16 



Processes and Schools of Eiiyraving. 



Niecolo Boldrini. Yicenza, Venice. Worked until about I066. 

 The identification with Giuseppe Niccolu Vicentino, the chiaroscuro 

 cutter, is uncertain. 



Among other woodcutters of the middle and latter part of the XVlth 

 century the most noteworthy are : 



Giuseppe Scolari. Vicenza. "Worked about 1580. Of particuJar 

 interest for his use of the white line. 



Jost Amman. Zurich, Nm-emberg. 1539-91. 



Virgil Solis. Nuremberg. 1514-62. 



Tobias Stlmmer. Schaffhausen. 1539-after 1583. 



Bernard Salomon. Lyons. About 1508-61 ? 



The XYIIth and XYIIIth centuries form a somewhat bar]-en period 

 in the history of woodcut. In the XVIIth century the best work 

 (omitting chiaroscuro, of which a survey is given below) was being done 

 in the Netherlands by the following masters : 



Christoffel Jegher. Antwerp. 1596-about 1652. Worked chiefly 

 after Eubens. 



Jan Lievens. Leyden. Amsterdam, England, Antwerp, the Hague. 

 1607-74. A few very fine portraits. 



Dirk de Bray. Haarlem. Worked about 1656-77. 



In France the most notable name is— 



Jean Michel Papillon. Paris. 1698-1776. He produced an 

 enormous number of small cuts for book' illustration and decoration. 



The modern period of wood- engraving may be said to date from the 

 time of Thomas Bewick (Newcastle; 1753-1828). Bewick's particular 

 merit lies in the revival of the use of the white line in wood-engraving. 

 Moreover, blocks of boxwood cut across the grain were first introduced 

 in his time, and a comparison of Papillon's work with Bewick's imme- 

 diately shows the added clearness and delicacy achieved thereby in small 

 illustrations. 



A few most beautiful woodcuts were also produced by the great 

 imaginative artist, William Blake (1757-1827). Blake is more 

 peculiarly interesting for his original method of etching in relief, by 

 which he multiplied and illustrated the books of poetry and prophecy 

 for which he could find no publisher. These plates, being printed in 

 relief, are classed in the same categorj' as woodcuts. 



Of other wood-engravers of the late XYIIIth and early XlXth 

 centuries we mRj mention : 



Charlton Nesbit. Newcastle, London. 1775-1838. 



Luke Clennell. Newcastle, London. 1781-1840. 



William Harvey. Newcastle, London. 1796-1866. 



. Harvey and the two preceding were pupils of Bewick. 



Allen Bobert Branston. London. 1778-1827. 



Jolin Thompson. London. 1785-1866. 



Both Branston and Thompson kept more to the black-line method 

 than the Bewick school, imitating somewhat too closely the convention 



