В этом тексте используется кодировка UTF-8 (Unicode). Если апострофы и кавычки в этом абзаце отображаются некорректно, возможно, ваш браузер несовместим с этой кодировкой или у вас отсутствуют нужные шрифты. Прежде всего убедитесь, что в настройках «кодировки» или «набора символов» вашего браузера выбрано Unicode (UTF-8). Возможно, вам также потребуется изменить шрифт по умолчанию.

Сноски пронумерованы сквозным образом в пределах каждой главы. Текст, набранный готическим шрифтом (blackletter), в электронной версии представлен шрифтом без засечек.

Оглавление отсутствует, однако ту же информацию можно найти в «Списке иллюстраций». Девять глав печатного издания распределены по отдельным файлам: главы I–III, главы IV–V, а затем для каждой из глав VI–IX отведен отдельный файл. Обратите внимание, что страницы 561*–600* (большая часть главы VIII) предшествуют страницам 561–600 (глава IX).

В печатном издании строки были примерно такой длины:

Среди наиболее примечательных отдельных сюжетов, выполненных в технике ксилографии по рисункам Дюрера, чаще всего упоминаются следующие: Бог-Отец, возносящий на небо мертвое тело Христа, с указанием даты

Если вы читаете этот текст в браузере, возможно, вам захочется соответствующим образом настроить размер окна.

Примечание ко второму изданию (Генри Бона) Предисловие г-на Джексона Предисловие г-на Чатто

Список иллюстраций

Глава I (отдельный файл) Глава II (отдельный файл) Глава III (отдельный файл) Глава IV (отдельный файл) Глава V (отдельный файл) Глава VI (отдельный файл) Глава VII (отдельный файл) Глава VIII (отдельный файл) Глава IX (отдельный файл)

Указатель

Ошибки и несоответствия

Уильям Блейк.

У. Дж. Линтон.

ДВЕРЬ СМЕРТИ.

i

ТРАКТАТ О КСИЛОГРАФИИ

Исторический и практический

С БОЛЕЕ ЧЕМ ТРЕМЯСТАМИ ИЛЛЮСТРАЦИЯМИ, ВЫПОЛНЕННЫМИ В ТЕХНИКЕ КСИЛОГРАФИИ

ДЖОНОМ ДЖЕКСОНОМ.

ИСТОРИЧЕСКАЯ ЧАСТЬ — У. Э. ЧАТТО.

Второе издание

С НОВОЙ ГЛАВОЙ О ХУДОЖНИКАХ СОВРЕМЕННОСТИ

ГЕНРИ Г. БОНА

И 145 ДОПОЛНИТЕЛЬНЫМИ КСИЛОГРАФИЯМИ.

ЛОНДОН ГЕНРИ Г. БОН, ЙОРК-СТРИТ, КОВЕНТ-ГАРДЕН. 1861.

ii

iii

ПРИМЕЧАНИЕ КО ВТОРОМУ ИЗДАНИЮ.

Поскольку предыдущее издание этой «Истории ксилографии» стало чрезвычайно редким и коммерчески ценным, издатель счел за благо приобрести авторские права и оригинальные деревянные печатные формы у г-на Мейсона Джексона, сына покойного г-на Джексона, первоначального владельца труда, с целью его переиздания.

Из двух отдельных предисловий, сопровождавших прежнее издание и перепечатанных здесь, видно, что во время первой публикации между соавторами существовали разногласия. Г-н Джексон, гравер, плательщик и владелец, считал, что имеет право распоряжаться своим имуществом по собственному усмотрению, в то время как г-н Чатто, его литературный соавтор, вполне естественно полагал, что заслуживает упоминания на титульном листе за проделанную им успешную работу. После того как книга вышла без имени г-на Чатто на титульном листе и с определенными купюрами в его предисловии, на которые он не давал согласия, разгорелась острая полемика, нашедшая отражение в брошюре под названием «третье предисловие», а затем продолженная в журнале Athenæum в августе и сентябре 1839 года. Поскольку это предисловие не содержит ничего, кроме излияний ссоры, которая теперь никого не интересует, я не переиздаю его части; оглядываясь на ту полемику спустя двадцать лет, я не могу не признать, что у г-на Чатто были веские основания жаловаться на то, что его имя было опущено, хотя я считаю, что г-н Джексон имел полное право решать, как должна называться книга, поскольку это было его собственное исключительное коммерческое предприятие. Я не собираюсь менять название, которое теперь так прочно утвердилось, но окажу г-ну Чатто любезность, поместив его имя на титуле, не вдаваясь в вопрос о том, что он сделал или не сделал, или какой вклад внес г-н Джексон, помимо своих практических замечаний и тщательного руководства.

Хотя я лично знаком с г-ном Чатто и сообщил ему о своем намерении переиздать этот труд, я отказался позволить ему участвовать в подготовке к печати, решив взять на себя полную ответственность за любые изменения или улучшения, которые я мог счесть нужными. С другой стороны, я столь же осторожно отнесся к тому, чтобы даже тень г-на Джексона не вызвала новых трений — я говорю «тень», потому что, имея его собственный экземпляр с рукописными заметками, я мог бы ими воспользоваться, но я не заимствовал из этого источника ничего, кроме нескольких очевидных поправок. Сделанные дополнения — полностью моя заслуга, и они продиктованы желанием увеличить количество иллюстраций там, где я счел их ранее недостаточными, и имел возможность их предоставить. С включением этих дополнительных иллюстраций, число которых, по-видимому, достигает семидесяти пяти, возникла необходимость их описать, что привело к появлению, возможно, сотни или двух строк, распределенных в виде примечаний или абзацев по всему тому. За основными из этих дополнений критически настроенного читателя отсылаю к следующим страницам: 321, 322, 340, 352, 374, 428, 468, 477, 480, 493, 530, 531, 532, 539, 540, 541, 542, 543, 545, 546, 547, 548, 617, 639. Глава о художниках современности является совершенно новой и не планировалась до тех пор, пока книга не была готова к печати, что можно понять из замечаний на страницах 549 и 597. Она содержит более семидесяти высококлассных ксилографий и дает верное представление о талантах некоторых из наших наиболее выдающихся художников. Сбор этого дополнительного материала и приведение его в порядок оказались не такой легкой и быстрой задачей, как я предполагал; но теперь, когда это сделано, я чувствую, что поступил правильно, и могу лишь надеяться, что мои скромные труды будут сочтены шагом в верном направлении. Если мне позволят здоровье, силы и средства, я намерен в недалеком будущем дополнить настоящий том еще одним, возможно, столь же объемным, представив более полную серию примеров работ художников нашего времени, как из Франции и Германии, так и из Англии.

В заключение считаю своим долгом выразить признательность г-ну Клею за внимание и мастерство, проявленные им при «доводке» многочисленных и довольно сложных гравюр до того приятного вида, который они имеют сейчас. Хорошая гравюра без хорошей печати — все равно что бриллиант без огранки.

ГЕНРИ Г. БОН.

4 января 1861 г.

v

ПРЕДИСЛОВИЕ Г-НА ДЖЕКСОНА.

Я считаю своим долгом представить публике несколько замечаний, предваряющих предисловие, которое подписано г-ном Чатто.

Поскольку мое внимание было в большей степени сосредоточено на вопросах, связанных с моей собственной профессией, нежели с чем-либо другим, неудивительно, что я обнаружил почти полное отсутствие практических знаний у всех английских авторов, писавших об истории ксилографии. С того момента, как я впервые обратил внимание на этот предмет, и до настоящего времени мне часто приходилось сожалеть о том, что ранняя история и практика этого искусства не были описаны ни в одной книге на английском языке. Даже в самых дорогих трудах подобного рода сам процесс не описан должным образом, так что читатель — если предположить, что он не знаком с предметом — вынужден следовать за автором в относительной темноте. Не без оснований я пришел к выводу, что если бы практика, равно как и история ксилографии, были лучше изучены, мы не имели бы такого количества умозрительных мнений, высказываемых почти всеми авторами по этому вопросу, которые принимают на веру то, что было написано ранее, не утруждая себя проверкой и формированием собственного мнения. Стремясь как развлечь, так и усовершенствовать себя как гравера, я долгое время имел обыкновение изучать произведения старых мастеров, которые попадали в поле моего зрения, и не мог не замечать простых ошибок, которые многие авторы допускали из-за полного незнания практики. Чем дальше я углублялся в исследование, тем интереснее оно становилось; каждая дополнительная крупица информации укрепляла мое первоначальное мнение, что «если бы практика, равно как и история ксилографии, были лучше изучены», мы не имели бы стольких ошибочных утверждений относительно как истории, так и возможностей этого искусства. В конце концов, я решил в свободные часы гравировать факсимиле всего, что счел достойным сохранения. Некоторое время я продолжал следовать этому курсу, читая английских авторов, писавших о происхождении и ранней истории ксилографии, и делая заметки, не имея перед собой никакого конкретного плана. Только продвинувшись так далеко, я остановился, чтобы обдумать, нельзя ли применить собранную информацию для какой-то конкретной цели. Мой план в то время состоял в том, чтобы дать краткую вводную историю, предшествующую практике искусства, которая, как я предполагал, должна была стать главной особенностью труда. В этот период мне посчастливилось заручиться квалифицированной помощью г-на У. Э. Чатто, вместе с которым я изучил каждую работу, требовавшую применения практических знаний. Это естественным образом предвосхитило многое из того, что было отложено для раздела о практике, и в некоторой степени расширило историческую часть сверх того, что я изначально предполагал; хотя я надеюсь, что у читателя не будет повода сожалеть о таком отступлении от первоначального плана или о том, что она была написана не мной самим. Количество и разнообразие сюжетов, которые пришлось включить, сделали задачу сохранения характеристик каждого отдельного мастера, различающихся по стилю исполнения, довольно сложной. Мне остается лишь добавить, что, хотя я и проявил смелость, решившись на такое предприятие, это было не без надежды на то, что история искусства с описанием практики, проиллюстрированная многочисленными ксилографиями, будет встречена снисходительно со стороны того, кто лишь претендовал на то, чтобы дать факсимиле всего, что показалось достойным внимания, с мнениями, основанными на практическом знании искусства.

ДЖОН ДЖЕКСОН.

London, December 15th, 1838.

ПРЕДИСЛОВИЕ Г-НА ЧАТТО.

Хотя в наше время несколько английских авторов писали о происхождении и ранней истории ксилографии, до сих пор никто не представил в отдельном труде связного изложения ее прогресса от древнейших времен до наших дней; и никто, как бы уверенно он ни высказывал свое мнение по этому вопросу, по-видимому, не считал нужным ознакомиться с практикой этого искусства. Древность и ранняя история ксилографии, по-видимому, рассматривались как темы, дающие большой простор для домыслов и не требующие практического знания искусства. Именно по этой причине мы находим так много ошибочных утверждений почти в каждой современной диссертации о ксилографии. Если бы авторы когда-либо подумали обратиться к человеку, практически знакомому с искусством, о ранних произведениях которого они брались писать, их догадки во многих случаях могли бы не понадобиться; и если бы они в вопросах, требующих исследования, взяли на себя труд изучить и судить самостоятельно, вместо того чтобы принимать мнения других, они бы обнаружили, что значительная часть того, что они принимали на веру, не соответствовала фактам.

Поскольку древность и ранняя история ксилографии составляют значительную часть двух дорогостоящих трудов, претендующих на описание этого искусства, возникла мысль, что такой труд, как настоящий, объединяющий историю с практикой искусства и снабженный многочисленными гравюрами, иллюстрирующими его прогресс, упадок и возрождение, может быть встречен благосклонно.

В первой главе предпринята попытка проследить принцип ксилографии с древнейшего достоверного периода и доказать непрерывным рядом фактов, что искусство, когда оно впервые было применено для печати изобразительных сюжетов на бумаге в начале XV века, было не столько оригинальным изобретением, сколько расширением принципа, который был давно известен и практически применялся.

Вторая глава содержит описание прогресса искусства, как это видно на примере древнейших известных отдельных гравюр и блочных книг, предшествовавших изобретению типографики. В этой главе также приводится описание Speculum Salvationis, которое приписывалось Лауренсу Костеру Адрианом Юниусом, Скривериусом, Меерманом и другими и которое часто описывалось как ранняя блочная книга, выполненная до 1440 года. Однако тщательное изучение двух латинских изданий этой книги убедило меня в том, что в самом раннем из них текст полностью набран подвижными литерами, а в другом — которое Меерман считал самым ранним и доказывающим прогресс изобретения Костера — те части текста, которые напечатаны с деревянных блоков, были скопированы с соответствующих частей более раннего издания, где текст полностью набран подвижными литерами. Фурнье был первым, кто обнаружил, что одно из латинских изданий было напечатано частично литерами, а частично с деревянных блоков; а заслуга доказательства того, что это издание было более поздним по сравнению с другим, где текст напечатан полностью литерами, исходя из определенных несовершенств в гравюрах, принадлежит покойному г-ну Отли.

Поскольку типографика, или печать подвижными литерами, несомненно, была подсказана ранними блочными книгами с текстом, вырезанным на дереве, третья глава посвящена исследованию притязаний Гутенберга и Костера на честь этого изобретения. При исследовании доказательств, представленных в пользу каждого из них, автор старался освободить свой ум от всякой предвзятости и решать согласно фактам, не ссылаясь на мнения той или иной стороны. У него не было теории, которую нужно было бы поддерживать; и он не питает ни пристрастия к Майнцу, ни неприязни к Харлему. Возможно, нелишним будет упомянуть здесь, что гравюры гербов из «Истории Девы», приведенные на страницах 75, 76 и 77, были вырезаны до того, как автор увидел работу Конинга об изобретении книгопечатания (Харлем, 1816), где они также скопированы, а некоторые из них приписаны Ханау, Бургундии, Брабанту, Утрехту и Лейдену, а также неким фламандским дворянам, чьи имена не упоминаются. Не исключено, что, подобно двум опрометчивым рыцарям из басни, мы видели щиты с противоположных сторон; — гербы могут быть общими для государств и семей как Германии, так и Нидерландов.

Четвертая глава содержит описание ксилографии в связи с печатным делом, от становления типографики до конца XV века. Пятая глава охватывает период, в который процветал Альбрехт Дюрер, — то есть примерно с 1498 по 1528 год. Шестая содержит заметку об основных гравюрах на дереве, созданных Гольбейном, с описанием расширения и совершенствования искусства в XVI веке и его последующего упадка. В седьмой главе история искусства доведена от начала XVIII века до наших дней.

Восьмая глава содержит описание практики этого искусства с замечаниями о металлической рельефной гравюре и лучшем способе печати гравюр на дереве. Поскольку подробное описание практики ксилографии до сих пор не было опубликовано в Англии, предполагается, что информация, предоставленная этой частью труда, будет интересна не только любителям искусства, но и полезна тем, кто профессионально с ним связан.

Справедливости ради по отношению к г-ну Джексону следует добавить, что работа была начата им на свой страх и риск; что большинство сюжетов выбрано им; и что почти все они были вырезаны, а значительная часть труда написана до того, как он подумал об обращении к издателю. Заслуга начала работы и ее столь обильного иллюстрирования, невзирая на расходы, несомненно, принадлежит ему.

У. Э. ЧАТТО.

London, December 5th, 1838.

ix

СПИСОК ИЛЛЮСТРАЦИЙ.

Ссылки в списке ведут к указанной главе или иллюстрации. Слово «ditto» (то же самое) было напечатано так, как показано.

Глава I • Глава II • Глава III • Глава IV • Глава V Глава VI • Глава VII • Глава VIII • Глава IX

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
xi 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
xii The Waggoner, from Holbein’s Dance of Death | 344
Child with a shield and dart, from the same | 345
Children with the emblems of a triumph, from the same | 346
Holbein’s Alphabet of the Dance of Death | 352
Abraham about to sacrifice Isaac, from a cut designed by Holbein in his Bible-prints, Lyons, 1539 | 368
The Fool, from the same work | 369
The sheath of a dagger, intended as a design for a chaser | 374
Portrait of Sir Thomas Wyatt from a cut designed by Holbein in Leland’s Næniæ, 1542 | 379
Prayer, from a cut designed by Holbein in Archbishop Cranmer’s Catechism, 1548 | 380
Christ casting out Devils, from another cut by Holbein, in the same work | 381
The Creation, from the same work | 382
The Crucifixion, from the same | 382
Christ’s Agony, from the same | 382
Genealogical Tree, from an edition of the New Testament, printed at Zurich by Froschover, 1554 | 383
St. Luke, from Tindale’s Translation of the New Testament, 1534 | 384
St James, from the same | 384
Death on the Pale Horse, from the same | 384
Cain killing Abel, from Coverdale’s Translation of the Old and New Testament, 1535 | 386
Abraham about to sacrifice Isaac, from the same | 387
The Two Spies, from the same | 387
St. Matthew, from the same | 388
St. John the Baptist, from the same | 388
St. Paul writing, from the same | 388
Frontispiece to Marcolini’s Sorti, Venice, 1540, by Joseph Porta Garfagninus, after a Study by Raffaele for the School of Athens | 390
Punitione, from the same work | 392
Matrimony, from the same | 392
Cards, from the same | 393
Truth saved by Time, from the same | 393
The Labour of Alcmena, from Dolce’s Transformationi, Venice, 1553 | 394
Monogram, from Palatino’s Treatise on Writing, Rome, 1561 | 396
Hieroglyphic Sonnet, from the same work | 396
Portraits of Petrarch and Laura, from Petrarch’s Sonetti, Lyons, 1547 | 400
Adam and Eve driven out of Paradise, from Quadrins Historiques de la Bible, Lyons, 1550-1560 | 401
Christ tempted by Satan, from Figures du Nouveau Testament, Lyons, 1553-1570 | 402
Briefmaler, from a book of Trades and Professions, Frankfort, 1564-1574 | 410
Formschneider, from the same | 411
The Goose Tree, from Sebastian Munster’s Cosmography, Basle, 1550-1554 | 414
William Tell about to shoot at the apple on his son’s head, from the same | 416
Portrait of Dr. William Cuningham, from his Cosmographical Glass, London, 1559 | 424
Four initial letters, from the same work | 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
xiii 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
xiv Cut from the Children in the Wood, drawn by W. Harvey, and engraved by J. Thompson | 533
Cut from the Blind Beggar of Bethnal Green, drawn by W. Harvey, and engraved by C. Nesbit | 534
Copy of a part of the Cave of Despair, engraved by R. Branston, from a drawing by J. Thurston | 535
Three cuts engraved by Robert Branston, after designs by Thurston, for an edition of Select Fables, in rivalry of Bewick | 537
Bird, engraved by Robert Branston | 538
Pistill Cain, in North Wales, drawn and engraved by Hugh Hughes | 539
Moel Famau, ditto, ditto | 539
Wrexham Church, ditto, ditto | 540
Pwll Carodoc, ditto, ditto | 540
Salmon, Group of Fish, and Chub, engraved by John Thompson | 541
Pike, by Robert Branston | 542
Eel, by H. White | 542
Illustration from Hudibras, engraved by John Thompson | 543
Hogarth’s Rake’s Progress, engraved by John Thompson | 544
The Temptation, engraved by John Jackson, after John Martin | 545
The Judgment of Adam and Eve, engraved by F. W. Branston, after ditto | 545
The Assuaging of the Waters, engraved by E. Landells, after ditto | 546
The Deluge, engraved by W. H. Powis, after ditto | 546
The Tower of Babel engraved by Thomas Williams, after ditto | 547
The Angel announcing the Nativity, engraved by W. T. Green, after ditto | 547
Tail piece—Vignette, engraved by W. T. Green, after W. Harvey | 548
CHAPTER VIII ARTISTS AND ENGRAVERS ON WOOD OF THE PRESENT DAY, 549-560. |
The Sierra Morena, engraved by James Cooper, after Percival Skelton | 550
The Banks the Nith, engraved by ditto, after Birket Foster | 551
The Twa Dogs, engraved by ditto, after Harrison Weir | 551
To Auld Mare Maggie, engraved by ditto, after ditto | 552
The Poetry of Nature, engraved by J. Greenaway, after Harrison Weir | 553
From Bloomfield’s Farmer’s Boy, engraved by W. Wright, after ditto | 554
From Campbell’s Pleasures of Hope, engraved by J. Greenaway, after ditto | 554
From the same, by the same | 555
Wild Flowers, engraved by E. Evans, after Birket Foster | 556
From Lays of the Holy Land, engraved by W. J. Palmer, after Birket Foster | 557
From Longfellow’s Evangeline, engraved by H. Vizetelly, after ditto | 558
From Moore’s Lalla Rookh, engraved by Dalziel, after John Tenniel | 559
Death of Sforza, from Barry Cornwall, engraved by Dalziel, after ditto | 560
Sforza, ditto, ditto | 560
Antony and Cleopatra, engraved by Dalziel Brothers, after John Gilbert | 561*
The Florentine Party, from Barry Cornwall, engraved by Dalziel Brothers, after Thomas Dalziel | 562*
Prince Arthur and Hubert de Bourg, engraved by Kirchner, after John Gilbert | 563*
From Maxwell’s Life of the Duke of 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*
xv 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
xvi Gravers | 579
Cuts showing the manner of holding the graver | 579, 580
Examples of tints | 581, 582, 583, 584
Examples of curved lines and tints | 585, 586
Cuts illustrative of the mode of cutting a white outline | 588
Outline engraving previous to its being blocked out—the monument to the memory of two children in Lichfield Cathedral by Sir F. Chantrey | 589
The same subject finished | 590
Outline engraving, after a design by Flaxman for a snuff-box for George IV. | 590
Cut after a pen-and-ink sketch by Sir David Wilkie for his picture of the Rabbit on the Wall | 591
Figures from a sketch by George Morland | 592
Group from Sir David Wilkie’s Rent Day | 593
Figure of a boy from Hogarth’s Noon, one of the engravings of his Four Parts of the Day | 594
A Hog, after an etching by Rembrandt | 595
Dray-horse, drawn by James Ward, R.A. | 596
Jacob blessing the Children of Joseph, after Rembrandt | 597
Two cuts—View of a Road-side Inn—showing the advantage of cutting the tint before the other parts of a subject are engraved | 598
Head, from an etching by Rembrandt | 599
Impression from a cast of part of the Death of Dentatus, engraved by W. Harvey | 601
Christ and the Woman at the Well, from an etching by Rembrandt | 602
The Flight into Egypt, from an etching by Rembrandt | 605
Sea-piece, drawn by George Balmer | 606
Sea-piece, moonlight, drawn by George Balmer | 606
Landscape, evening, drawn by George Balmer | 607
Impression from a cast of part of the Death of Dentatus, engraved by W. Harvey | 609
View of Rouen Cathedral, drawn by William Prior | 611
Map of England and Wales, with the part of the names engraved on wood, and part inserted in type | 612
Group from Sir David Wilkie’s Village Festival | 614
Natural Vignette, and an old ornamented capital from a manuscript of the thirteenth century | 616
Specimens of ornamental capitals, chiefly taken from Shaw’s Alphabets | 617
Impressions from a surface with the figures in relief—subject, the Crown-piece of George IV. | 618
Impressions from a surface with the figures in intaglio—same subject | 619
Shepherd’s Dog, drawn by W. Harvey | 620
Egret, drawn by W. Harvey | 621
Winter-piece, with an ass and her foal, drawn by J. Jackson | 622
Salmon-Trout, with a view of Bywell-Lock, drawn by J. Jackson | 623
Boy and Pony, drawn by J. 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

Опечатка

житие св. Биринуса, XII век twelth

1

О КСИЛОГРАФИИ.

653

УКАЗАТЕЛЬ.

Ссылки в указателе ведут к началу указанной страницы. Все они находятся в отдельных файлах.

A B C D E F G H I J K L M N O P Q R S T U V W Z

A

Абсолон, Джон, художник, 576*.

Accursius, Mariangelus, note written by, in a Donatus, 123.

Advertisements, wood-cuts prefixed to, 446 n.

Allegory of Death, a tract printed at Bamberg, 1462, 171.

Almanach de Paris, with wood-cuts, by Papillon, 459.

Almanacks, sheet, 1470, 1500, 225.

Alphabet of figures, engraved on wood, in the British Museum, 106;

cuts from, 109, 110, 111, 112;

with figures, of a Dance of Death, preserved in the public library at Basle, 352.

Альтдорфер, А. 320.

Amman, Jost, cuts designed by, in a book of trades and professions, 408, 409;

other cuts designed by him, 411.

Amonoph, a name on an Egyptian brick-stamp, 6 n.

Andreani, Andrea, chiaro-scuros engraved by, 432.

Эндрюс, Г. Х., живописец, 598*.

Анелей, Х., художник, 575*.

Angus, George, of Newcastle-on-Tyne, printer, wood-cuts used by, in cheap works, 180, 228.

Annunciation, old cut of the, 50.

Ансделл, Ричард, живописец, 598*.

Ansgarius, St., supposed to have been the compiler of the Biblia Pauperum, 94.

Antichrist, cuts of, 61.

Antonianus, Silvius, a cardinal, claimed by Papillon as a wood engraver, 337.

Antonio, Marc, his copies of the Little Passion and the Life of the Virgin, designed by Durer, 251.

Antwerp, painters’ company of, entertain Durer, 261;

процессия в честь Девы, там же.

Apelles, the image of the life of man as painted in a table by, 436 n.

Apocalypse, an ancient block-book, 61, 68;

cuts in illustration of, from Durer’s designs, 239.

Appeal to Christendom, early specimen of typography, 138.

Arch, triumphal, of Maximilian, designed by Durer, 255.

Арчер, Дж., рисовальщик, 599*.

Арчер, Дж. У., рисовальщик, 599*.

Aretin, J. C. von, 114.

Армитидж, Эдвард, живописец, 598*.

Армстронг, Т., гравер, 592*.

Армстронг, У., гравер, 600*.

Ars Memorandi, 113;

cut from, 115.

Ars Moriendi, an old block-book, 116.

Art, early German, 3.

Assen, J. W. van, 318.

Astle’s Origin and Progress of Writing, 20.

Atkinson, G. C., his Life of Bewick, 477, 478, 480, 482, 492, 501, 503, 505.

Austin, an English wood-engraver, 538.

B

Babylonian brick, 7.

Balls, leather, formerly used by pressmen, not so elastic as composition rollers, 620.

Bamberg, a book of fables printed at, in 1461, 171.

Bämler, John, a printer of Augsburg, 180.

Baptism of Drusiana, 66.

Bartsch, Adam, of opinion that Albert Durer did not engrave on wood, 237.

Battailes, La Fleur des, 1505, 210.

Baxter, George, his improvements in printing in colours, 406;

his chiaro-scuros and picture-prints, 629.

Beating time with the foot mistaken for printing, 120.

Beaumont, Sir George, curious alphabet of figures engraved on wood, formerly belonging to, 106.

Bechtermuntze, Henry and Nicholas, early printers, related to Gutemberg, 142.

Beddoes, Dr. Thomas, his poem of Alexander’s expedition down the Hydaspes, with wood-cuts, by E. Dyas, 1792, 463 n.

Behaim, Michael, letter to, from Albert Durer, 235.

Behaim, H. S. 253 n, 320.

654

Beilby, Ralph, the partner of Bewick, 479.

Beildeck, Lawrence, his evidence in the suit of the Drytzehns against Gutemberg, 1438, 128.

Bekker, R. Z. editor of a collection of wood-cuts, from old blocks in the possession of the Baron Von Derschau, 226.

Bellini, Giovanni, his praise of Durer, 242.

Bells, inscriptions on, 20.

Беннетт, К., рисовальщик, 599*.

Бентинг, Уильям, лорд Роон и Пендрагт, вымышленный персонаж, упомянутый Т. Ниухоффом Пиккардом, 360, 361 прим., 363.

Bernacle or Barnacle Goose, 414.

Bernardin, St. account of an old wood-cut of, 56.

Beroaldus, Peter, editor of an edition of Ptolemy, 201.

Best, Andrew, and Leloir, their metallic relief engraving, 636.

Bethemsted, a name in an old book of wood-cuts, 111.

Beugnet, a French wood engraver, 547.

Bewick, Thomas, his birth, 1753, 472;

apprenticed to Mr. R. Beilby, 474;

engraves the diagrams in Hutton’s Mensuration, 1768-1770, 475;

receives a premium for his cut of the Old Hound, 1775, 476;

visits London, 477;

cuts engraved by him in a Hieroglyphic Bible, 478;

his love of the country, 479;

его партнерство с Бейлби, там же;

his cuts in Gay’s Fables, 480;

his cut of the Chillingham Bull, 481;

его «Четвероногие», 1791, 482–490;

его «Британские птицы», 1797–1804, 490–502;

его «Избранные басни», 1818, 502–506;

his cut of the Old Horse waiting for Death, 510;

his diligence, 507;

его смерть, там же;

tribute to his merits from Blackwood’s Magazine, 512;

list of portraits of him, 509 n.

Bewick, John, notice of his principal works, 513.

Bible, the Mazarine, printed prior to August, 1456, 139.

Bible supposed to have been printed by Pfister, at Bamberg, 181.

библейские гравюры, Лион, 1538, по рисункам Гольбейна, 365–371;

engravings from 86, 88, 89, 90, 91, 92.

Bible, Quadrins Historiques de la, 402.

Библия бедных, 80–94.

Biblia Pauperum Predicatorum, 83.

Bildhauer, 2.

Binding, old, 60.

Birds, engraved by Bewick’s pupils, 492 n.

Birkman, Arnold, Dance of Death, copied from the Lyons edition, published by his heirs, Cologne, 1555-1572, 336.

Blake, William, his mode of engraving in metallic relief, 632;

his drawing of Death’s Door, engraved by Linton, 591.

Blind Beggar of Bethnal Green, cut from, 534.

Blocking out, 589.

Block-books claimed for Lawrence Coster, 58.

Blocks, original, of the Triumphs of Maximilian, preserved at Vienna, 291.

Болтон, Томас, гравер, 576*, 577*.

Bombo, the name of a dog, supposed by Papillon to be the name of a wood-engraver, 337 n.

Bomb shell, cut of a, from a book printed in 1472, 187.

Borbonius, or Bourbon, Nicholas, verses by, in praise of Holbein, 356, 357, 362, 367.

Borders, flowered, earliest specimens of in books, 209.

Бёттигер, К. А. 21.

Box-wood, different qualities of, 563, 566.

Брэндлинг, Х., рисовальщик, 599*.

Brands for marking cattle, 11.

Брэнстон, Роберт, заметка о его основных ксилографиях, 535–538.

Branston, R. the younger, wood-engraver, 544;

his method of engraving in metallic relief, 634.

Branston, F. W. wood-engraver, 544, 545.

Brass stamps, 10.

Brasses, monumental, 21.

Braunche, Robert, his monument at Lynn, 22.

Breitkopf, G. J. his attempt to print maps with separative pieces of type-metal, 1776, 205.

«Путешествия» Брейденбаха, 1486, 206–209.

Bricks, from Egypt and Babylon, 6, 7.

Bridget, St., early cut of, 52.

Brief of Indulgence, 1454, an early specimen of typography, 137.

Briefe, cards so called in Germany, 42.

Briefmaler and Briefdrucker, 43, 410.

«История британских птиц» с гравюрами Бьюика, 490–502.

Broughton, Hugh, his Concent of Scripture, with copper-plate engravings, 1591, 423.

Büchel, Emanuel, a Dance of Death copied by, in water-colours, 326.

Bukinck, Arnold, printer, his edition of Ptolemy, 1478, with maps, engraved on copper, 200.

Bullet, J. B. his Researches on Playing Cards, 40.

Bulwer, Sir E. Lytton, quoted, 398.

Burgmair, Hans, painter, and designer on wood, 277.

Burleigh, Lord, his portrait in Archbishop Parker’s edition of the Bible, 1568, 419.

Burnet, John, his engraving of Chelsea Pensioners, after Wilkie, 213.

Burning in the hand, 12.

Bury, Richard de, makes no mention of wood engraving, 39.

Businck, chiaro-scuros engraved by, 440.

Buttons, silver, engraved by Bewick, 479.

Bybel, Historische School en Huis, Amsterdam, 1743, with wood-cuts, 459.

Byfield, John, wood engraver, 544.

C

Calcar, John, a Flemish painter, 434.

Calderinus, D. editor of an edition of Ptolemy, 208.

Camus, his account of a book printed at Bamberg, 1462, 171.

Canticles, illustrations of, 71, 72.

655

Capitals, ornamented, in Faust and Scheffer’s Psalter, 426;

in English and other books, 616, 617.

Car, triumphal, of Maximilian, designed by Durer, 255.

Cards, known in 1340, 40.

Caron, Nicholas, wood engraver, his portrait of Papillon, 466 n.

Carpi, Ugo da, engraver of chiaro-scuros, on wood, 230, 307.

Cartouch, 28 n.

Casts, stereotype, early, 418;

modern, 636;

clichage, 637.

Cat edition of Dante, Venice, 1578, 431.

Catherine, St. patroness of learned men, 207.

Catholicon Johannis Januensis, 135 n.

Cauteria, 12.

Caxton, W. books printed by,—Game of Chess, 191;

Mirror of the World, 194;

Golden Legend, Fables of Esop, Canterbury Tales, 195.

Caylus, Count, chiaro-scuros executed by, and N. Le Sueur, 456 n.

Cessolis, J. de, his work on Chess, 197.

Champollion, 6 n.

Chantrey, Sir F. monument by, in Lichfield Cathedral, 589, 590.

Characters in an old Dutch Dance of Death, 318, 329 n.

Charlemagne, his monogram, 14.

Chelidonius, 243, 251.

Chelsea Pensioners, engraving of, after Sir D. Wilkie, 213.

Chaucer’s Canterbury Tales, 48.

Chess, the Game of, printed by Caxton, 191.

Chiaro-scuro, engraving on wood, known in Germany, in 1509, 230.

Chiaro-scuros, 307, 402, 432, 440, 451, 455, 467, 628.

Children in the Wood, cut from, 533.

Chillingham bull, cut of, by Bewick, 481.

Chinese engraving and printing, 23.

Chirotipografia, or hand-printing, 44 n.

Chisels, 578.

Christopher, St. wood-cut of, in the possession of Earl Spencer, 45, 46.

Chrysographus, 121.

Circular wood engravings in the British Museum, 54 n.

Клейтон, Дж. Р., рисовальщик, 599*.

Cleaning wood cuts after printing, mode of, 649.

Кленнелл, Люк, ученик Бьюика, биографическая заметка, 521–527.

Clerc, Sebastian le, cuts in Croxall’s Æsop’s Fables, copied from his engravings, 450.

Clichage, a mode of taking a cast from a wood engraving, 637.

Coeck, Peter, of Alost, his Costumes and Manners of the Turks, 402.

Coining, its antiquity, 19.

Cole, Humphrey, an English engraver, 1572, 419.

Коулман, У., художник, 599*.

Collation of editions of the Speculum Salvationis, 102.

Cologne Chronicle, unfairly quoted by the advocates of Coster, 122.

Colonna, Francis, author of the Hypnerotomachia, 218.

Colour, the meaning of the word when applied to engravings, 213.

Committee of the House of Commons on Arts and their Connexion with Manufactures, 305.

Congreve’s, Sir Wm. mode of colour printing, 630.

Concanen, M. wood cut in Miscellaneous Poems, published by, 1724, 453.

Cooper, James, wood-engraver, 550, 552.

Coornhert, Theodore, claims the invention of printing for Harlem, 146.

Коуп, К. У., живописец, 598*.

Copperplate engraving, its invention ascribed to Varro, 21.

Copperplates, earliest books containing, 200;

the earliest engraved in England, 419.

Корболд, Э. Х., живописец, 598*.

Coriolano, Bartolomeo, chiaro-scuros engraved by, 440.

Корнелиус, переплетчик, его рассказ об изобретении Костера, 150–152.

Coster, Lawrence, first mentioned by Hadrian Junius as the inventor of printing, 147;

account of his invention, 149.

Cotman’s Sepulchral Brasses, 22 n.

Ковердейл, Майлз, гравюры в его переводе Библии, 1535, 385–389.

Cowper, Edward, his invention for piercing wood blocks for map engraving, 205.

Cracherode, Rev. C. M. prints and books presented by him to the British Museum, 72, 231, 355, 385.

Cranach, Lucas, painter and designer on wood, 275;

chiaro-scuros cut after, 276;

figure of Christ printed in colours, supposed to be by him, 404.

Кранмер, архиепископ, его Катехизис, 1548, с ксилографиями, 380–382.

Кресвик, Т., художник, 588*, 589*.

Кропси, Джаспер, живописец, 598*.

Crown-piece of George IV., impressions of casts from, 618.

Кроуквилл, Альфред, художник, 597*.

Cross-hatching, 224, 234, 562.

«Басни Эзопа» Кроксолла, ксилографии в издании 1722 г., 448–451.

Крукшенк, Джордж, художник, 595*, 596*.

Cuningham’s, Dr. William, Cosmographical Glass, 1559, 421, 425;

his portrait, 424;

cuts from his book, 425, 426, 427.

Cunio, Alberic and Isabella, pretended wood engravers, 26.

Curved lines, the effect of, 585.

Cutting tools, 576.

D

Братья Далзил, граверы, 559–562*, 566*.

Далзил, Томас, художник, 562*.

Dammetz, Lucas, called also Lucas Van Leyden, 308.

Dampth, its effect on box-wood, 564.

Dance of Death, in old churches, 325;

at Basle, 326;

in old French and other books, 328;

Лионский «Пляски смерти», 1538, с гравюрами по рисункам Ганса Гольбейна, 329–364;

656

his Alphabet containing his Dance of Death, 352.

издание Данте с медными гравюрами, 1482;

the cat edition of, Venice, 1578, 431.

Дарли, Феликс, рисовальщик, 599*.

Dates of block books and cuts, mistake about, 58.

Day, John, an English printer, supposed to have also engraved on wood, 425.

Denecker, Jobst, publisher of a Dance of Death at Augsburg, 1544, 336.

Dentatus, the large cut of the death of, engraved by W. Harvey, 528;

specimens of it, 601, 609.

Derschau, the Baron Von, his collection of old wood blocks, 93, 226;

his character, 236 n.

Дерош, М., приписывает изобретение книгопечатания «Веделаре Лодевику», 119.

Дойч, Н. Э. 314.

Дикес, У., рисовальщик, 599*.

Динкель, Джозеф, рисовальщик, 593*.

Doctrinale gette en mole, 122.

Dodd, Daniel and John, wood engravers, 544.

Доджсон, Г., живописец, 598*.

Dolce, Ludovico, his Transformationi, a paraphrase of Ovid’s Metamorphoses, 394.

Dominicals, stamped on paper, 120.

Dominotiers, 45.

Donatus, a grammatical treatise so called, printed from wood blocks, 117;

one supposed to have been stamped, 1340, 121;

idea of typography perhaps suggested by such a work, 123.

Douce, Francis, his opinion about the name Machabre, 325;

his list of books containing figures of a Dance of Death, 328;

his edition of the Dance of Death, 1833, 338;

denies that the cuts in the Lyons edition were designed by Holbein, 346;

но полагает, ссылаясь на неизвестного автора по имени Пиккард, что Гольбейн написал «Пляску смерти» во дворце Уайтхолл, 360.

Dovaston’s account of Bewick, 478 n.

Дойл, Р., художник, 578*, 579*.

Drawings, of a Dance of Death, supposed to be originals, by Holbein, 357;

by Robert Johnson, purchased of Beilby and Bewick, by the Earl of Bute, 517;

on wood, mode of preparing the block for, 570;

for wood engraving, difficulty of obtaining good, 592.

Drytzehn, Andrew, a partner of Gutemberg’s, 126.

Дункан, Эдвард, художник, 583*.

Dünne, Hans, work done by him for Gutemberg, on account of printing, previous to 1438, 129.

Durer, Albert, placed as pupil under Michael Wolgemuth, 238;

earliest known copper-plate of his engraving, 1494, 239;

его иллюстрации к Апокалипсису, там же;

his visit to Venice, 241;

его иллюстрации к «Истории Девы», 243–246;

к «Страстям Христовым», 246–250;

triumphal car, 255;

триумфальная арка, там же;

his earliest etchings, 257;

specimen of his carving in the British Museum, 258;

his poetry, 260 n;

его поездка во Фландрию, 260–270;

his portrait, 272;

lock of his hair preserved, 321 n;

his death, said to have been hastened through his wife’s bad temper, 239, 273.

Dyas, E. a self-taught wood engraver, 463 n.

Dyers of Ovingham, 501.

E

Эдмонстон, С., рисовальщик, 599*.

Egyptian brick stamp, 5, 6.

Electro-printing block process, specimen of, 639.

Electrotyping, 638.

Elizabeth, Queen, portrait of, in Archbishop Parker’s Bible, 1568, 419;

in her Prayer-Book, 427, 428.

Emblems of Mortality, with cuts, engraved by John Bewick, 1789, 329, 513.

Emblems, Religious, with wood-cuts, 1808, 520.

английская книга, самая ранняя, содержащая ксилографии, 191–194.

Engraving, the word explained, 1;

copper-plate, 20, 200, 419.

Enschedius, J., specimen of typography discovered by him, 161.

Entkrist, Der, an old block-book, 1.

Erasmus, portrait of, painted by Durer, 263;

invoked by Durer to exert himself in behalf of the Reformation, 267;

his worldly wisdom displayed in his letter introducing Holbein to Aegidius, 375;

his Ship of Fools, with cuts by Seb. Brandt, 468.

Etching, the process of, explained, 258 n;

in metallic relief, 632.

Evans, Edmund, wood engraver, 556, 567*.

Eve, creation of, conventional mode of representing, 215, 216.

Evelyn’s Sculptura, 5, 408.

Eyck, Hubert and J. van, paintings by them, 265.

F

Fables, book of, printed at Bamberg, 1461, 171;

Æsop’s, 1722, 448;

«Избранные басни» с гравюрами Бьюика, 1818, 502–506.

Фэрхолт, Ф. У., художник, 592*.

Falconer’s Shipwreck, 1808, with cuts by Clennell, 522.

Fanti, Sigismond, his Triompho di Fortuna, Venice, 1527, 315.

Fantuzzi, Antonio, called also Antonio da Trente, engraver of chiaro-scuros, 389.

Fasciculus Temporum, with wood-cuts, 1474, 190.

Faust, John, becomes a partner of Gutemberg, 131;

sues him for money advanced, 133;

gains the cause, 134.

Faust and Scheffer’s Psalter of 1457, 164.

Fellowship, or Guild of St. Luke, at Antwerp, 121.

Figures du Nouveau Testament, 402.

Flaxman’s Lectures, print of the creation of Eve in, 217;

гравюра с его рельефа «Избавь нас от лукавого», 577*;

his opinion of expressionand sentiment in art, 585;

657

cut from a design by, 590.

Folkard, W. A. wood engraver, 544, 564*.

Forma, a shape or mould, 42.

Formschneider, 19, 43, 44, 410.

Foster, Birket, artist, 551, 556-558, 570*, 571*.

Fournier, P. S. his discoveries with respect to the Speculum Salvationis, 101;

his opinion of wooden types, 136;

его работы, 467–469.

Fox’s, John, Acts and Monuments, 428.

Fracture, 283 n.

Франклин, Джон, рисовальщик, 599*.

Frellon, John and Francis, publishers of the second edition of the Lyons Dance of Death, 366.

French wood-cuts, 610.

Frey, Agnes, the wife of Durer, her avarice and ill-temper said to have hastened her husband’s death, 273.

Frith, W. P. painter, 59.

G

Gænsfleisch, a surname of the family of Gutemberg, 124.

Galenus de Temperamentis, with a title-page, engraved on copper, printed at Cambridge, 1521, 421.

Galius, Nicholas, tells the story of Coster’s invention to H. Junius, 150.

Gamperlin, Von, cuts ascribed to, 314.

Garfagninus, Joseph Porta, 390.

Gebhard, L. A. his notice of the History of the Council of Constance, with cuts of arms, 189.

Gemini, Thomas, his Compendium of Anatomy, with copper-plate engravings, London, 1545, 422.

Gent, Thomas, wood-cuts in his History of Ripon, 181.

George IV. his signature stamped, 14;

his snuff-box, with designs by Flaxman, 590.

Gesner, Conrad, expressly mentions the cuts in the Lyons Dance of Death, as having been designed by Holbein, 364.

Ghesquiere, M. his answer to M. Desroches, 120.

Гилберт, Джон, художник, 561*, 563*, 564*.

Gilpin, Rev. William, his definition of tint, 213.

Giolito, Gabriel, printer, of Venice, 394.

Giraffe, wood-cut of a, in Breydenbach’s Travels, 1486, 269.

Glasses, observations on the use of, 573.

Globe, glass, the engraver’s, to concentrate the light of the lamp, 575.

Glockendon, George, an early German wood engraver, 227.

Glockenton, A. cuts ascribed to, 317.

Goethe, allusion to Sir Theurdank, in his Götz Von Berlichingen, 281 n.

Golden Legend, printed by W. de Worde, 1493, large cut in, 195.

Goldsmith and Parnell’s Poems, printed by Bulmer, 513.

Goltzius, Henry, chiaro-scuros by, 432.

Goltzius, Hubert, his portraits of the Roman Emperors in chiaro-scuro, from plates of metal, 1557, 405.

Гудолл, Э., живописец, 598*.

Гудолл, У., рисовальщик, 599*.

Goose, Bernacle or Barnacle, said to be produced from a tree, 414.

Gorway, Charles, wood engraver, 544, 600*.

Gospels of Ulphilas, 44.

Gothic monograms, 15.

Graff, Rose, 313, 314.

Grand-duc de l’armée céleste, 173.

Грант, У. Дж., живописец, 598*.

Gratture, the French term for the process of thickening the lines in a wood-cut by scraping them down, 464.

Gravers, 574, 575.

Gray, Charles, wood-engraver, 544.

Green, W. T. wood-engraver, 544, 547, 548.

Гринуэй, Дж., гравер, 553–555.

Greff, Jerome, publisher of a pirated edition of Durer’s Illustrations of the Apocalypse, 241.

Greffier and Scrivener, 2 n.

Gregson, Mr. C., letter to, from Bewick, 474, 479.

Gringonneur, Jacquemin, cards painted by, 41.

Gritner, a French wood-engraver, 547.

Grotesque, 9 n.

Грюн, Х. Б. 320.

Gubitz, a modern German wood-engraver, 546.

Guicciardini, L. mentions the report of printing having been invented at Harlem, 146.

Gutemberg, John, his birth, 124;

residing at Strasburg in 1434, 125;

его партнерство с Эндрю Дритценом, там же;

evidences of his having a press in 1438, for the purpose of printing, 127;

his return to Mentz and partnership with Faust, 131;

partnership dissolved, 133;

proofs of his having afterwards had a press of his own, 140;

his death and epitaph, 144.

H

Hahn, Ulric, Meditationes J. de Turrecremata, printed by, in 1467, 184.

Хэммонд, —, гравер, 600*.

Hancock, Charles, his patent for engraving in metallic relief, 635.

Handgun, figure of one seen in cut in Valturius, de Re Militari, 1472, 187.

Hans, Young, Briefmaler, 116, 225.

Харрал, Хорас, гравер, 566*, 583*, 594*.

Harrington, Sir John, his translation of Ariosto, with copper-plate engravings, 1591, 423.

Hartlieb, Dr. Cyromantia, 116.

Харви, Уильям, ученик Бьюика, заметка о его работах как гравера и дизайнера, 527–534.

Hawkins, John Sidney, editor of Emblems of Mortality, 1789, 329.

Hawkins, Sir John, wood-cuts in his History of Music, 1776, 471.

658

Haydock, R. his translation of Lomazzo, with copper-plate engraving, 1598, 423.

Head of Paris, the lover of Helen, serves for that of Thales, Dante, and others, 212.

Hegner, Ulrich, author of Life of Holbein, his notice of the Dance of Death, at Basle, 326;

of the German names in proof impressions of the cuts in the Lyons Dance of Death, 331;

of Hans Lutzelburger, 351;

his Life of Holbein, 372.

Heilman, Anthony, his evidence in the suit of the Drytzehns against Gutemberg, 1438, 128.

Heineken, Charles, Baron Von, his disbelief of Papillon’s story of the Cunio, 27;

his opinion that cards were invented in Germany, 40;

his notice of the old wood-cut of St. Christopher, 46;

of the History of the Virgin, 68;

of the Apocalypse, 80;

of the Poor Preacher’s Bible, 82, 94;

of the Speculum Salvationis, 100;

his erroneous account of a Dutch wood-cut, by Phillery [Willem] de figuersnider, 309.

Helgen, or Helglein, figures of Saints, 45.

Henderson, Dr. his History of Wines, with Illustrations, by W. Harvey, 530.

Henry VIII. his signature stamped, 14.

Heures a l’Usaige de Chartres, printed by S. Vostre, 1502, 232.

Хикс, Г. Э., живописец, 598*.

Hieroglyphic sonnet, 396;

Bible, 478.

Highland Society, diploma of, 523.

«Иконы истории Ветхого Завета», или библейские гравюры по рисункам Гольбейна, 365–371.

«Четыре истории», датированные 1462 г., 172–175.

«История Девы», древняя блочная книга, 68–80.

Hodgson, Solomon, printer of the first four editions of Bewick’s Quadrupeds, 488.

Hodgson, T. the engraver of a cut in Sir John Hawkins’s History of Music, 1776, 471.

Hogarth, cut from projected edition of, 544;

sketch from, 594.

Hogenberg, R. portrait of Archbishop Parker engraved by, 1572, 422.

Holbein, Hans, the designer of the cuts in the Dance of Death printed at Lyons, 371;

его рождение, там же;

his marriage, 372;

how employed at Basle, 373;

посещает Англию, там же;

revisits Basle, 376;

his death, 378;

his satirical drawings, 378 n;

his Alphabet, 352.

Hole, Henry, a pupil of Bewick, 492 n.

Holl, Leonard, printer of Ulm, his edition of Ptolemy, 1483, 199.

Hollar, W. his etchings of the Dance of Death, 337.

Holzschneider, 2.

Horace, his well-stored wine, 9.

Horne, Rev. T. H. probably incorrect with respect to a date, 60.

Хорсли, Дж. К., художник, 591*, 598*.

Hortus Sanitatis, 1491, 210.

Householder, the Good, 438.

Howel’s Medulla Historiæ Anglicanæ, with wood-cuts, 1712, 446.

Хьюз, Хью, его «Красоты Камбрии», 538–548.

Hughes, William, wood-engraver, 538.

Hudibras, 1819, cut from, 543.

Халм, Ф. У., рисовальщик, 599*.

Humanæ Vitæ Imago, 436 n.

Хамфрис, Ноэль, рисовальщик, 599*.

Хант, У. Холман, живописец, 598*.

Hunting and Hawking, Book of, printed at St. Alban’s, 1486, and at Westminster in 1496, 195.

Hutton’s Mensuration, with diagrams engraved by Bewick, 1768-1770, 475.

Hypnerotomachia Poliphili, 218, 220, 224.

I

«Образы Ветхого Завета» с гравюрами по рисункам Гольбейна, 365–370.

Оттиски с дерева и с меди, разница в способе получения, 4.

Initial letters, flowered, 191, 429.

Insanity of engravers, 458 n.

Inscriptions on bells, 20.

Intaglio engraving on wood, so that the outlines appear white upon black, 225, 482, 618, 619.

J

Jackson, John, wood-engraver, 545.

Jackson, John Baptist, an English wood engraver, perhaps a pupil of Kirkall, 453;

Papillon’s notice of him, 454;

engraves several chiaro-scuros at Venice, 455;

основывает мануфактуру обоев в Баттерси и публикует эссе о гравюре кьяроскуро, 455–457.

Jackson, John, 545.

Джексон, Мейсон, гравер, 589*, 600*.

Jacob blessing the children of Joseph, 596, 597.

Janszoon, Lawrence, supposed to be the same person as Lawrence Coster, 162.

Javelin-headed characters, 7.

Jean-le-Robert, his Journal, 122.

Jegher, Christopher, wood engravings by, from drawings by Rubens, 437.

Jettons, or counters, 19.

Джевитт, Орландо, рисовальщик и гравер, 584*–587*.

John, St. old wood-cuts of, 60.

Johnson, John, a pupil of Bewick, 517 n.

Johnson, Robert, a pupil of Bewick’s, list of tail-pieces in the British Birds designed by, 497;

notice of his life, 516.

Джонс, Оуэн, рисовальщик, 599*.

Journal, Albert Durer’s, of his visit to Flanders, 260.

Judith, with the head of Holofernes, 440.

Юниус, Адриан, приписывает изобретение книгопечатания Лоуренсу Костеру, 147–150.

K

Kartenmachers in Germany, in the fifteenth century, 43.

Кин, Чарльз, рисовальщик, 599*.

659

Killing the black, a technical term in wood engraving, explained, 232.

Кирхнер, —, гравер, 563*.

Kirkall, E. copper-plate frontispiece to Howel’s Medulla Historiæ Anglicanæ, engraved by, 1712, 447;

chiaro-scuros engraved by, 451;

copper-plates engraved by, in Rowe’s translation of Lucan’s Pharsalia, and other works, 452.

Klauber, H. H., repainted the Dance of Death in the church-court of the Dominicans, at Basle, 327.

Knight, R. Payne, his bequest of a piece of sculpture, by A. Durer, to the British Museum, 258.

Knight, C. his patent illuminated prints and maps, 630.

Koburger, Anthony, printer of the Nuremberg Chronicle, 1493, 212.

Koning, J. a modern advocate of Coster’s invention, 154.

Krismer, librarian of the Convent of Buxheim, 49 n.

Kunig, der Weiss, the title of a work, with wood-cuts, chiefly written by the Emperor Maximilian, 286, 483;

краткое содержание, там же.

Kupfer-stecher, 2.

Küttner, K. G. his opinion of Sir Theurdank, 282.

Kyloe Ox, by Bewick, 485 n.

L

Ladenspelder, Hans, 355.

Laer, W. Rolewinck de, his Fasciculus Temporum, with wood-cuts, 1474, 190.

Lamp, the engraver’s, 575.

Landells, Ebenezer, wood-engraver, 544.

Landseer, Mr. Edwin, on vignettes, 615.

Landseer, Mr. John, his theory of vegetable putties, 72;

his observations on the term colour, as applied to engravings, 213.

Laocoon, burlesque of the, by Titian, 435.

Lapis, Dominico de, printer of Bologna, his edition of Ptolemy, with an erroneous date, 201.

Lar, the word on a Roman stamp, 8.

Лоулесс, М. Дж., рисовальщик, 599*.

Ли, Джеймс, гравер, 593*.

Lee, John, wood-engraver, 534.

Лич, Джон, художник, 580*, 581*.

Leglenweiss, the word explained, 44.

Legrand, J. G. his translation of the Hypnerotomachia, 219.

Lehne, F. his observations on a passage in the Cologne Chronicle, 122 n;

his Chronology of the Harlem Fiction, 155;

his remarks on Koning, 157.

Leicester, Robert Earl of, his portrait in Archbishop Parker’s edition of the Bible, 1568, 419.

Лейтон, Джон, художник, 582*.

Лейтон, Генри, гравер, 582*.

Ле Жён, Х., живописец, 598*.

Leland, John, his Næniæ, 1542, contains a portrait, engraved on wood, of Sir Thomas Wyatt, 379.

Le Sueurs, French wood-engravers, 443, 467.

Letania Lauretana, with wood-cuts, Valencia, 1768, 469.

Lettere Cifrate, 395.

Leyden, Lucas van, visited by Durer, 269;

his engravings, 308.

Lhuyd, Humphrey, erroneously described by Walpole as an engraver, 420.

Libripagus, a definition of the word, by Paul of Prague, 182.

Lignamine, P. de, in his Chronicle, 1474, mentions Gutemberg and Faust, as printers, at Mentz in 1458, 140.

Linton, W. J. wood-engraver, 544, 590*, 591*.

Lobel and Pena’s Stirpium Adversaria, with copper-plate title-page, London, 1570, 423.

Lodewyc von Vaelbeke, a fidler, supposed to have been the inventor of printing, 119.

Logography, 417.

Lorenzo, Nicolo, books containing copper-plates printed by him, 1477-1481, 202.

Lorich, Melchior, 408.

Loudon’s Arboretum, with cuts printed from casts of etchings, by Branston, 634.

Лаудон, Дж., гравер, 600*.

Lowering, the practice of, no recent invention, 465.

Lowering, concave, 618.

Lowering, advantages of, 624.

Lowering, complicated, 625.

Lowering, the difference between cylindrical rollers and the common press, so far as relates to, 640 n.

Lucas van Leyden, 308.

Lucchesini, an Italian wood-engraver, about 1770, 469.

Luther, Martin, his cause espoused by Durer, 265;

caricature portraits of, 267.

Lutzelburger, Hans, a wood-engraver, 351.

Lydgate, John, mentions vignettes in his Troy Book, 616.

Lysons, Mr. Samuel, letter from, to Sir George Beaumont, 108.

M

Mabillon, 14.

«Пляска смерти» (Machabre), 325–329.

Маклис, Д., художник, 568*, 569*.

Маккуод, Т., рисовальщик, 599*.

Mair, an engraver, a supposed chiaro-scuro by, 1499, 231.

Мак-Иэн, Р. Р., художник, 588*, 590*.

Maittaire’s Latin Classics, wood-cut ornaments in, 1713, 448.

Mallinkrot, his translation of a passage in the Cologne Chronicle, 123.

Mander, C. Van, ascribes the Lyons Dance of Death to Holbein, 365.

Mantegna, Andrea, wood-cuts of the Hypnerotomachia ascribed to, 219.

Manung, widder die Durken, an early specimen of typography, 138.

Map engraved on wood, specimen of a, 612.

660

Maps engraved on wood and on copper, the earliest, 199;

names of places in, printed in type, 1511, 203;

printed in colours, 1538, 204;

усовершенствования в гравировании, там же;

printed in separate pieces, with types, 1776, 205;

improvements in printing, 417;

early, on copper, published in England, 419;

Knight’s patent illuminated, 630.

Marcolini, F. wood-cuts in his Sorti, 1540, 389, 391.

Marks, double, on wood-cuts, 350.

Маршалл, Дж. Р., гравер, 596*.

Martin, John, artist, 545, 546, 547, 590*.

Martin, J. wood-engraver, 544.

Mary de Medici, her portrait mistaken by Papillon and Fournier for a specimen of her own engraving on wood, 461.

Masters, little, 320 n.

Matsys, Quintin, entertains Durer, 261.

Maude, Thomas, extract from his poem of the School Boy, 473.

Maugerard, M. copy of an early edition of the Bible discovered by, 139.

Maximilian the First, Emperor of Germany, his triumphal car and arch, designed by Durer, 255;

«Приключения сэра Тейрданка», совместное сочинение его самого и его секретаря, 282–285;

works celebrating his actions,—The Wise King, 286;

the Triumphal Procession, 288, 289.

Mazarine Bible, 139 n.

Медоуз, Кенни, художник, 597*.

Мезом, Джордж, гравер, 575*.

Mechel, Christian von, of Basle, his engravings after Holbein, 350.

Medals, 320.

Meditationes Joannis de Turrecremata, 184.

Meerman, G. his disbelief of the story of Coster’s invention, 154;

and his subsequent attempts to establish its credibility, 155.

Mentelin, John, printer, of Strasburg, formerly an illuminator, 121.

Mentonnière, 465, 574.

Merchants’-marks, 17.

Metallic relief engraving, erroneous statements about, 305;

Blake’s metallic relief engraving, 632;

portrait thus executed by Lizars, 633;

Woone’s, 634;

Шонберга, там же;

Брэнстона, там же;

Hancock’s patent, 635;

Sly’s experiments, 636;

гг. Беста, Эндрю и Лелуара, там же.

Meydenbach, John, said to have been one of Gutemberg’s assistants, 166.

Meydenbach, Jacobus, printer of the Hortus Sanitatis, 1491, 210.

Милле, Дж. Э., живописец, 598*.

Mints, provincial, for coining money, 19.

Mirror of Human Salvation, 95.

Mirror of the World, printed by Caxton, 194.

Missale Herbipolense, with a copper-plate engraving, 1481, 201.

Moffet’s Theatre of Insects, 442.

Monogram, 13, 15.

Montagna, Benedetto, wood-cuts of the Hypnerotomachia ascribed to him, 220.

Monte Sancto di Dio, an early book, containing copper-plates, 1477, 202.

Monumental brasses, 21.

More, Sir Thomas, 375.

Морган, М. С., рисовальщик, 599*.

Morland, sketch from, 592.

Mort, les Simulachres de la, Lyons, 1538, 328.

Mosses, Thomas, wood engraver, 544.

Малреди, У., живописец, 598*.

Munster, Sebastian, his Cosmography, 413;

his letters to Joachim Vadianus about an improvement in the mode of printing maps, 417.

Мурр, К. Г. фон, ссылки на его «Журнал искусств» и другие работы, 2, 9, 42, 47, 49, 51, 56, 74, 227, 236, 237, 241, 242, 257, 260, 262, 264, 267, 273, 281, 283, 289, 291.

N

Names of wood engravers at the back of the original blocks of the Triumphs of Maximilian, 292.

Naming of John the Baptist, a piece of sculpture by A. Durer, 259.

Нэш, Дж., живописец, 599*.

Несбит, Чарльтон, ученик Бьюика, заметка о некоторых его основных гравюрах, 519–521.

Neudörffer, his account of Jerome Resch, a wood engraver, contemporary with Durer, 236.

Nicholson, Isaac, a pupil of Bewick, 527.

Northcote, James, his mode of composing the cuttings for his Fables, 529 n.

Notarial stamps, 17.

Nummi bracteati, 16.

Nuremberg Chronicle, 212.

O

Oberlin, J. J. Essai d’Annales de la Vie de Gutenberg, 125, 130, 136, 138, 140, 143.

Odes, two, by Lloyd and Colman, with wood-cuts, 1760, 470.

Ortelius, Abraham, his collection of maps, engraved on copper, 1570, 419.

Ortus Sanitatis, 211.

Ottley, W. Y. adopts Papillon’s story of the Cunio, 419;

his advocacy of Coster’s pretensions, 160;

ascribes the introduction of cross-hatching to M. Wolgemuth, 239;

and the designs of the cuts in the Hypnerotomachia to Benedetto Montagna, 220.

Outline, in wood engraving, the difference between the white and the true, 587;

engravings in, 590.

Overlaying wood-cuts, mode of, 613, 645.

Ovid’s Metamorphoses, printed at Venice, 1497, 217.

Ovingham, the parsonage at, 473;

the church, 512.

Oxford Sausage, with wood-cuts, 1764, 470.

P

Packhouse’s machine for tints, 584 n.

Palatino, G. B. his work on Penmanship, 395.

661

Palmer, W. J. wood-engraver, 557.

Paper, proper for printing wood-cuts, 646;

индийская бумага, вредна для ксилографий, там же.

Paper-mark in an old book of wood-cuts, 107.

Paper money, early, 25 n.

Papillon, John, the elder, 443.

Papillon, John Michael, his story of the Cunio, 26;

his character, 35;

заметка о его работах, 457–467.

Parafe, or ruche, 14.

Parker, Archbishop, his portrait, engraved by R. Hogenberg, 1572, 422.

Parkinson’s Paradisus Terrestris, 442.

Parmegiano, chiaro-scuros after his designs, 403.

Pasti, Matteo, supposed to have designed the cuts in Valturius de Re Militari, 1472, 186.

Patin’s Life of Holbein, 372.

Patroner, the word explained, 330 n.

Павел из Праги, его определение «libripagus», 182.

Пирсон, Г., гравер, 573*, 574*.

Pepyr, Edmund, his mark, 18.

Peringskiold, 14.

Petit-Jehan de Saintré, Chronicle of, 41.

Petrarch’s Sonnets, Lyons, 1545, cuts in, 400.

Petronius, 8, 15.

Pfintzing, Melchior, joint author of Sir Theurdank, 282.

Pfister, Albert, works printed by, at Bamberg in 1461 and 1462, 170, 181.

Phillery, properly Willem, de figursnider, mistakes about a cut of his engraving, 310.

Физ (Х. К. Браун), рисовальщик, 599*.

Piccard, T. Nieuhoff, an unknown discoverer of a painting of the Dance of Death, by Holbein, 360, 363.

Пикерсгилл, Ф. Р., живописец, 599*.

Pictura, a wood-cut sometimes called, 357.

Pilgrim, John Ulric, cuts ascribed to, 317.

Пинкертон, Джон, его утверждение, что несколько гравюр в «Четвероногих» Бьюика были нарисованы на блоке Р. Джонсоном, 491 прим.

Pinx. et Scalp. not to be found on early wood-cuts, 35.

Pirkheimer, Bilibald, letters written to him by Albert Durer, 242;

his letter to J. Tscherte, announcing Durer’s death, 273.

Pittacia, small labels, 8 n.

Playing cards, 40.

Plebanus, a curate or vicar, 61 n.

Pleydenwurff, William, with M. Wolgemuth, superintends the cuts of the Nuremberg Chronicle, 1491, 212.

Ploughman, Pierce, his Creed, 18.

Plug, mode of inserting in an engraved wood-block, 549.

Poetry, specimen of Durer’s, 260;

specimens of Clennell’s, when insane, 526.

Poliphili Hypnerotomachia, 218, 220, 224.

Polo, Marco, 25.

Библия бедных, 80–94, 175–179.

Portraits of Bewick, list of the principal, 509.

Powis, W. H. wood engraver, 544.

Prayer-book, Queen Elizabeth’s, 1569, 427.

Prenters of Antwerp in 1442, 121.

Press made for Gutemberg previous to 1438, 127.

Press, rolling, for copper-plate printing, 4.

Press, steam, wood-cuts printed by, 644.

Preusch, his attempt to print maps by a typometric process, 205.

Printing, Gutemberg occupied with the invention of, in 1436, 127.

Printing in colours, a figure of Christ, with the date 1543, 403;

Savage’s decorative printing, 629;

G. Baxter’s improvements, 629;

C. Knight’s patent illuminated prints and maps, 630.

Printing wood-cuts, best mode of, 640.

Priority of editions of the Speculum Salvationis, 100.

Procession, triumphal, of Maximilian, 288, 289.

Procopius, 13.

Proofs of wood engravings, mode of unfairly taking, 466, 603.

Праут, Дж. С., рисовальщик, 599*.

Psalter, printed by Faust and Scheffer in 1457, 164.

Ptolemy’s Cosmography, with maps, engraved on wood, 1483, 199;

an edition printed by Dominico de Lapis, at Bologna, 201;

at Venice, by J. Pentius de Leucho, 1511, 203.

Q

Quadrin’s Historiques de la Bible, 402.

«История четвероногих» с гравюрами Бьюика, 1791, 482–490.

Queen Elizabeth’s Prayer-book, 427.

Quintilian, his notice of the manner of boys learning to write by tracing the letters through a stencil, 12.

R

Raffaele, designs for the wood-cuts of the Hypnerotomachia ascribed to him, 219;

a wood-cut after a drawing by, in Marcolini’s Sorti, 389.

Rahmenschneiders, or border-cutters, 190, 319.

Raidel, his Dissertation on an edition of Ptolemy, 201;

даты, ошибочные в книгах, там же.

Raimbach, Abraham, his engraving of the Rent-day, after Sir D. Wilkie, 213.

Randell, a printer’s apprentice, wood-cuts by, 180.

Raynalde’s Birth of Mankind, with three copper-plate engravings, 1540, 421.

Рид, С., рисовальщик, 599*.

Ребус, или «именные девизы», 398.

Редгрейв, Р., живописец, 599*.

Relief, metallic, engraving in, erroneous statements about, 305;

практиковалось Блейком и другими, 632–636.

Rembrandt, cuts copied from etchings by, 595, 599, 602, 605.

Renaudot, l’Abbé, 24.

Rent-day, engraving of a group from, after Sir D. Wilkie, 593.

Repairing wood-cuts, 569 n.

662

Reperdius, George, a painter praised by Nicholas Bourbon, 356.

Requeno’s Chirotipografia, 44 n.

Revelationes Cœlestes sanctæ Brigittæ de Suecia, 321.

Reynolds, Nicholas, an English engraver on copper, 1575, 420.

Reyser, George, printer of the Missale Herbipolense, 1481, 202.

Робертс, Дэвид, живописец, 599*.

Robin Hood’s Garland, with wood-cut on the title-page, 1670, 444, 445.

Rocca, Angelus, mentions a Donatus on parchment, 123 n.

Роджерс, Гарри, рисовальщик, 599*.

Rogers, William, an English copper-plate engraver, about 1600, 423.

Rolling-press, 4.

Rollers, composition, not so good as composition balls for inking certain kinds of wood-cuts, 650.

Roman stamps, 8, 10.

Rotundity, how indicated by straight lines, 584.

Rouen Cathedral, 611.

Rubbing down, 389.

Rubens. P. P. his praise of the cuts in the Lyons Dance of Death, designed by Holbein, 365;

wood engravings from his designs, 438, 439.

Ruche, or parafe, 14.

Runic cyphers and monograms, 15.

Ryther, Augustine, an English engraver on copper, 1575, 420.

S

Sachs, Hans, his descriptions of cuts designed by Jost Amman, 408.

Salmincio, Andrea, wood-cuts ascribed to, 441.

Sandbag and block, 575.

Sandrart, J. his notice of the Dance of Death, with cuts designed by Holbein, 365.

Saspach, Conrad, his evidence in the Drytzehns’ suit against Gutemberg, 1438, 128.

Savage, W. chiaro-scuros in his hints on Decorative Printing, 629;

his opinion as to the best mode of working a form containing wood-cuts, 647.

Saxton, Christopher, his collection of English County Maps, engraved on copper, 1573-1579, 420.

Schapf, George, an early wood engraver, 142, 228.

Schäufflein, Hans, painter, generally supposed to have engraved on wood, 281, 283, 284, 285, 287.

Schedel, Hartman, compiler of the Nuremberg Chronicle, 1493, 212.

Scheffer, Peter, a partner of Gutemberg and Faust, 132;

mentioned by Faust as his servant, 133;

a clerk, or copyist of books, 167.

Schelhorn’s Amœnitates, 113.

Schœpflin, Vindiciæ Typographicæ, 125, 132.

Schön, Martin, 74, 238.

Schön, Erhard, 406.

Schonberg, Mr. his attempts to engrave in metallic relief, 634.

Schönsperger, Hans, the printer of Sir Theurdank, 282.

Schopper, Hartman, verses by, in a book of trades and professions, 409.

Schoting of Nuremberg, a cut thus inscribed, the date 1584, mistaken for 1384, 59.

Schultheis, Hans, his evidence in the Drytzehns’ suit against Gutemberg, 1438, 127.

Schussler, John, a printer of Augsburg, 180.

Schwartz, J. G. Documenta de Origine Typographiæ, 124, 133, 134, 142.

Scopoli, mistakes Mr. B. White’s sign for the name of his partner, 313.

Скотт, Т. Д., рисовальщик, 599*.

Scrive, a tool to mark timber with, 2.

Scrivener and Greffier, 2 n.

Scriverius, his account of Coster’s invention, 151 n.

Seals, engraved, 20.

Sebastian, St. account of an old wood-cut of, 55.

Селоус, Х. К., живописец, 599*.

Shade for the eyes, 575.

Шоу, Генри, рисовальщик, 599*.

Shields of arms in the block-book called The Apocalypse, 65;

in the History of the Virgin, 75, 76, 77, 78.

Sichem, Cornelius van, wood engraver, 439.

Silberrad, Dr. old wood-cuts in the possession of, 227.

Simulachres et Historiées Faces de la Mort, Lyons, 1538, 328.

Singer’s Researches on the History of Playing Cards, 9;

his unacknowledged obligations to Breitkopf, 10.

Skelton, Percival, 550, 569*.

Skippe, John, chiaro-scuros engraved by, 628.

Slader, Samuel, wood engraver, 544.

Sly, Stephen, his experiments in metallic relief, 636.

Smith, John Orrin, wood engraver, 544.

Смит, Оррин, гравер, 580*.

Смит, Ф. Г., гравер, 600*.

Snuff-box, George the Fourth’s, with designs, by Flaxman, 590.

Solis, Virgil, 406.

Solomon, song of, illustrations, 71, 72.

Соломон, А., живописец, 599*.

Solomon, Bernard, of Lyons, 398-401, 407.

Somervile’s Chase, with cuts, designed by John Bewick, 513.

Sonetto figurato, 395–397.

Sorg, Anthony, of Augsburg, account of the Council of Constance, with wood-cuts, printed by him in 1483, 189.

«Sorti» Марколини, труд, содержащий ксилографии, 389–393.

Southey, Robert, his notice of two odes by Lloyd and Colman, with wood-cuts, 470.

Spanish marks, 15.

Specklin, D. mentions wooden types, 131.

Speculum Nostræ Salutis, 149.

Speculum Salvationis, неправильно названная блочная книга, 95–106;

cuts from, 96, 97, 98.

663

Speed’s History of Britain, 442.

Sporer, Hans, an old briefmaler, 43.

Springinklee, Hans, 287, 320.

Stabius, J. his description of the triumphal arch of Maximilian, 256.

Stamham, Melchior de, Abbot of St. Ulric and Afra, at Augsburg, printing-presses bought by him, 165 n.

Stampien, to stamp with the foot as a fiddler beats time, mistaken for printing, 120.

Stamping of letters in manuscripts, 44.

Stampilla, 14.

Stamps, Roman, 8;

notarial, 17.

Стэнфилд, Кларксон, член Королевской академии, 570*.

Steiner, J. M. his notice of a book printed at Bamberg in 1462, 170.

Stencilling, 12, 40 n.

Стивенсон, Джеймс, рисовальщик, 599*.

Stereotype, early, 418;

modern, 636.

Stigmata, 12.

Stimmer, Christopher, and Tobias, 413.

Стокс, Ламб, рисовальщик, 599*.

Stoke-field, knights and bannerets created after the battle of, 191.

Стоунхаус, художник, 591*.

Stothard, Thomas, R.A. his Illustrations of Rogers’s Poems, 1812, engraved on wood, 524.

Strephon’s Revenge, 1724, copy of a tail-piece in, 453.

Sueur, le, Peter and Vincent, 443;

Nicholas, 467.

Салман, Т., рисовальщик, 599*.

Суэйн, Джон, гравер, 579*, 581*.

Суэйн, Джозеф, гравер, 600*.

Swedish coins, 15.

Sweynheim, Conrad, printer, the first that devised maps engraved on copper, 200.

Switzer, cuts engraved by, 442.

Sylvius, Æneas, his account of the Barnacle or Tree goose, 415.

T

Tail-pieces in Bewick’s Quadrupeds, 486.

Tell, William, 416, 417.

Temple, W. W. a pupil of Bewick, 527.

Tenniel, John, artist, 559, 560.

Terms, abstract, derived from names expressive of tangible and visible things, 214.

Terra-cottas, called Typi, 7.

Testament, Figures du Nouveau, 402.

Theodoric, his monogram, 13.

Ther-Hoernen, Arnold, prints at Cologne an edition of the Fasciculus Temporum, with wood-cuts, 1474, 190.

Theurdank, the Adventures of, an allegorical poem, by the Emperor Maximilian and his Secretary, 281;

the text erroneously supposed to have been engraved on wood, 283.

Томас, Г. Х., художник, 565*–567*.

Томас, У. Л., гравер, 565*, 568*.

Thompson, Charles, wood engraver, 541 n.

Thompson, Eliza, wood engraver, 541 n.

Thompson, John, wood engraver, a pupil of R. Branston, notice of some of his principal cuts, 541, 569*.

Thurston, John, designer on wood, 519 n.

Тиндейл, Уильям, гравюры в его переводе Нового Завета, 1534, 383–385.

Tinsel money, 16.

Тональные переходы, способ гравирования, 577–581.

Tint-tools, 577.

Titian, wood-cuts after, 433, 435.

Инструменты граверов, 576–530.

Топхэм, Ф. У., рисовальщик, 599*.

Topsell’s History of Four-footed Beasts, 442.

Tract printed by A. Pfister, at Bamberg, 1461, 1462, 170, 181.

Transferring old impressions of wood-cuts, 104 n;

old wood-cuts and copper-plates, 637.

Travelling printers, 184.

Tree goose, 414.

Treitzsaurwein. M. Secretary to the Emperor Maximilian, nominal author of the Weiss Kunig, 286.

Treschel, Melchior and Gaspar, printers of the Lyons Dance of Death, 1538, with cuts, designed by Hans Holbein, 330.

Trimming, 606.

«Triompho di Fortuna», 315–317.

Trithemius, his account of the invention of printing, 131.

Триумфальное шествие, обычно называемое «Триумфы Максимилиана», 288–304.

Trusler, Dr. his Progress of Man and Society, with cuts, by John Bewick, 613.

Turner, Dr. William, his account of the Tree goose, 414.

Turner, the Rev. William, his opinion of cross-hatching, 562.

Turrecremata, J. de, his Meditationes, 184.

Typi, 7.

Typography, invention of, 118;

not a chance discovery, 145.

U

Ulphilas, Gospels of, 44.

Underlaying wood-cuts, mode of, 645 n.

Unger, father and son, German wood engravers, 1779, 403, 483, 545.

Urse Graff, a cut designed by, probably copied by Willem de Figuersnider, 313;

other cuts with his mark, 314.

V

Vagabonds and sturdy beggars, 12.

Valcebro, Ferrer de, his notice of the Bernacle or Tree goose, 416.

Valturius, R. de Re Militari, 186.

Vasari, George, claims the invention of chiaro-scuro engraving for Ugo da Cai, 230.

Vasey, George, wood engraver, 544.

Vaugris, V. printer of a piracy of the Lyons Dance of Death, at Venice, 1542, 393.

Vecellio, Cesare, his book of Costumes, Venice, 1589, 433.

Vegetable putties, a theory of Mr. J. Landseer, 72.

Veldener, John, printer of an edition of the Speculum Salvationis, 1483, 106;

one of the earliest printers who introduced ornamental borders engraved on wood, 191.

664

Venice, foreign cards prohibited to be brought into the city of, 1441, 43.

Verona, Johannes de, 186.

Vesalius’s Anatomy, Basle, 1548, erroneously said to contain cuts designed by Titian, 433.

Vignettes, 615.

Vincentini, J. N. engraver of chiaro-scuros, 389.

Vizetelly, H. wood engraver, 558, 570*, 571*.

Vostre, Simon, Heures printed by him, 232.

W

Waagen, Dr. G. F. extract from his evidence before the Committee on Arts and Manufactures, 322.

Walsokne, Adam de, his mark, 18.

Walton’s Angler, cuts of fish in Major’s edition of, 541, 543.

Wand-Kalendars, or sheet almanacks, 1470, 1500, 225.

Ward, James, R.A. cut of a dray-horse from a drawing by, 596.

Уоррен, Х., живописец, 599*.

Уотсон, Дж. Д., рисовальщик, 599*.

Watts, S. his engravings, 1703, 471.

Waved lines, 583.

Вебстер, Т., живописец, 599*.

Венерт, Г. Х., художник, 594*.

Weir, Harrison, artist, 551, 555.

Weiss-Kunig, 286.

West, Benjamin, his design for the diploma of the Highland Society, 523.

Wethemstede, John, prior of St. Albans, 111.

White, Henry, senior and junior, wood engravers, 544.

White outline, 587, 598.

Уайтхолл, вымыслы о «Пляске смерти», написанной Гольбейном в старом дворце, 360–363.

Whiting, Chas. his colour-printing, 630.

Whymper, J. W. wood engraver, 544, 569*.

Wilkie, Sir David, R.A. his sketch for his picture of the Rabbit on the Wall, 591;

group from his Rent-day, 593;

from his Village Festival, 614.

Willett, R. his opinion of wooden types, 136.

Уильямс, Дж., гравер, 588*.

Williams, Samuel, artist and wood engraver, 544, 572*.

Williams, Thomas, wood engraver, 544, 547.

Willis, Edward, a pupil of Bewick, 522 n.

Вимперис, Э., гравер, 600*.

Wimpheling, verses by him, celebrating Gutemberg as the inventor of printing, 155.

Wirtemberg, Counts of, their arms, 78.

Вольф, Дж., художник, 573*, 574*.

Wolgemuth, Michael, not the first that introduced cross-hatching in wood engravings, 239.

Women, engravers on wood, 235.

Wood for the purposes of engraving, several kinds mentioned by Papillou, 464;

способ подготовки, 562–568.

Wood-cut, the earliest known with a date, 45.

Wood-cuts, largest modern; directions for cleaning, 649.

Wood engravers, early, unfriendly to the progress of typography, 179.

Wooden types, 131, 136, 137.

Вудс, Х. Н., гравер, 600*.

Wootie, Mr. his patent for engraving in metallic relief, 634.

Worde. W. de, cuts in books printed by him, 196, 198.

Wordsworth, William, his high opinion of Bewick’s talents, 512.

Wright, John, wood engraver, 544.

Wright, W. wood engraver, 554.

Wyatt, Sir Thomas, a wood-cut portrait of, from a drawing, by Holbein, 379.

Уайберд, Ф., живописец, 599*.

Z

Zainner, Gunther, of Augsburg, 179;

the Legenda Aurea, with wood-cuts, printed by him, in 1471, 188.

Zainer, John, of Reutlingen, prints at Ulm in 1473, an edition of Boccacio de Claris Mulieribus, with wood-cuts, 190.

Zani’s arguments in favour of Papillon’s story of the Cunio, 36, 37.

Zerlegen, слово, используемое немецкими печатниками для обозначения разборки (распределения) литер, встречается в связи с прессом Гутенберга в 1438 г., 128.

Zuyren, J. Van, claims the invention of printing for Harlem, 146.

Цвекер, Джон Б., рисовальщик, 599*.

Ошибки в указателе

Dante, edition of, with copper-plates, 1482
copperplates

Fracture напечатано как показано, но в основном тексте «fractur»

Иероглифическая ... Библия, 478. пропущена ссылка на страницу

Машина Пакхауса для тонов напечатана и алфавитизирована как показано, но в основном тексте «Parkhouse»

Сандрарт, Дж. Sandrant

КОНЕЦ.

ЛОНДОН: ОТПЕЧАТАНО Р. КЛЕЕМ, СЫНОМ И ТЕЙЛОРОМ, БРЕД-СТРИТ-ХИЛЛ.

Ошибки и несоответствия (отмечены транскриптором)

Непоследовательное написание было приведено к единообразию только при наличии сильного преобладания; изменения отмечены индивидуально. Различные варианты написания имени, которое сейчас пишется «Shakespeare», оставлены без изменений, как и формы «Albert Durer» и «Gutemberg». В немецких цитатах последовательно опускается точка в ссылках типа «2 Theil». Другие неизмененные формы включают:

cross line : cross-line figuersnider : figursnider fore-/back-ground : fore/background type-founder : typefounder wood-cut : woodcut wood-engraver : wood engraver Schaufflein : Schäufflein

В указателе пропущенная или непоследовательная пунктуация была молчаливо приведена к единообразию. Все остальные ошибки отмечены двумя способами: с помощью всплывающих окон при наведении курсора мыши там, где встречается ошибка, и повторно в конце каждой главы или раздела, после всех сносок.

1

9

11

12

13

14

NICOLAUS FERENTERIUS, 1236

17

33

40

49

55

68

87

88

95

104

113

II.16 Von Murr, Journal, 2 Theil, S. 105, 106.

II.24 Von Murr, Journal, 2 Theil, S. 113-115.

| Inches. | Inches.
The largest cut is | 10-4/8 high, and | 7-5/8 wide.
The smallest  — | 10-1/8   —  — | 7-5/8   —

The largest cut is | 10-3/8 high, and | 7-2/8 wide.
The smallest  — | 9-7/8   —   — | 6-7/8   —

II.48 Heineken, Idée Générale, p. 374. Von Murr, Journal, 2 Theil, S. 43.

118

119

120

136

143

164

167

170

| 3 Christ appearing to the Apostles. |
1 Busts. | 2 Busts.
4 Joseph making himself known to his brethern. | 5 The Prodigal Son’s return to his father.

178

182

191

195

201

212

221

222

223

224

IV.18 Von Murr, Journal, 2 Theil, S. 144.—Zapf, Buchdruckergeschichte von Augsburg, 1 Band.

230

242

249

253

272

277

286

298

300

324

334

343

[352]

356

367

382

389

402

404

405

425

444

VI.59 See Dallaway’s edition, revised by R. N. Wornum. London, Bohn, 1849, 3 vols. 8vo. Vol. i. pp. 66 et seq.

C

446

454

465

472

475

490

497

| EDITIONS
VOLUME I | 1797 | 1821
| PAGE | PAGE
Boughs and Bird’s-nest, drawn and engraved by Charlton Nesbit, preface | i | i
Sportsman and Old Shepherd, drawn by Robert Johnson, engraved by Bewick, preface (transferred to Vol. ii. preface, page vi. in the edition of 1821) | vi | —
Old Man breaking stones, drawn by R. Johnson, engraved by Bewick | 26 | xxviii
Horse running away with boys in the cart, drawn by R. Johnson, engraved by Bewick | 82 | 146
Fox and Bird, drawn by R. Johnson, engraved by Bewick | 159 | 140
Winter piece, the geldard, drawn by R. Johnson, engraved by Bewick | 162 | 160

| EDITIONS
VOLUME II | 1804 | 1821
| PAGE | PAGE
Two Old Soldiers, “the Honours of War,” drawn by R. Johnson, engraved by Bewick, introduction | v | vii
Man creeping along the branch of a tree to cross a stream, drawn by R. Johnson, engraved by L. Clennell | 3 | 63
Old Fisherman, with a leister, drawn by R. Johnson, engraved by L. Clennell | 23 | 38
The Broken Branch, drawn by R. Johnson, engraved by Bewick | 31 | 41
Old Man watching his fishing-lines in the rain, drawn by R. Johnson, engraved by Bewick | 41 | 48
Man angling, his coat-skirts pinned up, engraved by L. Clennell | 46 | 57
Old Angler fettling his hooks, engraved by L. Clennell | 50 | 97
Partridge shooting, drawn by R. Johnson, engraved by L. Clennell | 82 | 105
Woman hanging out clothes, engraved by L. Clennell (transferred to vol. i. page 164, edition of 1821) | 106 | —
Man fallen into the water, engraved by L. Clennell | 94 | 262
River scene, engraved by L. Clennell | 107 | 132
Coast scene, engraved by H. Hole | 123 | 124
Coast scene, moonlight, drawn by R. Johnson, engraved by L. Clennell | 125 | 122
Coast scene, drawn by R. Johnson, engraved by H. Hole | 144 | 142
Beggar and Mastiff, engraved L. Clennell | 160 | 207
Coast scene, drawn by R. Johnson, engraved by Bewick | 161 | 151
Burying-ground, drawn and engraved by L. Clennell | 166 | 237
Man and Cow, drawn by R. Johnson, engraved by Bewick | 173 | 161
Tinker and his Wife, windy day, drawn by R. Johnson, engraved by H. Hole | 176 | 148
Winter piece, skating, drawn by R. Johnson engraved by Bewick | 180 | 202
Man on a rock, drawn by R. Johnson, engraved by L. Clennell | 182 | 177
Icebergs, Ship frozen up, drawn and engraved by L. Clennell | 188 | 156
Sea piece, moonlight, engraved by L. Clennell | 194 | 190
Tired Sportsman, engraved by L. Clennell | 202 | 245
The Glutton, engraved by L. Clennell | 211 | 195
Sea piece, engraved by L. Clennell | 215 | 197
Runic Pillar, drawn by R. Johnson, engraved by John Johnson | 220 | 342
Esquimaux and Canoe, drawn and engraved by L. Clennell | 230 | 211
Sea piece, drawn and engraved by L. Clennell | 238 | 306
Coast scene, drawn by R. Johnson, engraved by L. Clennell | 240 | 218
Coast scene, drawn by R. Johnson, engraved by Bewick | 245 | 220
Man and Dog, engraved by H. Hole | 251 | 228
Geese going home, engraved by L. Clennell | 271 | 260
Boys sailing a Ship, engraved by L. Clennell | 282 | 268
Old Man and a Horse, going to market with two sacks full of geese | 286 | 247
Boys riding on gravestones, drawn by R. Johnson, engraved by L. Clennell | 304 | 323
498 Man smoking, engraved by L. Clennell | 337 | 303
Pumping water on a weak leg, engraved by L. Clennell | 348 | 304
Sea piece, drawn and engraved by L. Clennell | 359 | 314
Sea piece, drawn and engraved by L. Clennell | 366 | 242
Sea piece, drawn and engraved by L. Clennell (in Supplement to vol. ii. p. 20) | 380 | —

500

518

519

526

527

531

[537]

539

540

541

545

546

549

550

551

552

553

554

555

556

557

558

559

560

561*

562*

563*

564*

565*

566*

567*

568*

569*

570*

572*

573*

574*

575*

576*

577*

578*

579*

580*

581*

582*

583*

584*

586*

587*

588*

590*

591*

592*

593*

594*

595*

597*

598*

561

569

C

579

581

582

593

599

602

605

615

616

[617]

620

628

644

648

i

ii

iii

v

London, December 15th, 1838.

London, December 5th, 1838.

ix

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
xi 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
xii The Waggoner, from Holbein’s Dance of Death | 344
Child with a shield and dart, from the same | 345
Children with the emblems of a triumph, from the same | 346
Holbein’s Alphabet of the Dance of Death | 352
Abraham about to sacrifice Isaac, from a cut designed by Holbein in his Bible-prints, Lyons, 1539 | 368
The Fool, from the same work | 369
The sheath of a dagger, intended as a design for a chaser | 374
Portrait of Sir Thomas Wyatt from a cut designed by Holbein in Leland’s Næniæ, 1542 | 379
Prayer, from a cut designed by Holbein in Archbishop Cranmer’s Catechism, 1548 | 380
Christ casting out Devils, from another cut by Holbein, in the same work | 381
The Creation, from the same work | 382
The Crucifixion, from the same | 382
Christ’s Agony, from the same | 382
Genealogical Tree, from an edition of the New Testament, printed at Zurich by Froschover, 1554 | 383
St. Luke, from Tindale’s Translation of the New Testament, 1534 | 384
St James, from the same | 384
Death on the Pale Horse, from the same | 384
Cain killing Abel, from Coverdale’s Translation of the Old and New Testament, 1535 | 386
Abraham about to sacrifice Isaac, from the same | 387
The Two Spies, from the same | 387
St. Matthew, from the same | 388
St. John the Baptist, from the same | 388
St. Paul writing, from the same | 388
Frontispiece to Marcolini’s Sorti, Venice, 1540, by Joseph Porta Garfagninus, after a Study by Raffaele for the School of Athens | 390
Punitione, from the same work | 392
Matrimony, from the same | 392
Cards, from the same | 393
Truth saved by Time, from the same | 393
The Labour of Alcmena, from Dolce’s Transformationi, Venice, 1553 | 394
Monogram, from Palatino’s Treatise on Writing, Rome, 1561 | 396
Hieroglyphic Sonnet, from the same work | 396
Portraits of Petrarch and Laura, from Petrarch’s Sonetti, Lyons, 1547 | 400
Adam and Eve driven out of Paradise, from Quadrins Historiques de la Bible, Lyons, 1550-1560 | 401
Christ tempted by Satan, from Figures du Nouveau Testament, Lyons, 1553-1570 | 402
Briefmaler, from a book of Trades and Professions, Frankfort, 1564-1574 | 410
Formschneider, from the same | 411
The Goose Tree, from Sebastian Munster’s Cosmography, Basle, 1550-1554 | 414
William Tell about to shoot at the apple on his son’s head, from the same | 416
Portrait of Dr. William Cuningham, from his Cosmographical Glass, London, 1559 | 424
Four initial letters, from the same work | 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
xiii 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
xiv Cut from the Children in the Wood, drawn by W. Harvey, and engraved by J. Thompson | 533
Cut from the Blind Beggar of Bethnal Green, drawn by W. Harvey, and engraved by C. Nesbit | 534
Copy of a part of the Cave of Despair, engraved by R. Branston, from a drawing by J. Thurston | 535
Three cuts engraved by Robert Branston, after designs by Thurston, for an edition of Select Fables, in rivalry of Bewick | 537
Bird, engraved by Robert Branston | 538
Pistill Cain, in North Wales, drawn and engraved by Hugh Hughes | 539
Moel Famau, ditto, ditto | 539
Wrexham Church, ditto, ditto | 540
Pwll Carodoc, ditto, ditto | 540
Salmon, Group of Fish, and Chub, engraved by John Thompson | 541
Pike, by Robert Branston | 542
Eel, by H. White | 542
Illustration from Hudibras, engraved by John Thompson | 543
Hogarth’s Rake’s Progress, engraved by John Thompson | 544
The Temptation, engraved by John Jackson, after John Martin | 545
The Judgment of Adam and Eve, engraved by F. W. Branston, after ditto | 545
The Assuaging of the Waters, engraved by E. Landells, after ditto | 546
The Deluge, engraved by W. H. Powis, after ditto | 546
The Tower of Babel engraved by Thomas Williams, after ditto | 547
The Angel announcing the Nativity, engraved by W. T. Green, after ditto | 547
Tail piece—Vignette, engraved by W. T. Green, after W. Harvey | 548
CHAPTER VIII ARTISTS AND ENGRAVERS ON WOOD OF THE PRESENT DAY, 549-560. |
The Sierra Morena, engraved by James Cooper, after Percival Skelton | 550
The Banks the Nith, engraved by ditto, after Birket Foster | 551
The Twa Dogs, engraved by ditto, after Harrison Weir | 551
To Auld Mare Maggie, engraved by ditto, after ditto | 552
The Poetry of Nature, engraved by J. Greenaway, after Harrison Weir | 553
From Bloomfield’s Farmer’s Boy, engraved by W. Wright, after ditto | 554
From Campbell’s Pleasures of Hope, engraved by J. Greenaway, after ditto | 554
From the same, by the same | 555
Wild Flowers, engraved by E. Evans, after Birket Foster | 556
From Lays of the Holy Land, engraved by W. J. Palmer, after Birket Foster | 557
From Longfellow’s Evangeline, engraved by H. Vizetelly, after ditto | 558
From Moore’s Lalla Rookh, engraved by Dalziel, after John Tenniel | 559
Death of Sforza, from Barry Cornwall, engraved by Dalziel, after ditto | 560
Sforza, ditto, ditto | 560
Antony and Cleopatra, engraved by Dalziel Brothers, after John Gilbert | 561*
The Florentine Party, from Barry Cornwall, engraved by Dalziel Brothers, after Thomas Dalziel | 562*
Prince Arthur and Hubert de Bourg, engraved by Kirchner, after John Gilbert | 563*
From Maxwell’s Life of the Duke of 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*
xv 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
xvi Gravers | 579
Cuts showing the manner of holding the graver | 579, 580
Examples of tints | 581, 582, 583, 584
Examples of curved lines and tints | 585, 586
Cuts illustrative of the mode of cutting a white outline | 588
Outline engraving previous to its being blocked out—the monument to the memory of two children in Lichfield Cathedral by Sir F. Chantrey | 589
The same subject finished | 590
Outline engraving, after a design by Flaxman for a snuff-box for George IV. | 590
Cut after a pen-and-ink sketch by Sir David Wilkie for his picture of the Rabbit on the Wall | 591
Figures from a sketch by George Morland | 592
Group from Sir David Wilkie’s Rent Day | 593
Figure of a boy from Hogarth’s Noon, one of the engravings of his Four Parts of the Day | 594
A Hog, after an etching by Rembrandt | 595
Dray-horse, drawn by James Ward, R.A. | 596
Jacob blessing the Children of Joseph, after Rembrandt | 597
Two cuts—View of a Road-side Inn—showing the advantage of cutting the tint before the other parts of a subject are engraved | 598
Head, from an etching by Rembrandt | 599
Impression from a cast of part of the Death of Dentatus, engraved by W. Harvey | 601
Christ and the Woman at the Well, from an etching by Rembrandt | 602
The Flight into Egypt, from an etching by Rembrandt | 605
Sea-piece, drawn by George Balmer | 606
Sea-piece, moonlight, drawn by George Balmer | 606
Landscape, evening, drawn by George Balmer | 607
Impression from a cast of part of the Death of Dentatus, engraved by W. Harvey | 609
View of Rouen Cathedral, drawn by William Prior | 611
Map of England and Wales, with the part of the names engraved on wood, and part inserted in type | 612
Group from Sir David Wilkie’s Village Festival | 614
Natural Vignette, and an old ornamented capital from a manuscript of the thirteenth century | 616
Specimens of ornamental capitals, chiefly taken from Shaw’s Alphabets | 617
Impressions from a surface with the figures in relief—subject, the Crown-piece of George IV. | 618
Impressions from a surface with the figures in intaglio—same subject | 619
Shepherd’s Dog, drawn by W. Harvey | 620
Egret, drawn by W. Harvey | 621
Winter-piece, with an ass and her foal, drawn by J. Jackson | 622
Salmon-Trout, with a view of Bywell-Lock, drawn by J. Jackson | 623
Boy and Pony, drawn by J. 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

1

653

Accursius, Mariangelus, note written by, in a Donatus, 123.

Advertisements, wood-cuts prefixed to, 446 n.

Allegory of Death, a tract printed at Bamberg, 1462, 171.

Almanach de Paris, with wood-cuts, by Papillon, 459.

Almanacks, sheet, 1470, 1500, 225.

Alphabet of figures, engraved on wood, in the British Museum, 106;

cuts from, 109, 110, 111, 112;

with figures, of a Dance of Death, preserved in the public library at Basle, 352.

Amman, Jost, cuts designed by, in a book of trades and professions, 408, 409;

other cuts designed by him, 411.

Amonoph, a name on an Egyptian brick-stamp, 6 n.

Andreani, Andrea, chiaro-scuros engraved by, 432.

Angus, George, of Newcastle-on-Tyne, printer, wood-cuts used by, in cheap works, 180, 228.

Annunciation, old cut of the, 50.

Ansgarius, St., supposed to have been the compiler of the Biblia Pauperum, 94.

Antichrist, cuts of, 61.

Antonianus, Silvius, a cardinal, claimed by Papillon as a wood engraver, 337.

Antonio, Marc, his copies of the Little Passion and the Life of the Virgin, designed by Durer, 251.

Antwerp, painters’ company of, entertain Durer, 261;

Apelles, the image of the life of man as painted in a table by, 436 n.

Apocalypse, an ancient block-book, 61, 68;

cuts in illustration of, from Durer’s designs, 239.

Appeal to Christendom, early specimen of typography, 138.

Arch, triumphal, of Maximilian, designed by Durer, 255.

Aretin, J. C. von, 114.

Ars Memorandi, 113;

cut from, 115.

Ars Moriendi, an old block-book, 116.

Art, early German, 3.

Assen, J. W. van, 318.

Astle’s Origin and Progress of Writing, 20.

Atkinson, G. C., his Life of Bewick, 477, 478, 480, 482, 492, 501, 503, 505.

Austin, an English wood-engraver, 538.

Babylonian brick, 7.

Balls, leather, formerly used by pressmen, not so elastic as composition rollers, 620.

Bamberg, a book of fables printed at, in 1461, 171.

Bämler, John, a printer of Augsburg, 180.

Baptism of Drusiana, 66.

Bartsch, Adam, of opinion that Albert Durer did not engrave on wood, 237.

Battailes, La Fleur des, 1505, 210.

Baxter, George, his improvements in printing in colours, 406;

his chiaro-scuros and picture-prints, 629.

Beating time with the foot mistaken for printing, 120.

Beaumont, Sir George, curious alphabet of figures engraved on wood, formerly belonging to, 106.

Bechtermuntze, Henry and Nicholas, early printers, related to Gutemberg, 142.

Beddoes, Dr. Thomas, his poem of Alexander’s expedition down the Hydaspes, with wood-cuts, by E. Dyas, 1792, 463 n.

Behaim, Michael, letter to, from Albert Durer, 235.

Behaim, H. S. 253 n, 320.

654

Beilby, Ralph, the partner of Bewick, 479.

Beildeck, Lawrence, his evidence in the suit of the Drytzehns against Gutemberg, 1438, 128.

Bekker, R. Z. editor of a collection of wood-cuts, from old blocks in the possession of the Baron Von Derschau, 226.

Bellini, Giovanni, his praise of Durer, 242.

Bells, inscriptions on, 20.

Bernacle or Barnacle Goose, 414.

Bernardin, St. account of an old wood-cut of, 56.

Beroaldus, Peter, editor of an edition of Ptolemy, 201.

Best, Andrew, and Leloir, their metallic relief engraving, 636.

Bethemsted, a name in an old book of wood-cuts, 111.

Beugnet, a French wood engraver, 547.

Bewick, Thomas, his birth, 1753, 472;

apprenticed to Mr. R. Beilby, 474;

engraves the diagrams in Hutton’s Mensuration, 1768-1770, 475;

receives a premium for his cut of the Old Hound, 1775, 476;

visits London, 477;

cuts engraved by him in a Hieroglyphic Bible, 478;

his love of the country, 479;

his cuts in Gay’s Fables, 480;

his cut of the Chillingham Bull, 481;

his cut of the Old Horse waiting for Death, 510;

his diligence, 507;

tribute to his merits from Blackwood’s Magazine, 512;

list of portraits of him, 509 n.

Bewick, John, notice of his principal works, 513.

Bible, the Mazarine, printed prior to August, 1456, 139.

Bible supposed to have been printed by Pfister, at Bamberg, 181.

engravings from 86, 88, 89, 90, 91, 92.

Bible, Quadrins Historiques de la, 402.

Biblia Pauperum Predicatorum, 83.

Bildhauer, 2.

Binding, old, 60.

Birds, engraved by Bewick’s pupils, 492 n.

Birkman, Arnold, Dance of Death, copied from the Lyons edition, published by his heirs, Cologne, 1555-1572, 336.

Blake, William, his mode of engraving in metallic relief, 632;

his drawing of Death’s Door, engraved by Linton, 591.

Blind Beggar of Bethnal Green, cut from, 534.

Blocking out, 589.

Block-books claimed for Lawrence Coster, 58.

Blocks, original, of the Triumphs of Maximilian, preserved at Vienna, 291.

Bombo, the name of a dog, supposed by Papillon to be the name of a wood-engraver, 337 n.

Bomb shell, cut of a, from a book printed in 1472, 187.

Borbonius, or Bourbon, Nicholas, verses by, in praise of Holbein, 356, 357, 362, 367.

Borders, flowered, earliest specimens of in books, 209.

Box-wood, different qualities of, 563, 566.

Brands for marking cattle, 11.

Branston, R. the younger, wood-engraver, 544;

his method of engraving in metallic relief, 634.

Branston, F. W. wood-engraver, 544, 545.

Brass stamps, 10.

Brasses, monumental, 21.

Braunche, Robert, his monument at Lynn, 22.

Breitkopf, G. J. his attempt to print maps with separative pieces of type-metal, 1776, 205.

Bricks, from Egypt and Babylon, 6, 7.

Bridget, St., early cut of, 52.

Brief of Indulgence, 1454, an early specimen of typography, 137.

Briefe, cards so called in Germany, 42.

Briefmaler and Briefdrucker, 43, 410.

Broughton, Hugh, his Concent of Scripture, with copper-plate engravings, 1591, 423.

Büchel, Emanuel, a Dance of Death copied by, in water-colours, 326.

Bukinck, Arnold, printer, his edition of Ptolemy, 1478, with maps, engraved on copper, 200.

Bullet, J. B. his Researches on Playing Cards, 40.

Bulwer, Sir E. Lytton, quoted, 398.

Burgmair, Hans, painter, and designer on wood, 277.

Burleigh, Lord, his portrait in Archbishop Parker’s edition of the Bible, 1568, 419.

Burnet, John, his engraving of Chelsea Pensioners, after Wilkie, 213.

Burning in the hand, 12.

Bury, Richard de, makes no mention of wood engraving, 39.

Businck, chiaro-scuros engraved by, 440.

Buttons, silver, engraved by Bewick, 479.

Bybel, Historische School en Huis, Amsterdam, 1743, with wood-cuts, 459.

Byfield, John, wood engraver, 544.

C

Calcar, John, a Flemish painter, 434.

Calderinus, D. editor of an edition of Ptolemy, 208.

Camus, his account of a book printed at Bamberg, 1462, 171.

Canticles, illustrations of, 71, 72.

655

Capitals, ornamented, in Faust and Scheffer’s Psalter, 426;

in English and other books, 616, 617.

Car, triumphal, of Maximilian, designed by Durer, 255.

Cards, known in 1340, 40.

Caron, Nicholas, wood engraver, his portrait of Papillon, 466 n.

Carpi, Ugo da, engraver of chiaro-scuros, on wood, 230, 307.

Cartouch, 28 n.

Casts, stereotype, early, 418;

modern, 636;

clichage, 637.

Cat edition of Dante, Venice, 1578, 431.

Catherine, St. patroness of learned men, 207.

Catholicon Johannis Januensis, 135 n.

Cauteria, 12.

Caxton, W. books printed by,—Game of Chess, 191;

Mirror of the World, 194;

Golden Legend, Fables of Esop, Canterbury Tales, 195.

Caylus, Count, chiaro-scuros executed by, and N. Le Sueur, 456 n.

Cessolis, J. de, his work on Chess, 197.

Champollion, 6 n.

Chantrey, Sir F. monument by, in Lichfield Cathedral, 589, 590.

Characters in an old Dutch Dance of Death, 318, 329 n.

Charlemagne, his monogram, 14.

Chelidonius, 243, 251.

Chelsea Pensioners, engraving of, after Sir D. Wilkie, 213.

Chaucer’s Canterbury Tales, 48.

Chess, the Game of, printed by Caxton, 191.

Chiaro-scuro, engraving on wood, known in Germany, in 1509, 230.

Chiaro-scuros, 307, 402, 432, 440, 451, 455, 467, 628.

Children in the Wood, cut from, 533.

Chillingham bull, cut of, by Bewick, 481.

Chinese engraving and printing, 23.

Chirotipografia, or hand-printing, 44 n.

Chisels, 578.

Christopher, St. wood-cut of, in the possession of Earl Spencer, 45, 46.

Chrysographus, 121.

Circular wood engravings in the British Museum, 54 n.

Cleaning wood cuts after printing, mode of, 649.

Clerc, Sebastian le, cuts in Croxall’s Æsop’s Fables, copied from his engravings, 450.

Clichage, a mode of taking a cast from a wood engraving, 637.

Coeck, Peter, of Alost, his Costumes and Manners of the Turks, 402.

Coining, its antiquity, 19.

Cole, Humphrey, an English engraver, 1572, 419.

Collation of editions of the Speculum Salvationis, 102.

Cologne Chronicle, unfairly quoted by the advocates of Coster, 122.

Colonna, Francis, author of the Hypnerotomachia, 218.

Colour, the meaning of the word when applied to engravings, 213.

Committee of the House of Commons on Arts and their Connexion with Manufactures, 305.

Congreve’s, Sir Wm. mode of colour printing, 630.

Concanen, M. wood cut in Miscellaneous Poems, published by, 1724, 453.

Cooper, James, wood-engraver, 550, 552.

Coornhert, Theodore, claims the invention of printing for Harlem, 146.

Copperplate engraving, its invention ascribed to Varro, 21.

Copperplates, earliest books containing, 200;

the earliest engraved in England, 419.

Coriolano, Bartolomeo, chiaro-scuros engraved by, 440.

Coster, Lawrence, first mentioned by Hadrian Junius as the inventor of printing, 147;

account of his invention, 149.

Cotman’s Sepulchral Brasses, 22 n.

Cowper, Edward, his invention for piercing wood blocks for map engraving, 205.

Cracherode, Rev. C. M. prints and books presented by him to the British Museum, 72, 231, 355, 385.

Cranach, Lucas, painter and designer on wood, 275;

chiaro-scuros cut after, 276;

figure of Christ printed in colours, supposed to be by him, 404.

Crown-piece of George IV., impressions of casts from, 618.

Cross-hatching, 224, 234, 562.

Cuningham’s, Dr. William, Cosmographical Glass, 1559, 421, 425;

his portrait, 424;

cuts from his book, 425, 426, 427.

Cunio, Alberic and Isabella, pretended wood engravers, 26.

Curved lines, the effect of, 585.

Cutting tools, 576.

D

Dammetz, Lucas, called also Lucas Van Leyden, 308.

Dampth, its effect on box-wood, 564.

Dance of Death, in old churches, 325;

at Basle, 326;

in old French and other books, 328;

656

his Alphabet containing his Dance of Death, 352.

the cat edition of, Venice, 1578, 431.

Dates of block books and cuts, mistake about, 58.

Day, John, an English printer, supposed to have also engraved on wood, 425.

Denecker, Jobst, publisher of a Dance of Death at Augsburg, 1544, 336.

Dentatus, the large cut of the death of, engraved by W. Harvey, 528;

specimens of it, 601, 609.

Derschau, the Baron Von, his collection of old wood blocks, 93, 226;

his character, 236 n.

Doctrinale gette en mole, 122.

Dodd, Daniel and John, wood engravers, 544.

Dolce, Ludovico, his Transformationi, a paraphrase of Ovid’s Metamorphoses, 394.

Dominicals, stamped on paper, 120.

Dominotiers, 45.

Donatus, a grammatical treatise so called, printed from wood blocks, 117;

one supposed to have been stamped, 1340, 121;

idea of typography perhaps suggested by such a work, 123.

Douce, Francis, his opinion about the name Machabre, 325;

his list of books containing figures of a Dance of Death, 328;

his edition of the Dance of Death, 1833, 338;

denies that the cuts in the Lyons edition were designed by Holbein, 346;

Dovaston’s account of Bewick, 478 n.

Drawings, of a Dance of Death, supposed to be originals, by Holbein, 357;

by Robert Johnson, purchased of Beilby and Bewick, by the Earl of Bute, 517;

on wood, mode of preparing the block for, 570;

for wood engraving, difficulty of obtaining good, 592.

Drytzehn, Andrew, a partner of Gutemberg’s, 126.

Dünne, Hans, work done by him for Gutemberg, on account of printing, previous to 1438, 129.

Durer, Albert, placed as pupil under Michael Wolgemuth, 238;

earliest known copper-plate of his engraving, 1494, 239;

his visit to Venice, 241;

triumphal car, 255;

his earliest etchings, 257;

specimen of his carving in the British Museum, 258;

his poetry, 260 n;

his portrait, 272;

lock of his hair preserved, 321 n;

his death, said to have been hastened through his wife’s bad temper, 239, 273.

Dyas, E. a self-taught wood engraver, 463 n.

Dyers of Ovingham, 501.

Egyptian brick stamp, 5, 6.

Electro-printing block process, specimen of, 639.

Electrotyping, 638.

Elizabeth, Queen, portrait of, in Archbishop Parker’s Bible, 1568, 419;

in her Prayer-Book, 427, 428.

Emblems of Mortality, with cuts, engraved by John Bewick, 1789, 329, 513.

Emblems, Religious, with wood-cuts, 1808, 520.

Engraving, the word explained, 1;

copper-plate, 20, 200, 419.

Enschedius, J., specimen of typography discovered by him, 161.

Entkrist, Der, an old block-book, 1.

Erasmus, portrait of, painted by Durer, 263;

invoked by Durer to exert himself in behalf of the Reformation, 267;

his worldly wisdom displayed in his letter introducing Holbein to Aegidius, 375;

his Ship of Fools, with cuts by Seb. Brandt, 468.

Etching, the process of, explained, 258 n;

in metallic relief, 632.

Evans, Edmund, wood engraver, 556, 567*.

Eve, creation of, conventional mode of representing, 215, 216.

Evelyn’s Sculptura, 5, 408.

Eyck, Hubert and J. van, paintings by them, 265.

Fables, book of, printed at Bamberg, 1461, 171;

Æsop’s, 1722, 448;

Falconer’s Shipwreck, 1808, with cuts by Clennell, 522.

Fanti, Sigismond, his Triompho di Fortuna, Venice, 1527, 315.

Fantuzzi, Antonio, called also Antonio da Trente, engraver of chiaro-scuros, 389.

Fasciculus Temporum, with wood-cuts, 1474, 190.

Faust, John, becomes a partner of Gutemberg, 131;

sues him for money advanced, 133;

gains the cause, 134.

Faust and Scheffer’s Psalter of 1457, 164.

Fellowship, or Guild of St. Luke, at Antwerp, 121.

Figures du Nouveau Testament, 402.

Flaxman’s Lectures, print of the creation of Eve in, 217;

his opinion of expressionand sentiment in art, 585;

657

cut from a design by, 590.

Folkard, W. A. wood engraver, 544, 564*.

Forma, a shape or mould, 42.

Formschneider, 19, 43, 44, 410.

Foster, Birket, artist, 551, 556-558, 570*, 571*.

Fournier, P. S. his discoveries with respect to the Speculum Salvationis, 101;

his opinion of wooden types, 136;

Fox’s, John, Acts and Monuments, 428.

Fracture, 283 n.

Frellon, John and Francis, publishers of the second edition of the Lyons Dance of Death, 366.

French wood-cuts, 610.

Frey, Agnes, the wife of Durer, her avarice and ill-temper said to have hastened her husband’s death, 273.

Frith, W. P. painter, 59.

Gænsfleisch, a surname of the family of Gutemberg, 124.

Galenus de Temperamentis, with a title-page, engraved on copper, printed at Cambridge, 1521, 421.

Galius, Nicholas, tells the story of Coster’s invention to H. Junius, 150.

Gamperlin, Von, cuts ascribed to, 314.

Garfagninus, Joseph Porta, 390.

Gebhard, L. A. his notice of the History of the Council of Constance, with cuts of arms, 189.

Gemini, Thomas, his Compendium of Anatomy, with copper-plate engravings, London, 1545, 422.

Gent, Thomas, wood-cuts in his History of Ripon, 181.

George IV. his signature stamped, 14;

his snuff-box, with designs by Flaxman, 590.

Gesner, Conrad, expressly mentions the cuts in the Lyons Dance of Death, as having been designed by Holbein, 364.

Ghesquiere, M. his answer to M. Desroches, 120.

Gilpin, Rev. William, his definition of tint, 213.

Giolito, Gabriel, printer, of Venice, 394.

Giraffe, wood-cut of a, in Breydenbach’s Travels, 1486, 269.

Glasses, observations on the use of, 573.

Globe, glass, the engraver’s, to concentrate the light of the lamp, 575.

Glockendon, George, an early German wood engraver, 227.

Glockenton, A. cuts ascribed to, 317.

Goethe, allusion to Sir Theurdank, in his Götz Von Berlichingen, 281 n.

Golden Legend, printed by W. de Worde, 1493, large cut in, 195.

Goldsmith and Parnell’s Poems, printed by Bulmer, 513.

Goltzius, Henry, chiaro-scuros by, 432.

Goltzius, Hubert, his portraits of the Roman Emperors in chiaro-scuro, from plates of metal, 1557, 405.

Goose, Bernacle or Barnacle, said to be produced from a tree, 414.

Gorway, Charles, wood engraver, 544, 600*.

Gospels of Ulphilas, 44.

Gothic monograms, 15.

Graff, Rose, 313, 314.

Grand-duc de l’armée céleste, 173.

Gratture, the French term for the process of thickening the lines in a wood-cut by scraping them down, 464.

Gravers, 574, 575.

Gray, Charles, wood-engraver, 544.

Green, W. T. wood-engraver, 544, 547, 548.

Greff, Jerome, publisher of a pirated edition of Durer’s Illustrations of the Apocalypse, 241.

Greffier and Scrivener, 2 n.

Gregson, Mr. C., letter to, from Bewick, 474, 479.

Gringonneur, Jacquemin, cards painted by, 41.

Gritner, a French wood-engraver, 547.

Grotesque, 9 n.

Gubitz, a modern German wood-engraver, 546.

Guicciardini, L. mentions the report of printing having been invented at Harlem, 146.

Gutemberg, John, his birth, 124;

residing at Strasburg in 1434, 125;

evidences of his having a press in 1438, for the purpose of printing, 127;

his return to Mentz and partnership with Faust, 131;

partnership dissolved, 133;

proofs of his having afterwards had a press of his own, 140;

his death and epitaph, 144.

Hahn, Ulric, Meditationes J. de Turrecremata, printed by, in 1467, 184.

Hancock, Charles, his patent for engraving in metallic relief, 635.

Handgun, figure of one seen in cut in Valturius, de Re Militari, 1472, 187.

Hans, Young, Briefmaler, 116, 225.

Harrington, Sir John, his translation of Ariosto, with copper-plate engravings, 1591, 423.

Hartlieb, Dr. Cyromantia, 116.

Hawkins, John Sidney, editor of Emblems of Mortality, 1789, 329.

Hawkins, Sir John, wood-cuts in his History of Music, 1776, 471.

658

Haydock, R. his translation of Lomazzo, with copper-plate engraving, 1598, 423.

Head of Paris, the lover of Helen, serves for that of Thales, Dante, and others, 212.

Hegner, Ulrich, author of Life of Holbein, his notice of the Dance of Death, at Basle, 326;

of the German names in proof impressions of the cuts in the Lyons Dance of Death, 331;

of Hans Lutzelburger, 351;

his Life of Holbein, 372.

Heilman, Anthony, his evidence in the suit of the Drytzehns against Gutemberg, 1438, 128.

Heineken, Charles, Baron Von, his disbelief of Papillon’s story of the Cunio, 27;

his opinion that cards were invented in Germany, 40;

his notice of the old wood-cut of St. Christopher, 46;

of the History of the Virgin, 68;

of the Apocalypse, 80;

of the Poor Preacher’s Bible, 82, 94;

of the Speculum Salvationis, 100;

his erroneous account of a Dutch wood-cut, by Phillery [Willem] de figuersnider, 309.

Helgen, or Helglein, figures of Saints, 45.

Henderson, Dr. his History of Wines, with Illustrations, by W. Harvey, 530.

Henry VIII. his signature stamped, 14.

Heures a l’Usaige de Chartres, printed by S. Vostre, 1502, 232.

Hieroglyphic sonnet, 396;

Bible, 478.

Highland Society, diploma of, 523.

Hodgson, Solomon, printer of the first four editions of Bewick’s Quadrupeds, 488.

Hodgson, T. the engraver of a cut in Sir John Hawkins’s History of Music, 1776, 471.

Hogarth, cut from projected edition of, 544;

sketch from, 594.

Hogenberg, R. portrait of Archbishop Parker engraved by, 1572, 422.

Holbein, Hans, the designer of the cuts in the Dance of Death printed at Lyons, 371;

his marriage, 372;

how employed at Basle, 373;

revisits Basle, 376;

his death, 378;

his satirical drawings, 378 n;

his Alphabet, 352.

Hole, Henry, a pupil of Bewick, 492 n.

Holl, Leonard, printer of Ulm, his edition of Ptolemy, 1483, 199.

Hollar, W. his etchings of the Dance of Death, 337.

Holzschneider, 2.

Horace, his well-stored wine, 9.

Horne, Rev. T. H. probably incorrect with respect to a date, 60.

Hortus Sanitatis, 1491, 210.

Householder, the Good, 438.

Howel’s Medulla Historiæ Anglicanæ, with wood-cuts, 1712, 446.

Hughes, William, wood-engraver, 538.

Hudibras, 1819, cut from, 543.

Humanæ Vitæ Imago, 436 n.

Hunting and Hawking, Book of, printed at St. Alban’s, 1486, and at Westminster in 1496, 195.

Hutton’s Mensuration, with diagrams engraved by Bewick, 1768-1770, 475.

Hypnerotomachia Poliphili, 218, 220, 224.

I

Initial letters, flowered, 191, 429.

Insanity of engravers, 458 n.

Inscriptions on bells, 20.

Intaglio engraving on wood, so that the outlines appear white upon black, 225, 482, 618, 619.

Jackson, John, wood-engraver, 545.

Jackson, John Baptist, an English wood engraver, perhaps a pupil of Kirkall, 453;

Papillon’s notice of him, 454;

engraves several chiaro-scuros at Venice, 455;

Jackson, John, 545.

Jacob blessing the children of Joseph, 596, 597.

Janszoon, Lawrence, supposed to be the same person as Lawrence Coster, 162.

Javelin-headed characters, 7.

Jean-le-Robert, his Journal, 122.

Jegher, Christopher, wood engravings by, from drawings by Rubens, 437.

Jettons, or counters, 19.

John, St. old wood-cuts of, 60.

Johnson, John, a pupil of Bewick, 517 n.

Johnson, Robert, a pupil of Bewick’s, list of tail-pieces in the British Birds designed by, 497;

notice of his life, 516.

Journal, Albert Durer’s, of his visit to Flanders, 260.

Judith, with the head of Holofernes, 440.

Kartenmachers in Germany, in the fifteenth century, 43.

659

Killing the black, a technical term in wood engraving, explained, 232.

Kirkall, E. copper-plate frontispiece to Howel’s Medulla Historiæ Anglicanæ, engraved by, 1712, 447;

chiaro-scuros engraved by, 451;

copper-plates engraved by, in Rowe’s translation of Lucan’s Pharsalia, and other works, 452.

Klauber, H. H., repainted the Dance of Death in the church-court of the Dominicans, at Basle, 327.

Knight, R. Payne, his bequest of a piece of sculpture, by A. Durer, to the British Museum, 258.

Knight, C. his patent illuminated prints and maps, 630.

Koburger, Anthony, printer of the Nuremberg Chronicle, 1493, 212.

Koning, J. a modern advocate of Coster’s invention, 154.

Krismer, librarian of the Convent of Buxheim, 49 n.

Kunig, der Weiss, the title of a work, with wood-cuts, chiefly written by the Emperor Maximilian, 286, 483;

Kupfer-stecher, 2.

Küttner, K. G. his opinion of Sir Theurdank, 282.

Kyloe Ox, by Bewick, 485 n.

L

Ladenspelder, Hans, 355.

Laer, W. Rolewinck de, his Fasciculus Temporum, with wood-cuts, 1474, 190.

Lamp, the engraver’s, 575.

Landells, Ebenezer, wood-engraver, 544.

Landseer, Mr. Edwin, on vignettes, 615.

Landseer, Mr. John, his theory of vegetable putties, 72;

his observations on the term colour, as applied to engravings, 213.

Laocoon, burlesque of the, by Titian, 435.

Lapis, Dominico de, printer of Bologna, his edition of Ptolemy, with an erroneous date, 201.

Lar, the word on a Roman stamp, 8.

Lee, John, wood-engraver, 534.

Leglenweiss, the word explained, 44.

Legrand, J. G. his translation of the Hypnerotomachia, 219.

Lehne, F. his observations on a passage in the Cologne Chronicle, 122 n;

his Chronology of the Harlem Fiction, 155;

his remarks on Koning, 157.

Leicester, Robert Earl of, his portrait in Archbishop Parker’s edition of the Bible, 1568, 419.

Leland, John, his Næniæ, 1542, contains a portrait, engraved on wood, of Sir Thomas Wyatt, 379.

Le Sueurs, French wood-engravers, 443, 467.

Letania Lauretana, with wood-cuts, Valencia, 1768, 469.

Lettere Cifrate, 395.

Leyden, Lucas van, visited by Durer, 269;

his engravings, 308.

Lhuyd, Humphrey, erroneously described by Walpole as an engraver, 420.

Libripagus, a definition of the word, by Paul of Prague, 182.

Lignamine, P. de, in his Chronicle, 1474, mentions Gutemberg and Faust, as printers, at Mentz in 1458, 140.

Linton, W. J. wood-engraver, 544, 590*, 591*.

Lobel and Pena’s Stirpium Adversaria, with copper-plate title-page, London, 1570, 423.

Lodewyc von Vaelbeke, a fidler, supposed to have been the inventor of printing, 119.

Logography, 417.

Lorenzo, Nicolo, books containing copper-plates printed by him, 1477-1481, 202.

Lorich, Melchior, 408.

Loudon’s Arboretum, with cuts printed from casts of etchings, by Branston, 634.

Lowering, the practice of, no recent invention, 465.

Lowering, concave, 618.

Lowering, advantages of, 624.

Lowering, complicated, 625.

Lowering, the difference between cylindrical rollers and the common press, so far as relates to, 640 n.

Lucas van Leyden, 308.

Lucchesini, an Italian wood-engraver, about 1770, 469.

Luther, Martin, his cause espoused by Durer, 265;

caricature portraits of, 267.

Lutzelburger, Hans, a wood-engraver, 351.

Lydgate, John, mentions vignettes in his Troy Book, 616.

Lysons, Mr. Samuel, letter from, to Sir George Beaumont, 108.

M

Mabillon, 14.

Mair, an engraver, a supposed chiaro-scuro by, 1499, 231.

Maittaire’s Latin Classics, wood-cut ornaments in, 1713, 448.

Mallinkrot, his translation of a passage in the Cologne Chronicle, 123.

Mander, C. Van, ascribes the Lyons Dance of Death to Holbein, 365.

Mantegna, Andrea, wood-cuts of the Hypnerotomachia ascribed to, 219.

Manung, widder die Durken, an early specimen of typography, 138.

Map engraved on wood, specimen of a, 612.

660

Maps engraved on wood and on copper, the earliest, 199;

names of places in, printed in type, 1511, 203;

printed in colours, 1538, 204;

printed in separate pieces, with types, 1776, 205;

improvements in printing, 417;

early, on copper, published in England, 419;

Knight’s patent illuminated, 630.

Marcolini, F. wood-cuts in his Sorti, 1540, 389, 391.

Marks, double, on wood-cuts, 350.

Martin, John, artist, 545, 546, 547, 590*.

Martin, J. wood-engraver, 544.

Mary de Medici, her portrait mistaken by Papillon and Fournier for a specimen of her own engraving on wood, 461.

Masters, little, 320 n.

Matsys, Quintin, entertains Durer, 261.

Maude, Thomas, extract from his poem of the School Boy, 473.

Maugerard, M. copy of an early edition of the Bible discovered by, 139.

Maximilian the First, Emperor of Germany, his triumphal car and arch, designed by Durer, 255;

works celebrating his actions,—The Wise King, 286;

the Triumphal Procession, 288, 289.

Mazarine Bible, 139 n.

Mechel, Christian von, of Basle, his engravings after Holbein, 350.

Medals, 320.

Meditationes Joannis de Turrecremata, 184.

Meerman, G. his disbelief of the story of Coster’s invention, 154;

and his subsequent attempts to establish its credibility, 155.

Mentelin, John, printer, of Strasburg, formerly an illuminator, 121.

Mentonnière, 465, 574.

Merchants’-marks, 17.

Metallic relief engraving, erroneous statements about, 305;

Blake’s metallic relief engraving, 632;

portrait thus executed by Lizars, 633;

Woone’s, 634;

Hancock’s patent, 635;

Sly’s experiments, 636;

Meydenbach, John, said to have been one of Gutemberg’s assistants, 166.

Meydenbach, Jacobus, printer of the Hortus Sanitatis, 1491, 210.

Mints, provincial, for coining money, 19.

Mirror of Human Salvation, 95.

Mirror of the World, printed by Caxton, 194.

Missale Herbipolense, with a copper-plate engraving, 1481, 201.

Moffet’s Theatre of Insects, 442.

Monogram, 13, 15.

Montagna, Benedetto, wood-cuts of the Hypnerotomachia ascribed to him, 220.

Monte Sancto di Dio, an early book, containing copper-plates, 1477, 202.

Monumental brasses, 21.

More, Sir Thomas, 375.

Morland, sketch from, 592.

Mort, les Simulachres de la, Lyons, 1538, 328.

Mosses, Thomas, wood engraver, 544.

Munster, Sebastian, his Cosmography, 413;

his letters to Joachim Vadianus about an improvement in the mode of printing maps, 417.

Names of wood engravers at the back of the original blocks of the Triumphs of Maximilian, 292.

Naming of John the Baptist, a piece of sculpture by A. Durer, 259.

Neudörffer, his account of Jerome Resch, a wood engraver, contemporary with Durer, 236.

Nicholson, Isaac, a pupil of Bewick, 527.

Northcote, James, his mode of composing the cuttings for his Fables, 529 n.

Notarial stamps, 17.

Nummi bracteati, 16.

Nuremberg Chronicle, 212.

Oberlin, J. J. Essai d’Annales de la Vie de Gutenberg, 125, 130, 136, 138, 140, 143.

Odes, two, by Lloyd and Colman, with wood-cuts, 1760, 470.

Ortelius, Abraham, his collection of maps, engraved on copper, 1570, 419.

Ortus Sanitatis, 211.

Ottley, W. Y. adopts Papillon’s story of the Cunio, 419;

his advocacy of Coster’s pretensions, 160;

ascribes the introduction of cross-hatching to M. Wolgemuth, 239;

and the designs of the cuts in the Hypnerotomachia to Benedetto Montagna, 220.

Outline, in wood engraving, the difference between the white and the true, 587;

engravings in, 590.

Overlaying wood-cuts, mode of, 613, 645.

Ovid’s Metamorphoses, printed at Venice, 1497, 217.

Ovingham, the parsonage at, 473;

the church, 512.

Oxford Sausage, with wood-cuts, 1764, 470.

Packhouse’s machine for tints, 584 n.

Palatino, G. B. his work on Penmanship, 395.

661

Palmer, W. J. wood-engraver, 557.

Paper, proper for printing wood-cuts, 646;

Paper-mark in an old book of wood-cuts, 107.

Paper money, early, 25 n.

Papillon, John, the elder, 443.

Papillon, John Michael, his story of the Cunio, 26;

his character, 35;

Parafe, or ruche, 14.

Parker, Archbishop, his portrait, engraved by R. Hogenberg, 1572, 422.

Parkinson’s Paradisus Terrestris, 442.

Parmegiano, chiaro-scuros after his designs, 403.

Pasti, Matteo, supposed to have designed the cuts in Valturius de Re Militari, 1472, 186.

Patin’s Life of Holbein, 372.

Patroner, the word explained, 330 n.

Pepyr, Edmund, his mark, 18.

Peringskiold, 14.

Petit-Jehan de Saintré, Chronicle of, 41.

Petrarch’s Sonnets, Lyons, 1545, cuts in, 400.

Petronius, 8, 15.

Pfintzing, Melchior, joint author of Sir Theurdank, 282.

Pfister, Albert, works printed by, at Bamberg in 1461 and 1462, 170, 181.

Phillery, properly Willem, de figursnider, mistakes about a cut of his engraving, 310.

Piccard, T. Nieuhoff, an unknown discoverer of a painting of the Dance of Death, by Holbein, 360, 363.

Pictura, a wood-cut sometimes called, 357.

Pilgrim, John Ulric, cuts ascribed to, 317.

Pinx. et Scalp. not to be found on early wood-cuts, 35.

Pirkheimer, Bilibald, letters written to him by Albert Durer, 242;

his letter to J. Tscherte, announcing Durer’s death, 273.

Pittacia, small labels, 8 n.

Playing cards, 40.

Plebanus, a curate or vicar, 61 n.

Pleydenwurff, William, with M. Wolgemuth, superintends the cuts of the Nuremberg Chronicle, 1491, 212.

Ploughman, Pierce, his Creed, 18.

Plug, mode of inserting in an engraved wood-block, 549.

Poetry, specimen of Durer’s, 260;

specimens of Clennell’s, when insane, 526.

Poliphili Hypnerotomachia, 218, 220, 224.

Polo, Marco, 25.

Portraits of Bewick, list of the principal, 509.

Powis, W. H. wood engraver, 544.

Prayer-book, Queen Elizabeth’s, 1569, 427.

Prenters of Antwerp in 1442, 121.

Press made for Gutemberg previous to 1438, 127.

Press, rolling, for copper-plate printing, 4.

Press, steam, wood-cuts printed by, 644.

Preusch, his attempt to print maps by a typometric process, 205.

Printing, Gutemberg occupied with the invention of, in 1436, 127.

Printing in colours, a figure of Christ, with the date 1543, 403;

Savage’s decorative printing, 629;

G. Baxter’s improvements, 629;

C. Knight’s patent illuminated prints and maps, 630.

Printing wood-cuts, best mode of, 640.

Priority of editions of the Speculum Salvationis, 100.

Procession, triumphal, of Maximilian, 288, 289.

Procopius, 13.

Proofs of wood engravings, mode of unfairly taking, 466, 603.

Psalter, printed by Faust and Scheffer in 1457, 164.

Ptolemy’s Cosmography, with maps, engraved on wood, 1483, 199;

an edition printed by Dominico de Lapis, at Bologna, 201;

at Venice, by J. Pentius de Leucho, 1511, 203.

Quadrin’s Historiques de la Bible, 402.

Queen Elizabeth’s Prayer-book, 427.

Quintilian, his notice of the manner of boys learning to write by tracing the letters through a stencil, 12.

Raffaele, designs for the wood-cuts of the Hypnerotomachia ascribed to him, 219;

a wood-cut after a drawing by, in Marcolini’s Sorti, 389.

Rahmenschneiders, or border-cutters, 190, 319.

Raidel, his Dissertation on an edition of Ptolemy, 201;

Raimbach, Abraham, his engraving of the Rent-day, after Sir D. Wilkie, 213.

Randell, a printer’s apprentice, wood-cuts by, 180.

Raynalde’s Birth of Mankind, with three copper-plate engravings, 1540, 421.

Relief, metallic, engraving in, erroneous statements about, 305;

Rembrandt, cuts copied from etchings by, 595, 599, 602, 605.

Renaudot, l’Abbé, 24.

Rent-day, engraving of a group from, after Sir D. Wilkie, 593.

Repairing wood-cuts, 569 n.

662

Reperdius, George, a painter praised by Nicholas Bourbon, 356.

Requeno’s Chirotipografia, 44 n.

Revelationes Cœlestes sanctæ Brigittæ de Suecia, 321.

Reynolds, Nicholas, an English engraver on copper, 1575, 420.

Reyser, George, printer of the Missale Herbipolense, 1481, 202.

Robin Hood’s Garland, with wood-cut on the title-page, 1670, 444, 445.

Rocca, Angelus, mentions a Donatus on parchment, 123 n.

Rogers, William, an English copper-plate engraver, about 1600, 423.

Rolling-press, 4.

Rollers, composition, not so good as composition balls for inking certain kinds of wood-cuts, 650.

Roman stamps, 8, 10.

Rotundity, how indicated by straight lines, 584.

Rouen Cathedral, 611.

Rubbing down, 389.

Rubens. P. P. his praise of the cuts in the Lyons Dance of Death, designed by Holbein, 365;

wood engravings from his designs, 438, 439.

Ruche, or parafe, 14.

Runic cyphers and monograms, 15.

Ryther, Augustine, an English engraver on copper, 1575, 420.

Sachs, Hans, his descriptions of cuts designed by Jost Amman, 408.

Salmincio, Andrea, wood-cuts ascribed to, 441.

Sandbag and block, 575.

Sandrart, J. his notice of the Dance of Death, with cuts designed by Holbein, 365.

Saspach, Conrad, his evidence in the Drytzehns’ suit against Gutemberg, 1438, 128.

Savage, W. chiaro-scuros in his hints on Decorative Printing, 629;

his opinion as to the best mode of working a form containing wood-cuts, 647.

Saxton, Christopher, his collection of English County Maps, engraved on copper, 1573-1579, 420.

Schapf, George, an early wood engraver, 142, 228.

Schäufflein, Hans, painter, generally supposed to have engraved on wood, 281, 283, 284, 285, 287.

Schedel, Hartman, compiler of the Nuremberg Chronicle, 1493, 212.

Scheffer, Peter, a partner of Gutemberg and Faust, 132;

mentioned by Faust as his servant, 133;

a clerk, or copyist of books, 167.

Schelhorn’s Amœnitates, 113.

Schœpflin, Vindiciæ Typographicæ, 125, 132.

Schön, Martin, 74, 238.

Schön, Erhard, 406.

Schonberg, Mr. his attempts to engrave in metallic relief, 634.

Schönsperger, Hans, the printer of Sir Theurdank, 282.

Schopper, Hartman, verses by, in a book of trades and professions, 409.

Schoting of Nuremberg, a cut thus inscribed, the date 1584, mistaken for 1384, 59.

Schultheis, Hans, his evidence in the Drytzehns’ suit against Gutemberg, 1438, 127.

Schussler, John, a printer of Augsburg, 180.

Schwartz, J. G. Documenta de Origine Typographiæ, 124, 133, 134, 142.

Scopoli, mistakes Mr. B. White’s sign for the name of his partner, 313.

Scrive, a tool to mark timber with, 2.

Scrivener and Greffier, 2 n.

Scriverius, his account of Coster’s invention, 151 n.

Seals, engraved, 20.

Sebastian, St. account of an old wood-cut of, 55.

Shade for the eyes, 575.

Shields of arms in the block-book called The Apocalypse, 65;

in the History of the Virgin, 75, 76, 77, 78.

Sichem, Cornelius van, wood engraver, 439.

Silberrad, Dr. old wood-cuts in the possession of, 227.

Simulachres et Historiées Faces de la Mort, Lyons, 1538, 328.

Singer’s Researches on the History of Playing Cards, 9;

his unacknowledged obligations to Breitkopf, 10.

Skelton, Percival, 550, 569*.

Skippe, John, chiaro-scuros engraved by, 628.

Slader, Samuel, wood engraver, 544.

Sly, Stephen, his experiments in metallic relief, 636.

Smith, John Orrin, wood engraver, 544.

Snuff-box, George the Fourth’s, with designs, by Flaxman, 590.

Solis, Virgil, 406.

Solomon, song of, illustrations, 71, 72.

Solomon, Bernard, of Lyons, 398-401, 407.

Somervile’s Chase, with cuts, designed by John Bewick, 513.

Sorg, Anthony, of Augsburg, account of the Council of Constance, with wood-cuts, printed by him in 1483, 189.

Southey, Robert, his notice of two odes by Lloyd and Colman, with wood-cuts, 470.

Spanish marks, 15.

Specklin, D. mentions wooden types, 131.

Speculum Nostræ Salutis, 149.

cuts from, 96, 97, 98.

663

Speed’s History of Britain, 442.

Sporer, Hans, an old briefmaler, 43.

Springinklee, Hans, 287, 320.

Stabius, J. his description of the triumphal arch of Maximilian, 256.

Stamham, Melchior de, Abbot of St. Ulric and Afra, at Augsburg, printing-presses bought by him, 165 n.

Stampien, to stamp with the foot as a fiddler beats time, mistaken for printing, 120.

Stamping of letters in manuscripts, 44.

Stampilla, 14.

Stamps, Roman, 8;

notarial, 17.

Steiner, J. M. his notice of a book printed at Bamberg in 1462, 170.

Stencilling, 12, 40 n.

Stereotype, early, 418;

modern, 636.

Stigmata, 12.

Stimmer, Christopher, and Tobias, 413.

Stoke-field, knights and bannerets created after the battle of, 191.

Stothard, Thomas, R.A. his Illustrations of Rogers’s Poems, 1812, engraved on wood, 524.

Strephon’s Revenge, 1724, copy of a tail-piece in, 453.

Sueur, le, Peter and Vincent, 443;

Nicholas, 467.

Swedish coins, 15.

Sweynheim, Conrad, printer, the first that devised maps engraved on copper, 200.

Switzer, cuts engraved by, 442.

Sylvius, Æneas, his account of the Barnacle or Tree goose, 415.

Tail-pieces in Bewick’s Quadrupeds, 486.

Tell, William, 416, 417.

Temple, W. W. a pupil of Bewick, 527.

Tenniel, John, artist, 559, 560.

Terms, abstract, derived from names expressive of tangible and visible things, 214.

Terra-cottas, called Typi, 7.

Testament, Figures du Nouveau, 402.

Theodoric, his monogram, 13.

Ther-Hoernen, Arnold, prints at Cologne an edition of the Fasciculus Temporum, with wood-cuts, 1474, 190.

Theurdank, the Adventures of, an allegorical poem, by the Emperor Maximilian and his Secretary, 281;

the text erroneously supposed to have been engraved on wood, 283.

Thompson, Charles, wood engraver, 541 n.

Thompson, Eliza, wood engraver, 541 n.

Thompson, John, wood engraver, a pupil of R. Branston, notice of some of his principal cuts, 541, 569*.

Thurston, John, designer on wood, 519 n.

Tinsel money, 16.

Tint-tools, 577.

Titian, wood-cuts after, 433, 435.

Topsell’s History of Four-footed Beasts, 442.

Tract printed by A. Pfister, at Bamberg, 1461, 1462, 170, 181.

Transferring old impressions of wood-cuts, 104 n;

old wood-cuts and copper-plates, 637.

Travelling printers, 184.

Tree goose, 414.

Treitzsaurwein. M. Secretary to the Emperor Maximilian, nominal author of the Weiss Kunig, 286.

Treschel, Melchior and Gaspar, printers of the Lyons Dance of Death, 1538, with cuts, designed by Hans Holbein, 330.

Trimming, 606.

Trithemius, his account of the invention of printing, 131.

Trusler, Dr. his Progress of Man and Society, with cuts, by John Bewick, 613.

Turner, Dr. William, his account of the Tree goose, 414.

Turner, the Rev. William, his opinion of cross-hatching, 562.

Turrecremata, J. de, his Meditationes, 184.

Typi, 7.

Typography, invention of, 118;

not a chance discovery, 145.

Ulphilas, Gospels of, 44.

Underlaying wood-cuts, mode of, 645 n.

Unger, father and son, German wood engravers, 1779, 403, 483, 545.

Urse Graff, a cut designed by, probably copied by Willem de Figuersnider, 313;

other cuts with his mark, 314.

V

Vagabonds and sturdy beggars, 12.

Valcebro, Ferrer de, his notice of the Bernacle or Tree goose, 416.

Valturius, R. de Re Militari, 186.

Vasari, George, claims the invention of chiaro-scuro engraving for Ugo da Cai, 230.

Vasey, George, wood engraver, 544.

Vaugris, V. printer of a piracy of the Lyons Dance of Death, at Venice, 1542, 393.

Vecellio, Cesare, his book of Costumes, Venice, 1589, 433.

Vegetable putties, a theory of Mr. J. Landseer, 72.

Veldener, John, printer of an edition of the Speculum Salvationis, 1483, 106;

one of the earliest printers who introduced ornamental borders engraved on wood, 191.

664

Venice, foreign cards prohibited to be brought into the city of, 1441, 43.

Verona, Johannes de, 186.

Vesalius’s Anatomy, Basle, 1548, erroneously said to contain cuts designed by Titian, 433.

Vignettes, 615.

Vincentini, J. N. engraver of chiaro-scuros, 389.

Vizetelly, H. wood engraver, 558, 570*, 571*.

Vostre, Simon, Heures printed by him, 232.

Waagen, Dr. G. F. extract from his evidence before the Committee on Arts and Manufactures, 322.

Walsokne, Adam de, his mark, 18.

Walton’s Angler, cuts of fish in Major’s edition of, 541, 543.

Wand-Kalendars, or sheet almanacks, 1470, 1500, 225.

Ward, James, R.A. cut of a dray-horse from a drawing by, 596.

Watts, S. his engravings, 1703, 471.

Waved lines, 583.

Weir, Harrison, artist, 551, 555.

Weiss-Kunig, 286.

West, Benjamin, his design for the diploma of the Highland Society, 523.

Wethemstede, John, prior of St. Albans, 111.

White, Henry, senior and junior, wood engravers, 544.

White outline, 587, 598.

Whiting, Chas. his colour-printing, 630.

Whymper, J. W. wood engraver, 544, 569*.

Wilkie, Sir David, R.A. his sketch for his picture of the Rabbit on the Wall, 591;

group from his Rent-day, 593;

from his Village Festival, 614.

Willett, R. his opinion of wooden types, 136.

Williams, Samuel, artist and wood engraver, 544, 572*.

Williams, Thomas, wood engraver, 544, 547.

Willis, Edward, a pupil of Bewick, 522 n.

Wimpheling, verses by him, celebrating Gutemberg as the inventor of printing, 155.

Wirtemberg, Counts of, their arms, 78.

Wolgemuth, Michael, not the first that introduced cross-hatching in wood engravings, 239.

Women, engravers on wood, 235.

Wood for the purposes of engraving, several kinds mentioned by Papillou, 464;

Wood-cut, the earliest known with a date, 45.

Wood-cuts, largest modern; directions for cleaning, 649.

Wood engravers, early, unfriendly to the progress of typography, 179.

Wooden types, 131, 136, 137.

Wootie, Mr. his patent for engraving in metallic relief, 634.

Worde. W. de, cuts in books printed by him, 196, 198.

Wordsworth, William, his high opinion of Bewick’s talents, 512.

Wright, John, wood engraver, 544.

Wright, W. wood engraver, 554.

Wyatt, Sir Thomas, a wood-cut portrait of, from a drawing, by Holbein, 379.

Zainner, Gunther, of Augsburg, 179;

the Legenda Aurea, with wood-cuts, printed by him, in 1471, 188.

Zainer, John, of Reutlingen, prints at Ulm in 1473, an edition of Boccacio de Claris Mulieribus, with wood-cuts, 190.

Zani’s arguments in favour of Papillon’s story of the Cunio, 36, 37.

Zuyren, J. Van, claims the invention of printing for Harlem, 146.

Dante, edition of, with copper-plates, 1482
copperplates