p>The 'Triumphal Car,' also designed by Dürer at the suggestion of Stabius, is a richly decorated chariot drawn by six pairs of horses. In it the Emperor in his imperial robes is seated under a canopy amid allegorical figures representing Justice, Truth, Clemency, Temperance, @@ -2313,13 +2297,13 @@ And as a son replaced,</td></tr> and feudal delights in such exuberance of picturesque and feudal display.'</p> - <p>Dürer's designs for the 'Prayer-book of Maximilian' also claim a short + <p>Dürer's designs for the 'Prayer-book of Maximilian' also claim a short notice. Only three copies of the work are known to be in existence, one of which is in the British Museum. The margins are full of fanciful designs; amid intertwining branches, birds are singing, apes are climbing, snakes creeping, and gnats flying. King David is charming a stork with his harp; a fox is playing a flute to poultry. It is a curious - mixture of the sacred and profane, for which Dürer has often been + mixture of the sacred and profane, for which Dürer has often been censured. The engraving of the subjects, which are in outline, is excellent.</p> @@ -2330,7 +2314,7 @@ And as a son replaced,</td></tr> <h5>CHAPTER IX</h5> -<h5><i>HANS HOLBEIN AND HANS LÜTZELBURGER</i></h5> +<h5><i>HANS HOLBEIN AND HANS LÃœTZELBURGER</i></h5> <p>Hans Holbein, who first saw the light at Augsburg in the year 1497, was the greatest artist ever born in Germany, and as he passed half of @@ -2341,23 +2325,23 @@ And as a son replaced,</td></tr> brought up amidst all the paraphernalia of the studio, and at a very early age began to design title-pages, initial letters, and ornaments for numerous important books published by Johann Froben, Valentine Curio, and - other printers of Basel, and Christoph Froschover, of Zürich. Some of + other printers of Basel, and Christoph Froschover, of Zürich. Some of these folio title-pages, most of which are of an architectural character, are veritable works of art, and are greatly treasured at the present day. Next we find him making illustrations for the New Testament, some of which were engraved on wood and some on metal, probably by Dienecker or - Lützelburger, though of this we have no direct evidence.</p> + Lützelburger, though of this we have no direct evidence.</p> <p>But Holbein's greatest fame, as a designer of book-illustrations, is derived from his well-known series of the 'Dance of Death,' which was first given to the world in the year 1538, though from some proofs still in existence they are known to have been engraved before the artist's first visit to London in 1527. It is believed that the original forty-one - drawings on wood were all cut by Hans Lützelburger, who has been very + drawings on wood were all cut by Hans Lützelburger, who has been very properly called the 'True Prince of Wood-Engravers,' for, in the opinion of our foremost critics, these 'Dance of Death' cuts are the masterpieces of the art at that period, excelling even the work of Jerome Andre of - Nürnberg on Dürer's 'Triumphal Arch.' <!-- Page 82 --><span + Nürnberg on Dürer's 'Triumphal Arch.' <!-- Page 82 --><span class="pagenum"><a name="page82"></a>{82}</span></p> <div class="figcenter" style="width:26%;"> @@ -2432,7 +2416,7 @@ And as a son replaced,</td></tr> <p>About the same time another series of wood-engravings appeared, consisting of eighty-six designs by Holbein, drawn on wood larger than the 'Dance of Death' blocks and just as well engraved, probably by - Lützelburger; these were 'Scenes from Old Testament History,' generally + Lützelburger; these were 'Scenes from Old Testament History,' generally known as 'Holbein's Bible Cuts'; they were issued separately with descriptions in verse and were also used to illustrate Bibles. <!-- Page 86 --><span class="pagenum"><a name="page86"></a>{86}</span></p> @@ -2441,7 +2425,7 @@ And as a son replaced,</td></tr> <a href="images/i_097.png"><img style="width:100%" src="images/i_097.png" alt="The Happiness of the Godly" title="The Happiness of the Godly" /></a> THE HAPPINESS OF THE GODLY.—HOLBEIN'S BIBLE CUTS<br /> - <i>Engraved by Lützelburger</i> + <i>Engraved by Lützelburger</i> </div> <p>This series was also reproduced by the same artists who cut the 'Dance @@ -2460,7 +2444,7 @@ And as a son replaced,</td></tr> in England.</p> <p>A wonderful alphabet, with 'Dance of Death' figures, evidently - designed by Holbein, has <b>Hanns Lützelburger (Formschnider) genant + designed by Holbein, has <b>Hanns Lützelburger (Formschnider) genant Franck</b> printed at the foot of the page. These letters were probably engraved on metal. A 'Peasant's Dance' and 'Children's Sports,' designed as headings of chapters by the same artist, are well known, as they have @@ -2470,10 +2454,10 @@ And as a son replaced,</td></tr> <a href="images/i_098.png"><img style="width:100%" src="images/i_098.png" alt="Joab's Artifice" title="Joab's Artifice" /></a> JOAB'S ARTIFICE.—HOLBEIN'S BIBLE CUTS<br /> - <i>Engraved by Lützelburger</i> + <i>Engraved by Lützelburger</i> </div> - <p>In the works of 'The Little Masters' who succeeded Dürer and Holbein + <p>In the works of 'The Little Masters' who succeeded Dürer and Holbein we are not much concerned. Albrecht Altdorfer (<i>d.</i> 1538) was a designer as well as an engraver on wood. Hans Beham (<i>d.</i> 1550?) is best known by his <!-- Page 88 --><span class="pagenum"><a @@ -2489,7 +2473,7 @@ And as a son replaced,</td></tr> Luther, Melanchthon, and the notorious John of Leyden. Virgil Solis (<i>d.</i> 1562) was a prolific book-illustrator; he designed a series of 216 Bible pictures, all of small size, as well as 178 cuts for Ovid's - 'Metamorphoses,' and 194 for Æsop's Fables; he also designed and probably + 'Metamorphoses,' and 194 for Æsop's Fables; he also designed and probably engraved much ornament, especially for title-pages of books, some of which was very good. Jost Amman (<i>d.</i> 1591) is celebrated for his book of 'All Ranks, Arts, and Trades,' with one hundred and thirty-two @@ -2544,19 +2528,19 @@ And as a son replaced,</td></tr> <div class="figright" style="width:18%;"> <a href="images/i_102.png"><img style="width:100%" src="images/i_102.png" - alt="Le Pot-cassé" title="Le Pot-cassé" /></a> - LE POT-CASSÉ<br /> + alt="Le Pot-cassé" title="Le Pot-cassé" /></a> + LE POT-CASSÉ<br /> (<i>Device of Geoffroy Tory</i>) </div> <p>In striking contrast to the simplicity of these popular wood-engravings are the elaborate engravings which appeared in the more expensive books issued in the latter half of the same century, when - illustrated editions of Dante, Boccaccio, Ovid, Æsop's Fables, and + illustrated editions of Dante, Boccaccio, Ovid, Æsop's Fables, and Alciat's 'Emblems,' appeared, one after the other, but not one of these calls for <!-- Page 91 --><span class="pagenum"><a name="page91"></a>{91}</span>special notice; nor did the best of their - wood-engravings equal the work of Lützelburger. The frontispiece of a + wood-engravings equal the work of Lützelburger. The frontispiece of a curious book, <i>Le Sorti di Marcolini da Forli</i>, printed at Venice in 1540, of which we offer a reduced copy, gives us a good idea of the prevailing art of the period. It is said to be taken from a design by @@ -2576,7 +2560,7 @@ And as a son replaced,</td></tr> great influence at that time, for he had much inborn taste and excellent skill, and publishers should all be proud of him as one of their most praiseworthy ancestors. He adopted the singular design the - <i>Pot-cassé</i>, of which we give a copy, as his somewhat enigmatical + <i>Pot-cassé</i>, of which we give a copy, as his somewhat enigmatical device; and some writers maintain that the little 'Cross of Lorraine' (‡) found on many of the cuts of this period is also his mark. <!-- Page 92 --><span class="pagenum"><a @@ -2689,7 +2673,7 @@ And as a son replaced,</td></tr> <p>We must not conclude this chapter without mentioning another celebrated publisher, Christophe Plantin of Antwerp. He was born at Saint-Avertin, near Tours, in 1514, and at an early age apprenticed to a - printer and book-binder, Robert Macé, at Caen; thence he went to Paris, + printer and book-binder, Robert Macé, at Caen; thence he went to Paris, whence wars soon drove him away. He next took refuge at Antwerp, where he employed himself in binding books and making leather boxes, <i>coffrets</i>, curiously inlaid and gilt. <!-- Page 97 --><span @@ -2709,7 +2693,7 @@ And as a son replaced,</td></tr> II. of Spain made him his chief printer, and under royal orders Plantin produced the well-known Polyglot Bible in eight folio volumes (1568-1573). He had previously printed some smaller books of Emblems - (1564), and <i>Devises Héroïques</i> (1562), and had employed Pierre + (1564), and <i>Devises Héroïques</i> (1562), and had employed Pierre Huys, Lucas de Heere, Godefroid Ballain, and other artists, to illustrate them. He died in 1589. His second daughter married Jean Moret, one of the overseers of <!-- Page 98 --><span class="pagenum"><a @@ -2862,7 +2846,7 @@ And as a son replaced,</td></tr> Norwich), was printed by John Day in 1559, with many cuts. In the ornamental title-page there is a large bird's-eye view of the city of Norwich, with a mark of the engraver, I. B. There is also a large and - well-engraved portrait of the author, 'ætatis 28,' a rather sad-looking + well-engraved portrait of the author, 'ætatis 28,' a rather sad-looking young man; and many initial letters, some of which have a small I. D. at the foot, which probably tell us that John Day himself engraved them. Others have a small I inside a larger C, and this monogram appears @@ -2915,7 +2899,7 @@ And as a son replaced,</td></tr> had set in with so much vigour among all the printers and publishers that the poor wood-engraver was well-nigh forgotten.</p> - <p>In London a new edition of 'Æsop's Fables,' edited by Dr. Samuel + <p>In London a new edition of 'Æsop's Fables,' edited by Dr. Samuel Croxall, and illustrated with many woodcuts much better engraved than was customary at the time, was published by Jacob Tonson at the Shakespear's Head, in the Strand, in 1722. We do not learn the names of the artists. @@ -2943,7 +2927,7 @@ And as a son replaced,</td></tr> --><span class="pagenum"><a name="page107"></a>{107}</span>engravers named Papillon, who illustrated hundreds of books with small and very fine cuts, in evident imitation of the copper-plates then so much in - vogue. Jean Michel Papillon, the youngest of them, published a <i>Traité + vogue. Jean Michel Papillon, the youngest of them, published a <i>Traité Historique et Pratique de la Gravure en Bois</i>, in two volumes with a supplement, which, though full of credulous errors, has been of inestimable service to all writers on the history of wood-engraving. This @@ -3043,7 +3027,7 @@ And as a son replaced,</td></tr> this is now very rare; there is, however, a copy in the British Museum (press-mark 12305 g 16) which can at all times be consulted. Most of the designs are derived from 'Croxall's Fables,' and many of these were - copied from the copper-plates by Francis Barlow in his edition of Æsop, + copied from the copper-plates by Francis Barlow in his edition of Æsop, published 'at his house, The Golden Eagle, in New Street, near Shoo Lane, 1665.' Though Bewick improved the drawings, there was little originality in them, but the engravings were far in advance of any other work of the @@ -3065,7 +3049,7 @@ And as a son replaced,</td></tr> </div> </div> - <p>He made the drawing on a block 7¾ inches by 5½ inches, and used his + <p>He made the drawing on a block 7¾ inches by 5½ inches, and used his highest powers in rendering it as true to nature as he could; it is said that he always considered it to be his best work. After a few impressions had been taken off on paper and parchment, the block, which had been @@ -3145,14 +3129,14 @@ And as a son replaced,</td></tr> <p>[Of the first edition of the 'Land Birds' 1,000 were printed in demy octavo at 10<i>s.</i> 6<i>d.</i>, 850 on thin and thick royal octavo, at - 13<i>s.</i> and 15<i>s.</i>, and twenty-four on imperial octavo at £1 + 13<i>s.</i> and 15<i>s.</i>, and twenty-four on imperial octavo at £1 1<i>s.</i> The first edition of the 'Water Birds' in 1804 consisted of the same number of copies as that of the 'Land Birds,' but the prices were increased respectively to 12<i>s.</i>, 15<i>s.</i>, 18<i>s.</i>, and - £1 4<i>s.</i>]</p> + £1 4<i>s.</i>]</p> <p>The only book of importance on which Bewick was engaged after 1804 was - an edition of 'Æsop's Fables,' which was published in 1818. Mr. Chatto + an edition of 'Æsop's Fables,' which was published in 1818. Mr. Chatto says: 'Whatever may be the merits or defects of the cuts in the Fables, Bewick certainly had little to do with them—for by far the greater number were designed by Robert Johnson and engraved by W. W. Temple and @@ -3161,7 +3145,7 @@ And as a son replaced,</td></tr> he was in no sense a literary man, and several of his greatest admirers openly expressed their disappointment at the book; even his supreme advocate, Dr. Dibdin, said: 'I will fearlessly and honestly aver that his - "Æsop" disappointed me.'</p> + "Æsop" disappointed me.'</p> <p>In 1826 Bewick lost his wife, who left to his care one son and three daughters. In the summer of 1828 he visited London alone; he was not in @@ -3270,7 +3254,7 @@ And as a son replaced,</td></tr> well-known line engraver, and became intimate with Abraham Raimbach and other artists whose friendship was of much service to him. His most important work as a wood-engraver was the 'Diploma of the Highland - Society,' a large block 13½ inches by 10½ inches, of which we give a + Society,' a large block 13½ inches by 10½ inches, of which we give a much-reduced copy. Benjamin West made the original design on paper, Clennell himself drew the Highlander and Fisherman on the wood, and gave Thurston fifteen pounds to fill in the circle with Britannia and her @@ -3477,17 +3461,17 @@ And as a son replaced,</td></tr> encouragement, and reverting to the earlier and purer style of the fifteenth century, many artists and engravers produced work of great merit: E. Kretzschmar, of Leipsic, the brothers A. and O. Vogel, F. - Unzelmann and H. Müller, rendered the drawings of Adolf Menzel and Ludwig - Richter with careful exactitude. In the atelier of Hugo Bürkner, of + Unzelmann and H. Müller, rendered the drawings of Adolf Menzel and Ludwig + Richter with careful exactitude. In the atelier of Hugo Bürkner, of Dresden, the much-admired 'Death as a Friend,' by Rethel, was engraved by Jungtow, and 'Death as an Enemy' by Steinbrecher: and A. Gaber, recently deceased, faithfully reproduced the drawings of Overbeck, Schnorr von Carolsfeld, Oscar Pletsch, and Moritz von Schwind. Of living engravers we may refer our readers to the excellent examples of skill to be seen in the 'Meisterwerke der Holzschneidekunst,' a monthly periodical of great - merit; and especially to the works of Pfnorr of Darmstadt; Höfel of + merit; and especially to the works of Pfnorr of Darmstadt; Höfel of Vienna; Flegel and Weber of Leipsic; Mezger and Vieweg of Brunswick; H. - Günter, Karl Oertel, Lüttge, and E. Krelb.</p> + Günter, Karl Oertel, Lüttge, and E. Krelb.</p> <p>In France no great advance has been made, and most of the engravers have been contented to produce work a little above mediocrity. Several @@ -3546,8 +3530,8 @@ And as a son replaced,</td></tr> <div class="poem"> <div class="stanza"> <p>Abbreviations of Latin words, <a href="#page18">18</a></p> - <p>Æsop's Fables (1481), <a href="#page47">47</a></p> - <p>Æsop's Fables (Bewick's), <a href="#page115">115</a></p> + <p>Æsop's Fables (1481), <a href="#page47">47</a></p> + <p>Æsop's Fables (Bewick's), <a href="#page115">115</a></p> <p>Aldegrever, <a href="#page88">88</a></p> <p>Aldus Manutius, <a href="#page45">45</a>-47</p> <p><i>Alphabet</i>, <i>Figure</i>, XV Cent., <a href="#page25">25</a></p> @@ -3557,7 +3541,7 @@ And as a son replaced,</td></tr> <p>Andre, Jerome, <a href="#page82">82</a></p> <p>Andreani, Andrea, <a href="#page99">99</a></p> <p><i>Annunciation, The</i>, <a href="#page8">8</a></p> - <p>Apocalypse, Dürer's, <a href="#page70">70</a></p> + <p>Apocalypse, Dürer's, <a href="#page70">70</a></p> <p><i>Apocalypsis Sancti Johannis</i>, <a href="#page17">17</a></p> <p>Ars Memorandi, <a href="#page11">11</a>, <a href="#page26">26</a></p> <p>Ars Moriendi, <a href="#page11">11</a>, <a href="#page20">20</a>, <a href="#page26">26</a></p> @@ -3591,7 +3575,7 @@ And as a son replaced,</td></tr> <p><i>British Birds</i>, History of (Bewick), <a href="#page110">110</a>-115</p> <p><i>British Quadrupeds</i>, History of (Bewick), <a href="#page111">111</a>, <a href="#page112">112</a></p> <p>Brosamer, Hans, <a href="#page88">88</a></p> - <p>Bürkner (German engraver), <a href="#page127">127</a></p> + <p>Bürkner (German engraver), <a href="#page127">127</a></p> <p>Bullen, Mr. George, <a href="#page20">20</a></p> <p>Burgkmair, Hans, <a href="#page69">69</a>-80</p> <p>Byfield, John and Mary, <a href="#page82">82</a>, <a href="#page125">125</a></p> @@ -3618,7 +3602,7 @@ And as a son replaced,</td></tr> <p>Copperplate-Engraving introduced, <a href="#page98">98</a></p> <p>Coriolano, Bartolommeo, <a href="#page99">99</a></p> <p>Cranach, Lucas, <a href="#page69">69</a>, <a href="#page88">88</a>, <a href="#page100">100</a></p> - <p>Croxall's Æsop, <a href="#page106">106</a>, <a href="#page111">111</a></p> + <p>Croxall's Æsop, <a href="#page106">106</a>, <a href="#page111">111</a></p> <p>Cuningham's Cosmographical Glasse, <a href="#page102">102</a></p> <p>Curio, Valentine, <a href="#page81">81</a></p> </div> @@ -3635,8 +3619,8 @@ And as a son replaced,</td></tr> <p><i>Diploma of Highland Society</i> (Clennell), <a href="#page120">120</a></p> <p>Douce, Francis, <a href="#page82">82</a></p> <p>Duplessis, M. Georges, <a href="#page4">4</a></p> - <p>Dupré, Jean, <a href="#page55">55</a>, <a href="#page60">60</a></p> - <p>Dürer, Albrecht, <a href="#page69">69</a></p> + <p>Dupré, Jean, <a href="#page55">55</a>, <a href="#page60">60</a></p> + <p>Dürer, Albrecht, <a href="#page69">69</a></p> <p>—— Apocalypse, <a href="#page70">70</a></p> <p>—— Engravings on Copper, <a href="#page71">71</a></p> <p>—— Life of the Virgin, <a href="#page71">71</a></p> @@ -3676,7 +3660,7 @@ And as a son replaced,</td></tr> <p>Harvey, William, <a href="#page115">115</a>, <a href="#page121">121</a></p> <p>Heinecken, Herr, <a href="#page4">4</a>, <a href="#page10">10</a></p> <p><i>Henry VIII in Council</i>, <i>frontispiece</i></p> - <p><i>Heures à l'usaige de Chartres</i>, <a href="#page52">52</a></p> + <p><i>Heures à l'usaige de Chartres</i>, <a href="#page52">52</a></p> <p><i>History of British Birds</i> (Bewick), <a href="#page110">110</a>-114</p> <p><i>History of Quadrupeds</i> (Bewick), <a href="#page111">111</a>, <a href="#page112">112</a></p> <p>Holbein, Hans, <a href="#page69">69</a>, <a href="#page81">81</a>-<a href="#page87">87</a></p> @@ -3720,12 +3704,12 @@ And as a son replaced,</td></tr> <p>Little Masters, The, <a href="#page87">87</a></p> <p>Livres d'Heures, <a href="#page57">57</a></p> <p><i>Looking-glass for the Mind</i>, <a href="#page116">116</a>, <a href="#page117">117</a></p> - <p>Lützelburger, Hans, <a href="#page81">81</a>, <a href="#page87">87</a></p> + <p>Lützelburger, Hans, <a href="#page81">81</a>, <a href="#page87">87</a></p> </div> <div class="stanza"> <p><i>Macault reading his Translation</i>, <a href="#page94">94</a></p> - <p>Macé, Robert, of Caen, <a href="#page96">96</a></p> + <p>Macé, Robert, of Caen, <a href="#page96">96</a></p> <p>Mansion, Colard, of Bruges, <a href="#page62">62</a></p> <p><i>Manuzio, Aldo</i>, <a href="#page45">45</a>, <a href="#page46">46</a></p> <p>Marchant, Guyot, <a href="#page53">53</a>, <a href="#page59">59</a></p> @@ -3744,7 +3728,7 @@ And as a son replaced,</td></tr> <p><i>Navis Stultifera</i> (1497), <a href="#page38">38</a></p> <p>Nesbit, Charlton, <a href="#page116">116</a>, <a href="#page118">118</a></p> <p>Notary, Julian, <a href="#page68">68</a></p> - <p>Nürnberg Chronicle, <a href="#page36">36</a></p> + <p>Nürnberg Chronicle, <a href="#page36">36</a></p> </div> <div class="stanza"> @@ -3800,8 +3784,8 @@ And as a son replaced,</td></tr> <p>Trento, Antonio da, <a href="#page99">99</a></p> <p><i>Tristan, Romance of</i>, <a href="#page58">58</a></p> <p>Triumphs of Maximilian, <a href="#page74">74</a>-<a href="#page80">80</a></p> - <p>—— <i>Triumphal Arch</i> (Dürer), <a href="#page75">75</a>, <a href="#page76">76</a></p> - <p>—— <i>Triumphal Car</i> (Dürer), <a href="#page77">77</a></p> + <p>—— <i>Triumphal Arch</i> (Dürer), <a href="#page75">75</a>, <a href="#page76">76</a></p> + <p>—— <i>Triumphal Car</i> (Dürer), <a href="#page77">77</a></p> <p>—— <i>Triumphal Procession</i> (Burgkmair), <a href="#page78">78</a>, <a href="#page79">79</a></p> <p>Triumphal entry of Henri II into Lyons, <a href="#page95">95</a></p> <p>Triumphal entry of Henri II into Paris, <a href="#page95">95</a></p> @@ -3846,7 +3830,7 @@ And as a son replaced,</td></tr> Bible, because a copy was discovered, with notes written in it by the illuminator, in the library of Cardinal Mazarin. It is very scarce. In 1884 Mr. Quaritch bought a very fine copy from the library of Sir John - Thorold, for which he paid £3,900.</p> + Thorold, for which he paid £3,900.</p> <p><a name="Nt_3" href="#NtA_3">[3]</a> <i>History of Wood-Engraving</i>, 1883.</p> @@ -3877,360 +3861,6 @@ And as a son replaced,</td></tr> <p> </p> <p> </p> -<hr class="full" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK A BRIEF HISTORY OF WOOD-ENGRAVING FROM ITS INVENTION***</p> -<p>******* This file should be named 40589-h.txt or 40589-h.zip *******</p> -<p>This and all associated files of various formats will be found in:<br /> -<a href="http://www.gutenberg.org/dirs/4/0/5/8/40589">http://www.gutenberg.org/4/0/5/8/40589</a></p> -<p> -Updated editions will replace the previous one--the old editions -will be renamed.</p> - -<p> -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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