# A History of Wood-Engraving/Index

INDEX.
* Adams, Joseph Alexander, 173.
* Altdorfer, Albrecht, 111.
* America: earlier history and characteristics of the art, 171–177; present position and influence, 177, 178; works in imitation of other arts, 185; errors in practice, 190, 202; future of the art, 202–206.
* Amman, Jobst, 114.
* Anderson, Alexander, 172.
* Andreani, Andrea, 146.
* Anthony, A. V. S., 176.
* Ars Memorandi, 43.
* Ars Moriendi, 43.
* Augsburg: prints, 26; playing-cards, 27; Bible, 52; press, 46, 57.
* Baldung, Hans, 110.
* Bamberg: press, 56.
* Basle: characteristics of the city in Holbein’s time, 117.
* Behaim, Hans Sebald, 112–114.
* Bernard, St.: his rebuke of art, 14.
* Best, Adolphe, 169.
* Bewick, Thomas: the father of modern wood-engraving, 151; sketch of his life, 154; reforms effected by him, 154; character of his genius, 154–160; his works, 161; influence on the art in America, 172.
* Bible: the Cologne, 49; the Nuremburg, 50; the Augsburg, 52; the Strasburg, 50; Coverdale’s, 132; le Clerc’s, 139; Jean de Tournes’, 141; Harper’s, 173.
* Bible cuts: Behaim’s, 113; Holbein’s, 129–131; Jean Moni’s, 141.
* Biblia Pauperum: their use, 31; designs not original, 32; description, 33; place of issue, 37.
* Blake, William, 162.
* Block-printing: invention, 30, 31, 42; decline, 45.
* Boldrini, Nicolo, 144.
* Bouts, Diedrick, 39.
* Branston, Robert, 164, 167.
* Bray, Theodore de, 147.
* Brevière, Henri, 169.
* Breydenbach’s Travels, 55.
* Brontë, Charlotte, criticism of Bewick, 159–161.
* Brosamer, Hans, 114.
* Brothers of the Common Lot: their claim to the authorship of the block-books, 39.
* Brussels: print of 1418, 23.
* Burgkmaier, Hans: genius and works, 99–106; influence on Holbein, 117.
* Calcar, Jean, 146.
* Carpi, Ugo da, 87, 146.
* Caxton, William: Game and Playe of the Chesse, 63.
* Chiaroscuro-engraving, 87–89, 146, 148, 187–189.
* Christopher, St.: print of 1423, 22.
* Chronicles: general description, 52; the Cologne, 53; the Nuremberg, 53; the Saxon, 53.
* Clennell, Luke, 164, 167.
* Cole, T., 197, 200.
* Cologne: early school of art, 42, 43; Bible, 49; Chronicle, 53; press, 57.
* Color: in the holy prints, 26 note; in early German books, 52; in the Livres d’Heures, 60, 61; in chiaroscuro-engraving, 87.
* Color, conventional, 55, 151, 152.
* Copperplate-engraving: influence on wood-engraving, 47, 91, 112, 141, 149, 164, 176, 182.
* Coriolano, Bartolemeo, 146.
* Coster, Lawrence: claim to the invention of wood-engraving, 21.
* Cousin, Jean, 136–139.
* Cranach, Lukas, 110.
* Criblée-work: description, 18; in France, 62, 63.
* Cross-hatching: first use in Germany, 55; in Italy, 86; its propriety in wood-engraving, 152, 186.
* Cunio, Isabella and Alexander Alberico, 20.
* Dalziel, the Brothers, 168.
* Dance of Death: typical mediæval idea, 121; Holbein’s, 123-129; Guyot Marchand’s, 62.
* Davis, J. P., 197.
* Day, John, 147.
* Didot, Firmin (père): his influence on the French revival of the art, 163.
* Dream of Poliphilo, 70–81, 137, 138.
* Du Pré, Jean, 60.
* Dürer, Albert: influence on the art, 90; character of his genius, 91, 92; Apocalypse of St. John, 93, 94; Larger Passion, Smaller Passion, Life of the Virgin, 95–97; single prints, 97; Car and Gate of Triumph, 97–99.
* England: early woodcuts, 63; the art in Holbein’s time, 132, 147, 148; modern revival, 151, 164.
* Evans, Edmund, 168.
* Form, value of, in wood-engraving, 193.
* France: early books in French, 58; early woodcuts, 59–63; influence of Germany and Italy, 62, 135; character of the French Renaissance and its art, 135–141; the modern revival, 163, 169.
* French, Frank, 196.
* Genre art, first appearance in wood-engraving, 121.
* Germany: German block-books, 42, 43; activity and influence of the early printers, 46, 47; the free cities, 48; character of the early press, 48, 56, 57; influence on France, 62; on Italy, 67; on Venice, 68; chiaroscuro-engraving, 87; the Renaissance, 91, 97, 110, 111, 115; decline, 148; the modern revival, 163, 169.
* Gilbert, Sir John, 168.
* Goldsmiths, mediæval: their art-works, 14–16; position in France and the Netherlands, 17; their claim to the invention of wood-engraving, 18, 19.
* Goltzius, Hendrick, 147.
* Goujon, Jean, 139.
* Greche, Domenico delle, 145.
* Gregory the Great: his defence of art, 31.
* Groups, modern, 195–200.
* Gubitz, Friedrich Wilhelm, 163.
* Harvey, William, 167.
* Historia Johannis Evangelistæ ejusque Visiones Apocalypticæ, 42.
* Historia Virginis Mariæ, 41.
* History of the Kings of Hungary, 53, 54.
* Holbein, Hans: the first modern artist, 116; character and development of his genius, 117–120; early work, 120; Dance of Death, 123–128; his democratic, reforming, and sceptical spirit, dramatic and artistic power, 120–127; Figures of the Bible, 129–131; his English portraits, 131; his English woodcuts, 132; summary of his powers and influence, 132–134.
* Holy prints, 21–26.
* Hoskin, Robert, 195.
* Hypnerotomachia Poliphili: illustration of the Italian Renaissance, 70–81; the French reproduction, 137, 138.
* Initial letters: in Faust and Scheffer’s Psalter, 46; in the Augsburg Bible, 52; in Italy, 86; in Holbein’s alphabets, 120, 121.
* Italy: artistic spirit, 65; democratic civilization, 66; the Renaissance, 67; introduction of printing, 68; early cuts, 68; general characterization of the engraved work, 85; decline, 86; chiaroscuro-engraving, 87–89; influence on Holbein, 117, 118.
* Jackson, John Baptist, 148.
* Jegher, Christopher, 147.
* Jerome, St., Epistles of, 70, 71.
* Juengling, F., 195, 200.
* Kerver, Thielman, 62.
* King, F. S., 189, 193.
* Kirkall, Edward, 148.
* Kruell, G., 200.
* Landscape, modern, 186–195.
* Lavoignat, H., 169.
* Le Caron, Pierre, 60.
* Le Clerc, Jean, 139, 140.
* Leech, John, 168.
* Leloir, Auguste, 169.
* Le Rouge, Pierre, 60.
* Le Sueur, Pierre, 148.
* Leyden, Lukas van, 110, 147.
* Linton, W. J., 168, 176, 200.
* Little Masters, 111.
* Livens, Jean, 147.
* Livres d’Heures, 60–62.
* Lorch, Melchior, 114.
* Lorme, Philibert de, 140.
* Lucchesini, 148.
* Lützelburger, Hans, 129.
* Lyons: earliest seat of the art in France, 59; character of the earlier press, 59; the later press, 140.
* Magazines: use and influence, 167.
* Marchand, Guyot, 60, 62.
* Marsh, Henry, 176, 186.
* Maximilian, Emperor: life and character, 97; works executed by his order—the Triumphal Car, 98; Gate of Triumph, 99; the Triumphal Procession, 99–105; The Adventures of Sir Tewrdannekh, 106; The Wise King, 106; influence of his patronage, 109.
* Mayence press, 46, 53, 55, 57.
* Metal-engraving earlier than wood-engraving, 18.
* Middle Ages: position of goldsmiths, 14–18; impersonal spirit, 26; value of painting, 28, 31; immobility of mind, 32; religious temper and intellectual life, 40, 41; art, typical, 53; illustrated by Dürer, 92; by Maximilian’s works, 99–105; by the Dance of Death, 121.
* Moni, Jean, 141.
* Nanto, Francesco da, 145.
* Nesbit, Charlton, 164.
* Netherlands: civilization in, 37; wood-engraving probably invented in, 38; decline of, 47, 57, 147.
* Nicolo, Giuseppe, 146.
* Nuremburg: prints, 26; playing-cards, 27; Bible, 50; Chronicle, 53; press, 57, 114.
* Painting, place of, in mediæval popular civilization, 28, 31.
* Papillon, Jean, the Elder, 148; the Younger, 20.
* Paris: character of the Parisian press, 59, 60; early books and printers, 60; the Livres d’Heures, 60; secular books, 62, 63.
* Périssin, Jacques, 140.
* Pfister, Book of Fables, 56.
* Pigouchet, Philippe, 62.
* Playing-cards, 27.
* Pleydenwurff, William, 53.
* Pliny, reference to Varro’s portraits, 20.
* Porret, 169.
* Porto, Giovanni Battista del, 145.
* Portraits, modern, 198, 200–202.
* Principles of wood-engraving, 180–185.
* Processes: engraving in relief on wood known to the ancients, 13; of taking impressions, 17; en manière criblée, 18; of taking off the holy prints, 21, 22; of block-printing, 30; of cross-hatching, 55; of chiaroscuro-engraving, 87–89; white-line and Bewick’s other reforms, 151–155.
* Pynson, Richard, 64.
* Raimondi, Marc Antonio, 96, 142.
* Reformation reflected in wood-engraving, 51, 112, 117, 120, 126, 132.
* Rembrandt, 147.
* Renaissance: in Italy, 67–85; in Germany, 91, 97, 110, 111, 115; in France, 135–141.
* Romances, popular, 59, 141.
* Rubens, P. P.: reproductions after his designs, 147.
* Ruskin, John: criticism on Holbein, 126; on Bewick, 155.
* Saints’ images, 21–26.
* Salomon, Bernard, 140–141.
* Sand, George, criticism of Holbein, 124.
* Satire: in Bible-cuts, 50, 51; in the Little Masters, 112; in Holbein, 120, 132.
* Saxony: Chronicle, 53.
* Schatzbehalter, 54.
* Schäuffelin, Hans, 106.
* Schön, Erhard, 114.
* Scolari, Giuseppe, 145.
* Sebastian, St.: print of 1437, 23.
* Secularization of art, 50, 110, 111.
* Sichem, Christopher van, 147.
* Smith, Orrin, 167.
* Solis, Virgil, 114.
* Speculum Humanæ Salvationis: description, 34; place of issue, 36; authorship, 38 note, 39; character of the cuts, 40.
* Spirituale Pomerium, 39.
* Springinklee, Hans, 106, 110.
* Stamps, engraved, early use, 13.
* Stimmer, Tobias, 114.
* Strasburg: Bible, 50; press, 57.
* Suger, defence of art, 15.
* Tenniel, John, 168.
* Tewrdannekh, Sir, Adventures of, 106.
* Thompson, John, 164.
* Titian, reproductions after his designs, 144–146.
* Tortorel, Jean, 140.
* Tory, Geoffrey, influence on French engraving, 135.
* Trento, Antonio da, 146.
* Turrecremata’s, Cardinal, Meditations, 68.
* Ulm: prints, 26; press, 57.
* Unger, Johann Georg, and Johann Gottlieb Friedrich, 163.
* Van der Weyden, Roger, 42.
* Van Eyck, 36, 37, 42.
* Varro, portraits in his works, 20.
* Vecellio, Cesare, 146.
* Venice: claim to the origin of wood-engraving, 20; decree forbidding importation of prints from Germany, 27; early cuts, 68; early views of the city, 69; later cuts, 82–87, 143–147.
* Verard, Antoine, 60, 62.
* Vesalius’s Anatomy, 145.
* Vinci, Leonardo da, 142.
* Vostre, Simon, 62.
* White line: description, 151; influence on the art in Bewick’s hands, 153; the engraver’s province, 154, 184.
* Wise King, The, 106.
* Woeiriot, Pierre, 140.
* Wohlgemuth, Michael, 53, 54.
* Worde, Wynkyn de, 64.
* Zainer, Gunther, 46, 52.
THE END.