12. ILLUSTRATION of an engraver cutting a wood-block, showing his position and method of holding the knife or graver _(Kogatana)_ with which the outlines are first incised. A colour-print, in the Japanese manner, by Emil Orlik, of Prague. E. 797-1912 13. ILLUSTRATION of the process of making colour-prints, showing various stages of cutting the blocks, sharpening the tools, damping the paper; and the tools and materials of the printer. A 3-sheet colour-print, by Utagawa Kunisada, _signed_ “Toyokuni” (A.D. 1785-1864). The process is fancifully represented as being carried out by women. J. 3203. This print is imitated from one by Utamaro, a portion of which is illustrated herein _(Frontispiece)._ 14. CHISELS _(Nomi)_ used in cutting the block. The outlines are first cut with a graver _(Kogatana)_ somewhat similar to that used by European wood-engravers. E. 4333-4343-1909. 15. STONE _(Koshito)_ for sharpening tools. E. 4345-1909. 16. STONE _(Awasedo)_ for polishing the surface of the Koshito. E. 4346-1909. 17. MALLET _(Saizuchi)_ used with tools for cutting away the superfluous wood. E. 4344-1909. 18. DIAGRAM, showing the most economical way of cutting a log into blocks for printing (fig. 1). 19. DIAGRAM, showing method of framing a block to prevent warping (fig. 2). ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ PRINTING The Printing of the old colour-prints was done by a third person, neither the engraver nor the designer. The finished block must first be thoroughly washed and dried. The colour is then applied with a brush, to the upper surface of the block, which rests on a low stand _(Suridai)_ to which are affixed four small cushions of wet cotton _(Yawara)_ to prevent slipping (fig. 6). This stand should have a downward slope of about 2 inches in 1 foot. The paper is wetted, about 6 hours before being used for printing, and hung up to drain. For the actual printing, it is laid on the upper surface of the block, register _(Kento)_ being secured by means of an angular cut at one corner (Plate III.) called the “key” _(kaji)_; and a line cut at another, called the “draw-close line” _(hikitsuki)._ No other means of adjustment is used, but the skill of the old printers was so great that faults of register can very seldom be observed. The impression is then rubbed off with the _Baren,_ used with a circular or zig-zag movement (fig. 5); and this operation is repeated in succession with each block, beginning with the key-block, until the prints are complete. It is the modern, and was probably the old practice, to take the required number of proofs from each block in succession; and not to complete each print separately. The writer has observed that a modern Japanese printer takes an impression in from 15 to 25 seconds, without special effort. The colours used were as follows:—