SCIENCE IN THE INDUSTRIAL WORLD 



at a premium, the best artists frequently working in 

 conjunction with their engravers, or stipulating with 

 publishers that only certain engravers should be allowed 

 to reproduce their work. 



As a natural outcome of this position of artist and 

 engraver, disputes were constantly arising between the 

 two classes of men, each claiming the lion's share of 

 credit for a good illustration, or placing the blame upon 

 the other in case of poor work. A characteristic attitude 

 of the artist toward the engraver is shown in an expres- 

 sion of one of the artists illustrating for Punch in the 

 early days. ' ' Here is the drawing, ' ' he remarked ; ' ' now 

 see the engraver spoil it" which, as a matter of fact, he 

 frequently did. 



There was another method of drawing, however, 

 whereby very little was left to the artistic skill and in- 

 terpretation of the engraver. That was where the draw- 

 ing was made in lines with a pen by the artist himself, 

 the task of the engraver in such cases being simply to 

 cut out the spaces between the lines. In this way the 

 artist's work was reproduced with great fidelity, and 

 the onus of the result obtained rested entirely with him. 

 The engravers working upon this kind of drawings 

 required relatively little skill as compared with the ones 

 who determined their own lines for reproduction. 



The amount of work and time required to make even 

 small wood-engravings with a comparatively coarse 

 line, will be apparent to anyone by glancing at a print 

 of such a block. Every line, some almost microscopic 

 in size, must be cut out carefully with an engraving 

 tool. Not only is this a tedious task, but one requiring 



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