A History of Wood-Engraving

Name: A History of Wood-Engraving
Author: Woodberry, George Edward

Woodberry, George Edward

Wood-engraving; Wood-engraving -- Bibliography

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.

Public-domain text, read in full here on John Shaqi.

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A History of Wood-EngravingWoodberry, George Edward

History

A History of Wood-Engraving

Woodberry, George Edward

Wood-engraving; Wood-engraving -- Bibliography

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.

Public-domain text, read in full here on John Shaqi.

A History of Wood-Engraving

A History of Wood-Engraving

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