Beyond giving some idea of what wood engraving is and how it is produced, it is not intended to do more than refer to the early history of the art—a subject on which bulky volumes have been written—or to enter minutely into the details and modes of execution of modern work. To those who desire further information, special works on the subject may be consulted.[1]
WOOD ENGRAVING AND COPPER-PLATE
ENGRAVING—THE DIFFERENCE.
Copper-plate engraving, which almost entirely superseded wood in the seventeenth and eighteenth centuries, differs in principle from wood engraving in this—that a woodcut has the lines of the design standing up in relief, the wood between the lines incised or cut away, so that when the surface is inked the lines so charged will give off an impression upon paper by rubbing the back, or by the use of the type press. In the copper-plate the lines are cut into the polished surface of the metal, which, when smeared over with printing ink, and the surface wiped clean, leaves the incised lines filled with ink; an impression is taken by the use of a press specially adapted to the purpose.
It will be seen that surface printing is the necessity and characteristic of wood engraving. Simple and crude in its beginnings, owing chiefly to the imperfect mechanical means of cutting the wood in sufficiently fine or exact lines; it was employed first in the production of playing cards, the outlines of which were formed by impressions from wood blocks, and the colouring filled in by hand or stencil. In Europe the earliest application of the art to pictorial illustration took place in Germany about the close of the fourteenth or beginning of the fifteenth century. The oldest woodcut with a date known is of 1423. It represents St. Christopher carrying our Saviour on his shoulders across a river. Other specimens, though undated, from their greater rudeness, have been held to have superior claims to antiquity. With the invention of printing the art soon made rapid strides, and on the introduction of moveable types to print in conjunction with engraved blocks, a new impetus was given to the production of engraved wood blocks. In the early part of the sixteenth century, several artists of celebrity were either designers on wood or engravers. Books at this period were profusely illustrated. Among the most distinguished in this line was Albert Dürer, whose productions as a painter and an engraver on copper and wood are so numerous that he could not possibly have engraved a tithe of the wood engravings attributed to him; probably he only put the design on the blocks, leaving them to others to execute.
The art was chiefly practised in Germany, where it was patronised by the Emperor Maximilian, for whom Burgmair produced the great work, “The Triumphs of Maximilian.” The next great name in the annals of wood engraving is that of Hans Holbein, whose “Dance of Death” was printed in Lyons in 1538.
In England Caxton brought out his “Game and Playe of Chesse” in 1476, with cuts. There are woodcuts also in the “Golden Legend,” 1483; “Fables of Æsop,” 1484; Chaucer’s “Canterbury Tales,” and other books of his printing—all scarce and poor in execution, but noticeable in the history of Art. From 1545 to 1580 wood engraving continued to be much used for illustrating books in England, chiefly by John Daye. From this period there is little to be recorded of essential importance till the appearance of Bewick, to whom the revival of wood engraving is chiefly to be attributed.
Form-schneider.