1. The Chinese are said to have been the first who engraved figures or
letters on wood, for the purpose of printing. The precise time at
which they commenced the practice, is totally unknown; but a book
printed by them in the tenth century, is now extant. It is thought by
some antiquarians, that the Europeans derived the art from the
Chinese, through the Venitians, who traded in that part of the world
earlier than any other Europeans.
2. This opinion is somewhat probable, from the circumstance that the
tools employed by the early engravers in Europe, are similar to those
used in China; and also, like the Chinese, they engraved on the side
of the grain. However this may be, it is certain that the art was
practised in various parts of Europe in the fourteenth century. The
earliest subjects executed, were figures of saints, rudely engraved in
outline. The prints taken from them were gaily colored, and sold to
the common people as original paintings. The principal persons engaged
in this traffic were monks, to whom the art was confined for a
considerable time.
3. At length, larger subjects, with inscriptions in imitation of
manuscript, were executed. The success of these prints gave rise to a
more extensive application of the art. Scriptural subjects, of many
figures, with texts of scripture, were engraved, and impressions were
taken from them on one side of the paper, two sheets being pasted
together to form a leaf. Entire sets were bound up together, and thus
were formed the first printed books, which, being produced entirely
from wood-cuts, are known by the name of _block-books_. These books
made their appearance about the year 1420.
4. One of the earliest of these productions is denominated "The
Apocalypse of St. John;" another, "The Poor Man's Bible." But one of
the latest and most celebrated, is called "The Mirror of Salvation,"
published in 1440. Part of the text was printed from solid blocks, and
part, from moveable wooden types. From this fact, it is easy to
discover the origin of printing. After this, most, if not all, of the
books, were printed from moveable types; but, as they were
embellished with wood cuts, the demand for such engravings was very
much increased, although they were, at first, by no means elegant.
5. Near the close of the fifteenth century, the art began to assume a
higher character, principally by the talents of Michael Wolgermuth and
William Pluydenwurf. Albert Durer made still greater improvements,
and, in 1498, published his celebrated Apocalypse of St. John, printed
from folio blocks. Other celebrated engravers succeeded him in the
sixteenth century, which may be considered the era when wood engraving
was at its highest point of elevation. After this, the art declined,
and was considered of little importance, until it was revived in 1775,
by the distinguished William Bewick, of Newcastle, England. It is
still practised, especially in England and the United States, in a
manner which reflects credit on the ingenuity of the age.
6. The earlier artists operated on various kinds of wood, such as the
apple, pear, and beech; but these, being too soft, are now used only
for calico-printing and other common purposes. Box-wood, on account of
its superior texture, is used for every subject that can be termed a
work of art. That from Turkey is the best.
7. The engravers, in the infancy of the art, prepared the wood as the
common block-cutters now do. The tree was cut the way of the grain, in
planks, and of course they engraved on the side of the grain, as upon
a board. This mode of preparation enabled them to execute larger
subjects. The engravers now prefer the end of the grain, and therefore
cut the log transversely.
8. The end on which the engraver is to exert his skill, is planed and
scraped, to render the surface smooth, and the block having been cut
to the proper size, the drawing is made upon it in India ink, or with
a lead-pencil. The block is now ready for the artist who, in executing
the work, holds it with one hand, on a cushion made of sand and
leather, while, with the other, he cuts away the superfluous wood. The
part intended to make the impression in printing, is left standing.
9. Wood engravings, well executed, are scarcely inferior to those of
copper and steel, and, for many purposes, they are preferred. They are
remarkably convenient, since they can be inserted into a page of
types, where illustrations or embellishments may be required, and be
printed without separate expense. They will also bear a great number
of impressions--generally 100,000. In this respect, they are decidedly
superior to metallic plates. They can likewise be multiplied
indefinitely by the process of stereotyping.