The Library [42]
in the perfection and opportunities of engraving on metal, are necessarily unnoticed in this rapid summary. As far, however, as book-illustration is concerned, copper and steel plate engraving may be held to have gone out of fashion with the "Annuals." It is still, indeed, to be found lingering in that mine of modern art-books--the "Art Journal;" and, not so very long ago, it made a sumptuous and fugitive reappearance in Dore's "Idylls of the King," Birket Foster's "Hood," and one or two other imposing volumes. But it was badly injured by modern wood-engraving; it has since been crippled for life by photography; and it is more than probable that the present rapid rise of modern etching will give it the coup de grace. {11}
By the end of the seventeenth century the art of engraving on wood had fallen into disuse. Writing circa 1770, Horace Walpole goes so far as to say that it "never was executed in any perfection in England;" and, speaking afterwards of Papillon's "Traite de la Gravure," 1766, he takes occasion to doubt if that author would ever "persuade the world to return to wooden cuts." Nevertheless, with Bewick, a few years later, wood-engraving took a fresh departure so conspicuous that it amounts to a revival. In what this consisted it is clearly impossible to show here with any sufficiency of detail; but between the method of the old wood-cutters who reproduced the drawings of Durer, and the method of the Newcastle artist, there are two marked and well-defined differences. One of these is a difference in the preparation of the wood and the tool employed. The old wood-cutters carved their designs with knives and chisels on strips of wood sawn lengthwise--that is to say, upon the PLANK; Bewick used a graver, and worked upon slices of box or pear cut across the grain,--that is to say upon the END of the wood. The other difference, of which Bewick is said to have been the inventor, is less easy to describe. It consisted in the employment of what is technically known as "white line." In all antecedent wood-cutting the cutter had simply cleared away those portions of the block left bare by the design, so that the design remained in relief to be printed from like type. Using the smooth box block as a uniform surface from which, if covered with printing ink, a uniformly black impression might be obtained, Bewick, by cutting white lines across it at greater or lesser intervals, produced gradations of shade, from the absolute black of the block to the lightest tints. The general result of this method was to give a greater depth of colouring and variety to the engraving, but its advantages may perhaps be best understood by a glance at the background of the "Woodcock" on the following page.
Bewick's first work of any importance was the Gay's "Fables" of 1779. In 1784 he did another series of "Select Fables." Neither of these books, however, can be compared with the "General History of Quadrupeds," 1790, and the "British Land and Water Birds," 1797 and 1804. The illustrations to the "Quadrupeds" are in many instances excellent, and large additions were made to them in subsequent issues. But in this collection Bewick laboured to a great extent under the disadvantage of representing animals with which he was familiar only through the medium of stuffed specimens or incorrect drawings. In the "British Birds," on the contrary, his facilities for study from the life were greater, and his success was consequently more complete. Indeed, it may be safely affirmed that of all the engravers of the present century, none have excelled Bewick for beauty of black and white, for skilful rendering of plumage and foliage, and for fidelity of detail and accessory. The "Woodcock" (here given), the "Partridge," the "Owl," the "Yellow- Hammer," the "Yellow-Bunting," the "Willow-Wren," are popular examples of these qualities. But there are a hundred others nearly as good.
Among sundry conventional decorations after the old German fashion in the first edition of the "Quadrupeds," there are a fair number of those famous tail-pieces
By the end of the seventeenth century the art of engraving on wood had fallen into disuse. Writing circa 1770, Horace Walpole goes so far as to say that it "never was executed in any perfection in England;" and, speaking afterwards of Papillon's "Traite de la Gravure," 1766, he takes occasion to doubt if that author would ever "persuade the world to return to wooden cuts." Nevertheless, with Bewick, a few years later, wood-engraving took a fresh departure so conspicuous that it amounts to a revival. In what this consisted it is clearly impossible to show here with any sufficiency of detail; but between the method of the old wood-cutters who reproduced the drawings of Durer, and the method of the Newcastle artist, there are two marked and well-defined differences. One of these is a difference in the preparation of the wood and the tool employed. The old wood-cutters carved their designs with knives and chisels on strips of wood sawn lengthwise--that is to say, upon the PLANK; Bewick used a graver, and worked upon slices of box or pear cut across the grain,--that is to say upon the END of the wood. The other difference, of which Bewick is said to have been the inventor, is less easy to describe. It consisted in the employment of what is technically known as "white line." In all antecedent wood-cutting the cutter had simply cleared away those portions of the block left bare by the design, so that the design remained in relief to be printed from like type. Using the smooth box block as a uniform surface from which, if covered with printing ink, a uniformly black impression might be obtained, Bewick, by cutting white lines across it at greater or lesser intervals, produced gradations of shade, from the absolute black of the block to the lightest tints. The general result of this method was to give a greater depth of colouring and variety to the engraving, but its advantages may perhaps be best understood by a glance at the background of the "Woodcock" on the following page.
Bewick's first work of any importance was the Gay's "Fables" of 1779. In 1784 he did another series of "Select Fables." Neither of these books, however, can be compared with the "General History of Quadrupeds," 1790, and the "British Land and Water Birds," 1797 and 1804. The illustrations to the "Quadrupeds" are in many instances excellent, and large additions were made to them in subsequent issues. But in this collection Bewick laboured to a great extent under the disadvantage of representing animals with which he was familiar only through the medium of stuffed specimens or incorrect drawings. In the "British Birds," on the contrary, his facilities for study from the life were greater, and his success was consequently more complete. Indeed, it may be safely affirmed that of all the engravers of the present century, none have excelled Bewick for beauty of black and white, for skilful rendering of plumage and foliage, and for fidelity of detail and accessory. The "Woodcock" (here given), the "Partridge," the "Owl," the "Yellow- Hammer," the "Yellow-Bunting," the "Willow-Wren," are popular examples of these qualities. But there are a hundred others nearly as good.
Among sundry conventional decorations after the old German fashion in the first edition of the "Quadrupeds," there are a fair number of those famous tail-pieces