A History of Wood-Engraving

by George Edward Woodberry

[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, 2[02-206].
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, [40], [41];
art, typical, [53];
illustrated by Dürer, [92];
by Maximilian’s works, [99-105];
by the Dance of Death, [121].
Moni, Jean, [141].
Nanto, Francesco da, [145].
Nesbit, Charlton, [164].
Netherlands:
civilization in, [37];
wood-engraving probably invented in, [38];
decline of, [47], [57], [147].
Nicolo, Giuseppe, [146].
Nuremburg:
prints, [26];
playing-cards, [27];
Bible, [50];
Chronicle, [53];
press, [57], [114].
Painting, place of, in mediæval popular civilization, [28], [31].
Papillon, Jean, the Elder, [148];
the Younger, [20].
Paris:
character of the Parisian press, [59], [60];
early books and printers, [60];
the Livres d’Heures, [60],
secular books, [62], [63].
Périssin, Jacques, [140].
Pfister, Book of Fables, [56].
Pigouchet, Philippe, [62].
Playing-cards, [27].
Pleydenwurff, William, [53].
Pliny, reference to Varro’s portraits, [20].
Porret, [169].
Porto, Giovanni Battista del, [145].
Portraits, modern, [198], [200-202].
Principles of wood-engraving, [180-185].
Processes:
engraving in relief on wood known to the ancients, [13];
of taking impressions, [17];
en manière criblée, [18];
of taking off the holy prints, [21], [22];
of block-printing, [30];
of cross-hatching, [55];
of chiaroscuro-engraving, [87-89];
white-line and Bewick’s other reforms, [151-155].
Pynson, Richard, [64].
Raimondi, Marc Antonio, [96], [142].
Reformation reflected in wood-engraving, [51], [112], [117], [120], [126], [132].
Rembrandt, [147].
Renaissance: in Italy, [67-85];
in Germany, [91], [97], [110], [111], [115];
in France, [135-141].
Romances, popular, [59], [141].
Rubens, P. P.:
reproductions after his designs, [147].
Ruskin, John:
criticism on Holbein, [126];
on Bewick, [155].
Saints’ images, [21-26].
Salomon, Bernard, [140-141].
Sand, George, criticism of Holbein, [124].
Satire: in Bible-cuts, [50], [51];
in the Little Masters, [112];
in Holbein, [120], [132].
Saxony: Chronicle, [53].
Schatzbehalter, [54].
Schäuffelin, Hans, [106].
Schön, Erhard, [114].
Scolari, Giuseppe, [145].
Sebastian, St.:
print of 1437, [23].
Secularization of art, [50], [110], [111].
Smith, Orrin, [167].
Solis, Virgil, [114].
Speculum Humanæ Salvationis:
description, [34];
place of issue, [36];
authorship, [38], note, [39];
character of the cuts, [40].
Spirituale Pomerium, [39].
Springinklee, Hans, [106], [110].
Stamps, engraved, early use, [13].
Stimmer, Tobias, [114].
Strasburg:
Bible, [50];
press, [57].
Suger, defence of art, [15].
Tenniel, John, [168].
Tewrdannckh, Sir, Adventures of, [106].
Thompson, John, [164].
Titian, reproductions after his designs, [144-146].
Tortorel, Jean, [140].
Tory, Geoffrey, influence on French engraving, [135].
Trento, Antonio da, [146].
Turrecremata’s, Cardinal, Meditations, [68].
Ulm:
prints, [26];
press, [57].
Unger, Johann Georg, and Johann Gottlieb Friedrich, [163].
Van der Weyden, Roger, [42].
Van Eyck, [36], [37], [42].
Varro, portraits in his works, [20].
Vecellio, Cesare, [146].
Venice:
claim to the origin of wood-engraving, [20];
decree forbidding importation of prints from Germany, [27];
early cuts, [68];
early views of the city, [69];
later cuts, [82-87], [143-147].
Verard, Antoine, [60], [62].
Vesalius’s Anatomy, [145].
Vinci, Leonardo da, [142].
Vostre, Simon, [62].
White line:
description, [151];
influence on the art in Bewick’s hands, [153];
the engraver’s province, [154], [184].
Wise King, The, [106].
Woeiriot, Pierre, [140].
Wohlgemuth, Michael, [53], [54].
Worde, Wynkyn de, [64].
Zainer Gunther, [46], [52].

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.