Graham's Magazine, Vol. XLI, No. 6, December 1852. Various

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СКАЧАТЬ the great expense and very inferior durability of copper, and the coldness, hardness, and absence of richness which seem to be inherent to steel, having gone far to banish both from general use as ornaments or additions to printed books.

      As the finest of all methods of reproducing large pictures and fine productions of art; as affording exquisite adornments for the walls of ornamented apartments – vastly superior, would people but believe it, to second-rate oil-paintings – as the legitimate treasures of hoarded portfolios, fine copperplate-engravings will and must ever hold their place. But for the illustration of books – as books must now be – accessible to the million, we fully believe that wood is the best, and soon to be almost the sole material.

      The day of steel,1 we think and hope, is already past, for though we have seen good things executed on that most thankless and intractable of substances, we never saw such that we did not regret the time, the talent, and the toil, so comparatively wasted.

      Now, to return to the history of wood-cutting proper, we find that but little improvement was effected in the mechanical part, little filling in, very slight efforts at representing texture, and scarcely any chiaro-scuro having been attempted, previous to the invention of movable types and the use of the press.

      It is probable that Gutenberg first conceived the idea of movable types, at Strasburg, in or about 1436; and that “with the aid of Faust’s money, and Sheffer’s ingenuity,”2 the art was perfected at Mentz in or about 1452. “In the first book which appeared with a date and the printer’s name,” continues the author I have quoted above – “The Psalter printed by Faust and Scheffer at Mentz, in 1457 – the large initial letters, engraved on wood, and printed in red and blue ink, are the most beautiful specimens of this kind of ornament which the united efforts of the wood-engraver and the pressman have produced. They have been imitated in modern times but not excelled. As they are the first letters, in point of time, printed with two colors, so are they likely to continue the first in point of excellence.”

      From this time the art made rapid progress, as connected with the press, which in a very rude and primitive state now came generally into vogue, though the machine of 1460 was as far different from one of Hoe’s marvelous power-presses as is an Indian’s bark canoe from an Atlantic steamer.

      Between this date and the conclusion of the century, we find one wood-engraving by an unknown author, the frontispiece of Breydenbach’s Travels, so infinitely superior to every thing that succeeded it for many years as to deserve special notice. It contains the first specimen of cross-hatching known to exist, and attempts both shade and color, not without considerable effect. It is said, by the author above quoted, “not to be only the finest wood-engraving up to that date, but to be in point of design and execution as far superior to the best cuts in the Nuremberg Chronicle, as Albert Durer’s designs are to the cuts in the oldest edition of the ”Poor Preacher’s Bible.“ The engraved frontispiece, in question, bears the date 1486, the Nuremberg Chronicle of 1493; and the Biblia Pauperum, as it is – probably erroneously – called, in various editions from 1462 to 1475.”

      The following cut is a representation of the press in use at this period, and for some considerable time afterward. It is a fac-simile of an engraving of “the press of Jodocus Badius Ascensianus, from the title page of a book printed by him in 1498.”

      The above engraving, although it is not inserted here as a specimen of the style of engraving at this date, but merely as a representation of the machinery in use at the time, may be regarded, on the whole, as about on an average with the ordinary work of the period, both as to design and execution; it is vastly superior to the cuts of the “Biblia Pauperum,” and “Speculum Humanæ Salvationis,” and yet more so to that of the Nuremberg Chronicles; it is inferior to the frontispiece of Breydenbach’s Travels, which, it has been stated above, is the chef-d’œuvre of this epoch; but, although slight and sketchy, it is in all respects superior to the hideous monstrosities which disgrace, in lieu of ornamenting, four-fifths of the cheap publications of the day.

      We have now, however, arrived at a period when wood-engraving became not merely a calling, but an art; when painters of the highest degree, higher than ever before or since, were proud and pleased, and, what is more, able to be designers on wood for the engravers. From this date, until the troubles of the civil war and commonwealth in England, and religious conflicts on the continent of Europe, annihilated the arts, put the muses to flight – with one sublime exception – and almost overthrew society itself, such painters as Wolgemuth, and Pleydenwurth, Cranach, and Burgmair, and more famous yet, Albert Durer and Hans Holbein, became the chief patrons and promulgators of the art, constantly themselves designing and completing drawings on wood, for the engraver, although there is no reason for believing – but on the contrary every reason for denying – that these illustrious men ever employed themselves in actual cutting; which was then a process purely mechanical, practiced by persons utterly devoid of all knowledge either of composition or correct drawing. At this time, all the merit of the wood-cut rested with the designer and artist, none with the wood-cutter. Now it is shared by both alike, and to produce an excellent wood-engraving, excellence both in the artist and the engraver is indispensable. Of a bad or indifferent34 composition and design, the best engraver that ever lived cannot make a good picture. And in no smaller degree will the best picture ever composed and drawn by the best artist be ruined, and prove an utter failure, if intrusted to the hands of an ignorant, incompetent, or reckless engraver.

      Albert Durer – of whom the following cut is a fac-simile likeness, from a wood-engraving designed by himself – was born at Nuremburg, May 20, 1471, the son of Albert Durer, a goldsmith by profession, a Hungarian by birth.

      In those days goldsmiths were artists of the highest order; necessarily sculptors, designers and engravers – witness Benevenuto, Cellini, and others, such as Bandinelli, and various great Italians, whom it would be too long to note, scarcely inferior.

      Ambitious of greater things, Durer became apprentice to Michael Wolgemuth, the principal painter of his age and country; and, after having served his time, traveled, married unhappily, and died ere he reached old age, but not before he obtained world-wide, and time-defying renown, as a great painter, as more than a great copperplate-engraver – for it is only the greatest of the present day who are capable of producing fac-similes of his works – and, what most concerns us, as a great patron and promoter of wood-engraving.

      That he was no wood-engraver himself, is we consider certainly proved, although by proofs negative.

      They are briefly these.

      The designs of the wood-cuts ascribed to Albert are in all respects equal to the designs of copper-engravings, known to be both designed and engraved by himself.

      The execution and handling on his copperplates is superior to those of any other artist of his day.

      Of his wood-cuts, while the designs are transcendent, the execution is ordinary; nor is there any perceptible variation between the execution of the cuts attributed to him, and those known to have been cut by Resch, from his designs.

      The style of Durer’s drawing on wood shows the hand of a man used to copper; and is not that the best calculated for producing effects on wood.

      Now it is scarcely credible, or even to be imagined, that an artist, who should have attained, himself almost untaught – for whoever they were, he manifestly surpasses all his teachers – such wonderful power and facility in engraving on one substance, should not, with equal practice on a different substance, have evinced the same – or at least some– superiority in handling it.

      “There are about two hundred subjects, engraved СКАЧАТЬ