706 CATALOGUE OF GRAPHIC ART EXHIBIT. 



culminating points in the sixteenth century, under the influence of 

 Diirer. (See Frame 1.) In this period the aim was to produce the effect 

 of a drawing in black lines on a light ground, generally a fac-simile of 

 a pen-and-ink drawing. Hence the work of this period is often spoken 

 of as black-line fac-simile work. The wood then used was that of the 

 pear tree, the poplar, etc., cut along the fiber (in planks) ; the tools were 

 small knives. The history of wood-engraving is sharply divided into 

 two i)eriods, the second of which, after the art had greatly deteriorated, 

 begins in the latter part of the eighteenth century. The graver then 

 took the place of the knife, and for the plank was substituted wood cut 

 across the grain, generally box-wood. The engravers gradually aban- 

 doned mere fac-simile work, and strove to render or suggest effects of 

 color. In this endeavor they were largely aided, and indeed were partly 

 forced to make it, by the introduction of photography. While the old 

 engraver had before him a drawing made upon the block in lines, the 

 modern engraver has to work from a photograph upon the wood, which 

 in most cases shows no lines at all. He merely has masses, effects of 

 light and shade, and suggestions of color values, and these he must 

 render as best he can. Technically the distinctive characteristic of 

 modern wood-engraving is the white line, as the graver, used freely in 

 accordance with its natural capacities, produces a sunken line, which 

 does not i)rint, and therefore shows white in the impression. This white 

 line is veiy plainly to be seen in the work of Thomas Bewick (Frame 2, 

 No. C), who is called the father of modern wood-engraving. In the wort 

 of the later engravers it is more and more hidden, because they strive 

 for tone and color rather than for line, and endeavor to produce the ef- 

 fect of paintings, instead of drawings. Fac-simile work, as a matter 

 of course, is still done, but is delicate rather than vigorous. 



Frame 1. — Wood-engraving in the sixteenth century. — Albert Dlirer 

 (1471-1528) : No. 1, The Death of the Virgin, 1510. No. 2, The Arms 

 of Nuremberg, 1521. No. 3, The Virgin Crowned, 1518. No. 4, The 

 Supper at Emmaus. — Hans Baldung Grien (1470 ?-1552) : Fighting 

 Horses, 1534. 



Frame 2. — Modern English wood-engraving. — No. C, Thomas Bewick 

 (1753-1828). No. 7, John Thompson, 1S2G. No.. 8, Charlton Nesbit, 

 1818. No. 9, Henry Linton, Illustrated London News. No. 10, W. L. 

 Thomas. No. 11, C. Eoberts, Loudon Graphic. 



Frame 3. — Modern German tcood-engraving.—^o. 12, Edward Kretzsch- 

 mar, 1850. No. 13, A. Vogel, 1878. No. 14, William Hecht. No. 15, M. 



