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THE HISTORY OF WOOD-ENGBAVING. 169
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Transcript
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
Additionally, when viewing full transcripts, extracted text may not be in the same order as the original document.
Ny» In Its Ancient And More General Sens...
of materials from one place to another ; sometimes finding employment in a monastery , and occasionally taking up their temporary
abode in a small town , removing to another as soon as public curiosit began y was to s decline atisfied . , and As the they demand seldom for put the their productions names or of that their of
to the press decide place on to the the works locality which or the they dat printed e of many , it is old extremel books p y rinted difficult in
and Germany that . they It is themselves very likel engraved y they were such their woodcuts own letter as they -founders might ,
require . Not unfrequently too , one cut is repeated in the same book a work eig called ht or ten the times £ Nuremberg ;—a notable Chronicle instance ' in of which this is may the be head seen of in a
, scratching not over interesting his skull , who individual figures first , most as the earnestl lover y of but " the inelegantl maid who y
caused the fall of Troy , " afterwards as Thales , then as Odofuedus , and The lastl practice y as the of poet introducing Dante ! woodcuts into printed books seems
first to have been generally adopted at Augsburg , and in a few years this custom became universal throughout all Germany .
Towards the latter end of the 15 th century a practice was introtheir were duced intended subjects by the German with to white wood li , more ht -engravers on especiall a dark of y ground dotting in cuts ; where the and dark this the mode part figures s of of
appear g prevalent Germans " killing the and among black Dutch the , " as continued French it is technicall wood to practise -engravers y called it till , , who was about , very as 1520 well generall , as when the y
, it was almost wholly superseded by cross-hatching—a method of producing shade much practised by the early German engravers : it
is in fact nothing more than black lines crossing each other diagonally ; and in drawing on wood it lines is easier but in to produce shade wood by
it this to is cut precisel means out the than y the interstices b revers y thickening e of ; for lines it the crossing is easier ; each to leave other engraving a . thick Jackson line on than says
that in most of the woodcuts supposed to have been engraved by Albert Durer we find cross-hatching freely introduced ; from which not
circumstance he is inclined to think that that great artist was his endeavoured own engraver to attain , for , his had obj such ect b been y means the case which , he were would easier have of
a execution vast amount ; for of thoug labour h cross . Moreover -hatching , in needs the works little talent of men , it who requires , like
Berwick and other modern engravers , made their own drawings , we always One of find the cross peculiar -hatching advantages sparing of l wood y introduced -engraving . is the effect with
which has availed strong himself shades with can be the represented greatest skill , and ; neither of this oug Albert ht it Durer to be
fo The rgotten art of that imitating to this drawings great man —called we owe chiaroscuro the discovery —by mean of etching s of im- .
The History Of Wood-Engbaving. 169
THE HISTORY OF WOOD-ENGBAVING . 169
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Citation
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English Woman’s Journal (1858-1864), May 1, 1858, page 169, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/ewj/issues/ewj_01051858/page/25/
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