A History of Wood-Engraving :: LIST OF ILLUSTRATIONS.

LIST OF ILLUSTRATIONS.

[Some of the illustrations have been moved from inside of paragraphs for ease of reading. Clicking on the figure number in this list will take you to it. Click directly on the image to view it in a larger size. (n. etext transcriber)]

FIG.		PAGE
1.	—From “Epistole di San Hieronymo Volgare.” Ferrara, 1497. (Initial letter)	13
2.	—St. Christopher, 1423. From Ottley’s “Inquiry into the Origin and Early History of Engraving upon Copper and in Wood”	22
3.	—The Crucifixion. From the Manuscript “Book of Devotion.” 1445	24
4.	—From the “Epistole di San Hieronymo.” 1497. (Initial letter)	30
5.	—Elijah Raiseth the Widow’s Son (1 K. xvii.). The Raising of Lazarus (Jno. xi.). Elisha Raiseth the Widow’s Son (2 K. iv.). From the original in the possession of Professor Norton, of Cambridge	34
6.	—The Creation of Eve. From the fac-simile of Berjeau	35
7.	—Initial letter. Source unknown	45
8.	—The Grief of Hannah. From the Cologne Bible, 1470-’75	49
9.	—Illustration of Exodus I. From the Cologne Bible, 1470-’75	51
10.	—The Fifth Day of Creation. From Schedel’s “Liber Chronicarum.” Nuremberg, 1493	54
11.	—The Dancing Deaths. From Schedel’s “Liber Chronicarum.” Nuremberg, 1493	56
12.	—Jews Sacrificing a Christian Child. From Schedel’s “Liber Chronicarum.” Nuremberg, 1493	58
13.	—Marginal Border. From Kerver’s “Psalterium Virginis MariÆ.” 1509	61
14.	—From Ovid’s “Metamorphoses.” Venice, 1518 (design, 1497). (Initial letter)	65
15.	—The Creation. From the “Fasciculus Temporum.” Venice, 1484	68
16.	—Leviathan. From the “Ortus Sanitatis.” Venice, 1511	68
17.	—The Stork. From the “Ortus Sanitatis.” Venice, 1511	69
18.	—View of Venice. From the “Fasciculus Temporum.” Venice, 1484	69
19.	—The Contest of Apollo and Pan. From Ovid’s “Metamorphoses.” Venice, 1518 (design, 1497)	70
20.	—Sirens. From the “Ortus Sanitatis.” Venice, 1511	71
21.	—Pygmy and Cranes. From the “Ortus Sanitatis.” Venice, 1511	72
22.	—The Woman and the Thief. From “Æsop’s Fables.” Venice, 1491 (design, 1481)	73
23.	—The Crow and the Peacock. From “Æsop’s Fables.” Venice, 1491 (design, 1481)	75
24.	—The Peace of God. From “Epistole di San Hieronymo Volgare.” Ferrara, 1497	76
25.	—Mary and the Risen Lord. From “Epistole di San Hieronymo Volgare.” Ferrara, 1497	77
26.	—St. Baruch. From the “Catalogus Sanctorum.” Venice, 1506	77
27.	—Poliphilo by the Stream. From the “Hypnerotomachia Poliphili.” Venice, 1499	78
28.	—Poliphilo and the Nymphs. From the “Hypnerotomachia Poliphili.” Venice, 1499	79
29.	—Ornament. From the “Hypnerotomachia Poliphili.” Venice, 1499	80
30.	—Poliphilo meets Polia. From the “Hypnerotomachia Poliphili.” Venice, 1499	81
31.	—Nero Fiddling. From the Ovid of 1510. Venice	82
32.	—The Physician. From the “Fasciculus MedicinÆ.” Venice, 1500	83
33.	—Hero and Leander. From the Ovid of 1515. Venice	85
34.	—Dante and Beatrice. From the Dante of 1520. Venice	86
35.	—St. Jerome Commending the Hermit’s Life. From “Epistole di San Hieronymo.” Ferrara, 1497	86
36.	—St. Francis and the Beggar. From the “Catalogus Sanctorum.” Venice, 1506	87
37.	—The Translation of St. Nicolas. From the “Catalogus Sanctorum.” Venice, 1506	87
38.	—Romoaldus, the Abbot. From the “Catalogus Sanctorum.” Venice, 1506	88
39.	—From an Italian Alphabet of the 16th Century. (Initial letter)	90
40.	—St. John and the Virgin. Vignette to DÜrer’s “Apocalypse”	93
41.	—Christ Suffering. Vignette to DÜrer’s “Larger Passion”	94
42.	—Christ Mocked. Vignette to DÜrer’s “Smaller Passion”	95
43.	—The Descent into Hell. From DÜrer’s “Smaller Passion”	96
44.	—The Herald. From “The Triumph of Maximilian”	100
45.	—Tablet. From “The Triumph of Maximilian”	101
46.	—The Car of the Musicians. From “The Triumph of Maximilian”	102
47.	—Three Horsemen. From “The Triumph of Maximilian”	103
48.	—Horseman. From “The Triumph of Maximilian”	107
49.	—Virgin and Child. From a print by Hans Sebald Behaim.	113
50.	—From the “Epistole di San Hieronymo.” Ferrara, 1497. (Initial letter)	116
51.	—The Nun. From Holbein’s “Images de la Mort.” Lyons, 1547	123
52.	—The Preacher. From Holbein’s “Images de la Mort.” Lyons, 1547	124
53.	—The Ploughman. From Holbein’s “Images de la Mort.” Lyons, 1547	125
54.	—Nathan Rebuking David. From Holbein’s “Icones Historiarum Veteris Testamenti.” Lyons, 1547	130
55.	—From “Opera Vergiliana,” printed by Sacon. Lyons, 1517. (Initial letter)	135
56.	—St. Christopher. From a Venetian print	142
57.	—St. Sebastian and St. Francis. Portion of a print by Andreani after Titian	143
58.	—The Annunciation. From a print by Francesco da Nanto	144
59.	—Milo of Crotona. From a print by Boldrini after Titian	145
60.	—From the “Comedia di Danthe.” Venice, 1536. (Initial letter)	151
61.	—The Peacock. From Bewick’s “British Birds”	156
62.	—The Frightened Mother. From Bewick’s “British Quadrupeds”	157
63.	—The Solitary Cormorant. From Bewick’s “British Birds”	157
64.	—The Snow Cottage	158
65.	—Birth-place of Bewick. His last vignette, portraying his own funeral	158
66.	—The Broken Boat. From Bewick’s “British Birds”	160
67.	—The Church-yard. From Bewick’s “British Birds”	160
68.	—The Sheep-fold. By Blake. From “Virgil’s Pastorals”	162
69.	—The Mark of Storm. By Blake. From “Virgil’s Pastorals”	162
70.	—Cave of Despair. By Branston. From Savage’s “Hints on Decorative Printing”	165
71.	—Vignette from “Rogers’s Poems.” London, 1827	167
72.	—Vignette from “Rogers’s Poems.” London, 1827	167
73.	—Death as a Friend. From a print by Professor Norton, of Cambridge. Engraved by J. Jungtow	169
74.	—Death as a Throttler. From a print by Professor Norton, of Cambridge. Engraved by Steinbrecher	170
75.	—The Creation. Engraved by J. F. Adams	172
76.	—The Deluge. Engraved by J. F. Adams	173
77.	—Butterflies. Engraved by F. S. King	175
78.	—Spring-time. Engraved by F. S. King	177
79.	—Mount Lafayette (White Mountains). By J. Tinkey	183
80.	—“And silent were the sheep in woolly fold.” Engraved by J. G. Smithwick	187
81.	—T A HISTORY OF WOOD-ENGRAVING. Clyx.com

A HISTORY OF WOOD-ENGRAVING.

A
HISTORY OF WOOD-ENGRAVING.