A History of Wood-Engraving

INDEX.

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

Adams, Joseph Alexander, 173.
Altdorfer, Albrecht, 111.
America:
earlier history and characteristics of the art, 171-177;
present position and influence, 177, 178;
works in imitation of other arts, 185;
errors in practice 190, 202;
future of the art, 202-206.
Amman, Jobst, 114.
Anderson, Alexander, 172.
Andreani, Andrea, 146.
Anthony, A. V. S., 176.
Ars Memorandi, 43.
Ars Moriendi, 43.
Augsburg:
prints, 26;
playing-cards, 27;
Bible, 52;
press, 46, 57.
Baldung, Hans, 110.
Bamberg: press, 56.
Basle:
characteristics of the city in Holbein’s time, 117.
Behaim, Hans Sebald, 112-114.
Bernard, St.:
his rebuke of art, 14.
Best, Adolphe, 169.
Bewick, Thomas:
the father of modern wood-engraving, 151;
sketch of his life, 154;
reforms effected by him, 154;
character of his genius, 154-160;
his works, 161;
influence on the art in America, 172.
Bible:
the Cologne, 49;
the Nuremberg, 50;
the Augsburg, 52;
the Strasburg, 50;
Coverdale’s, 132;
Le Clerc’s, 139;
Jean de Tourne’s’, 141;
Harper’s, 173.
Bible cuts:
Behaim’s, 113;
Holbein’s, 129-131;
Jean Moni’s, 141.
Biblia Pauperum:
their use, 31;
designs not original, 32;
description, 33;
place of issue, 37.
Blake, William, 162.
Block-printing:
invention, 30, 31, 42;
decline, 45.
Boldrini, Nicolo, 144.
Bouts, Diedrick, 39.
Branston, Robert, 164, 167.
Bray, Theodore de, 147.
BreviÈre, Henri, 169.
Breydenbach’s Travels, 55.
BrontË, Charlotte, criticism of Bewick, 159-161.
Brosamer, Hans, 114.
Brothers of the Common Lot:
their claim to the authorship of the block-books, 39.
Brussels: print of 1418, 23.
Burgkmaier, Hans:
genius and works, 99-106;
influence on Holbein, 117
Calcar, Jean, 146.
Carpi, Ugo da, 87, 146.
Caxton, William:
Game and Playe of the Chesse, 63.
Chiaroscuro-engraving, 87-89, 146, 148, 187-189.
Christopher, St.:
print of 1423, 22.
Chronicles:
general description, 52;
the Cologne, 53;
the Nuremberg, 53;
the Saxon, 53.
Clennell, Luke, 164, 167.
Cole, T., 197, 200.
Cologne:
early school of art, 42, 43;
Bible, 49;
Chronicle, 53;
press, 57.
Color:
in the holy prints, 26 note;
in early German books, 52;
in the Livres d’Heures, 60, 61;
in chiaroscuro-engraving, 87.
Color, conventional, 55, 151, 152.
Copperplate-engraving:
influence on wood-engraving, 47, 91, 112, 141, 149, 164, 176, 182.
Coriolano, Bartolemeo, 146.
Coster, Lawrence:
claim to the invention of wood-engraving, 21.
Cousin, Jean, 136-139.
Cranach, Lukas, 110.
CriblÉe-work:
description, 18;
in France, 62, 63.
Cross-hatching:
first use in Germany, 55;
in Italy, 86;
its propriety in wood-engraving, 152, 186.
Cunio, Isabella and Alexander Alberico, 20.
Dalziel, the Brothers, 168.
Dance of Death:
typical mediÆval idea, 121;
Holbein’s, 123-129;
Guyot Marchand’s, 62.
Davis, J. P., 197.
Day, John, 147.
Didot, Firmin (pÈre):
his influence on the French revival of the art, 163.
Dream of Poliphilo, 70-81, 137, 138.
Du PrÉ, Jean, 60.
DÜrer, Albert:
influence on the art, 90;
character of his genius, 91, 92;
Apocalypse of St. John, 93, 94;
Larger Passion, Smaller Passion, Life of the Virgin, 95-97;
single prints, 97;
Car and Gate of Triumph, 97-99.
England:
early woodcuts, 63;
the art in Holbein’s time, 132, 147, 148;
modern revival, 151, 164.
Evans, Edmund, 168.
Form, value of, in wood-engraving, 193.
France:
early books in French, 58;
early woodcuts, 59-63;
influence of Germany and Italy, 62, 135;
character of the French Renaissance and its art, 135-141;
the modern revival, 163, 169.
French, Frank, 196.
Genre art, first appearance in wood-engraving, 121.
Germany:
German block-books, 42, 43;
activity and influence of the early printers, 46, 47;
the free cities, 48;
character of the early press, 48, 56, 57;
influence on France, 62;
on Italy, 67;
on Venice, 68;
chiaroscuro-engraving, 87;
the Renaissance, 91, 97, 110, 111, 115;
decline, 148;
the modern revival, 163, 169.
Gilbert, Sir John, 168.
Goldsmiths, mediÆval:
their art-works, 14-16;
position in France and the Netherlands, 17;
their claim to the invention of wood-engraving, 18, 19.
Goltzius, Hendrick, 147.
Goujon, Jean, 139.
Greche, Domenico delle, 145.
Gregory the Great:
his defence of art, 31.
Groups, modern, 195-200.
Gubitz, Friedrich Wilhelm, 163.
Harvey, William, 167.
Historia Johannis EvangelistÆ ejusque Visiones ApocalypticÆ, 42.
Historia Virginis MariÆ, 41.
History of the Kings of Hungary, 53, 54.
Holbein, Hans:
the first modern artist, 116;
character and development of his genius, 117-120;
early work, 120; Dance of Death, 123-128;
his democratic, reforming, and sceptical spirit, dramatic and artistic power, 120-127;
Figures of the Bible, 129-131;
his English portraits, 131;
his English woodcuts, 132;
summary of his powers and influence, 132-134.
Holy prints, 21-26.
Hoskin, Robert, 195.
Hypnerotomachia Poliphili:
illustration of the Italian Renaissance, 70-81;
the French reproduction, 137, 138.
Initial letters:
in Faust and Scheffer’s Psalter, 46;
in the Augsburg Bible, 52;
in Italy, 86;
in Holbein’s alphabets, 120, 121.
Italy:
artistic spirit, 65;
democratic civilization, 66;
the Renaissance, 67;
introduction of printing, 68;
early cuts, 68;
general characterization of the engraved work, 85;
decline, 86;
chiaroscuro-engraving, 87-89;
influence on Holbein, 117, 118.
Jackson, John Baptist, 148.
Jegher, Christopher, 147.
Jerome, St., Epistles of, 70, 71.
Juengling, F., 195, 200.
Kerver, Thielman, 62.
King, F. S., 189, 193.
Kirkall, Edward, 148.
Kruell, G., 200.
Landscape, modern, 186-195.
Lavoignat, H., 169.
Le Caron, Pierre, 60.
Le Clerc, Jean, 139, 140.
Leech, John, 168.
Leloir, Auguste, 169.
Le Rouge, Pierre, 60.
Le Sueur, Pierre, 148.
Leyden, Lukas van, 110, 147.
Linton, W. J., 168, 176, 200.
Little Masters, 111.
Livens, Jean, 147.
Livres d’Heures, 60-62.
Lorch, Melchior, 114.
Lorme, Philibert de, 140.
Lucchesini, 148.
LÜtzelburger, Hans, 129.
Lyons:
earliest seat of the art in France, 59;
character of the earlier press, 59;
the later press, 140.
Magazines: use and influence, 167.
Marchand, Guyot, 60, 62.
Marsh, Henry, 176, 186.
Maximilian, Emperor:
life and character, 97;
works executed by his order—the Triumphal Car, 98;
Gate of Triumph, 99;
the Triumphal Procession, 99-105;
The Adventures of Sir Tewrdannckh, 106;
The Wise King, 106;
influence of his patronage, 109.
Mayence press, 46, 53, 55, 57.
Metal-engraving earlier than wood-engraving, 18.
Middle Ages:
position of goldsmiths, 14-18;
impersonal spirit, 26;
value of painting, 28, 31;
immobility of mind, 32;
religious temper and intellectual life, THE END.

Typographical errors corrected by the etext transcriber:
appendix von Albert Ilg. Wein=> appendix von Albert Ilg. Wien {pg 19}
Guyot Marchand’s La Dance Macabre, first published in 1485=> Guyot Marchand’s La Danse Macabre, first published in 1485 {pg 62}
its bloom in sun difers=> its bloom in sun differs {pg 181}

FOOTNOTES:

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

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

[3] “Abundet unusquisque in suo sensu, mihi fateor hoc potissimum placuisse ut quÆcumque cariora, quÆcumque carissima, sacrosanctÆ EucharistiÆ amministrationi super omnia deservire debeant. Si libatoria aurea, si fialÆ aureÆ et si mortariola aurea ad collectam sanguinis hircorum aut vitulorum aut vaccÆ ruffÆ, ore Dei aut prophetÆ jussu, deserviebant; quanto magis ad susceptionem sanguinis Jesu Christi vasa aurea, lapides preciosi, quÆque inter omnes creaturas carissima continuo famulatu, plena devotione exponi debeat.” Œuvres complÈtes de Suger recueillies, etc., par A. L. de la Marche. Paris, 1867. Sur son administration Abbatiale, p. 199 et seq.

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

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

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

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

[8] Renouvier, “Histoire de l’Origine et des ProgrÈs de la Gravure dans les Pays-Bas et en Allemagne, jusqu’À la fin du quinziÈme SiÈcle.” Bruxelles, 1860.

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

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

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

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

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

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

[15] Heinecken, Lanzi, Mariette, Didot.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[35] Ante, p. 18.

[36] Vide Renouvier, Didot, Passavant.

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

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

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

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

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