This is a modern-English version of A Treatise on Wood Engraving, Historical and Practical, originally written by Bohn, Henry G. (Henry George), Chatto, William Andrew, Jackson, John. It has been thoroughly updated, including changes to sentence structure, words, spelling, and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If you click on a paragraph, you will see the original text that we modified, and you can toggle between the two versions.

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There is no table of contents, but the List of Illustrations gives the same information. The nine chapters of the printed book are distributed among separate files: Chapters I-III, Chapters IV-V, and then a separate file for each of Chapters VI-IX. Note that pages 561*-600* (most of Chapter VIII) come before pages 561-600 (Chapter IX).

There is no table of contents, but the List of Illustrations provides the same information. The nine chapters of the printed book are divided into separate files: Chapters I-III, Chapters IV-V, and then an individual file for each of Chapters VI-IX. Note that pages 561*-600* (most of Chapter VIII) come before pages 561-600 (Chapter IX).

In the printed book, lines were about this long:

In the printed book, the lines were about this long:

Among the more remarkable single subjects engraved on wood from
Durer’s designs, the following are most frequently referred to: God the
Father bearing up into heaven the dead body of Christ, with the date

Some of the most notable subjects carved on wood from Durer’s designs include: God the Father raising the dead body of Christ to heaven, along with the date.

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Notice to the Second Edition (by Henry Bohn)
Mr. Jackson’s Preface
Mr. Chatto’s Preface

__A_TAG_PLACEHOLDER_0__ (by Henry Bohn)
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List of Illustrations

Chapter I (separate file)
Chapter II (separate file)
Chapter III (separate file)
Chapter IV (separate file)
Chapter V (separate file)
Chapter VI (separate file)
Chapter VII (separate file)
Chapter VIII (separate file)
Chapter IX (separate file)

Index

Errors and Inconsistencies

William Blake.

W. J. Linton.

W.J. Linton.

DEATH’S DOOR.

Death's doorstep.

A Guide
ON
WOOD ENGRAVING

Historical and Practical

WITH UPWARDS OF THREE HUNDRED ILLUSTRATIONS
ENGRAVED ON WOOD

WITH OVER THREE HUNDRED ILLUSTRATIONS
ENGRAVED ON WOOD

BY JOHN JACKSON.

THE HISTORICAL PORTION BY W. A. CHATTO.

Second Edition

WITH A NEW CHAPTER ON THE ARTISTS OF THE PRESENT DAY

WITH A NEW CHAPTER ON TODAY'S ARTISTS

BY HENRY G. BOHN

AND 145 ADDITIONAL WOOD ENGRAVINGS.

AND 145 EXTRA WOOD ENGRAVINGS.

LONDON
HENRY G. BOHN, YORK STREET, COVENT GARDEN.
M.DCCC.LXI.

LONDON
HENRY G. BOHN, YORK STREET, COVENT GARDEN.
1861.

Richard Clay / Breads Hill / Sola Lux Mihi Laus / London

iii

NOTICE TO THE SECOND EDITION.

The former edition of this History of Wood Engraving having become extremely scarce and commercially valuable, the publisher was glad to obtain the copyright and wood-blocks from Mr. Mason Jackson, son of the late Mr. Jackson, original proprietor of the work, with the view of reprinting it.

The earlier edition of this History of Wood Engraving has become very rare and valuable, so the publisher was eager to acquire the copyright and woodblocks from Mr. Mason Jackson, the son of the late Mr. Jackson, who originally owned the work, with the intention of reprinting it.

It will be seen by the two distinct prefaces which accompanied the former edition, and are here reprinted, that there was some existing schism between the joint producers at the time of first publication. Mr. Jackson, the engraver, paymaster, and proprietor, conceived that he had a right to do what he liked with his own; while Mr. Chatto, his literary coadjutor, very naturally felt that he was entitled to some recognition on the title-page of what he had so successfully performed. On the book making its appearance without Mr. Chatto’s name on the title-page, and with certain suppressions in his preface to which he had not given consent, a virulent controversy ensued, which was embodied in a pamphlet termed “a third preface,” and afterwards carried on in the Athenæum of August and September, 1839. As this preface has nothing in it but the outpourings of a quarrel which can now interest no one, I do not republish any part of it; and looking back on the controversy after the lapse of twenty years, I cannot help feeling that Mr. Chatto had reasonable ground for complaining that his name was omitted, although I think Mr. Jackson had full right to determine what the book should be called, seeing that it was his own exclusive speculation. It is not for me to change a title now so firmly established, but I will do Mr. Chatto the civility to introduce his name on it, without concerning myself with the question of what he did or did not do, or what Mr. Jackson contributed beyond his practical remarks and anxious superintendence.

It will be clear from the two separate prefaces that came with the previous edition, which are reprinted here, that there was some disagreement between the two collaborators at the time of the first publication. Mr. Jackson, the engraver, paymaster, and owner, believed he had the right to do whatever he wanted with his own work, while Mr. Chatto, his literary partner, understandably felt he deserved some credit on the title page for his contribution. When the book was released without Mr. Chatto’s name on the title page and with certain parts of his preface excluded without his approval, a heated debate broke out, which was documented in a pamphlet called “a third preface,” and later continued in the Athenæum in August and September of 1839. Since this preface contains nothing but the expressions of a conflict that no one cares about anymore, I won’t be republishing any part of it; and looking back on the controversy after twenty years, I can’t help but feel that Mr. Chatto had good reason to be upset about his name being left out, even though I believe Mr. Jackson had every right to decide what the book should be titled since it was his own exclusive project. It’s not my place to change a title that is now so well established, but I will extend the courtesy of including Mr. Chatto’s name on it, without getting into the details of what he did or didn’t do, or what Mr. Jackson contributed besides his practical comments and attentive oversight.

Although I have the pleasure of a personal acquaintance with Mr. Chatto, and communicated to him my intention of republishing iv the work, I declined letting him see it through the press; resolving to stand wholly responsible for any alterations or improvements I might choose to make. On the other hand, I have been quite as chary of letting even the shade of Mr. Jackson raise a new commotion—I say the shade, because, having his own copy full of manuscript remarks, it was at my option to use them; but I have adopted nothing from this source save a few palpable amendments. What additions have been made are entirely my own, and have arisen from a desire to increase the number of illustrations where I thought them previously deficient and had the means of supplying them. With the insertion of these additional illustrations, which it appears amount to seventy-five, it became necessary to describe them, and this has occasioned the introduction of perhaps a hundred or two lines, which are distributed in the form of notes or paragraphs throughout the volume. For the chief of these additions the critical examiner is referred to the following pages: 321, 322, 340, 352, 374, 428, 468, 477, 480, 493, 530, 531, 532, 539, 540, 541, 542, 543, 545, 546, 547, 548, 617, 639. The chapter on the artists of the present day is entirely new, and was not contemplated, as may be gathered from the remarks at pages 549 and 597, until the book was on the eve of publication. It contains upwards of seventy high class wood engravings, and gives a fair specimen of the talents of some of our most distinguished artists. Getting that supplementary matter together and into shape, was not so light and sudden a task as I meant it to be; but now it is done I feel that it was right to do it, and I can only hope that my unpretending labours will be deemed a step in the right direction. Should I retain my health, strength, and means, I purpose, at no very distant period, to follow up the present volume with one perhaps as large, giving a more complete series of Examples of the artists of the day, as well those of France and Germany as of England.

Although I know Mr. Chatto personally and informed him about my plan to republish iv the work, I chose not to let him see it through the printing process; deciding to take full responsibility for any changes or improvements I might make. At the same time, I’ve been just as careful not to let even the mention of Mr. Jackson stir up any new issues—I say mention because, since he has his own copy filled with handwritten remarks, it was up to me to use them; however, I’ve only adopted a few obvious corrections from his notes. Any additions made are entirely my own, arising from a wish to add more illustrations where I believed there were gaps and I had the means to provide them. With the addition of these extra illustrations, which total about seventy-five, it became necessary to describe them, leading to the inclusion of perhaps a hundred or two extra lines, spread throughout the volume in the form of notes or paragraphs. For the main additions, the critical reader can refer to the following pages: 321, 322, 340, 352, 374, 428, 468, 477, 480, 493, 530, 531, 532, 539, 540, 541, 542, 543, 545, 546, 547, 548, 617, 639. The chapter on contemporary artists is completely new and was not planned, as can be inferred from the comments on pages 549 and 597, until the book was about to be published. It includes over seventy high-quality wood engravings, showcasing the talents of some of our most prominent artists. Putting that supplemental material together and into shape was not as easy and quick as I anticipated; but now that it's done, I feel it was the right decision, and I can only hope that my humble efforts will be seen as a step in the right direction. If I maintain my health, strength, and resources, I plan to follow up this volume soon with another, possibly of similar size, providing a more complete series of examples from the artists of the day, including those from France and Germany as well as England.

In conclusion, I think it due to Mr. Clay to acknowledge the attention and skill which he has exercised in “bringing up” the numerous and somewhat difficult cuts to the agreeable face they now present. A good engraving without good printing is like a diamond without its polish.

In conclusion, I believe it's important to recognize Mr. Clay for the attention and skill he has shown in “bringing up” the many challenging cuts to the pleasing appearance they have now. A good engraving without quality printing is like a diamond lacking polish.

HENRY G. BOHN.

January 4th, 1861.

January 4, 1861.

MR. JACKSON’S PREFACE.

I feel it my duty to submit to the public a few remarks, introductory to the Preface, which bears the signature of Mr. Chatto.

I’m feeling it’s my responsibility to share some thoughts with the public, leading into the Preface that’s signed by Mr. Chatto.

As my attention has been more readily directed to matters connected with my own profession than any other, it is not surprising that I should find almost a total absence of practical knowledge in all English authors who have written the early history of wood engraving. From the first occasion on which my attention was directed to the subject, to the present time, I have had frequent occasion to regret, that the early history and practice of the art were not to be found in any book in the English language. In the most expensive works of this description the process itself is not even correctly described, so that the reader—supposing him to be unacquainted with the subject—is obliged to follow the author in comparative darkness. It has not been without reason I have come to the conclusion, that, if the practice, as well as the history of wood engraving, were better understood, we should not have so many speculative opinions put forth by almost all writers on the subject, taking on trust what has been previously written, without giving themselves the trouble to examine and form an opinion of their own. Both with a view to amuse and improve myself as a wood engraver, I had long been in the habit of studying such productions of the old masters as came within my reach, and could not help noting the simple mistakes that many authors made in consequence of their knowing nothing of the practice. The farther I prosecuted the inquiry, the more interesting it became; every additional piece of information strengthening my first opinion, that, “if the practice, as well as the history of wood engraving, were better understood,” we should not have so many erroneous statements respecting both the history and capabilities of the art. At length, I determined upon engraving at my leisure hours a fac-simile of anything I thought worth preserving. For some time I continued to pursue this course, reading such English authors as have written on the origin and early history of wood engraving, and making memoranda, without proposing to myself any particular plan. It was not until I had proceeded thus far that I stopped to consider whether the information I had gleaned could not be applied to some specific purpose. vi My plan, at this time, was to give a short introductory history to precede the practice of the art, which I proposed should form the principal feature in the Work. At this period, I was fortunate in procuring the able assistance of Mr. W. A. Chatto, with whom I have examined every work that called for the exercise of practical knowledge. This naturally anticipated much that had been reserved for the practice, and has, in some degree, extended the historical portion beyond what I had originally contemplated; although, I trust, the reader will have no occasion to regret such a deviation from the original plan, or that it has not been written by myself. The number and variety of the subjects it has been found necessary to introduce, rendered it a task of some difficulty to preserve the characteristics of each individual master, varying as they do in the style of execution. It only remains for me to add, that, although I had the hardihood to venture upon such an undertaking, it was not without a hope that the history of the art, with an account of the practice, illustrated with numerous wood engravings, would be looked upon with indulgence from one who only professed to give a fac-simile of whatever appeared worthy of notice, with opinions founded on a practical knowledge of the art.

As I've focused more on issues related to my profession than anything else, it's no surprise that I've noticed a major lack of practical knowledge in all English authors who have written about the early history of wood engraving. From the first time my attention was drawn to this topic until now, I've often wished there was a book in English that covered the early history and practice of the art. Even in the most expensive works, the process isn't described accurately, leaving the reader—who may not know much about the subject—in the dark. I've concluded that if the practice and history of wood engraving were better understood, we wouldn't have so many speculative opinions from almost every writer on the topic, simply taking previous writings at face value without bothering to investigate and form their own views. To keep myself entertained and improve as a wood engraver, I had been looking at works by old masters that I could find and couldn't help but notice the simple mistakes many authors made due to their lack of practical knowledge. The further I delved into this inquiry, the more fascinating it became; every new piece of information reinforced my initial belief that “if the practice and history of wood engraving were better understood,” we wouldn't encounter so many incorrect statements about the history and capabilities of the art. Eventually, I decided to spend my free time engraving a facsimile of anything I thought was worth keeping. For a while, I continued this process, reading English authors who have written about the origins and early history of wood engraving and taking notes, without a specific plan in mind. It wasn't until I had gone this far that I considered whether the information I'd gathered could serve a particular purpose. vi At that point, my plan was to provide a brief introductory history to precede the practical part of the art, which I intended to be the main focus of the Work. Around this time, I was lucky to get the valuable help of Mr. W. A. Chatto, with whom I examined every work that required practical expertise. This naturally brought in a lot of information that had been planned for the practical section, and it somewhat extended the historical part beyond what I had originally envisioned; however, I hope the reader won't mind this deviation from my initial plan or that it wasn't written by me. The range and variety of subjects I found necessary to include made it quite challenging to retain the distinct characteristics of each individual master, as their styles of execution differ. I just want to add that while I took on this ambitious project, I did so with the hope that the history of the art, along with a discussion of the practice, illustrated by numerous wood engravings, would be viewed with kindness by those who understand that I'm only trying to provide a facsimile of things that seem noteworthy, supported by practical knowledge of the art.

JOHN JACKSON.

London, December 15th, 1838.

London, December 15, 1838.

MR. CHATTO’S PREFACE.

Though several English authors have, in modern times, written on the origin and early history of wood engraving, yet no one has hitherto given, in a distinct work, a connected account of its progress from the earliest period to the present time; and no one, however confidently he may have expressed his opinion on the subject, appears to have thought it necessary to make himself acquainted with the practice of the art. The antiquity and early history of wood engraving appear to have been considered as themes which allowed of great scope for speculation, and required no practical knowledge of the art. It is from this cause that we find so many erroneous statements in almost every modern dissertation on wood engraving. Had the writers ever thought of appealing to a person practically acquainted with the art, whose early productions they professed to give some account of, their conjectures might, in many instances, have been spared; and had they, vii in matters requiring research, taken the pains to examine and judge for themselves, instead of adopting the opinions of others, they would have discovered that a considerable portion of what they thus took on trust, was not in accordance with facts.

Although several English authors have, in recent times, written about the origin and early history of wood engraving, no one has yet provided a comprehensive account of its development from the earliest days to now in a single work. Furthermore, regardless of how confidently someone may express their views on the topic, it seems no one has felt the need to understand the practical aspects of the art. The ancient history of wood engraving has been seen as a subject open to much speculation, requiring little practical knowledge of the craft. This is why we encounter so many inaccuracies in nearly every modern thesis on wood engraving. If the authors had considered consulting someone familiar with the art, whose early works they claimed to discuss, many of their guesses could have been avoided; and if they had taken the time to investigate and evaluate matters requiring research instead of relying on others’ opinions, they would have found that a significant portion of what they accepted as truth did not align with reality.

As the antiquity and early history of wood engraving form a considerable portion of two expensive works which profess to give some account of the art, it has been thought that such a work as the present, combining the history with the practice of the art, and with numerous cuts illustrative of its progress, decline, and revival, might not be unfavourably received.

As the history and early development of wood engraving make up a significant part of two expensive books that claim to explain the art, it was considered that this work, which combines the history with the practice of the art and includes many illustrations showing its progress, decline, and revival, might be well received.

In the first chapter an attempt is made to trace the principle of wood engraving from the earliest authentic period; and to prove, by a continuous series of facts, that the art, when first applied to the impression of pictorial subjects on paper, about the beginning of the fifteenth century, was not so much an original invention, as the extension of a principle which had long been known and practically applied.

In the first chapter, we try to track the principle of wood engraving from the earliest verified period and demonstrate, with a continuous series of facts, that when the art was first used to print images on paper around the beginning of the fifteenth century, it was not really an original invention but rather an expansion of a principle that had been known and practically used for a long time.

The second chapter contains an account of the progress of the art as exemplified in the earliest known single cuts, and in the block-books which preceded the invention of typography. In this chapter there is also an account of the Speculum Salvationis, which has been ascribed to Laurence Coster by Hadrian Junius, Scriverius, Meerman, and others, and which has frequently been described as an early block-book executed previous to 1440. A close examination of two Latin editions of the book has, however, convinced me, that in the earliest the text is entirely printed from movable types, and that in the other—supposed by Meerman to be the earliest, and to afford proofs of the progress of Coster’s invention—those portions of the text which are printed from wood-blocks have been copied from the corresponding portions of the earlier edition with the text printed entirely from movable types. Fournier was the first who discovered that one of the Latin editions was printed partly from types, and partly from wood-blocks; and the credit of showing, from certain imperfections in the cuts, that this edition was subsequent to the other with the text printed entirely from types, is due to the late Mr. Ottley.

The second chapter gives an overview of the development of the art, showcasing the earliest known single cuts and the block-books that existed before the invention of typography. This chapter also includes information about the Speculum Salvationis, which has been attributed to Laurence Coster by Hadrian Junius, Scriverius, Meerman, and others, and is often described as an early block-book created before 1440. However, a close look at two Latin editions of the book has led me to conclude that in the earliest edition, the text is completely printed using movable types, and in the other edition—thought by Meerman to be the oldest and to provide evidence of the advancement of Coster’s invention—those parts of the text that are printed from wood-blocks have been copied from the matching sections of the earlier edition that is fully printed with movable types. Fournier was the first to find that one of the Latin editions was printed partly using types and partly from wood-blocks, and the credit for demonstrating, through certain flaws in the cuts, that this edition came after the one with text printed entirely from types goes to the late Mr. Ottley.

As typography, or printing from movable types, was unquestionably suggested by the earliest block-books with the text engraved on wood, the third chapter is devoted to an examination of the claims of Gutemberg and Coster to the honour of this invention. In the investigation of the evidence which has been produced in the behalf of each, the writer has endeavoured to divest his mind of all bias, and to decide according to facts, without reference to the opinions of either party. He has had no theory to support; and has neither a partiality for Mentz, nor a dislike to Harlem. It perhaps may not be unnecessary to mention here, that viii the cuts of arms from the History of the Virgin, given at pages 75, 76, and 77, were engraved before the writer had seen Koning’s work on the Invention of Printing, Harlem, 1816, where they are also copied, and several of them assigned to Hannau, Burgundy, Brabant, Utrecht, and Leyden, and to certain Flemish noblemen, whose names are not mentioned. It is not improbable that, like the two rash Knights in the fable, we may have seen the shields on opposite sides;—the bearings may be common to states and families, both of Germany and the Netherlands.

As typography, or printing with movable type, was definitely inspired by the earliest block-books that had text carved into wood, the third chapter looks into the claims of Gutenberg and Coster regarding the honor of this invention. In examining the evidence put forth for each, the author has tried to keep an open mind and make decisions based on facts, without considering either side's opinions. He has no theory to promote and holds no preference for Mentz or dislike for Harlem. It's worth mentioning that viii the illustrations of coats of arms from the History of the Virgin, found on pages 75, 76, and 77, were engraved before the author had seen Koning’s work on the Invention of Printing, Harlem, 1816, where they are also reproduced, with some attributed to Hannau, Burgundy, Brabant, Utrecht, and Leyden, as well as to various Flemish nobles whose names aren't provided. It's possible that, like the two reckless knights in the fable, we may have seen the coats of arms from different perspectives; the designs could be shared by both states and families in Germany and the Netherlands.

The fourth chapter contains an account of wood engraving in connexion with the press, from the establishment of typography to the latter end of the fifteenth century. The fifth chapter comprehends the period in which Albert Durer flourished,—that is, from about 1498 to 1528. The sixth contains a notice of the principal wood-cuts designed by Holbein, with an account of the extension and improvement of the art in the sixteenth century, and of its subsequent decline. In the seventh chapter the history of the art is brought down from the commencement of the eighteenth century to the present time.

The fourth chapter provides a look at wood engraving in relation to printing, from the start of typography until the late fifteenth century. The fifth chapter covers the time when Albert Durer was active—roughly from 1498 to 1528. The sixth chapter includes a discussion of the main woodcuts created by Holbein, along with a summary of the expansion and enhancement of the art during the sixteenth century and its later decline. In the seventh chapter, the history of the art is brought up to date from the beginning of the eighteenth century to the present day.

The eighth chapter contains an account of the practice of the art, with remarks on metallic relief engraving, and the best mode of printing wood-cuts. As no detailed account of the practice of wood engraving has hitherto been published in England, it is presumed that the information afforded by this part of the Work will not only be interesting to amateurs of the art, but useful to those who are professionally connected with it.

The eighth chapter includes a description of the art practice, along with insights on metal relief engraving and the best way to print woodcuts. Since no detailed guide on wood engraving has been published in England before, it’s expected that the information in this section will be both interesting to art enthusiasts and helpful to professionals in the field.

It is but justice to Mr. Jackson to add, that the Work was commenced by him at his sole risk; that most of the subjects are of his selection; and that nearly all of them were engraved, and that a great part of the Work was written, before he thought of applying to a publisher. The credit of commencing the Work, and of illustrating it so profusely, regardless of expense, is unquestionably due to him.

It’s only fair to credit Mr. Jackson for starting this project on his own initiative and risk. Most of the topics were his choice, and nearly all of them were engraved, along with a significant portion of the writing, before he even considered approaching a publisher. The recognition for initiating the project and for illustrating it so liberally, without worrying about costs, clearly belongs to him.

W. A. CHATTO.

W.A. Chatto.

London, December 5th, 1838.

London, December 5, 1838.

LIST OF ILLUSTRATIONS.

Links in the List lead to the Chapter or Illustration named. The word “ditto”—written out—was printed as shown.

Links in the List lead to the named Chapter or Illustration. The word "ditto"—written out—was printed as shown.

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

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CHAPTER I HISTORY 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 CONNECTION 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 DURING 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 ADVANCEMENTS 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 WOOD ENGRAVERS TODAY, 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

Erratum

life of St. Birinus, of the twelfth century
twelth

the life of St. Birinus from the twelfth century
twelfth

ON
WOOD ENGRAVING.

653

INDEX.

Links in the Index lead to the top of the named page. All are in separate files.

Links in the Index take you to the top of the specified page. Each one is in a separate file.

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

Absolon, John, artist, 576*.

Absolon, John, artist, __A_TAG_PLACEHOLDER_0__.

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

Advertisements, wood-cuts prefixed to, 446 n.

Advertisements, woodcuts included in, __A_TAG_PLACEHOLDER_0__.

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

Allegory of Death, a pamphlet published in Bamberg, 1462, 171.

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

Almanach de Paris, with illustrations by Papillon, 459.

Almanacks, sheet, 1470, 1500, 225.

Almanacs, sheet, 1470, 1500, __A_TAG_PLACEHOLDER_0__.

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

Alphabet of figures, carved into wood, in the British Museum, 106;

cuts from, 109, 110, 111, 112;

cuts from, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__;

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

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

Altdorffer, A. 320.

Altdorffer, A. __A_TAG_PLACEHOLDER_0__.

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

Amman, Jost, designs created by, in a guide to jobs and careers, 408, 409;

other cuts designed by him, 411.

other cuts he designed, __A_TAG_PLACEHOLDER_0__.

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

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

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

Andreani, Andrea, chiaroscuro engravings by, __A_TAG_PLACEHOLDER_0__.

Andrews, G. H. painter, 598*.

Andrews, G. H. artist, __A_TAG_PLACEHOLDER_0__.

Anelay, H. artist, 575*.

Anelay, H. artist, __A_TAG_PLACEHOLDER_0__.

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

Angus, George, from Newcastle-on-Tyne, printer, woodcuts used in inexpensive works, 180, 228.

Annunciation, old cut of the, 50.

Old cut of the Annunciation, __A_TAG_PLACEHOLDER_0__.

Ansdell, Richard, painter, 598*.

Ansdell, Richard, artist, __A_TAG_PLACEHOLDER_0__.

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

Ansgarius, St., is believed to have compiled the Biblia Pauperum, 94.

Antichrist, cuts of, 61.

Antichrist, cuts of, __A_TAG_PLACEHOLDER_0__.

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

Antonianus, Silvius, a cardinal, was identified 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;

Antwerp, artists' guild of, welcomes Dürer, 261;

procession in honour of the Virgin, ib.

procession in honor of the Virgin, ib.

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

Apelles, the depiction of human life captured on a canvas by, 436 n.

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

Apocalypse, an ancient blockbook, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__;

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

Appeal to Christendom, early specimen of typography, 138.

Appeal to Christendom, early example of typography, 138.

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

Archer, J. draughtsman, 599*.

Archer, J. designer, __A_TAG_PLACEHOLDER_0__.

Archer, J. W. draughtsman, 599*.

Archer, J. W. designer, __A_TAG_PLACEHOLDER_0__.

Aretin, J. C. von, 114.

Aretin, J. C. von, __A_TAG_PLACEHOLDER_0__.

Armitage, Edward, painter, 598*.

Armitage, Edward, artist, __A_TAG_PLACEHOLDER_0__.

Armstrong, T. engraver, 592*.

Armstrong, T. engraver, __A_TAG_PLACEHOLDER_0__.

Armstrong, Wm. engraver, 600*.

Armstrong, Wm. engraver, __A_TAG_PLACEHOLDER_0__.

Ars Memorandi, 113;

Ars Memorandi, __A_TAG_PLACEHOLDER_0__;

cut from, 115.

cut from, __A_TAG_PLACEHOLDER_0__.

Ars Moriendi, an old block-book, 116.

Ars Moriendi, an old blockbook, __A_TAG_PLACEHOLDER_0__.

Art, early German, 3.

Art, early German, __A_TAG_PLACEHOLDER_0__.

Assen, J. W. van, 318.

Assen, J. W. van, __A_TAG_PLACEHOLDER_0__.

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.

Austin, a British wood engraver, __A_TAG_PLACEHOLDER_0__.

Babylonian brick, 7.

Babylonian brick, __A_TAG_PLACEHOLDER_0__.

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

Balls, leather, previously used by printers, aren’t as elastic as synthetic rollers, 620.

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

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

Bämler, John, a printer of Augsburg, 180.

Bämler, John, a printer from Augsburg, 180.

Baptism of Drusiana, 66.

Baptism of Drusiana, __A_TAG_PLACEHOLDER_0__.

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

Bartsch, Adam, believes that Albert Durer did not do wood engravings, 237.

Battailes, La Fleur des, 1505, 210.

Battailes, The Flower of, 1505, __A_TAG_PLACEHOLDER_0__.

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

Baxter, George, his advancements in color printing, 406;

his chiaro-scuros and picture-prints, 629.

his chiaroscuro and prints, __A_TAG_PLACEHOLDER_0__.

Beating time with the foot mistaken for printing, 120.

Beating time with the foot was mistaken for printing, 120.

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

Beaumont, Sir George, strange set of symbols carved into wood, previously owned by, 106.

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

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.

Beddoes, Dr. Thomas, his poem about Alexander’s journey down the Hydaspes, with illustrations by E. Dyas, 1792, 463 n.

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

Behaim, H. S. 253 n, 320.

Behaim, H. S. __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

654

Beilby, Ralph, the partner of Bewick, 479.

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

Beildeck, Lawrence, his testimony in the case of the Drytzehns vs. 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.

Bekker, R. Z., editor of a collection of woodcuts from old blocks owned by Baron Von Derschau, 226.

Bellini, Giovanni, his praise of Durer, 242.

Bells, inscriptions on, 20.

Bells, engraved with messages, __A_TAG_PLACEHOLDER_0__.

Bennett, C. draughtsman, 599*.

Bennett, C. designer, __A_TAG_PLACEHOLDER_0__.

Benting, William, Lord of Rhoon and Pendraght, a fictitious character, mentioned by T. Nieuhoff Piccard, 360, 361 n, 363.

Benting, William, Lord of Rhoon and Pendraght, a fictional character, mentioned by T. Nieuhoff Piccard, 360, 361 n, 363.

Bernacle or Barnacle Goose, 414.

Barnacle Goose, __A_TAG_PLACEHOLDER_0__.

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

Bernardin, St. account of an old woodcut of, 56.

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

Beroaldus, Peter, editor of a version of Ptolemy, 201.

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

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

Bethemsted, a name in an old book of woodcuts, 111.

Beugnet, a French wood engraver, 547.

Beugnet, a French wood artist, __A_TAG_PLACEHOLDER_0__.

Bewick, Thomas, his birth, 1753, 472;

Bewick, Thomas, born in 1753, __A_TAG_PLACEHOLDER_0__;

apprenticed to Mr. R. Beilby, 474;

apprenticed to Mr. R. Beilby, __A_TAG_PLACEHOLDER_0__;

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

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

receives a bonus for his share of the Old Hound, 1775, 476;

visits London, 477;

visits London, __A_TAG_PLACEHOLDER_0__;

cuts engraved by him in a Hieroglyphic Bible, 478;

his love of the country, 479;

his love for the country, __A_TAG_PLACEHOLDER_0__;

his partnership with Beilby, ib.;

his cuts in Gay’s Fables, 480;

his edits in Gay’s Fables, __A_TAG_PLACEHOLDER_0__;

his cut of the Chillingham Bull, 481;

his Quadrupeds, 1791, 482-490;

his Quadrupeds, 1791, __A_TAG_PLACEHOLDER_0__;

his British Birds, 1797-1804, 490-502;

his British Birds, 1797-1804, __A_TAG_PLACEHOLDER_0__;

his Select Fables, 1818, 502-506;

his Select Fables, 1818, __A_TAG_PLACEHOLDER_0__;

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

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

his diligence, 507;

his hard work, __A_TAG_PLACEHOLDER_0__;

his death, ib.;

his death, ibid.;

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

list of portraits of him, 509 n.

list of his portraits, __A_TAG_PLACEHOLDER_0__.

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

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

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

Bible, the Mazarine, printed before August 1456, 139.

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

Bible cuts, Lyons, 1538, designed by Holbein, 365-371;

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

engravings from '86, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Bible, Quadrins Historiques de la, 402.

Bible, Historical Quadrants of the, __A_TAG_PLACEHOLDER_0__.

Biblia Pauperum, 80-94.

Bible of the Poor, __A_TAG_PLACEHOLDER_0__.

Biblia Pauperum Predicatorum, 83.

Bible for the poor preachers, __A_TAG_PLACEHOLDER_0__.

Bildhauer, 2.

Sculptor, __A_TAG_PLACEHOLDER_0__.

Binding, old, 60.

Binding, outdated, __A_TAG_PLACEHOLDER_0__.

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

Birds, carved by Bewick's students, __A_TAG_PLACEHOLDER_0__.

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;

Blake, William, his way 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.

Blocking out, __A_TAG_PLACEHOLDER_0__.

Block-books claimed for Lawrence Coster, 58.

Block books attributed to Lawrence Coster, __A_TAG_PLACEHOLDER_0__.

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

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

Bolton, Thomas, wood engraver, 576*, 577*.

Bolton, Thomas, wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Bombo, the name of a dog, thought 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.

Borbonius, or Bourbon, Nicholas, poems by, celebrating Holbein, 356, 357, 362, 367.

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

Borders, decorated with flowers, are the earliest examples found in books, 209.

Böttiger, C. A. 21.

Böttiger, C. A. __A_TAG_PLACEHOLDER_0__.

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

Boxwood varieties, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Brandling, H. draughtsman, 599*.

Brandling, H. draftsman, __A_TAG_PLACEHOLDER_0__.

Brands for marking cattle, 11.

Cattle branding tools, __A_TAG_PLACEHOLDER_0__.

Branston, Robert, notice of his principal wood-cuts, 535-538.

Branston, Robert, notice of his main woodcuts, 535-538.

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

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

his method of engraving in metallic relief, 634.

his method of engraving in metal relief, 634.

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

Branston, F. W. wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Brass stamps, 10.

Brass stamps, __A_TAG_PLACEHOLDER_0__.

Brasses, monumental, 21.

Brass sculptures, monumental, __A_TAG_PLACEHOLDER_0__.

Braunche, Robert, his monument at Lynn, 22.

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

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

Breydenbach’s Travels, 1486, 206-209.

Breydenbach’s Travels, 1486, __A_TAG_PLACEHOLDER_0__.

Bricks, from Egypt and Babylon, 6, 7.

Bricks, from Egypt and Babylon, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Bridget, St., early cut of, 52.

Bridget, St., early edit of, __A_TAG_PLACEHOLDER_0__.

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

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

Briefe, cards so called in Germany, 42.

Briefe, cards referred to as such in Germany, 42.

Briefmaler and Briefdrucker, 43, 410.

Letter Writer and Letter Printer, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

British Birds, History of, with cuts by Bewick, 490-502.

British Birds, History of, with illustrations by Bewick, 490-502.

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

Broughton, Hugh, his Consent of Scripture, with copperplate engravings, 1591, 423.

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

Büchel, Emanuel, a Dance of Death replicated in watercolors, 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.

Bulwer, Sir E. Lytton, quoted, __A_TAG_PLACEHOLDER_0__.

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

Burgmair, Hans, painter and wood designer, 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.

Burning in the hand, __A_TAG_PLACEHOLDER_0__.

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

Bury, Richard de, doesn't mention wood engraving, 39.

Businck, chiaro-scuros engraved by, 440.

Businck, chiaroscuro engravings by, __A_TAG_PLACEHOLDER_0__.

Buttons, silver, engraved by Bewick, 479.

Buttons, silver, engraved by Bewick, __A_TAG_PLACEHOLDER_0__.

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

Byfield, John, wood engraver, 544.

Byfield, John, wood engraver, __A_TAG_PLACEHOLDER_0__.

Calcar, John, a Flemish painter, 434.

Calcar, John, a Flemish artist, __A_TAG_PLACEHOLDER_0__.

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

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

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

Canticles, illustrations of, 71, 72.

Canticles, illustrated by, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

655

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

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

in English and other books, 616, 617.

in English and other books, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

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

Cards, known in 1340, 40.

Cards, known since 1340, __A_TAG_PLACEHOLDER_0__.

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

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

Carpi, Ugo da, wood engraver known for his chiaroscuro techniques, 230, 307.

Cartouch, 28 n.

Cartouch, __A_TAG_PLACEHOLDER_0__.

Casts, stereotype, early, 418;

Casts, stereotypes, early, __A_TAG_PLACEHOLDER_0__;

modern, 636;

modern, __A_TAG_PLACEHOLDER_0__;

clichage, 637.

cliché, __A_TAG_PLACEHOLDER_0__.

Cat edition of Dante, Venice, 1578, 431.

Catherine, St. patroness of learned men, 207.

Catherine, the patron saint of scholars, 207.

Catholicon Johannis Januensis, 135 n.

Catholicon by John of Genoa, __A_TAG_PLACEHOLDER_0__.

Cauteria, 12.

Cauterization, __A_TAG_PLACEHOLDER_0__.

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

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

Mirror of the World, 194;

Mirror of the World, __A_TAG_PLACEHOLDER_0__;

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

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

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

Caylus, Count, chiaroscuro artworks created by N. Le Sueur, 456 n.

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

Champollion, 6 n.

Champollion, __A_TAG_PLACEHOLDER_0__.

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.

Charlemagne's monogram, __A_TAG_PLACEHOLDER_0__.

Chelidonius, 243, 251.

Chelidonius, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Chaucer’s Canterbury Tales, 48.

Chaucer’s Canterbury Tales, __A_TAG_PLACEHOLDER_0__.

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

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

Chiaro-scuro, wood engraving, recognized in Germany, in 1509, 230.

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

Chiaro-scuro, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Children in the Wood, cut from, 533.

Chillingham bull, cut of, by Bewick, 481.

Chinese engraving and printing, 23.

Chinese engraving and printing, __A_TAG_PLACEHOLDER_0__.

Chirotipografia, or hand-printing, 44 n.

Hand printing, __A_TAG_PLACEHOLDER_0__.

Chisels, 578.

Chisels, __A_TAG_PLACEHOLDER_0__.

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

Christopher, St. woodcut of, owned by Earl Spencer, 45, 46.

Chrysographus, 121.

Chrysographus, __A_TAG_PLACEHOLDER_0__.

Circular wood engravings in the British Museum, 54 n.

Clayton, J. R. draughtsman, 599*.

Clayton, J. R. designer, __A_TAG_PLACEHOLDER_0__.

Cleaning wood cuts after printing, mode of, 649.

Cleaning wood cuts after printing, method of, 649.

Clennell, Luke, a pupil of Bewick, biographical notice of, 521-527.

Clennell, Luke, a student of Bewick, biographical note about, 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.

Cliché, a method of making a print from a wood engraving, 637.

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

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

Coining, its antiquity, 19.

Coining, its history, __A_TAG_PLACEHOLDER_0__.

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

Coleman, Wm. artist, 599*.

Coleman, Wm. artist, __A_TAG_PLACEHOLDER_0__.

Collation of editions of the Speculum Salvationis, 102.

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

Cologne Chronicle, misquoted by Coster's supporters, 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.

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

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

Congreve’s, Sir Wm. method of color printing, 630.

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

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

Cooper, James, wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Coornhert, Theodore, claims he invented printing for Harlem, 146.

Cope, C. W. painter, 598*.

Cope, C. W. artist, __A_TAG_PLACEHOLDER_0__.

Copperplate engraving, its invention ascribed to Varro, 21.

Copperplate engraving by Varro, __A_TAG_PLACEHOLDER_0__.

Copperplates, earliest books containing, 200;

Copperplates, earliest printed books, __A_TAG_PLACEHOLDER_0__;

the earliest engraved in England, 419.

the first engraved in England, __A_TAG_PLACEHOLDER_0__.

Corbould, E. H. painter, 598*.

Corbould, E. H. artist, __A_TAG_PLACEHOLDER_0__.

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

Coriolano, Bartolomeo, chiaroscuro prints created by, 440.

Cornelius, a bookbinder, his account of Coster’s invention, 150-152.

Cornelius, a bookbinder, shares his story about Coster's invention, 150-152.

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

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

account of his invention, 149.

description of his invention, __A_TAG_PLACEHOLDER_0__.

Cotman’s Sepulchral Brasses, 22 n.

Cotman's Funeral Brasses, __A_TAG_PLACEHOLDER_0__.

Coverdale, Miles, cuts in his translation of the Bible, 1535, 385-389.

Coverdale, Miles, includes his translation of the Bible, 1535, 385-389.

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

Cowper, Edward, his invention for drilling holes in wood blocks for map engraving, 205.

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

Cracherode, Rev. C. M. prints and books he donated to the British Museum, 72, 231, 355, 385.

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

chiaro-scuros cut after, 276;

chiaro-scuros cut after, __A_TAG_PLACEHOLDER_0__;

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

figure of Christ printed in colors, believed to be by him, 404.

Cranmer, Archbishop, his Catechism, 1548, with wood cuts, 380-382.

Cranmer, Archbishop, his Catechism, 1548, with woodcuts, 380-382.

Creswick, T. artist. 588*, 589*.

Creswick, T. artist. __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Cropsey, Jasper, painter, 598*.

Cropsey, Jasper, artist, __A_TAG_PLACEHOLDER_0__.

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

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

Crowquill, Alfred, artist, 597*.

Crowquill, Alfred, artist, __A_TAG_PLACEHOLDER_0__.

Cross-hatching, 224, 234, 562.

Cross-hatching, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Croxall’s Æsop’s Fables, wood cuts in, 1722, 448-451.

Croxall’s Æsop’s Fables, woodcuts included, 1722, 448-451.

Cruikshank, George, artist, 595*, 596*.

Cruikshank, George, artist, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

his portrait, 424;

his portrait, __A_TAG_PLACEHOLDER_0__;

cuts from his book, 425, 426, 427.

excerpts from his book, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

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

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

Curved lines, the effect of, 585.

Curved lines, their effect, __A_TAG_PLACEHOLDER_0__.

Cutting tools, 576.

Cutting tools, __A_TAG_PLACEHOLDER_0__.

Dalziel, Bros. wood engravers, 559-562*, 566*.

Dalziel, Bros. wood engravers, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Dalziel, Thomas, artist, 562*.

Dalziel, Thomas, artist, __A_TAG_PLACEHOLDER_0__.

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

Dammetz, Lucas, also known as Lucas Van Leyden, 308.

Dampth, its effect on box-wood, 564.

Dampness and its effect on boxwood, __A_TAG_PLACEHOLDER_0__.

Dance of Death, in old churches, 325;

at Basle, 326;

at Basel, __A_TAG_PLACEHOLDER_0__;

in old French and other books, 328;

the Lyons Dance of Death, 1538, with cuts, designed by Hans Holbein, 329-364;

the Lyons Dance of Death, 1538, with edits, designed by Hans Holbein, 329-364;

656

his Alphabet containing his Dance of Death, 352.

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

Dante, edition with copper plates, 1482;

the cat edition of, Venice, 1578, 431.

Darley, Felix, draughtsman, 599*.

Darley, Felix, designer, __A_TAG_PLACEHOLDER_0__.

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

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

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

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

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

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

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

specimens of it, 601, 609.

specimens of it, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

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

his character, 236 n.

his character, __A_TAG_PLACEHOLDER_0__.

Desroches, M. ascribes the invention of printing to “Vedelare Lodewyc,” 119.

Desroches, M. credits the invention of printing to “Vedelare Lodewyc,” 119.

Deutsch, N. E. 314.

Deutsch, N. E. __A_TAG_PLACEHOLDER_0__.

Dickes, W. draughtsman, 599*.

Dickes, W. designer, __A_TAG_PLACEHOLDER_0__.

Dinkel, Joseph, draughtsman, 593*.

Dinkel, Joseph, designer, __A_TAG_PLACEHOLDER_0__.

Doctrinale gette en mole, 122.

Doctrinal thrown in the mix, __A_TAG_PLACEHOLDER_0__.

Dodd, Daniel and John, wood engravers, 544.

Dodgson, G. painter, 598*.

Dodgson, G. artist, __A_TAG_PLACEHOLDER_0__.

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

Dominicals, stamped on paper, 120.

Dominicals, printed on paper, __A_TAG_PLACEHOLDER_0__.

Dominotiers, 45.

Dominotiers, __A_TAG_PLACEHOLDER_0__.

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

Donatus, a grammar guide by that name, printed from wooden 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;

Douce, Francis, his thoughts on the name Machabre, 325;

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

his list of books featuring illustrations 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;

but believes, on the authority of an unknown writer, named Piccard, that Holbein painted a Dance of Death in the old palace at Whitehall, 360.

but believes, based on the claims of an unknown writer named Piccard, that Holbein created a Dance of Death in the old palace at Whitehall, 360.

Dovaston’s account of Bewick, 478 n.

Dovaston’s story of Bewick, __A_TAG_PLACEHOLDER_0__.

Doyle, R. artist. 578*, 579*.

Doyle, R. artist. __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

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

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

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

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

on wood, how to prepare the block for, 570;

for wood engraving, difficulty of obtaining good, 592.

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

Duncan, Edward, artist, 583*.

Duncan, Edward, artist, __A_TAG_PLACEHOLDER_0__.

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

Dünne, Hans, work he did for Gutemberg, related to printing, before 1438, 129.

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

Durer, Albert, started as a student under Michael Wolgemuth, 238;

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

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

his illustrations of the Apocalypse, ib.;

his visit to Venice, 241;

his trip to Venice, __A_TAG_PLACEHOLDER_0__;

his illustrations of the History of the Virgin, 243-246;

of Christ’s Passion, 246-250;

of Christ's Passion, __A_TAG_PLACEHOLDER_0__;

triumphal car, 255;

triumphal car, __A_TAG_PLACEHOLDER_0__;

triumphal arch, ib.;

his earliest etchings, 257;

his first sketches, __A_TAG_PLACEHOLDER_0__;

specimen of his carving in the British Museum, 258;

his poetry, 260 n;

his poetry, __A_TAG_PLACEHOLDER_0__;

his visit to Flanders, 260-270;

his trip to Flanders, __A_TAG_PLACEHOLDER_0__;

his portrait, 272;

his portrait, __A_TAG_PLACEHOLDER_0__;

lock of his hair preserved, 321 n;

lock of his hair saved, __A_TAG_PLACEHOLDER_0__;

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

his death, which is rumored to have been accelerated by his wife’s bad temper, 239, 273.

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

Dyers of Ovingham, 501.

Dyers of Ovingham, __A_TAG_PLACEHOLDER_0__.

Edmonston, S. draughtsman, 599*.

Edmonston, S. draftsman, __A_TAG_PLACEHOLDER_0__.

Egyptian brick stamp, 5, 6.

Egyptian brick stamp, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Electro-printing block process, specimen of, 639.

Electro-printing block process example, __A_TAG_PLACEHOLDER_0__.

Electrotyping, 638.

Electrotyping, __A_TAG_PLACEHOLDER_0__.

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

in her Prayer-Book, 427, 428.

in her prayer book, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

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

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

Religious Emblems with woodcuts, 1808, __A_TAG_PLACEHOLDER_0__.

English book, the earliest, that contains wood-cuts, 191-194.

English book, the earliest, that contains woodcuts, 191-194.

Engraving, the word explained, 1;

Engraving, the term defined, __A_TAG_PLACEHOLDER_0__;

copper-plate, 20, 200, 419.

copper plate, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

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

Enschedius, J., sample of typography found by him, 161.

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

Entkrist, Der, an old block-book, __A_TAG_PLACEHOLDER_0__.

Erasmus, portrait of, painted by Durer, 263;

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

invoked by Durer to push himself for the Reformation, 267;

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

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

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

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

Etching, the process of, explained, 258 n;

Etching explained, __A_TAG_PLACEHOLDER_0__;

in metallic relief, 632.

in metallic detail, __A_TAG_PLACEHOLDER_0__.

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

Evans, Edmund, wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Eve, the creation of, a traditional way of representing, 215, 216.

Evelyn’s Sculptura, 5, 408.

Evelyn's Sculptura, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

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

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

Æsop’s, 1722, 448;

Aesop's, 1722, __A_TAG_PLACEHOLDER_0__;

Select, with cuts, by Bewick, 1818, 502-506.

Fairholt, F. W. artist, 592*.

Fairholt, F. W. artist, __A_TAG_PLACEHOLDER_0__.

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

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

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

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

Fantuzzi, Antonio, also known as Antonio da Trente, an engraver of chiaroscuro, 389.

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

Fasciculus Temporum, with woodcuts, 1474, __A_TAG_PLACEHOLDER_0__.

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

Faust, John, teams up with Gutemberg, 131;

sues him for money advanced, 133;

sues him for money paid, __A_TAG_PLACEHOLDER_0__;

gains the cause, 134.

gains the cause, __A_TAG_PLACEHOLDER_0__.

Faust and Scheffer’s Psalter of 1457, 164.

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

Figures du Nouveau Testament, 402.

New Testament figures, __A_TAG_PLACEHOLDER_0__.

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

cut from his relief, “Deliver us from evil,” 577*;

his opinion of expressionand sentiment in art, 585;

his opinion of expression and sentiment in art, 585;

657

cut from a design by, 590.

cut from a design by __A_TAG_PLACEHOLDER_0__.

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

Folkard, W. A. wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Forma, a shape or mould, 42.

Forma, a shape or mold, __A_TAG_PLACEHOLDER_0__.

Formschneider, 19, 43, 44, 410.

Formschneider, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

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

Foster, Birket, artist, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

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

Fournier, P. S. his discoveries regarding the Speculum Salvationis, 101;

his opinion of wooden types, 136;

his thoughts on wooden types, __A_TAG_PLACEHOLDER_0__;

his works, 467-469.

his works, __A_TAG_PLACEHOLDER_0__.

Fox’s, John, Acts and Monuments, 428.

Fox's, John, Acts and Monuments, __A_TAG_PLACEHOLDER_0__.

Fracture, 283 n.

Fracture, __A_TAG_PLACEHOLDER_0__.

Franklin, John, draughtsman, 599*.

Franklin, John, designer, __A_TAG_PLACEHOLDER_0__.

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

French wood-cuts, 610.

French woodcuts, __A_TAG_PLACEHOLDER_0__.

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

Frey, Agnes, Durer's wife, whose greed and bad temper are said to have sped up her husband's death, 273.

Frith, W. P. painter, 59.

Frith, W. P. artist, __A_TAG_PLACEHOLDER_0__.

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

Gænsfleisch, a surname associated with the Gutemberg family, 124.

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

Galenus on Temperaments, with a title page, engraved on copper, printed in Cambridge, 1521, 421.

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

Galius, Nicholas, shares the tale of Coster’s invention with H. Junius, 150.

Gamperlin, Von, cuts ascribed to, 314.

Gamperlin, Von, cuts credited to, __A_TAG_PLACEHOLDER_0__.

Garfagninus, Joseph Porta, 390.

Garfagninus, Joseph Porta, __A_TAG_PLACEHOLDER_0__.

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

Gebhard, L. A. his notice of the History of the Council of Constance, with images of coats 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.

Gent, Thomas, woodcuts in his History of Ripon, 181.

George IV. his signature stamped, 14;

George IV's signature stamped, __A_TAG_PLACEHOLDER_0__;

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

his snuff box, designed by Flaxman, 590.

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

Gesner, Conrad, specifically refers to the cuts in the Lyons Dance of Death, which were created by Holbein, 364.

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

Gilbert, John, artist, 561*, 563*, 564*.

Gilbert, John, artist, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

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

Giolito, Gabriel, printer, of Venice, 394.

Giolito, Gabriel, printer, of Venice, __A_TAG_PLACEHOLDER_0__.

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

Giraffe, woodcut 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.

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

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

Glockenton, A. cuts ascribed to, 317.

Glockenton, A. cuts credited to, __A_TAG_PLACEHOLDER_0__.

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

Goethe references 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, Henry, chiaroscuro by, __A_TAG_PLACEHOLDER_0__.

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

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

Goodall, E. painter, 598*.

Goodall, E. artist, __A_TAG_PLACEHOLDER_0__.

Goodall, W. draughtsman, 599*.

Goodall, W. designer, __A_TAG_PLACEHOLDER_0__.

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

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

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

Gorway, Charles, wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Gospels of Ulphilas, 44.

Gospels of Ulphilas, __A_TAG_PLACEHOLDER_0__.

Gothic monograms, 15.

Gothic initials, __A_TAG_PLACEHOLDER_0__.

Graff, Rose, 313, 314.

Graff, Rose, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Grand-duc de l’armée céleste, 173.

Grand Duke of the Celestial Army, __A_TAG_PLACEHOLDER_0__.

Grant, W. J. painter, 598*.

Grant, W. J. artist, __A_TAG_PLACEHOLDER_0__.

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

Gratture, the French term for the process of making the lines in a woodcut thicker by scraping them down, 464.

Gravers, 574, 575.

Gravers, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Gray, Charles, wood-engraver, 544.

Gray, Charles, wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Green, W. T. wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Greenaway, J. wood-engraver, 553-555.

Greenaway, J. wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Greff, Jerome, publisher of an unauthorized edition of Durer’s Illustrations of the Apocalypse, 241.

Greffier and Scrivener, 2 n.

Clerk and Scribe, __A_TAG_PLACEHOLDER_0__.

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

Gringonneur, Jacquemin, cards painted by, 41.

Gringonneur, Jacquemin, illustrated cards by, __A_TAG_PLACEHOLDER_0__.

Gritner, a French wood-engraver, 547.

Gritner, a French wood engraver, __A_TAG_PLACEHOLDER_0__.

Grotesque, 9 n.

Grotesque, __A_TAG_PLACEHOLDER_0__.

Grün, H. B. 320.

Grün, H. B. __A_TAG_PLACEHOLDER_0__.

Gubitz, a modern German wood-engraver, 546.

Gubitz, a contemporary German wood engraver, 546.

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

Guicciardini, L. mentions that the report of printing was invented in Haarlem, 146.

Gutemberg, John, his birth, 124;

Gutenberg, John, his birth, __A_TAG_PLACEHOLDER_0__;

residing at Strasburg in 1434, 125;

living in Strasburg in 1434, __A_TAG_PLACEHOLDER_0__;

his partnership with Andrew Drytzehn, ib.;

his partnership with Andrew Drytzehn, ibid.;

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

evidence that he had a press in 1438 for the purpose of printing, 127;

his return to Mentz and partnership with Faust, 131;

partnership dissolved, 133;

partnership ended, __A_TAG_PLACEHOLDER_0__;

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

proofs that he later had his own press, 140;

his death and epitaph, 144.

his death and epitaph, __A_TAG_PLACEHOLDER_0__.

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

Hammond, —, wood-engraver, 600*.

Hammond, —, wood engraver, __A_TAG_PLACEHOLDER_0__.

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

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

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

Hans, Young, Briefmaler, 116, 225.

Hans, Young, Short Painter, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Harral, Horace, wood-engraver, 566*, 583*, 594*.

Harral, Horace, wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

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

Hartlieb, Dr. Cyromantia, 116.

Hartlieb, Dr. Cyromantia, __A_TAG_PLACEHOLDER_0__.

Harvey, William, a pupil of Bewick, notice of his works as an engraver and designer, 527-534.

Harvey, William, a student of Bewick, recognition of his work as an engraver and designer, 527-534.

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

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

Hawkins, Sir John, woodcuts in his History of Music, 1776, 471.

658

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

Haydock, R. his translation of Lomazzo, with copperplate engraving, 1598, 423.

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

Head of Paris, the lover of Helen, represents 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 the German names in proof prints of the cuts in the Lyons Dance of Death, 331;

of Hans Lutzelburger, 351;

of Hans Lutzelburger, __A_TAG_PLACEHOLDER_0__;

his Life of Holbein, 372.

his Life of Holbein, __A_TAG_PLACEHOLDER_0__.

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

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

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

Heineken, Charles, Baron Von, his disbelief in 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 Apocalypse, __A_TAG_PLACEHOLDER_0__;

of the Poor Preacher’s Bible, 82, 94;

of the Poor Preacher’s Bible, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__;

of the Speculum Salvationis, 100;

of the Mirror of Salvation, __A_TAG_PLACEHOLDER_0__;

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

his incorrect description of a Dutch woodcut, by Phillery [Willem] the woodcarver, 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.

Henry VIII’s signature sealed, __A_TAG_PLACEHOLDER_0__.

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

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

Hicks, G. E. painter, 598*.

Hicks, G. E. artist, __A_TAG_PLACEHOLDER_0__.

Hieroglyphic sonnet, 396;

Hieroglyphic sonnet, __A_TAG_PLACEHOLDER_0__;

Bible, 478.

Bible, __A_TAG_PLACEHOLDER_0__.

Highland Society, diploma of, 523.

Highland Society diploma, __A_TAG_PLACEHOLDER_0__.

Historiarum Veteris Testamenti Icones, or Bible-cuts, designed by Holbein, 365-371.

Histories, the Four, dated 1462, 172-175.

Histories, the Four, from 1462, __A_TAG_PLACEHOLDER_0__.

History of the Virgin, an ancient block-book, 68-80.

History of the Virgin, an old block-book, 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.

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

Hogarth, cut from projected edition of, 544;

Hogarth, taken from the planned edition of, 544;

sketch from, 594.

sketch from, __A_TAG_PLACEHOLDER_0__.

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;

Holbein, Hans, the designer of the illustrations in the Dance of Death printed in Lyon, 371;

his birth, ib.;

his birth, ibid.;

his marriage, 372;

his marriage, __A_TAG_PLACEHOLDER_0__;

how employed at Basle, 373;

working at Basle, __A_TAG_PLACEHOLDER_0__;

visits England, ib.;

visits England, ibid.;

revisits Basle, 376;

revisits Basel, __A_TAG_PLACEHOLDER_0__;

his death, 378;

his death, __A_TAG_PLACEHOLDER_0__;

his satirical drawings, 378 n;

his satirical illustrations, __A_TAG_PLACEHOLDER_0__;

his Alphabet, 352.

his Alphabet, __A_TAG_PLACEHOLDER_0__.

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

Hole, Henry, a student 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.

Holzschneider, __A_TAG_PLACEHOLDER_0__.

Horace, his well-stored wine, 9.

Horace, his stocked wine, __A_TAG_PLACEHOLDER_0__.

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

Horne, Rev. T. H. likely incorrect regarding a date, 60.

Horsley, J. C. artist, 591*, 598*.

Horsley, J. C., artist, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hortus Sanitatis, 1491, 210.

Hortus Sanitatis, 1491, __A_TAG_PLACEHOLDER_0__.

Householder, the Good, 438.

Householder, the Good, __A_TAG_PLACEHOLDER_0__.

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

Howel’s Medulla Historiæ Anglicanæ, with illustrations, 1712, 446.

Hughes, Hugh, his Beauties of Cambria, 538-548.

Hughes, William, wood-engraver, 538.

Hughes, William, wood engraver, __A_TAG_PLACEHOLDER_0__.

Hudibras, 1819, cut from, 543.

Hudibras, 1819, excerpt from, __A_TAG_PLACEHOLDER_0__.

Hulme, F. W. draughtsman, 599*.

Hulme, F. W. designer, __A_TAG_PLACEHOLDER_0__.

Humanæ Vitæ Imago, 436 n.

Human Life Image, __A_TAG_PLACEHOLDER_0__.

Humphreys, Noel, draughtsman, 599*.

Humphreys, Noel, draftsman, __A_TAG_PLACEHOLDER_0__.

Hunt, W. Holman, painter, 598*.

Hunt, W. Holman, artist, __A_TAG_PLACEHOLDER_0__.

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.

Hypnerotomachia Poliphili, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Images of the Old Testament, with cuts, designed by Holbein, 365-370.

Impressions from wood and from copper, the difference in the mode of taking, 4.

Impressions from wood and from copper, the difference in the method of taking, 4.

Initial letters, flowered, 191, 429.

Initials, floral, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Insanity of engravers, 458 n.

Insanity of engravers, __A_TAG_PLACEHOLDER_0__.

Inscriptions on bells, 20.

Inscriptions on bells, __A_TAG_PLACEHOLDER_0__.

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

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

Jackson, John, wood-engraver, 545.

Jackson, John, wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Jackson, John Baptist, an English wood engraver, possibly a student of Kirkall, 453;

Papillon’s notice of him, 454;

Papillon's alert about him, __A_TAG_PLACEHOLDER_0__;

engraves several chiaro-scuros at Venice, 455;

engraves several contrasts in Venice, __A_TAG_PLACEHOLDER_0__;

establishes a manufactory for paper-hangings at Battersea, and publishes an essay on chiaro-scuro engraving, 455-457.

establishes a factory for wallpaper at Battersea and publishes an essay on chiaroscuro engraving, 455-457.

Jackson, John, 545.

Jackson, John, __A_TAG_PLACEHOLDER_0__.

Jackson, Mason, wood-engraver, 589*, 600*.

Jackson, Mason, wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Jacob blessing the children of Joseph, 596, 597.

Jacob blessing the kids of Joseph, 596, 597.

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

Janszoon, Lawrence, believed to be the same individual as Lawrence Coster, 162.

Javelin-headed characters, 7.

Javelin-headed characters, __A_TAG_PLACEHOLDER_0__.

Jean-le-Robert, his Journal, 122.

Jean-le-Robert, his Journal, __A_TAG_PLACEHOLDER_0__.

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

Jegher, Christopher, wood engravings by, based on drawings by Rubens, 437.

Jettons, or counters, 19.

Jettons, or tokens, __A_TAG_PLACEHOLDER_0__.

Jewitt, Orlando, draughtsman and wood-engraver, 584*-587*.

Jewitt, Orlando, artist and wood engraver, 584*-587*.

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

John, St. vintage woodcuts of, __A_TAG_PLACEHOLDER_0__.

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

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

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

Johnson, Robert, a student of Bewick's, list of tailpieces in the British Birds designed by, 497;

notice of his life, 516.

notice of his life, __A_TAG_PLACEHOLDER_0__.

Jones, Owen, draughtsman, 599*.

Jones, Owen, designer, __A_TAG_PLACEHOLDER_0__.

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

Judith, with the head of Holofernes, 440.

Judith, holding the head of Holofernes, 440.

Junius, Hadrian, claims the invention of printing for Lawrence Coster, 147-150.

Junius, Hadrian, says that Lawrence Coster invented printing, 147-150.

Kartenmachers in Germany, in the fifteenth century, 43.

Keene, Charles, draughtsman, 599*.

Keene, Charles, designer, __A_TAG_PLACEHOLDER_0__.

659

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

Kirchner, —, wood-engraver, 563*.

Kirchner, —, wood engraver, __A_TAG_PLACEHOLDER_0__.

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

chiaro-scuros engraved by, 451;

chiaro-scuros engraved by, __A_TAG_PLACEHOLDER_0__;

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

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.

Klauber, H. H., repainted the Dance of Death in the church courtyard of the Dominicans, in Basel, 327.

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

Knight, R. Payne, his donation of a 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.

Koning, J., a contemporary supporter 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;

Kunig, the Wise, the title of a work, with woodcuts, mainly written by Emperor Maximilian, 286, 483;

summary of its contents, ib.

summary of its contents, ibid.

Kupfer-stecher, 2.

Copper engraver, __A_TAG_PLACEHOLDER_0__.

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

Kyloe Ox, by Bewick, 485 n.

Kyloe Ox, by Bewick, __A_TAG_PLACEHOLDER_0__.

Ladenspelder, Hans, 355.

Ladenspelder, Hans, __A_TAG_PLACEHOLDER_0__.

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

Laer, W. Rolewinck de, his Fasciculus Temporum, with woodcuts, 1474, 190.

Lamp, the engraver’s, 575.

Engraver's lamp, __A_TAG_PLACEHOLDER_0__.

Landells, Ebenezer, wood-engraver, 544.

Landells, Ebenezer, wood engraver, __A_TAG_PLACEHOLDER_0__.

Landseer, Mr. Edwin, on vignettes, 615.

Landseer, Mr. Edwin, on vignettes, __A_TAG_PLACEHOLDER_0__.

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

Landseer, Mr. John, his theory of plant-based fillers, 72;

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

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

Laocoon, burlesque of the, by Titian, 435.

Laocoon, parody of the, by Titian, 435.

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

Lapis, Dominico de, printer from Bologna, his edition of Ptolemy, with a wrong date, 201.

Lar, the word on a Roman stamp, 8.

Lar, the term on a Roman stamp, 8.

Lawless, M. J. draughtsman, 599*.

Lawless, M. J. designer, __A_TAG_PLACEHOLDER_0__.

Lee, James, wood-engraver, 593*.

Lee, James, wood engraver, __A_TAG_PLACEHOLDER_0__.

Lee, John, wood-engraver, 534.

Lee, John, wood engraver, __A_TAG_PLACEHOLDER_0__.

Leech, John, artist, 580*, 581*.

Leech, John, artist, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Leglenweiss, the word explained, 44.

Leglenweiss, the word defined, __A_TAG_PLACEHOLDER_0__.

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.

his comments on Koning, __A_TAG_PLACEHOLDER_0__.

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

Leighton, John, artist, 582*.

Leighton, John, artist, __A_TAG_PLACEHOLDER_0__.

Leighton, Henry, wood-engraver, 582*.

Leighton, Henry, wood engraver, __A_TAG_PLACEHOLDER_0__.

Le Jeune, H. painter, 598*.

Le Jeune, H. artist, __A_TAG_PLACEHOLDER_0__.

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

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

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

Le Sueurs, French wood engravers, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Lettere Cifrate, 395.

Coded Letters, __A_TAG_PLACEHOLDER_0__.

Leyden, Lucas van, visited by Durer, 269;

his engravings, 308.

his engravings, __A_TAG_PLACEHOLDER_0__.

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

Lhuyd, Humphrey, incorrectly referred to 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.

Lignamine, P. de, in his Chronicle, 1474, mentions Gutenberg and Faust as printers in Mainz in 1458, 140.

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

Linton, W. J. wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

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

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

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

Lodewyc von Vaelbeke, a fiddler, is believed to have been the inventor of printing, 119.

Logography, 417.

Logography, __A_TAG_PLACEHOLDER_0__.

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

Lorenzo, Nicolo, books with copper plates he printed, 1477-1481, 202.

Lorich, Melchior, 408.

Lorich, Melchior, __A_TAG_PLACEHOLDER_0__.

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

Loudon’s Arboretum, featuring prints made from etching casts, by Branston, 634.

Loudon, J. wood-engraver, 600*.

Loudon, J. wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Lowering, the practice of, is not a recent invention, 465.

Lowering, concave, 618.

Lowering, concave, __A_TAG_PLACEHOLDER_0__.

Lowering, advantages of, 624.

Benefits of lowering, __A_TAG_PLACEHOLDER_0__.

Lowering, complicated, 625.

Lowering, complicated, __A_TAG_PLACEHOLDER_0__.

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

Lowering, the difference between cylindrical rollers and the typical press, as it relates to, 640 n.

Lucas van Leyden, 308.

Lucas van Leyden, __A_TAG_PLACEHOLDER_0__.

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

Lucchesini, an Italian wood engraver, around 1770, 469.

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

Luther, Martin, backed by Durer, __A_TAG_PLACEHOLDER_0__;

caricature portraits of, 267.

caricature portraits of, __A_TAG_PLACEHOLDER_0__.

Lutzelburger, Hans, a wood-engraver, 351.

Lutzelburger, Hans, a woodcut artist, __A_TAG_PLACEHOLDER_0__.

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

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

Mabillon, 14.

Mabillon, __A_TAG_PLACEHOLDER_0__.

Machabre, The Dance of, 325-329.

Dance of Death, __A_TAG_PLACEHOLDER_0__.

Maclise, D. artist, 568*, 569*.

Maclise, D. artist, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Macquoid, T. draughtsman, 599*.

Macquoid, T. designer, __A_TAG_PLACEHOLDER_0__.

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

Mair, an engraver, a supposed chiaroscuro by, 1499, 231.

McIan, R. R. artist, 588*, 590*.

McIan, R. R. artist, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Maittaire’s Latin Classics, with woodcut decorations, 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.

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

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

Mantegna, Andrea, woodcuts of the Hypnerotomachia attributed to, 219.

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

Manung, against the Durken, an early example of typography, 138.

Map engraved on wood, specimen of a, 612.

660

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

Maps carved into wood and copper, the earliest, 199;

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

printed in colours, 1538, 204;

printed in color, 1538, __A_TAG_PLACEHOLDER_0__;

improvements in engraving, ib.;

improvements in engraving, ibid.;

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

improvements in printing, 417;

printing advancements, __A_TAG_PLACEHOLDER_0__;

early, on copper, published in England, 419;

Knight’s patent illuminated, 630.

Knight’s patent lit up, __A_TAG_PLACEHOLDER_0__.

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

Marcolini, F. woodcuts in his Sorti, 1540, 389, 391.

Marks, double, on wood-cuts, 350.

Marks, double, on woodcuts, __A_TAG_PLACEHOLDER_0__.

Marshall, J. R. wood engraver, 596*.

Marshall, J. R. wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Martin, John, artist, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Martin, J. wood-engraver, 544.

Martin, J. wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Mary de Medici, whose portrait was confused by Papillon and Fournier for an example of her own wood engraving, 461.

Masters, little, 320 n.

Masters, tiny, __A_TAG_PLACEHOLDER_0__.

Matsys, Quintin, entertains Durer, 261.

Matsys, Quintin, entertains Dürer, __A_TAG_PLACEHOLDER_0__.

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

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

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

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

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

the Adventures of Sir Theurdank, the joint composition of himself and his secretary, 282-285;

the Adventures of Sir Theurdank, a collaborative work by him and his secretary, 282-285;

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

the Triumphal Procession, 288, 289.

the Victory Parade, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Mazarine Bible, 139 n.

Mazarine Bible, __A_TAG_PLACEHOLDER_0__.

Meadows, Kenny, artist, 597*.

Meadows, Kenny, artist, __A_TAG_PLACEHOLDER_0__.

Measom, Geo. wood engraver, 575*.

Measom, Geo. wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Mechel, Christian von, from Basel, his engravings after Holbein, 350.

Medals, 320.

Medals, __A_TAG_PLACEHOLDER_0__.

Meditationes Joannis de Turrecremata, 184.

Meditations of John of Turrecremata, __A_TAG_PLACEHOLDER_0__.

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

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

and his subsequent attempts to establish its credibility, 155.

and his later efforts to prove its credibility, 155.

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

Mentelin, John, printer from Strasbourg, who was previously an illuminator, 121.

Mentonnière, 465, 574.

Mentonnière, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Merchants’-marks, 17.

Merchant marks, __A_TAG_PLACEHOLDER_0__.

Metallic relief engraving, erroneous statements about, 305;

Metallic relief engraving, incorrect statements about, 305;

Blake’s metallic relief engraving, 632;

Blake’s metal relief engraving, __A_TAG_PLACEHOLDER_0__;

portrait thus executed by Lizars, 633;

portrait created by Lizars, __A_TAG_PLACEHOLDER_0__;

Woone’s, 634;

Woone’s, __A_TAG_PLACEHOLDER_0__;

Schonberg’s, ib.;

Schonberg’s, ibid.;

Branston’s, ib.;

Branston’s, ibid.;

Hancock’s patent, 635;

Hancock's patent, __A_TAG_PLACEHOLDER_0__;

Sly’s experiments, 636;

Sly's experiments, __A_TAG_PLACEHOLDER_0__;

Messrs. Best, Andrew, and Leloir, ib.

Mr. Best, Andrew, and Leloir, ib.

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

Meydenbach, John, who is said to have been one of Gutenberg’s assistants, 166.

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

Millais, J. E. painter, 598*.

Millais, J. E. artist, __A_TAG_PLACEHOLDER_0__.

Mints, provincial, for coining money, 19.

Local mints for making currency, __A_TAG_PLACEHOLDER_0__.

Mirror of Human Salvation, 95.

Mirror of Human Salvation, __A_TAG_PLACEHOLDER_0__.

Mirror of the World, printed by Caxton, 194.

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

Moffet’s Theatre of Insects, 442.

Moffet’s Theatre of Insects, __A_TAG_PLACEHOLDER_0__.

Monogram, 13, 15.

Monogram, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Montagna, Benedetto, woodcuts of the Hypnerotomachia attributed to him, 220.

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

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

Monumental brasses, 21.

Monumental brasses, __A_TAG_PLACEHOLDER_0__.

More, Sir Thomas, 375.

More, Sir Thomas, __A_TAG_PLACEHOLDER_0__.

Morgan, M. S. draughtsman, 599*.

Morgan, M. S. draftsman, __A_TAG_PLACEHOLDER_0__.

Morland, sketch from, 592.

Morland, sketch from, __A_TAG_PLACEHOLDER_0__.

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

Mosses, Thomas, wood engraver, 544.

Mosses, Thomas, wood engraver, __A_TAG_PLACEHOLDER_0__.

Mulready, W. painter, 598*.

Mulready, W. artist, __A_TAG_PLACEHOLDER_0__.

Munster, Sebastian, his Cosmography, 413;

Munster, Sebastian, his Geography, __A_TAG_PLACEHOLDER_0__;

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

his letters to Joachim Vadianus about how to improve the way maps are printed, 417.

Murr, C. G. Von, references to his Journal of Art, and other works, 2, 9, 42, 47, 49, 51, 56, 74, 227, 236, 237, 241, 242, 257, 260, 262, 264, 267, 273, 281, 283, 289, 291.

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

Names of wood engravers on 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.

Nash, J. painter, 599*.

Nash, J. artist, __A_TAG_PLACEHOLDER_0__.

Nesbit, Charlton, a pupil of Bewick, notice of some of his principal cuts, 519-521.

Nesbit, Charlton, a student of Bewick, takes note of some of his main engravings, 519-521.

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

Neudörffer's account of Jerome Resch, a wood engraver, who was a contemporary of Dürer, 236.

Nicholson, Isaac, a pupil of Bewick, 527.

Nicholson, Isaac, a student of Bewick, 527.

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

Northcote, James, his way of putting together the excerpts for his Fables, 529 n.

Notarial stamps, 17.

Notary stamps, __A_TAG_PLACEHOLDER_0__.

Nummi bracteati, 16.

Nummi bracteati, __A_TAG_PLACEHOLDER_0__.

Nuremberg Chronicle, 212.

Nuremberg Chronicle, __A_TAG_PLACEHOLDER_0__.

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

Oberlin, J. J. Essay on the Annals of Gutenberg's Life, 125, 130, 136, 138, 140, 143.

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

Odes, two, by Lloyd and Colman, with woodcuts, 1760, 470.

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

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

Ortus Sanitatis, 211.

Ortus Sanitatis, __A_TAG_PLACEHOLDER_0__.

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

his advocacy of Coster’s pretensions, 160;

his backing of Coster's claims, __A_TAG_PLACEHOLDER_0__;

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.

engravings in, __A_TAG_PLACEHOLDER_0__.

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

Overlaying woodcuts, method of, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Ovid’s Metamorphoses, published in Venice, 1497, 217.

Ovingham, the parsonage at, 473;

Ovingham, the parsonage at, __A_TAG_PLACEHOLDER_0__;

the church, 512.

the church, __A_TAG_PLACEHOLDER_0__.

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

Oxford Sausage, with illustrations, 1764, __A_TAG_PLACEHOLDER_0__.

Packhouse’s machine for tints, 584 n.

Packhouse's tinting machine, __A_TAG_PLACEHOLDER_0__.

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

661

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

Palmer, W. J. wood engraver, __A_TAG_PLACEHOLDER_0__.

Paper, proper for printing wood-cuts, 646;

Printing paper for woodcuts, __A_TAG_PLACEHOLDER_0__;

India paper, injurious to wood-cuts, ib.

India paper, harmful to woodcuts, ib.

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

Paper-mark in an old book of woodcuts, 107.

Paper money, early, 25 n.

Cash, early, __A_TAG_PLACEHOLDER_0__.

Papillon, John, the elder, 443.

Papillon, John, the elder, __A_TAG_PLACEHOLDER_0__.

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

his character, 35;

his character, __A_TAG_PLACEHOLDER_0__;

notice of his works, 457-467.

notice of his works, __A_TAG_PLACEHOLDER_0__.

Parafe, or ruche, 14.

Parafe, or ruche, __A_TAG_PLACEHOLDER_0__.

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

Parkinson’s Paradisus Terrestris, 442.

Parkinson’s Paradise on Earth, __A_TAG_PLACEHOLDER_0__.

Parmegiano, chiaro-scuros after his designs, 403.

Parmegiano, light and dark after his designs, 403.

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

Pasti, Matteo, who is thought to have created the illustrations in Valturius de Re Militari, 1472, 186.

Patin’s Life of Holbein, 372.

Patin’s Life of Holbein, __A_TAG_PLACEHOLDER_0__.

Patroner, the word explained, 330 n.

Patroner, the term defined, __A_TAG_PLACEHOLDER_0__.

Paul of Prague, his definition of “libripagus,” 182.

Pearson, G. wood engraver, 573*, 574*.

Pearson, G. wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Pepyr, Edmund, his mark, 18.

Pepyr, Edmund, his signature, __A_TAG_PLACEHOLDER_0__.

Peringskiold, 14.

Peringskiold, __A_TAG_PLACEHOLDER_0__.

Petit-Jehan de Saintré, Chronicle of, 41.

Petit-Jehan de Saintré, Chronicle of, __A_TAG_PLACEHOLDER_0__.

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

Petronius, 8, 15.

Petronius, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Pfintzing, Melchior, co-author of Sir Theurdank, 282.

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

Pfister, Albert, books published by, in Bamberg in 1461 and 1462, 170, 181.

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

Phillery, whose real name is Willem, the figure carver, has misunderstandings about a cut in his engraving, 310.

Phiz (H. K. Browne), draughtsman, 599*.

Phiz (H. K. Browne), illustrator, __A_TAG_PLACEHOLDER_0__.

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

Pickersgill, F. R. painter, 599*.

Pickersgill, F. R. artist, __A_TAG_PLACEHOLDER_0__.

Pictura, a wood-cut sometimes called, 357.

Pictura, a woodcut sometimes called, __A_TAG_PLACEHOLDER_0__.

Pilgrim, John Ulric, cuts ascribed to, 317.

Pilgrim, John Ulric, credited to, __A_TAG_PLACEHOLDER_0__.

Pinkerton, John, his statement that several of the cuts in Bewick’s Quadrupeds were drawn on the block by R. Johnson, 491 n.

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

Pinx. et Scalp. not found in early woodcuts, 35.

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

Pirkheimer, Bilibald, letters he received from Albert Durer, 242;

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

Pittacia, small labels, 8 n.

Pittacia, small tags, __A_TAG_PLACEHOLDER_0__.

Playing cards, 40.

Playing cards, __A_TAG_PLACEHOLDER_0__.

Plebanus, a curate or vicar, 61 n.

Plebanus, a curate or vicar, __A_TAG_PLACEHOLDER_0__.

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

Pleydenwurff, William, along with M. Wolgemuth, oversees the illustrations for the Nuremberg Chronicle, 1491, 212.

Ploughman, Pierce, his Creed, 18.

Ploughman, Pierce, his belief, __A_TAG_PLACEHOLDER_0__.

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

Plug, method of inserting in an engraved wood block, 549.

Poetry, specimen of Durer’s, 260;

Dürer's poetry specimen, __A_TAG_PLACEHOLDER_0__;

specimens of Clennell’s, when insane, 526.

specimens of Clennell’s, when he was crazy, 526.

Poliphili Hypnerotomachia, 218, 220, 224.

Poliphili Hypnerotomachia, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Polo, Marco, 25.

Polo, Marco, __A_TAG_PLACEHOLDER_0__.

Poor Preacher’s Bible, 80-94, 175-179.

Poor Preacher's Bible, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Portraits of Bewick, list of the principal, 509.

Portraits of Bewick, list of the main, 509.

Powis, W. H. wood engraver, 544.

Powis, W. H. wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Prayer book, Queen Elizabeth’s, 1569, __A_TAG_PLACEHOLDER_0__.

Prenters of Antwerp in 1442, 121.

Prenters of Antwerp, 1442, __A_TAG_PLACEHOLDER_0__.

Press made for Gutemberg previous to 1438, 127.

Press made for Guttenberg before 1438, 127.

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

Press, rolling, for copperplate printing, __A_TAG_PLACEHOLDER_0__.

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

Press, steam, woodcuts printed by, __A_TAG_PLACEHOLDER_0__.

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

Preusch, trying to print maps using a typometric process, 205.

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

Printing, which Gutenberg focused on inventing, in 1436, 127.

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

Printing in colors, an image of Christ, with the date 1543, 403;

Savage’s decorative printing, 629;

Savage's decorative printing, __A_TAG_PLACEHOLDER_0__;

G. Baxter’s improvements, 629;

G. Baxter’s upgrades, __A_TAG_PLACEHOLDER_0__;

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

Printing wood-cuts, best mode of, 640.

Printing wood-cuts, the best method of, 640.

Priority of editions of the Speculum Salvationis, 100.

Procession, triumphal, of Maximilian, 288, 289.

Maximilian's triumphant procession, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Procopius, 13.

Procopius, __A_TAG_PLACEHOLDER_0__.

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

Proofs of wood engravings, the method of unfairly taking, 466, 603.

Prout, J. S. draughtsman, 599*.

Prout, J. S. designer, __A_TAG_PLACEHOLDER_0__.

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

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

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

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

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

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

Quadrin’s Historiques de la Bible, 402.

Quadrin’s Bible History, __A_TAG_PLACEHOLDER_0__.

Quadrupeds, History of, with cuts, by Bewick, 1791, 482-490.

Quadrupeds, History of, with illustrations, by Bewick, 1791, 482-490.

Queen Elizabeth’s Prayer-book, 427.

Queen Elizabeth's Prayer Book, __A_TAG_PLACEHOLDER_0__.

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

Quintilian notes how boys learn to write by tracing letters through a stencil, 12.

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

Raffaele, designs for the woodcuts of the Hypnerotomachia credited to him, 219;

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

Rahmenschneiders, or border-cutters, 190, 319.

Rahmenschneiders, or border-cutters, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

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

dates, erroneous in books, ib.

wrong dates in books, ib.

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

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

Randell, a printer’s apprentice, passes by with woodcuts, 180.

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

Raynalde’s Birth of Mankind, featuring three copperplate engravings, 1540, 421.

Read, S. draughtsman, 599*.

Read, S. designer, __A_TAG_PLACEHOLDER_0__.

Rebus, or “name devises,” 398.

Rebus, or "name devices," __A_TAG_PLACEHOLDER_0__.

Redgrave, R. painter, 599*.

Redgrave, R. artist, __A_TAG_PLACEHOLDER_0__.

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

Relief, metal, engraved in, incorrect statements about, 305;

practised by Blake and others, 632-636.

practiced by Blake and others, __A_TAG_PLACEHOLDER_0__.

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

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

Renaudot, l’Abbé, 24.

Renaudot, the Abbot, __A_TAG_PLACEHOLDER_0__.

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

Repairing wood-cuts, 569 n.

Fixing wood cuts, __A_TAG_PLACEHOLDER_0__.

662

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

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

Requeno’s Chirotipografia, 44 n.

Requeno’s Chirotipografia, __A_TAG_PLACEHOLDER_0__.

Revelationes Cœlestes sanctæ Brigittæ de Suecia, 321.

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

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

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

Roberts, David, painter, 599*.

Roberts, David, painter, __A_TAG_PLACEHOLDER_0__.

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

Robin Hood’s Garland, with a woodcut on the title page, 1670, 444, 445.

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

Rocca, Angelus, talks about a Donatus on parchment, 123 n.

Rogers, Harry, draughtsman, 599*.

Rogers, Harry, draftsman, __A_TAG_PLACEHOLDER_0__.

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

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

Rolling-press, 4.

Rolling press, __A_TAG_PLACEHOLDER_0__.

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

Rollers, composition, aren't as effective as composition balls for inking certain types of woodcuts, 650.

Roman stamps, 8, 10.

Roman stamps, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Rotundity, how indicated by straight lines, 584.

Rotundity, how shown by straight lines, 584.

Rouen Cathedral, 611.

Rouen Cathedral, __A_TAG_PLACEHOLDER_0__.

Rubbing down, 389.

Rubbing down, __A_TAG_PLACEHOLDER_0__.

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.

wood engravings from his designs, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Ruche, or parafe, 14.

Ruche or parafe, __A_TAG_PLACEHOLDER_0__.

Runic cyphers and monograms, 15.

Runes and logos, __A_TAG_PLACEHOLDER_0__.

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

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

Sachs, Hans, his descriptions of styles created by Jost Amman, 408.

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

Salmincio, Andrea, woodcuts by, __A_TAG_PLACEHOLDER_0__.

Sandbag and block, 575.

Sandbag and block, __A_TAG_PLACEHOLDER_0__.

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.

Saspach, Conrad, his testimony in the Drytzehns' lawsuit against Gutemberg, 1438, 128.

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

Savage, W. contrasts in his suggestions on Decorative Printing, 629;

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

his opinion about the best way to work with a form that includes woodcuts, 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.

Schäufflein, Hans, painter, generally believed to have created engravings on wood, 281, 283, 284, 285, 287.

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

Schedel, Hartman, the 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.

a clerk or book copier, __A_TAG_PLACEHOLDER_0__.

Schelhorn’s Amœnitates, 113.

Schelhorn’s Amœnitates, __A_TAG_PLACEHOLDER_0__.

Schœpflin, Vindiciæ Typographicæ, 125, 132.

Schœpflin, Defense of Typography, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Schön, Martin, 74, 238.

Nice, Martin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Schön, Erhard, 406.

Nice, Erhard, __A_TAG_PLACEHOLDER_0__.

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

Schonberg, Mr. his attempts to emboss in metal, 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.

Schoting of Nuremberg, a cut marked with the date 1584, which was confused for 1384, 59.

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

Schultheis, Hans, his testimony in the Drytzehns’ lawsuit against Gutemberg, 1438, 127.

Schussler, John, a printer of Augsburg, 180.

Schussler, John, a printer from 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.

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

Scott, T. D. draughtsman, 599*.

Scott, T. D. draftsman, __A_TAG_PLACEHOLDER_0__.

Scrive, a tool to mark timber with, 2.

Scrive, a tool for marking wood with, 2.

Scrivener and Greffier, 2 n.

Scrivener and Clerk, __A_TAG_PLACEHOLDER_0__.

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

Seals, engraved, 20.

Seals, engraved, __A_TAG_PLACEHOLDER_0__.

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

Sebastian, St. account of an old woodcut of, 55.

Selous, H. C. painter, 599*.

Selous, H. C. artist, __A_TAG_PLACEHOLDER_0__.

Shade for the eyes, 575.

Sunglasses for the eyes, __A_TAG_PLACEHOLDER_0__.

Shaw, Henry, draughtsman, 599*.

Shaw, Henry, designer, __A_TAG_PLACEHOLDER_0__.

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.

Sichem, Cornelius van, wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Silberrad, Dr. old woodcuts in his possession, 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.

his ignored obligations to Breitkopf, __A_TAG_PLACEHOLDER_0__.

Skelton, Percival, 550, 569*.

Skelton, Percival, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Skippe, John, chiaroscuros engraved by, __A_TAG_PLACEHOLDER_0__.

Slader, Samuel, wood engraver, 544.

Slader, Samuel, wood engraver, __A_TAG_PLACEHOLDER_0__.

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

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

Smith, John Orrin, wood engraver, 544.

Smith, John Orrin, wood engraver, __A_TAG_PLACEHOLDER_0__.

Smith, Orrin. wood engraver, 580*.

Smith, Orrin. wood engraver, __A_TAG_PLACEHOLDER_0__.

Smyth, F. G. wood-engraver, 600*.

Smyth, F. G. wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Snuff box belonging to George the Fourth, featuring designs by Flaxman, 590.

Solis, Virgil, 406.

Solis, Virgil, __A_TAG_PLACEHOLDER_0__.

Solomon, song of, illustrations, 71, 72.

Solomon's Song, illustrations, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Solomon, A. painter, 599*.

Solomon, A. artist, __A_TAG_PLACEHOLDER_0__.

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

Solomon Bernard from Lyon, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Somervile’s Chase, with illustrations by John Bewick, 513.

Sonetto figurato, 395-397.

Figurative sonnet, __A_TAG_PLACEHOLDER_0__.

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

Sorg, Anthony, from Augsburg, report on the Council of Constance, featuring woodcuts, printed by him in 1483, 189.

Sorti, Marcolini’s, a work containing wood-cuts, 389-393.

Sorti, Marcolini’s, a work containing woodcuts, 389-393.

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

Southey, Robert, his review of two odes by Lloyd and Colman, with illustrations, 470.

Spanish marks, 15.

Spanish notes, __A_TAG_PLACEHOLDER_0__.

Specklin, D. mentions wooden types, 131.

Specklin, D. mentions wooden types, __A_TAG_PLACEHOLDER_0__.

Speculum Nostræ Salutis, 149.

Speculum Nostræ Salutis, __A_TAG_PLACEHOLDER_0__.

Speculum Salvationis, a misnamed block-book, 95-106;

Speculum Salvationis, a wrongly named block-book, 95-106;

cuts from, 96, 97, 98.

cuts from, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

663

Speed’s History of Britain, 442.

Speed's History of Britain, __A_TAG_PLACEHOLDER_0__.

Sporer, Hans, an old briefmaler, 43.

Sporer, Hans, an elderly artist, __A_TAG_PLACEHOLDER_0__.

Springinklee, Hans, 287, 320.

Springinklee, Hans, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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.

Stamham, Melchior de, Abbot of St. Ulric and Afra, at Augsburg, printing presses he purchased, 165 n.

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

Stampien, to stomp with the foot like a fiddler keeps the beat, confused for printing, 120.

Stamping of letters in manuscripts, 44.

Stamping letters in manuscripts, __A_TAG_PLACEHOLDER_0__.

Stampilla, 14.

Stamp, __A_TAG_PLACEHOLDER_0__.

Stamps, Roman, 8;

Roman Stamps, __A_TAG_PLACEHOLDER_0__;

notarial, 17.

notary, __A_TAG_PLACEHOLDER_0__.

Stanfield, Clarkson, R.A. 570*.

Stanfield, Clarkson, R.A. __A_TAG_PLACEHOLDER_0__.

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

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

Stencilling, 12, 40 n.

Stenciling, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Stephenson, James, draughtsman, 599*.

Stephenson, James, designer, __A_TAG_PLACEHOLDER_0__.

Stereotype, early, 418;

Stereotype, early, __A_TAG_PLACEHOLDER_0__;

modern, 636.

modern, __A_TAG_PLACEHOLDER_0__.

Stigmata, 12.

Stigmata, __A_TAG_PLACEHOLDER_0__.

Stimmer, Christopher, and Tobias, 413.

Stimmer, Christopher, and Tobias, __A_TAG_PLACEHOLDER_0__.

Stocks, Lumb, draughtsman, 599*.

Stocks, Lumb, draftsman, __A_TAG_PLACEHOLDER_0__.

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

Stonehouse, artist, 591*.

Stonehouse, artist, __A_TAG_PLACEHOLDER_0__.

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.

Strephon's Revenge, 1724, copy of a tailpiece in, 453.

Sueur, le, Peter and Vincent, 443;

Sueur, le, Peter and Vincent, __A_TAG_PLACEHOLDER_0__;

Nicholas, 467.

Nicholas, __A_TAG_PLACEHOLDER_0__.

Sulman, T. draughtsman, 599*.

Sulman, T. illustrator, __A_TAG_PLACEHOLDER_0__.

Swain, John, wood engraver, 579*, 581*.

Swain, John, wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Swain, Joseph, wood-engraver, 600*.

Swain, Joseph, wood engraver, __A_TAG_PLACEHOLDER_0__.

Swedish coins, 15.

Swedish currency, __A_TAG_PLACEHOLDER_0__.

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

Sweynheim, Conrad, printer, the first to create maps engraved on copper, 200.

Switzer, cuts engraved by, 442.

Switzer, engraved cuts by, __A_TAG_PLACEHOLDER_0__.

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

Tail-pieces in Bewick’s Quadrupeds, 486.

Tail pieces in Bewick’s Quadrupeds, __A_TAG_PLACEHOLDER_0__.

Tell, William, 416, 417.

Tell, William, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

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

Tenniel, John, artist, 559, 560.

Tenniel, John, artist, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Terms, which are abstract, come from names that express concrete and visible things, 214.

Terra-cottas, called Typi, 7.

Terra-cottas, known as Typi, __A_TAG_PLACEHOLDER_0__.

Testament, Figures du Nouveau, 402.

Testament, New Figures, __A_TAG_PLACEHOLDER_0__.

Theodoric, his monogram, 13.

Theodoric, his logo, __A_TAG_PLACEHOLDER_0__.

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

Ther-Hoernen, Arnold, publishes an edition of the Fasciculus Temporum with woodcuts in Cologne, 1474, 190.

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

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

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

the text mistakenly believed to have been carved on wood, 283.

Thomas, G. H. artist, 565*-567*.

Thomas, G. H. artist, __A_TAG_PLACEHOLDER_0__.

Thomas, W. L. wood engraver, 565*, 568*.

Thomas, W. L. wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Thompson, Charles, wood engraver, 541 n.

Thompson, Charles, wood engraver, __A_TAG_PLACEHOLDER_0__.

Thompson, Eliza, wood engraver, 541 n.

Thompson, Eliza, wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Thompson, John, wood engraver, a student of R. Branston, note of some of his main works, 541, 569*.

Thurston, John, designer on wood, 519 n.

Thurston, John, wood designer, __A_TAG_PLACEHOLDER_0__.

Tindale, William, cuts in his translation of the New Testament, 1534, 383-385.

Tindale, William, includes in his translation of the New Testament, 1534, 383-385.

Tinsel money, 16.

Tinsel cash, __A_TAG_PLACEHOLDER_0__.

Tints, mode of cutting, 577-581.

Tints, cutting style, __A_TAG_PLACEHOLDER_0__.

Tint-tools, 577.

Tint tools, __A_TAG_PLACEHOLDER_0__.

Titian, wood-cuts after, 433, 435.

Titian, woodcuts after, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Tools, wood engravers’, 576-530.

Wood engraving tools, __A_TAG_PLACEHOLDER_0__.

Topham, F. W. draughtsman, 599*.

Topham, F. W. draftsman, __A_TAG_PLACEHOLDER_0__.

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

Topsell’s History of Four-footed Beasts, __A_TAG_PLACEHOLDER_0__.

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

Transferring old impressions of wood-cuts, 104 n;

Transferring vintage woodcut impressions, __A_TAG_PLACEHOLDER_0__;

old wood-cuts and copper-plates, 637.

woodcuts and copperplates, __A_TAG_PLACEHOLDER_0__.

Travelling printers, 184.

Mobile printers, __A_TAG_PLACEHOLDER_0__.

Tree goose, 414.

Tree goose, __A_TAG_PLACEHOLDER_0__.

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

Treitzsaurwein. M. Secretary to Emperor Maximilian, the official 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.

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

Trimming, 606.

Trimming, __A_TAG_PLACEHOLDER_0__.

Triompho di Fortuna, 315-317.

Fortune's Triumph, __A_TAG_PLACEHOLDER_0__.

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

Triumphal procession, usually called the Triumphs of Maximilian, 288-304.

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

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

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

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

Turner, Rev. William, his thoughts on cross-hatching, 562.

Turrecremata, J. de, his Meditationes, 184.

Turrecremata, J. de, his Meditations, __A_TAG_PLACEHOLDER_0__.

Typi, 7.

Typi, __A_TAG_PLACEHOLDER_0__.

Typography, invention of, 118;

Invention of typography, __A_TAG_PLACEHOLDER_0__;

not a chance discovery, 145.

no way discovery, __A_TAG_PLACEHOLDER_0__.

Ulphilas, Gospels of, 44.

Ulphilas, Gospels of, __A_TAG_PLACEHOLDER_0__.

Underlaying wood-cuts, mode of, 645 n.

Woodcutting methods, __A_TAG_PLACEHOLDER_0__.

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

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

Urse Graff, a design that was likely copied from Willem de Figuersnider, 313;

other cuts with his mark, 314.

other cuts with his mark, __A_TAG_PLACEHOLDER_0__.

Vagabonds and sturdy beggars, 12.

Hobos and tough panhandlers, __A_TAG_PLACEHOLDER_0__.

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

Valturius, R. de Re Militari, 186.

Valturius, R. on Military Matters, __A_TAG_PLACEHOLDER_0__.

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

Vasari, George, claims that Ugo da Cai invented chiaroscuro engraving, 230.

Vasey, George, wood engraver, 544.

George Vasey, wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Vaugris, V. printer of an unauthorized version of the Lyons Dance of Death, in 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.

one of the earliest printers who introduced decorative borders carved into wood, 191.

664

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

Venice, foreign cards are not allowed to be brought into the city of, 1441, 43.

Verona, Johannes de, 186.

Verona, Johannes de, __A_TAG_PLACEHOLDER_0__.

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

Vesalius’s Anatomy, Basle, 1548, mistakenly claimed to feature illustrations created by Titian, 433.

Vignettes, 615.

Vignettes, __A_TAG_PLACEHOLDER_0__.

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

Vincentini, J. N. engraver of light and shadow, 389.

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

Vizetelly, H. wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Vostre, Simon, Heures printed by him, 232.

Vostre, Simon, Hours 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.

Walsokne, Adam de, his sig, __A_TAG_PLACEHOLDER_0__.

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

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

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

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

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

Ward, James, R.A. illustration of a draft horse based on a drawing by, 596.

Warren, H. painter, 599*.

Warren H. painter, __A_TAG_PLACEHOLDER_0__.

Watson. J. D. draughtsman, 599*.

Watson J.D., designer, __A_TAG_PLACEHOLDER_0__.

Watts, S. his engravings, 1703, 471.

Watts, S. his engravings, 1703, __A_TAG_PLACEHOLDER_0__.

Waved lines, 583.

Wavy lines, __A_TAG_PLACEHOLDER_0__.

Webster, T. painter, 599*.

Webster, T. painter, __A_TAG_PLACEHOLDER_0__.

Wehnert, G. H. artist, 594*.

Wehnert, G. H. artist, __A_TAG_PLACEHOLDER_0__.

Weir, Harrison, artist, 551, 555.

Weir, Harrison, artist, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Weiss-Kunig, 286.

Weiss-Kunig, __A_TAG_PLACEHOLDER_0__.

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.

White outline, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Whitehall, fictions about a Dance of Death painted by Holbein in the old palace at, 360-363.

Whitehall, stories about a Dance of Death painted by Holbein in the old palace at, 360-363.

Whiting, Chas. his colour-printing, 630.

Whiting, Chas. his color printing, __A_TAG_PLACEHOLDER_0__.

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

Whymper, J. W. wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

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

group from his Rent-day, 593;

group from his Rent day, __A_TAG_PLACEHOLDER_0__;

from his Village Festival, 614.

from his village festival, __A_TAG_PLACEHOLDER_0__.

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

Williams, J. wood engraver, 588*.

Williams, J. wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Williams, Thomas, wood engraver, 544, 547.

Williams, Thomas, wood engraver, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

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

Wimperis, E. wood-engraver, 600*.

Wimperis, E. wood engraver, __A_TAG_PLACEHOLDER_0__.

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

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

Wirtemberg, Counts of, their arms, 78.

Württemberg, Counts of, their arms, __A_TAG_PLACEHOLDER_0__.

Wolf, J. artist, 573*, 574*.

Wolf, J. artist, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

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

Wolgemuth, Michael, not the first to introduce cross-hatching in wood engravings, 239.

Women, engravers on wood, 235.

Women, wood engravers, __A_TAG_PLACEHOLDER_0__.

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

Wood for engraving purposes, with several types noted by Papillou, 464;

mode of preparing, 562-568.

preparation method, __A_TAG_PLACEHOLDER_0__.

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

Woodcut, the earliest known with a date, 45.

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

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

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

Wood engravers, who were initially resistant to the advancements in typography, 179.

Wooden types, 131, 136, 137.

Wood types, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Woods, H. N. wood-engraver, 600*.

Woods, H. N. wood-engraver, __A_TAG_PLACEHOLDER_0__.

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

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

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

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

Wordsworth, William, his high regard for Bewick’s skills, 512.

Wright, John, wood engraver, 544.

Wright, John, wood engraver, __A_TAG_PLACEHOLDER_0__.

Wright, W. wood engraver, 554.

Wright, W. wood engraver, __A_TAG_PLACEHOLDER_0__.

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

Wyatt, Sir Thomas, a woodcut portrait of him, based on a drawing by Holbein, 379.

Wyburd, F. painter, 599*.

Wyburd, F. artist, __A_TAG_PLACEHOLDER_0__.

Zainner, Gunther, of Augsburg, 179;

Gunther Zainner, from Augsburg, __A_TAG_PLACEHOLDER_0__;

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

the Legenda Aurea, with woodcuts, 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.

Zainer, John, of Reutlingen, prints at Ulm in 1473, an edition of Boccaccio's *On Famous Women*, with woodcuts, 190.

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

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

Zerlegen, a word used by German printers to denote the distribution of the types, occurs in connection with Gutemberg’s press in 1438, 128.

Zerlegen, a term used by German printers to mean the distribution of the types, appears in relation to Gutenberg’s press in 1438, 128.

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

Zwecker, John B. draughtsman, 599*.

Zwecker, John B. designer, __A_TAG_PLACEHOLDER_0__.

Errors in Index

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

Dante, edition with copper engravings, 1482
copper plates

Fracture
printed as shown, but body text has “fractur”

Break
printed as shown, but body text has “fractur”

Hieroglyphic ... Bible, 478.
page reference missing

Hieroglyphics ... Bible, 478.
page reference missing

Packhouse’s machine for tints
printed and alphabetized as shown, but body text has “Parkhouse”

Packhouse's tinting machine
printed and organized in alphabetical order as displayed, but body text has “Parkhouse”

Sandrart, J.
Sandrant

Sandrant

THE END.

LONDON:
PRINTED BY R. CLAY, SON, AND TAYLOR,
BREAD STREET HILL.

Errors and Inconsistencies (noted by transcriber)

Inconsistent spellings were only regularized when there was a strong preponderance; changes are individually noted. The various spellings of the name now written “Shakespeare” are unchanged, as are the forms “Albert Durer” and “Gutemberg”. German citations consistently omit the period (full stop) in references such as “2 Theil”. Other unchanged forms include:

Inconsistent spellings were only standardized when there was a strong majority; changes are noted individually. The different spellings of the name now written “Shakespeare” remain the same, as do the forms “Albert Durer” and “Gutemberg.” German citations consistently leave out the period in references like “2 Theil.” Other unchanged forms include:

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

In the Index, missing or inconsistent punctuation was silently regularized. All other errors are noted in two ways: with mouse-hover popups where the error occurs, and again at the end of each chapter or section, after any footnotes.

In the Index, any missing or inconsistent punctuation was quietly standardized. All other errors are pointed out in two ways: with mouse-hover popups at the location of the error, and once more at the end of each chapter or section, after any footnotes.

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A Guide ON WOOD ENGRAVING