_THOMAS BEWICK'S SUCCESSORS_
It redounds greatly to the glory of Thomas Bewick that the important
advance in the art of wood-engraving which was due to his talents and his
industry did not die with him. He left behind him several eminent
successors, whose influence is felt to the present day.
His brother John, seven years younger than himself, was his first pupil,
and to him we are indebted for the illustrations to a work called 'Emblems
of Mortality,' 1789, copied from Holbein's 'Dance of Death,' the
'Looking-Glass for the Mind,' and 'Blossoms of Morality,' 1796. Of these,
the cuts in the 'Looking-Glass for the Mind' are decidedly the best, and
after examining them carefully we cannot but regret that the artist was
taken away so young. His drawings are very unlike those of his elder
brother, and are certainly more graceful--we give one as an example of
their style. Two other books, 'Poems,' by Goldsmith and Parnell, 1795, and
Somerville's 'Chase,' 1796, also contain some of his best work; they were
printed in quarto by Bulmer, 'to display the excellence of modern printing
and wood-engraving.' For the former of these, John Bewick made most of the
drawings, in which he was assisted by the clever artist, Robert Johnson, a
fellow-pupil, and nearly all were engraved by Thomas and John Bewick, and a
few by another pupil, Charlton Nesbit. {117} For 'The Chase,' John Bewick
made all the drawings except one, and nearly all were engraved by his
brother. For five or six years John Bewick lived in London, till ill-health
compelled him to return to his native place, where he died in the same year
in which Somerville's 'Chase' was published. He was buried in Ovingham
churchyard, where a tablet is erected to his memory.
[Illustration: LITTLE ANTHONY. BY JOHN BEWICK
_From 'Looking-Glass for the Mind'_]
Robert Elliot Bewick, the only son of Thomas Bewick, was trained to the
business of wood-engraver, and at one time, over the window of the house in
St. Nicholas' Churchyard, there was a board with an inscription 'BEWICK AND
SON, _engravers and copper-plate printers_.' Robert suffered much from
ill-health and turned his attention to drawing rather than engraving. He
died in 1849, leaving fifty beautiful designs for a 'History of Fishes,'
which he had long in contemplation as a companion volume to his father's
works. {118} These drawings, the gift of the last of Bewick's daughters,
are now in the British Museum.
The most celebrated of Bewick's other pupils were Charlton Nesbit, born at
Shalwell, near Gateshead, in 1775; Luke Clennell, born at Ulgham, a village
near Morpeth, in 1781; and William Harvey, born near Newcastle in 1796.
Nesbit engraved a few of the tail-pieces in the 'Land Birds,' and most of
the head and tail pieces in the 'Poems' of Goldsmith and Parnell. He also
engraved, from a drawing by Robert Johnson, a large block, 15 inches by 12
inches, of St. Nicholas Church, Newcastle, which at the time was considered
a triumph of art. About the end of the century Nesbit migrated to London,
where for many years he was employed by Rudolph Ackermann and other
publishers in engraving the drawings of the artist, John Thurston, whose
work was at that time very popular. In 1815 Nesbit returned to Shalwell,
where he continued to reside till 1830, doing but little work besides the
engraving of 'Rinaldo and Armida' for Savage's 'Hints on Decorative
Printing,' after a design by Thurston. This is considered to be his best
work. He then went back to London, and was chiefly engaged in engraving
drawings by William Harvey for the second volume of Northcote's 'Fables.'
He died at Queen's Elms in November 1838, aged 63. Mr. Chatto says: 'Nesbit
is unquestionably the best wood-engraver that has proceeded from the great
northern hive of art--the workshop of Thomas Bewick.'
The story of Luke Clennell's life is very sad. Like many other artists, he
showed an early disposition to make sketches on his slate instead of 'doing
sums,' and was often reproved; his uncle sympathised with him, and in 1797
apprenticed him to Thomas Bewick for the usual seven years, during which
time he engraved many of the tail-pieces to the 'Water Birds' and learned
to make water-colour drawings from nature. When his apprenticeship was over
he assisted Bewick in the illustrations to a 'History of England,' {119}
published by Wallis and Scholey, in which Nisbet had also joined, but
finding that Bewick was paid five pounds for each cut, while he received
only two pounds, Clennell sent some specimens of his abilities to the
publishers, who immediately offered him work in London, where he arrived in
the autumn of 1804. Two years afterwards he received the gold palette of
the Society of Arts for a wood-engraving of a battle-scene, and soon
afterwards he was engaged on illustrations to new editions of Beattie's
'Minstrel,' 1807, and Falconer's 'Shipwreck,' 1808. About this time he
married the eldest daughter of Charles Warren, a well-known line engraver,
and became intimate with Abraham Raimbach and other artists whose
friendship was of much service to him. His most important work as a
wood-engraver was the 'Diploma of the Highland Society,' a large block 13½
inches by 10½ inches, of which we give a much-reduced copy. Benjamin West
made the original design on paper, Clennell himself drew the Highlander and
Fisherman on the wood, and gave Thurston fifteen pounds to fill in the
circle with Britannia and her attendant groups. After he had worked on the
block, which was of boxwood veneered upon beech, for about two months, the
same fate befell it that had ruined Bewick's 'Chillingham Bull'; one
evening, while he was at tea, the boxwood split with a loud report, and it
is said poor Clennell threw the tea-things into the fire! This was the sad
beginning of a long malady. Taking courage, however, he procured a block
made of pieces of solid boxwood firmly clamped together, paid Thurston
again for drawing the central groups, and, after much labour, produced his
_chef d'oeuvre_, for which he received 150 guineas from the Highland
Society, and was further rewarded with the gold medal of the Society of
Arts, May 30, 1809. This second block likewise met with an untimely fate;
it was burnt in the fire at Bensley's printing-office. John Thompson
afterwards engraved it in fac-simile. A copy of Clennell's original
engraving, bequeathed by Mr. John {120} Thompson, may be seen in the Art
Library at South Kensington.
[Illustration: DIPLOMA OF THE HIGHLAND SOCIETY
_Engraved by Luke Clennell_]
Among the best wood-engravings by Clennell we may rank the illustrations
designed by Stothard as head and tail pieces for a small edition of
Rogers's 'Pleasures of Memory,' 1810. They were drawn in pen and ink, and
engraved in facsimile with charming spirit and fidelity. After this time,
Clennell, who could work beautifully in water-colours, gave up engraving
and exhibited drawings and paintings at the Academy, the British
Institution, and the Exhibition of Painters in Water-Colours at their room
in Spring Gardens. In March 1815, the British {121} Institution set aside
1,000 guineas for premiums for the best oil-paintings illustrating the
career of Wellington. One of these premiums was awarded to Clennell for his
'Charge of the Life Guards at Waterloo,' a picture full of spirit, which
was afterwards engraved. In 1814 the Earl of Bridgewater gave him a
commission to paint 'The Banquet of the Allied Sovereigns in Guildhall.' He
experienced great difficulty in obtaining sitters for the necessary
portraits, and suffered so much from anxiety that, although in April 1817
he had nearly conquered all his troubles, he suddenly lost his reason. This
so much affected his wife that she also became insane and soon died. By the
advice of his friends poor Clennell was sent to live with a relation who
resided near Newcastle, and there he lingered till February 1840, when he
died, leaving three children, who were for a time supported in a great
measure by the Committee of the Artists' Fund and by the profits of the
engraving of the 'Charge of the Life Guards.'
William Harvey was apprenticed to Bewick in 1810 and was his favourite
pupil. He frequently made drawings on the wood after the designs of Robert
Johnson, and engraved many of the cuts in 'Bewick's Fables,' 1818. On New
Year's Day 1815 Bewick presented him with a copy of his 'History of British
Birds' in two volumes, which he always showed to his friends with much
pride. In September 1817 Harvey came to London and, to improve his
knowledge of drawing, took lessons of an excellent master--B. R. Haydon.
While under his tuition Harvey copied his picture of the 'Assassination of
Dentatus' on a large block, and engraved it with most elaborate care. This
cut has always been greatly admired by the profession, who point to the
variety of the lines of engraving in the right leg of Dentatus as being a
triumph of their art. If we can find any fault with this celebrated work,
it is that, to use Mr. Chatto's words, 'More has been attempted than can be
efficiently {122} represented by means of wood-engraving'--it is, in fact,
too much like an attempt to rival copper-plate line-engraving.
About the year 1824 Harvey had so many commissions for designs for both
copper-plates and woodcuts that he gave up entirely the practice of
engraving, and devoted himself to drawings for the illustration of books.
His first successes were his vignettes for Dr. Henderson's 'History of
Ancient and Modern Wines,' 1824, the illustrations to Northcote's 'Fables,'
1828 and 1833, the 'Tower Menagerie,' 1828, 'Gardens and Menagerie of the
Zoological Society,' 1831, and 'The Children in the Wood' and a 'Story
without an End,' 1832. But perhaps his most characteristic designs were the
illustrations to Lane's 'Thousand and One Nights' in 1834-40; these are
considered to be his best work. He was at this time at the height of his
reputation, and for twenty-six years more he almost monopolised the
illustration of books published in London. Merely to give a list of them
would occupy too much space. During the latter years of his life, Harvey
lived near the old church of Richmond, and there he died in 1866. He was
one of the most courteous and amiable of men, and though his designs were
'mannered,' they were always pleasant to look at, and often very poetical.
There were other pupils of Bewick who obtained some little fame. Among them
were John Anderson, a native of Scotland, who assisted Thurston in
illustrating Bloomfield's 'Farmer's Boy,' published in 1800 by Vernor and
Hood; John Jackson, who was born at Ovingham in 1801, and Ebenezer
Landells, born at Newcastle in 1808. Jackson for some reason quarrelled
with his master, came to London and worked for William Harvey, who was much
employed about that time in making illustrations for the various works
issued by Charles Knight, including the 'Penny Magazine,' Knight's
'Shakspere,' 'Pictorial Bible,' 'Pictorial Prayer-book,' and a hundred
other books which appeared between 1828 and 1840--under the auspices of
that enterprising publisher. Some of {123} Jackson's best work will be
found in the 'Tower Menagerie' and other illustrations of animals designed
by Harvey. He will always be remembered for the share he took in the
'Treatise on Wood-Engraving,' for which Mr. Chatto wrote the text. This
work was undertaken at the sole risk of Mr. Jackson, who engraved many of
the three hundred illustrations. It is a very valuable book and,
supplemented by Mr. Linton's 'Masters of Wood-Engraving,' tells pretty well
all that is ever likely to be known of this fascinating art. Jackson died
in London in the year 1848.
At the death of Bewick, Ebenezer Landells came to London, 1829, and soon
found employment in engraving designs for the _Illustrated London News_,
_Punch_, and other periodicals. His studio became quite a nursery of art,
and many excellent draughtsmen--among them, Birket Foster--and engravers
were educated under his superintendence. He died at Brompton in 1860, the
last of Bewick's pupils.
Going back to the last century we find that we have omitted to speak of
another self-taught wood-engraver, Robert Branston, who was born in 1778 at
Lynn in Norfolk. When he was twenty-one years of age he settled in London
and soon found employment in working for the publishers. He engraved the
'Cave of Despair' from a drawing by Thurston for Savage's 'Hints on
Decorative Printing' in rivalry with Nesbit's 'Rinaldo and Armida'; this is
considered to be his best work. He also assisted in engraving the cuts in
Scholey's 'History of England,' Bloomfield's 'Wild Flowers,' 1806, and a
series of 'Fables' after Thurston's designs which, though beautifully
executed, were never published. He died at Brompton in 1827. Among his
pupils were his son, Robert Branston the younger, who for many years
produced excellent work.
{124}
[Illustration: HAYMAKING. BY W. MULREADY, R.A.
_Engraved by John Thompson_]
John Thompson, one of the princes of wood-engravers, was born in Manchester
in 1785, came to London early in life, and, after practising for some years
under Robert Branston the elder, soon gained great distinction in his art.
Like all other wood-engravers of the period, he was employed chiefly in
rendering the designs of Thurston. In 1818 he engraved the illustrations to
a new edition of Butler's 'Hudibras,' and about the same time he was
engaged by the Bank of England to produce a bank-note which could not be
imitated. Then followed the illustrations to the 'Blind Beggar of Bethnal
Green,' 1832, Shakespeare, 1836, and the 'Arabian Nights,' 1841, all after
designs by William Harvey. He also engraved many of the beautiful cuts in
the books of Natural History published by Van Voorst. In {125} 1843 he
produced the work for which he will for ever be celebrated, the
illustrations to the 'Vicar of Wakefield' from the drawings by
Mulready--one of the most charming books ever published. It would take too
much time to enumerate even the best of the engravings he executed in his
long life. We must not, however, forget to mention that he engraved in
gun-metal Mulready's design for a postal envelope in 1839, and the figure
of Britannia which is still printed on Bank of England notes. He presented
his collection of valuable woodcuts to the Art Library at South Kensington,
and died at Kensington in 1866, aged 81. His son, Thurston Thompton, was
also an excellent engraver.
Among the other celebrated wood-engravers of the latter half of this
century were John and Mary Byfield, who engraved the facsimile cuts of
Holbein's 'Dance of Death' and 'Scenes from Old Testament History' for
Pickering's editions of these celebrated works; W. H. Powis, some of whose
best work may be seen in 'Solace of Song'; J. Orrin Smith, born in
Colchester in 1800, who placed himself under the tuition of William Harvey,
and became a very expert craftsman, and whose best work may be seen in
Wordsworth's 'Greece,' 'The Solace of Song,' Lane's 'Arabian Nights,' and
in 'Paul et Virginie,' published by Curmer of Paris--Orrin Smith died in
1843; Samuel Williams, also a native of Colchester, who designed on the
wood most of the works which he engraved--he was famous for his country
scenes, the best of which are in Thomson's 'Seasons' and Cowper's 'Poems,'
published about 1840--he died in 1853 in his 65th year; W. T. Green and
Thomas Bolton, both excellent reproducers of landscape, and especially of
the drawings of Birket Foster; Charles Gray, and Samuel V. Slader, all of
the first repute; Orlando Jewitt, celebrated both for his beautiful
reproductions of architectural work, for Parker's 'Glossary,' and other
important works; and, lately, we have lost J. Greenaway, brother of the
famous artist, Kate {126} Greenaway, and W. J. Palmer, both excellent men
and engravers of the very first class.
[Illustration: O'ERARCHED WITH OAKS THAT FORM FANTASTIC BOWERS]
Still with us, we can only mention in a few words the modern prince of
wood-engravers, W. J. Linton, who has for {127} many years resided in
America; W. L. Thomas, the originator of _The Graphic_ newspaper, and one
of the ablest artists in water-colours in 'The Institute'; Edmund Evans and
Horace Harral, who so successfully rendered Birket Foster's drawings some
years ago; J. W. Whymper, the brothers Dalziel and James Cooper, the
producers of thousands of good engravings, and a comparatively new man, W.
Biscombe Gardner, who excels in portraiture.
In Germany, during the last half-century, wood-engraving met with much
encouragement, and reverting to the earlier and purer style of the
fifteenth century, many artists and engravers produced work of great merit:
E. Kretzschmar, of Leipsic, the brothers A. and O. Vogel, F. Unzelmann and
H. Müller, rendered the drawings of Adolf Menzel and Ludwig Richter with
careful exactitude. In the atelier of Hugo Bürkner, of Dresden, the
much-admired 'Death as a Friend,' by Rethel, was engraved by Jungtow, and
'Death as an Enemy' by Steinbrecher: and A. Gaber, recently deceased,
faithfully reproduced the drawings of Overbeck, Schnorr von Carolsfeld,
Oscar Pletsch, and Moritz von Schwind. Of living engravers we may refer our
readers to the excellent examples of skill to be seen in the 'Meisterwerke
der Holzschneidekunst,' a monthly periodical of great merit; and especially
to the works of Pfnorr of Darmstadt; Höfel of Vienna; Flegel and Weber of
Leipsic; Mezger and Vieweg of Brunswick; H. Günter, Karl Oertel, Lüttge,
and E. Krelb.
In France no great advance has been made, and most of the engravers have
been contented to produce work a little above mediocrity. Several French
publishers have given commissions to English engravers--Orrin Smith, Henry
Linton, and others.
In America great strides have been made, and, in the estimation of many
excellent judges, the best works ever done by wood-engravers have been
presented to us in the pages of the illustrated magazines. These
publications excite {128} our wonder not only at the great energy which is
thrown into them, apparently without regard to cost, but at the immense
success which they have justly achieved. Some critics disapprove of the
style to which we have just referred, and say it is in too close an
imitation of steel engraving, but it seems hard to censure works which have
given unbounded satisfaction to so many thousand lovers of art.
Owing to the invention of various mechanical processes, and the perfection
to which photography has attained, the art of wood-engraving would seem to
be in danger of becoming extinct. This is by no means the real case, for
the brilliant band of wood-engravers which has arisen in America, of whom
we have just spoken, still continue to give us excellent examples of their
skill; and especially we may mention the inimitable copies of paintings by
the Old Masters by Timothy Cole, whose rendering of Paul Potter's 'Young
Bull' excites our warmest admiration.
In England, under the influence of Mr. William Morris and his followers, a
revival of this interesting craft, as practised in the fifteenth century,
has been set on foot in some of the Schools of Art--notably at Birmingham,
where in 1893 the students issued a Book of Carols illustrated with
original designs, some of which were cut by the students themselves. This
revival of the earlier and purer methods of engraving, coupled with a
careful study of the possibilities of the art, may be taken as a sign that
by no means the last chapter on the history of engraving on wood has yet
been written.
At present, much of the new process work which we find in such
over-abundance in newspapers and magazines is slovenly to the last degree.
On the other hand, now and then we see beautiful results--the best in the
American magazines; let us hope that the facile cheapness of this new
craft--art it cannot be called--will in good hands soon achieve something
more worthy of our regard.
* * * * *
{129}
INDEX
_The Engravings in this book are referred to in italic type_
Abbreviations of Latin words, 18
Æsop's Fables (1481), 47
Æsop's Fables (Bewick's), 115
Aldegrever, 88
Aldus Manutius, 45-47
_Alphabet_, _Figure_, XV Cent., 25
Altdorfer, Albrecht, 87, 100
Amman, Jost, 88
Anderson, John, 122
Andre, Jerome, 82
Andreani, Andrea, 99
_Annunciation, The_, 8
Apocalypse, Dürer's, 70
_Apocalypsis Sancti Johannis_, 17
Ars Memorandi, 11, 26
Ars Moriendi, 11, 20, 26
Battista del Porta, 99
Beham, Hans, 87
Beilby, Ralph, 108,112
Berners, Dame Juliana, 66
Bewick, John, 116
Bewick, Robert, 117
Bewick, Thomas, 108-115
_Bible Cuts_, Holbein's, 86, 87
_Biblia Pauperum_, 12-16
_Bibliomaniac, The_, 38
Block Books of the XV Cent., 11
Blossoms of Morality, 116
Boldrini, Nicolo, 99
Bolton, Thomas, 126
Bonner, George, 82, 102
_Booke of Christian Prayers_ (Q. Elizabeth), 100
Book of Fables (Pfister, 1461), 36
Book of Hours, 55
Book of St. Albans, 66
Borluyt's _Figures from New Testament_, 96, 97
Bourbon, Nicolas, 93
Brandt's _Navis Stultifera_, 38
Branston, Robert, 123
_Breydenbach's Travels_, 35, 37
_British Birds_, History of (Bewick), 110-115
_British Quadrupeds_, History of (Bewick), 111, 112
Brosamer, Hans, 88
Bürkner (German engraver), 127
Bullen, Mr. George, 20
Burgkmair, Hans, 69-80
Byfield, John and Mary, 82, 125
Caillaut, Antoine, 60
Canterbury Tales, The, 66
_Canticum Canticorum_, 11, 23
_Casus Luciferi_, 30
Caxton, William, 62
Chatto, W. A., 1, 4, 66, 118
Chiar-oscuro, Printing in, 50, 99
Chillingham Bull (Bewick), 111
_Christopher, Saint_, 6
Clennell, Luke, 118-121
Cole, Mr. Henry, 73
Cole, Timothy, 128
Colines, Simon de, _Heures_ de, 92
_Cologne Bible_, 33, 36
Colonna, Francesco, 42
Colour Printing in Germany (XVI Cent.), 100
Conway, W. M. (Woodcutters of the Netherlands), 98
Copperplate-Engraving introduced, 98
Coriolano, Bartolommeo, 99
Cranach, Lucas, 69, 88, 100
Croxall's Æsop, 106, 111
Cuningham's Cosmographical Glasse, 102
Curio, Valentine, 81
Dance of Death (1485), 59
_Dance of Death_ (Holbein's), 81-85
_Daye, John_ (Printer), 101-104
_Death of the Virgin_ (Missal), 54
_Decameron, The_ (1492), 48
Dentatus, Death of (_engraved by W. Harvey_), 121
Dibdin's, Dr., Works, 1
Dienecker (Engraver), 78
_Diploma of Highland Society_ (Clennell), 120
Douce, Francis, 82
Duplessis, M. Georges, 4
Dupré, Jean, 55, 60
Dürer, Albrecht, 69
---- Apocalypse, 70
---- Engravings on Copper, 71
---- Life of the Virgin, 71
---- Passion of Our Lord, 71
---- 'Smaller' Passion, 71, 73
---- _Virgin crowned by Angels_, 72
_Elizabetha Regina_ (1569), 103
Elizabeth's, Queen, Prayer Book, 102
Emblems of Mortality (1789), 116
Estienne, Robert, 93
Figure Alphabet, The, 24
_Flight into Egypt_ (Jegher's), 105
Foster, Birket, _Drawing_ by, 126
Foxe's Book of Martyrs, 100
Froben, Johann, 81
Froschover, Christoph, 81
_Fyshynge with an Angle_ (1496), 67
Gaber (German Engraver), 127
_Game and Playe of the Chesse_ (Caxton's), 62, 64
German Engravers, 127
Gray, Charles, 125
Green, W. T. (Engraver), 125
Greenaway, J., 125
Gutenberg's Psalter, 34
Harvey, William, 115, 121
Heinecken, Herr, 4, 10
_Henry VIII in Council_, _frontispiece_
_Heures à l'usaige de Chartres_, 52
_History of British Birds_ (Bewick), 110-114
_History of Quadrupeds_ (Bewick), 111, 112
Holbein, Hans, 69, 81-87
---- Alphabet of Dance of Death, 87
---- _Bible Cuts_ (Old Testament), 86, 87
---- _Dance of Death_, 82-84
---- Society, 20, 21
Holinshed's 'Chronicles of England,' &c., 100
Humphreys, Noel, 55
_Hypnerotomachia Poliphili_ (1494), 42-44
Illuminated Books of XV Century, 53
Images of Saints, 2
Jackson, John, 122
_Jegher, Christoph_, of Antwerp, 104
Jewitt, Orlando, 125
Johnson, Robert, 115
Jovius, Paulus, 95
Jungtow, 127
_Kalendario_ (Venice, 1476), 41
Kerver, Thielman, 53, 58, 59
_King's Banquet, The_, 58
Kirkall, Elisha (1724), 106
Knight, Charles, 122
Landells, Ebenezer, 122
Le Noir (Printers' mark), 60
Le Rouge, 53
Linton, W. J., 1, 5, 106
Lippmann, Dr., 1
Little Masters, The, 87
Livres d'Heures, 57
_Looking-glass for the Mind_, 116, 117
Lützelburger, Hans, 81, 87
_Macault reading his Translation_, 94
Macé, Robert, of Caen, 96
Mansion, Colard, of Bruges, 62
_Manuzio, Aldo_, 45, 46
Marchant, Guyot, 53, 59
Maximilian, Emperor, 69, 74-80
Mazarine Bible, 30
Mer des Histoires, La, 53
Milan, Lives of Dukes of, 95
Metal Blocks, 51
_Mirrour of the World_ (1478), 63
Morris, William, 53, 128
Mulready: _Vicar of Wakefield_, 125
Nanto, Francesco da, 99
_Navis Stultifera_ (1497), 38
Nesbit, Charlton, 116, 118
Notary, Julian, 68
Nürnberg Chronicle, 36
Palmer, W. J., 126
Papillon, J. M. (French Engraver), 107
_Passion of our Lord_ (Missal), 56
Petit, Jehan, 60
Pigouchet, Philippe, 55
Plantin, Christophe, Antwerp, 96
Playing Cards, 2
Porta, Giuseppe, 90, 91
Porto, Battista del, 99
Powis, W. H. (Engraver), 125
Printers' marks, 60
---- _Kerver's_, 59
---- _Le Noir's_, 60
---- _Plantin's_, 98
---- _Pynson's_, 68
---- _Tory's, Geoffroy_, 91
---- _Wynkyn de Worde's_, 65
Psalter, Gutenberg's, 34
Pynson, Richard, 66
Recueil des Histoires de Troye, 62
Saint Bridget of Sweden, 9
_Saint Christopher_, 6
Saint Sebastian, 9
Salomon, Bernhard (Petit Bernhard), 95
Schaufelein, Hans, 74
Schongauer, Martin, 56, 57
Scolari, Giuseppe, 99
Select Fables (Bewick), 111
Sessa Brothers, of Venice, 100
Slader, Samuel, 125
Smith, J. Orrin, 125
Somerville's Chase, 117
_Sorti di Marcolini_ (1540), 90, 91
_Speculum Salvationis_, 11, 29
_Terence_ (Lyons, 1493), 49
Theuredank, Adventures of, 74
Thompson, John, 119, 123, 124
Thurston, John, 118
Tory, Geoffroy, 91, 92, 94, 95
Tournes, Jean de, 95, 96
Trento, Antonio da, 99
_Tristan, Romance of_, 58
Triumphs of Maximilian, 74-80
---- _Triumphal Arch_ (Dürer), 75, 76
---- _Triumphal Car_ (Dürer), 77
---- _Triumphal Procession_ (Burgkmair), 78, 79
Triumphal entry of Henri II into Lyons, 95
Triumphal entry of Henri II into Paris, 95
Triumphi del Petrarca (1488), 41, 47
Ugo da Carpi, 99
Vecellio, Cesare, 100
Verard, Antoine, 53, 57
Virgil Solis, 88
_Virgin with four Saints_ (1418), 3
Vostre, Simon, 53, 55
Werskunig, 74
Williams, Samuel, 125
Willshire, Dr., 2, 55
Woodbery, Mr., 32
_Wood-Engraver, The_, x
Wood Engravers (Living), 126
Wynkyn de Worde, 65
_Spottiswoode & Co. Printers, New-street Square, London._
* * * * *
NOTES
[1] W. H. Willshire, _Playing and other Cards in the British Museum_, 1
vol. 8vo. (1876).
[2] It is often called the Mazarine Bible, because a copy was discovered,
with notes written in it by the illuminator, in the library of Cardinal
Mazarin. It is very scarce. In 1884 Mr. Quaritch bought a very fine copy
from the library of Sir John Thorold, for which he paid £3,900.
[3] _History of Wood-Engraving_, 1883.
[4] An English version, neither faithful nor complete, was published in the
time of Queen Elizabeth, '_At London, Printed for Simon Waterson, and are
to be sold at his shop in St. Paule's Churchyard at Chepegate, 1592._' It
is extremely scarce. Many of the pages, as giving examples of costume, have
lately been reprinted by authority of the Science and Art Department.
There is a French edition of Poliphilo, printed at Paris by Kerver in 1561,
with illustrations in a late florid French style.
[5] In a recent Catalogue, Mr. Quaritch offers no less than seven different
editions of the illustrated 'Livre d'Heures' printed by Verard, at prices
varying from 60l. to 200l.
[6] It was printed, with descriptions in black-letter, at the Chiswick
Press, and published by Joseph Cundall, 12 Old Bond Street, 1840.
[7] It is now issued by George Bell & Sons, who also publish Holbein's
Bible Pictures.