The eighth chapter contains an account of the practice of the art, with remarks on metallic relief engraving, and the best mode of printing wood-cuts. As no detailed account of the practice of wood engraving has hitherto been published in England, it is presumed that the information afforded by this part of the Work will not only be interesting to amateurs of the art, but useful to those who are professionally connected with it.

It is but justice to Mr. Jackson to add, that the Work was commenced by him at his sole risk; that most of the subjects are of his selection; and that nearly all of them were engraved, and that a great part of the Work was written, before he thought of applying to a publisher. The credit of commencing the Work, and of illustrating it so profusely, regardless of expense, is unquestionably due to him.

W. A. CHATTO.

London, December 5th, 1838.

[ ix]

[LIST OF ILLUSTRATIONS.]

Links in the List lead to the Chapter or Illustration named. The word “ditto”—written out—was printed as shown.

[Chapter I] • [Chapter II] • [Chapter III] • [Chapter IV] • [Chapter V]
[Chapter VI] • [Chapter VII] • [Chapter VIII] • [Chapter IX]

[CHAPTER I]
ANTIQUITY OF ENGRAVING, 1-39.
PAGE
Initial letter A,—an ancient Greek scriving on a tablet of wood, drawn by W. Harvey[1]
View of a rolling-press, on wood and on copper, showing the difference between a woodcut and a copper-plate engraving when both are printed in the same manner[4]
Back and front view of an ancient Egyptian brick-stamp[6]
Copy of an impression on a Babylonian brick[7]
Roman stamp, in relief[8]
Roman stamps, in intaglio[10]
Monogram of Theodoric, king of the Ostrogoths[13]
Monogram of Charlemagne[14]
Gothic marks and monograms[15]
Characters on Gothic coins[16]
Mark of an Italian notary, 1236[16]
Marks of German notaries, 1345-1521[17]
English Merchants’-marks of the fourteenth and fifteenth centuries[18]
Tail-piece, illustrative of the antiquity of engraving,—Babylonian brick, Roman earthenware, Roman stamp, and a roll with the mark of the German Emperor Otho in the corner[39]
[CHAPTER II]
PROGRESS OF WOOD ENGRAVING, 40-117.
Initial letter F, from an old book containing an alphabet of similar letters, engraved on wood, formerly belonging to Sir George Beaumont[40]
St. Christopher, with the date 1423, from a cut in the possession of Earl Spencer[46]
The Annunciation, from a cut probably of the same period, in the possession of Earl Spencer[50]
St. Bridget, from an old cut in the possession of Earl Spencer[52]
Shields from the Apocalypse, or History of St. John, an old block-book[65]
St. John preaching to the infidels, and baptizing Drusiana, from the same book[66]
The death of the Two Witnesses, and the miracles of Antichrist, from the same book[67]
Group from the History of the Virgin, an old block-book[71]
Copy of a page of the same book[72]
Figures and a shield of arms, from the same book[75]
Shields of arms, from the same book[76]-[78]
Copy of the first page of the Poor Preachers’ Bible, an old block-book[86]
Heads from the same book[88]
Christ tempted, a fac-simile of one of the compartments in the first page of the same book[89]
Adam and Eve eating of the forbidden fruit, from the same book[90]
Esau selling his birthright, ditto[91]
Heads ditto[92]
[ x]First cut in the Speculum Salvationis, which has generally, but erroneously, been described as a block-book, as the text in the first edition is printed with types[96]
Fall of Lucifer, a fac-simile of one of the compartments of the preceding[97]
The Creation of Eve, a fac-simile of the second compartment of the same[98]
Paper-mark in the Alphabet of large letters composed of figures, formerly belonging to Sir George Beaumont[107]
Letter K, from the same book[109]
Letter L, ditto[110]
Letter Z, ditto[111]
Flowered ornament, ditto[112]
Cuts from the Ars Memorandi, an old block-book[115]
[CHAPTER III]
THE INVENTION OF TYPOGRAPHY, 118-163.
Initial letter B, from a manuscript life of St. Birinus, of the twelfth century[118]
Tail piece-portraits of Gutemberg, Faust, and Scheffer[163]
[CHAPTER IV]
WOOD ENGRAVING IN CONNEXION WITH THE PRESS, 164-229.
Initial letter C, from Faust and Scheffer’s Psalter[164]
Apes, from a book of Fables printed at Bamberg by Albert Pfister, 1461[171]
Heads, from an edition of the Poor Preachers’ Bible, printed by Pfister[177]
Christ and his Disciples, from the same[177]
Joseph making himself known to his Brethren, from the same[178]
The Prodigal Son’s return, from the same[178]
The Creation of Animals, from Meditationes Joannis de Turrecremata, printed at Rome, 1467[185]
A bomb-shell and a man shooting from a kind of hand-gun, from Valturius de Re Militari, printed at Verona, 1472[188]
A man shooting from a cross-bow, from the same[189]
The Knight, from Caxton’s Book of Chess, about 1476[193]
The Bishop’s pawn, from the same[194]
Two figures—Music, from Caxton’s Mirrour of the World, 1480[196]
Frontispiece to Breydenbach’s Travels, printed at Mentz, 1486[207]
Syrian Christians, from the same[209]
Old Woman with a basket of eggs on her head, from the Hortus Sanitatis, printed at Mentz, 1491[211]
Head of Paris, from the book usually called the Nuremberg Chronicle, printed at Nuremberg, 1493[212]
Creation of Eve, from the same[215]
The same subject from the Poor Preachers’ Bible[216]
The difficult Labour of Alcmena, from an Italian translation of Ovid’s Metamorphoses, 1497[217]
Mars, Venus, and Mercury, from Poliphili Hypnerotomachia, printed at Venice, 1499[221]
Cupid brought by Mercury before Jove, from the same[222]
Cupid and his Victims, from the same[222]
Bacchus, from the same[223]
Cupid, from the same[224]
A Vase, from the same[224]
Cat and Mouse, from a supposed old wood-cut printed in Derschau’s Collection, 1808-1816[226]
Man in armour on horseback, from a wood-cut, formerly used by Mr. George Angus of Newcastle[228]
Tail-piece—the press of Jodocus Badius Ascensianus, from the title-page of a book printed by him about 1498[229]
[ xi] [CHAPTER V]
WOOD ENGRAVING IN THE TIME OF ALBERT DURER, 230-323.
Initial letter M, from an edition of Ovid’s Tristia, printed at Venice by J. de Cireto, 1499[230]
Peasants dancing and regaling, from Heures a l’Usaige de Chartres, printed at Paris by Simon Vostre about 1502. The first of these cuts occurs in a similar work—Heures a l’Usaige de Rome—printed by Simon Vostre in 1497[233]
The woman clothed with the sun, from Albert Durer’s illustrations of the Apocalypse, 1498[240]
The Virgin and Infant Christ, from Albert Durer’s illustrations of the History of the Virgin, 1511[243]
The Birth of the Virgin, from the same work[244]
St. Joseph at work as a carpenter, with the Virgin rocking the Infant Christ in a cradle, from the same[246]
Christ mocked, from Durer’s illustrations of Christ’s Passion, about 1511[247]
The Last Supper, from the same[248]
Christ bearing his Cross, from the same[249]
The Descent to Hades, from the same[250]
Caricature, probably of Luther[268]
Albert Durer’s Coat-of-arms[271]
His portrait, from a cut drawn by himself, 1527, the year preceding that of his death[272]
Holy Family, from a cut designed by Lucas Cranach[277]
Samson and Delilah, from a cut designed by Hans Burgmair[279]
Aristotle and his wife, from a cut designed by Hans Burgmair[280]
Sir Theurdank killing a bear, from the Adventures of Sir Theurdank, 1517[284]
The punishment of Sir Theurdank’s enemies, from the same work[285]
A figure on horseback, from the Triumphs of Maximilian[294]
Another, from the same work[295]
Ditto, ditto[296]
Ditto, ditto[297]
Ditto, ditto[298]
Ditto, ditto[299]
Three knights with banners, from the same work[301]
Elephant and Indians, from the same[302]
Camp followers, probably designed by Albert Durer, from the same[303]
Horses and Car, from the same[305]
Jael and Sisera, from a cut designed by Lucas van Leyden[309]
Cut printed at Antwerp by Willem de Figursnider, probably copied from a cut designed by Urse Graff[312]
Three small cuts from Sigismund Fanti’s Triompho di Fortuna, printed at Venice, 1527[316]
Fortuna di Africo, an emblem of the South wind, from the same work[316]
Michael Angelo at work on a piece of sculpture, from the same[317]
Head of Nero, from a work on Medals, printed at Strasburg, 1525[320]
Cut of Saint Bridget, about 1500, from Dr. Dibdin’s Bibliomania[321]
Ditto of her Revelations[322]
Tail-piece—a full length of Maximilian I. Emperor of Germany, from his Triumphs[323]
[CHAPTER VI]
FURTHER PROGRESS AND DECLINE OF WOOD ENGRAVING, 324-445.
Initial letter T, from a book printed at Paris by Robert Stephens, 1537[324]
Adam and Eve eating the forbidden fruit, from a cut designed by Hans Holbein in the Dance of Death, first printed at Lyons in 1538[339]
Death’s Coat of Arms, from the same work[340]
The Old Man, from the same[341]
The Duchess, from the same[342]
The Child, from the same[343]
[ xii] The Waggoner, from Holbein’s Dance of Death[344]
Child with a shield and dart, from the same[345]
Children with the emblems of a triumph, from the same[346]
Holbein’s Alphabet of the Dance of Death[352]
Abraham about to sacrifice Isaac, from a cut designed by Holbein in his Bible-prints, Lyons, 1539[368]
The Fool, from the same work[369]
The sheath of a dagger, intended as a design for a chaser[374]
Portrait of Sir Thomas Wyatt from a cut designed by Holbein in Leland’s Næniæ, 1542[379]
Prayer, from a cut designed by Holbein in Archbishop Cranmer’s Catechism, 1548[380]
Christ casting out Devils, from another cut by Holbein, in the same work[381]
The Creation, from the same work[382]
The Crucifixion, from the same[382]
Christ’s Agony, from the same[382]
Genealogical Tree, from an edition of the New Testament, printed at Zurich by Froschover, 1554[383]
St. Luke, from Tindale’s Translation of the New Testament, 1534[384]
St James, from the same[384]
Death on the Pale Horse, from the same[384]
Cain killing Abel, from Coverdale’s Translation of the Old and New Testament, 1535[386]
Abraham about to sacrifice Isaac, from the same[387]
The Two Spies, from the same[387]
St. Matthew, from the same[388]
St. John the Baptist, from the same[388]
St. Paul writing, from the same[388]
Frontispiece to Marcolini’s Sorti, Venice, 1540, by Joseph Porta Garfagninus, after a Study by Raffaele for the School of Athens[390]
Punitione, from the same work[392]
Matrimony, from the same[392]
Cards, from the same[393]
Truth saved by Time, from the same[393]
The Labour of Alcmena, from Dolce’s Transformationi, Venice, 1553[394]
Monogram, from Palatino’s Treatise on Writing, Rome, 1561[396]
Hieroglyphic Sonnet, from the same work[396]
Portraits of Petrarch and Laura, from Petrarch’s Sonetti, Lyons, 1547[400]
Adam and Eve driven out of Paradise, from Quadrins Historiques de la Bible, Lyons, 1550-1560[401]
Christ tempted by Satan, from Figures du Nouveau Testament, Lyons, 1553-1570[402]
Briefmaler, from a book of Trades and Professions, Frankfort, 1564-1574[410]
Formschneider, from the same[411]
The Goose Tree, from Sebastian Munster’s Cosmography, Basle, 1550-1554[414]
William Tell about to shoot at the apple on his son’s head, from the same[416]
Portrait of Dr. William Cuningham, from his Cosmographical Glass, London, 1559[424]
Four initial letters, from the same work[425], [426], [427]
Portrait of Queen Elizabeth, from the Books of Christian Prayers printed by John Daye, 1569[428]
Large initial letter, from Fox’s Acts and Monuments, 1576[429]
Initial letter, from a work printed by Giolito at Venice, about 1550[430]
Two Cats, from an edition of Dante, printed at Venice, 1578[431]
Emblem of Water, from a chiaro-scuro by Henry Goltzius, about 1590[433]
Caricature of the Laocoon, after a cut designed by Titian[435]
The Good Householder, from a cut printed at London, 1607[437]
Virgin and Christ, from a cut designed by Rubens, and engraved by Christopher Jegher[438]
The Infant Christ and John the Baptist, from a cut designed by Rubens, and engraved by Christopher Jegher[439]
[ xiii] Jael and Sisera, from a cut designed by Henry Goltzius, and engraved by C. Van Sichem[440]
Tail-piece, from an old cut on the title-page of the first known edition of Robin Hood’s Garland, 1670[445]
[CHAPTER VII]
REVIVAL OF WOOD ENGRAVING, 446-548.
Initial letter A, from a French book, 1698[446]
Fox and Goat, from a copper-plate by S. Le Clerc, about 1694[450]
The same subject from Croxall’s Æsop’s Fables, 1722[450]
The same subject from Bewick’s Fables, 1818-1823[451]
English wood-cut with the mark F. H., London, 1724[453]
Adam naming the animals, copy of a cut by Papillon, 1734[460]
The Pedagogue, from the Ship of Fools, Pynson, 1509[468]
The Poet’s Fall, from Two Odes in ridicule of Gray and Mason, London, 1760[470]
Initial letters, T. and B., composed by J. Jackson from tail-pieces in Bewick’s History of British Birds[471]
The house in which Bewick was born, drawn by J. Jackson[472]
The Parsonage at Ovingham, drawn by George Balmer[473]
Fac-simile of a diagram engraved by Bewick in Hutton’s Mensuration, 1768-1770[475]
The Old Hound, a fac-simile of a cut by Bewick, 1775[476]
Original cut of the Old Hound[477]
Cuts copied by Bewick from Der Weiss Kunig, and illustrations of Ovid’s Metamorphoses by Virgilium Solis[483]
Boys and Ass, after Bewick[485]
Old Man and Horse, ditto[486]
Child and young Horse, ditto[487]
Ewe and Lamb[488]
Old Man and young Wife, ditto[488]
Common Duck, ditto[493]
Partridge, ditto[495]
Woodcock, ditto[496]
The drunken Miller, ditto[499]
The Snow Man, ditto[499]
Old Man and Cat, ditto[500]
Crow and Lamb, Bewick’s original cut to the Fable of the Eagle[503]
The World turned upside down, after Bewick[504]
Cuts commemorative of the decease of Bewick’s father and mother, from his Fables, 1818-1823[506]
Bewick’s Workshop, drawn by George Balmer[508]
Portrait of Bewick[510]
View of Bewick’s Burial-place[511]
Funeral, View of Ovingham Church, drawn by J. Jackson[512]
The sad Historian, from a cut by John Bewick, in Poems by Goldsmith and Parnell, 1795[515]
Fac-simile of a cut by John Bewick, from Blossoms of Morality[516]
Copy of a cut engraved by C. Nesbit, from a drawing by R. Johnson[518]
View of a monument erected to the memory of R. Johnson, against the south wall of Ovingham Church[518]
Copy of a view of St. Nicholas Church, engraved by C. Nesbit, from a drawing by R. Johnson[519]
Copy of the cut for the Diploma of the Highland Society, engraved by L. Clennell, from a drawing by Benjamin West[523]
Bird and Flowers, engraved by L. Clennell, when insane[526]
Seven Engravings by William Harvey, from Dr. Henderson’s History of Wines[530]
Milton, designed by W. Harvey, engraved by John Thompson[531]
Three Illustrations by W. Harvey, engraved by S. Williams, Orrin Smith, and C. Gray[532]
[ xiv] Cut from the Children in the Wood, drawn by W. Harvey, and engraved by J. Thompson[533]
Cut from the Blind Beggar of Bethnal Green, drawn by W. Harvey, and engraved by C. Nesbit[534]
Copy of a part of the Cave of Despair, engraved by R. Branston, from a drawing by J. Thurston[535]
Three cuts engraved by Robert Branston, after designs by Thurston, for an edition of Select Fables, in rivalry of Bewick[537]
Bird, engraved by Robert Branston[538]
Pistill Cain, in North Wales, drawn and engraved by Hugh Hughes[539]
Moel Famau, ditto, ditto[539]
Wrexham Church, ditto, ditto[540]
Pwll Carodoc, ditto, ditto[540]
Salmon, Group of Fish, and Chub, engraved by John Thompson[541]
Pike, by Robert Branston[542]
Eel, by H. White[542]
Illustration from Hudibras, engraved by John Thompson[543]
Hogarth’s Rake’s Progress, engraved by John Thompson[544]
The Temptation, engraved by John Jackson, after John Martin[545]
The Judgment of Adam and Eve, engraved by F. W. Branston, after ditto[545]
The Assuaging of the Waters, engraved by E. Landells, after ditto[546]
The Deluge, engraved by W. H. Powis, after ditto[546]
The Tower of Babel engraved by Thomas Williams, after ditto[547]
The Angel announcing the Nativity, engraved by W. T. Green, after ditto[547]
Tail piece—Vignette, engraved by W. T. Green, after W. Harvey[548]
[CHAPTER VIII]
ARTISTS AND ENGRAVERS ON WOOD OF THE PRESENT DAY, 549-560.
The Sierra Morena, engraved by James Cooper, after Percival Skelton[550]
The Banks the Nith, engraved by ditto, after Birket Foster[551]
The Twa Dogs, engraved by ditto, after Harrison Weir[551]
To Auld Mare Maggie, engraved by ditto, after ditto[552]
The Poetry of Nature, engraved by J. Greenaway, after Harrison Weir[553]
From Bloomfield’s Farmer’s Boy, engraved by W. Wright, after ditto[554]
From Campbell’s Pleasures of Hope, engraved by J. Greenaway, after ditto[554]
From the same, by the same[555]
Wild Flowers, engraved by E. Evans, after Birket Foster[556]
From Lays of the Holy Land, engraved by W. J. Palmer, after Birket Foster[557]
From Longfellow’s Evangeline, engraved by H. Vizetelly, after ditto[558]
From Moore’s Lalla Rookh, engraved by Dalziel, after John Tenniel[559]
Death of Sforza, from Barry Cornwall, engraved by Dalziel, after ditto[560]
Sforza, ditto, ditto[560]
Antony and Cleopatra, engraved by Dalziel Brothers, after John Gilbert[561*]
The Florentine Party, from Barry Cornwall, engraved by Dalziel Brothers, after Thomas Dalziel[562*]
Prince Arthur and Hubert de Bourg, engraved by Kirchner, after John Gilbert[563*]
From Maxwell’s Life of the Duke of Wellington, designed by John Gilbert[563*]
The Demon Lover, designed by John Gilbert, engraved by W. A. Folkard[564*]
From Longfellow’s Hiawatha, engraved by W. L. Thomas, after G. H. Thomas[565*]
From the same, engraved by Horace Harral, after G. H. Thomas[566*]
From the same, engraved by Dalziel Brothers, after ditto[566*]
John Anderson my Jo, from Burns’ Poems, engraved by E. Evans, after ditto[567*]
Vignette from Hiawatha, engraved by E. Evans, after ditto[567*]
From Tennyson’s Princess, engraved by W. Thomas, after D. Maclise[568*]
From Bürger’s Leonora, engraved by J. Thompson, after Maclise[569*]
From Childe Harold, engraved by J. W. Whimper, after Percival Skelton[569*]
[ xv] From Marryat’s Poor Jack, engraved by H. Vizetelly, after Clarkson Stanfield[570*]
Christmas in the olden time, engraved by H. Vizetelly, after Birket Foster[571*]
Two illustrations from Thomson’s Seasons, designed and engraved by Sam Williams.[572*]
Eagles, Stags, and Wolves, engraved by George Pearson, after John Wolf[573*]
Hare Hawking, engraved by George Pearson, after John Wolf[574*]
Falls of Niagara, engraved by George Pearson[574*]
From Sandford and Merton, engraved by Measom, after H. Anelay[575*]
From Longfellow’s Miles Standish, engraved by Thomas Bolton, after John Absolon[576*]
Flaxman’s ‘Deliver us from Evil,’ a specimen of Mr. Thomas Bolton’s new process of photographing on wood[577*]
From Montalva’s Fairy Tales, engraved by John Swain, after R. Doyle[578*]
From ‘Brown, Jones, and Robinson,’ engraved by John Swain, after Doyle[579*]
From Uncle Tom’s Cabin, engraved by Orrin Smith, after John Leech[580*]
From Mr. Leech’s Tour in Ireland, engraved by John Swain, after John Leech[581*]
From ‘Moral Emblems of all Ages,’ engraved by H. Leighton, after John Leighton[582*]
Two subjects from the Illustrated Southey’s Life of Nelson, engraved by H. Harral, after E. Duncan[583*]
North porch of St. Maria Maggiore, drawn and engraved by Orlando Jewitt[584*]
Shrine in Bayeux Cathedral, by Orlando Jewitt[585*]
Hearse of Margaret Countess of Warwick and other specimens from Regius Glossary of Ecclesiastical Ornament, by Orlando Jewitt[586*]
Brick Tracery, St. Stephen’s Church, Tangermunde, Prussia, by ditto[587*]
The Nut Brown Maid, engraved by J. Williams, after T. Creswick[588*]
Vignette from Bohn’s Illustrated Edition of Walton’s Angler, by M. Jackson, after T. Creswick[589*]
Paul preaching at Athens, engraved by W. J. Linton, after John Martin[590*]
Vignette from the Book of British Ballads, engraved by ditto, after R. McIan[590*]
From Milton’s L’Allegro, engraved by ditto, after Stonehouse[591*]
From the same, engraved by ditto, after J. C. Horsley[591*]
Ancient Gambols, drawn and engraved by F. W. Fairholt[592*]
Vignette from the Illustrated Edition of Robin Hood, by ditto[592*]
Two illustrations from Dr. Mantell’s Works, engraved by James Lee, after Joseph Dinkel[593*]
From Coleridge’s Ancient Mariner, engraved by H. Harral, after E. H. Wehnert[594*]
Three illustrations drawn and engraved by George Cruikshank, from ‘Three Courses and a Dessert’[595*]
Two illustrations by ditto from the Universal Songster[596*]
Three illustrations from the Pictorial Grammar, by Crowquill[597*]
Vignette from the Book of British Ballads by Kenny Meadows[597*]
[CHAPTER IX]
THE PRACTICE OF WOOD ENGRAVING, 561-652.
Initial letter P, showing a wood engraver at work, with his lamp and globe, drawn by R. W. Buss[561]
Diagram, showing a block warped[566]
Cut showing the appearance of a plug-hole in the engraving, drawn by J. Jackson[570]
Diagrams illustrative of the mode of repairing a block by plugging[570]
Cut showing a plug re-engraved[571]
Diagram showing the mode of pulling the string over the corner of the block[572]
The shade for the eyes, and screen for the mouth and nose[574]
Engraver’s lamp, glass, globe, and sand-bag[575]
Graver[576]
Diagram of gravers[576]
Diagrams of tint-tools, &c.[577]
Diagrams of gouges, chisels, &c.[578]
[ xvi] Gravers[579]
Cuts showing the manner of holding the graver[579], [580]
Examples of tints[581], [582], [583], [584]
Examples of curved lines and tints[585], [586]
Cuts illustrative of the mode of cutting a white outline[588]
Outline engraving previous to its being blocked out—the monument to the memory of two children in Lichfield Cathedral by Sir F. Chantrey[589]
The same subject finished[590]
Outline engraving, after a design by Flaxman for a snuff-box for George IV.[590]
Cut after a pen-and-ink sketch by Sir David Wilkie for his picture of the Rabbit on the Wall[591]
Figures from a sketch by George Morland[592]
Group from Sir David Wilkie’s Rent Day[593]
Figure of a boy from Hogarth’s Noon, one of the engravings of his Four Parts of the Day[594]
A Hog, after an etching by Rembrandt[595]
Dray-horse, drawn by James Ward, R.A.[596]
Jacob blessing the Children of Joseph, after Rembrandt[597]
Two cuts—View of a Road-side Inn—showing the advantage of cutting the tint before the other parts of a subject are engraved[598]
Head, from an etching by Rembrandt[599]
Impression from a cast of part of the Death of Dentatus, engraved by W. Harvey[601]
Christ and the Woman at the Well, from an etching by Rembrandt[602]
The Flight into Egypt, from an etching by Rembrandt[605]
Sea-piece, drawn by George Balmer[606]
Sea-piece, moonlight, drawn by George Balmer[606]
Landscape, evening, drawn by George Balmer[607]
Impression from a cast of part of the Death of Dentatus, engraved by W. Harvey[609]
View of Rouen Cathedral, drawn by William Prior[611]
Map of England and Wales, with the part of the names engraved on wood, and part inserted in type[612]
Group from Sir David Wilkie’s Village Festival[614]
Natural Vignette, and an old ornamented capital from a manuscript of the thirteenth century[616]
Specimens of ornamental capitals, chiefly taken from Shaw’s Alphabets[617]
Impressions from a surface with the figures in relief—subject, the Crown-piece of George IV.[618]
Impressions from a surface with the figures in intaglio—same subject[619]
Shepherd’s Dog, drawn by W. Harvey[620]
Egret, drawn by W. Harvey[621]
Winter-piece, with an ass and her foal, drawn by J. Jackson[622]
Salmon-Trout, with a view of Bywell-Lock, drawn by J. Jackson[623]
Boy and Pony, drawn by J. Jackson[624]
Heifer, drawn by W. Harvey[624]
Descent from the Cross, after an etching by Rembrandt—impression when the block is merely lowered previous to engraving the subject[626]
Descent from the Cross—impression from the finished cut[627]
Copies of an ancient bust in the British Museum—No. 1 printed from a wood-cut, and No. 2 from a cast[637]
Block reduced from a Lithograph by the new Electro-printing Block process[639]
Horse and Ass, drawn by J. Jackson—improperly printed[641]
Same subject, properly printed[642]
Landscape, drawn by George Balmer—improperly printed[644]
Same subject, properly printed[644]
Tail-piece, drawn by C. Jacques[652]
Erratum