[Footnote IV-54: The expression “adhibitis tamen viris mathematicis” in the Nuremberg Chronicle, is evidently borrowed from that,--“subinde mathematicis adhibitis viris,”--in the dedication of Bukinck’s Ptolemy, 1478, to the Pope. “Mathematical men,” in the present sense of the term, might be required to construct the maps in the edition of Ptolemy, but scarcely to design or engrave the vulgar figures and worthless views in the Nuremberg Chronicle.] [Illustration] The above head, which the owner appears to be scratching with so much earnestness, first occurs as that of Paris the lover of Helen; and it is afterwards repeated as that of Thales, Anastasius, Odofredus, and the poet Dante. In a like manner the economical printer has a stock-head for kings and emperors; another for popes; a third for bishops; a fourth for saints, and so on. Several cuts representing what might be supposed to be particular events are in the same manner pressed into the general service of the chronicler. The peculiarity of the cuts in the Nuremberg Chronicle is that they generally contain more of what engravers term “colour” than any which had previously appeared. Before proceeding, however, to make any further observations on these cuts, I shall endeavour to explain what engravers mean by the term “colour,” as applied to an impression taken with black ink from a copper-plate or a wood-block. Though there is no “colour,” strictly speaking, in an engraving consisting merely of black and white lines, yet the term is often conventionally applied to an engraving which is supposed, from the varied character of its lines and the contrast of light and shade, to convey the idea of varied local colour as seen in a painting or a water-colour drawing. For instance, an engraving is said to contain much “colour” which appears clearly to indicate not only a variety of colour, but also its different degrees of intensity in the several objects, and which at the same time presents an effective combination of light and shade. An engraver cannot certainly express the difference between green and yellow, or red and orange, yet in engraving a figure, say that of a cavalier by Vandyke, with brown leather boots, buff-coloured woollen hose, doublet of red silk, and blue velvet cloak, a master of his art will not only express a difference in the texture, but will also convey an idea of the different parts of the dress being of different colours. The Rent Day, engraved by Raimbach from a painting by Wilkie, and Chelsea Pensioners hearing the Gazette of the Battle of Waterloo read, engraved by Burnet from a picture by the same artist, may be instanced as copper-plate engravings which contain much “colour.”