As we have shown in our article on Printing, Wood-engraving was in fashion prior to the invention of printing. We are informed by Albert Durer that Engraving on Wood was invented about the year 1520; he may be a good authority in some matters, but in this he has committed a mistake of nearly one hundred years; seeing that there is at least an impression of one engraving on wood, the representation of the Creation, which was in existence prior to 1430. It was undoubtedly a piece of rough workmanship; but what could be expected at that early period of the art? It has been, however, gradually improving ever since, and it has now attained a point of excellence equal to any of the fine arts, and calls forth the admiration of every lover of the beautiful. It would be invidious to select any of the numerous artists now flourishing—perhaps it would be difficult to make a selection where so many are upon an equality; and we are of opinion they themselves are more willing to accept the public approbation as their reward, than any praise our pen could bestow. All we can do is to recommend our readers to examine for themselves; they have abundant opportunities in the numerous illustrated publications that are daily issued from the press, and bestow that meed of praise upon the respective artists they may deem proper.
The process of engraving on wood is diametrically distinct and opposite to that of engraving on copper or steel; as in the former, the shades are produced by the parts of the work which are made most prominent, and obtrude upon the surface of the substance; whence its chief merit has been regarded in leaving broad and well-proportioned lights. The parts to produce this effect being of necessity excavated, great art and a masterly judgment are necessary to effect this, and at the same time not to weaken the substance, lest it should be injured in the pressure necessary to produce an impression.
The substance usually employed for these engravings is wood of a close grain; on this account box-wood is generally selected. The impressions are obtained from wood-engravings upon exactly the same principle as are the impressions from typography; and they can also be worked off at the same time with the descriptive text. This is a superiority which wood possesses over other engravings, and recommends itself to publishers on account of the immense saving in the expense of a double process in procuring copper-plate illustrations for typographical works, and enables them to keep pace with the ruling passion of this literary era—cheap publications.
ON COPPER.
The art of engraving on copper plates, for impressions, is alleged to have been invented by Peter Schoeffer, one of the early printers, and son in-law of John Faust, about the year 1450. The honour of this invention is also claimed by a Florentine goldsmith of the name of Finguires, who dates his invention in 1540. This artist having used liquid sulphur to take an impression of some chasing and engraving he had made, observed a blackness produced by the sulphur left in the deepest parts of his work, whence he obtained an impression on paper.
But we have no hesitation in giving the preference to Schoeffer, who, we have previously remarked, was of an ingenious turn, and assisted Guttenburg in producing moulds for casting his types; in addition to which, some of the books printed by him are ornamented with head and tail-pieces, with other rude attempts at engraving; and likewise because Schoeffer’s claim to the honour was acknowledged before Finguires was born.
Of engraving there are various kinds; that called by connoisseurs, the legitimate mode of engraving, is what is termed the line or stroke mode. Numerous have been the British artists who have excelled in this style, in affording the means of multiplying our graphical productions.
The next species of engraving we will notice is called the stipple, or chalk style,—imitations of chalk drawings. Portraits and historical pieces are executed in this style, which the celebrated Bartolozzi brought to perfection.
The third species we will mention, cannot properly be called engraving; the effect is produced by scraping and rubbing; this kind is called chiaro obscuro, or mezzotinto; producing prints which have the effect of Indian ink drawings.
A fourth species of engraving is what is commonly used for landscapes, which produces an effect like a pencil water-colour drawing; which is called aquatinta.