ages of Gothic barbarity and monkish superstition, which obscured the light and glory of Europe, much of the knowledge of the fine arts was lost; and, perhaps, the clouds of ignorance and obscurity fell upon the business of the engraver; so that, possibly, the Florentines had to explore the secrets of the art among the rubbish of antiquity; and, in the course of their researches they accidentally displayed some new ideas, as was the case with Finiguerra. The progress and discoveries of the modern European engravers, I will proceed to state under the head of

Modern Engraving, on Wood, Copper, &c.

A BOOK published at Leipsic in 1771, without the name of the author, and under the title of "Idée générale d'unes Collection complette des Estampes; avec une Dissertation sur l'Origine de la Gravure, et sur les premiers Livres d' Images," opposes, in some measure, the opinions of the best writers on the origin of Printing in Europe. The author's attention was particularly directed to engraving, and to an examination of wooden cuts in books of the earliest dates, which led, of course, to an investigation of the printing of those books. This author traces the origin of cutting on wood, as far back as the year 1423, and he attributes it to artists employed in making cards; which artists, he says, proceeded from little pictures of saints, to small pieces

of history; intended for the instruction of youth, and for purposes of devotion. This, he thinks, gave the hint to Guttemburg, when he lived in Strasburg, of cutting single letters. Like several German writers, he is not willing to allow the claim of Holland to the discovery of Printing; or to admit Laurentius, alias Coster, to be either a printer, engraver, or carver, and treats his pretensions to the discovery as fictitious. But Meerman's investigations have settled this business, by producing full and ample testimony in favor of Laurentius.

The anonymous writer, of Leipsic, states, that of all the modes of engraving for the press, the most ancient is, that on wood; or, to speak more technically, the first impressions on paper were taken from carved wooden blocks. For this invention, he observes, we are indebted to the breef-malers, or makers of playing cards, who practised the art in Germany in the 15th century. From the same source may, perhaps, be traced the first idea of moveable types, which appeared not many years after; for then breef malers did not entirely confine themselves to the printing and painting of cards; but produced, also, subjects of a more devout nature; many of which, taken from holy writ, are still preserved in the different libraries in Germany, with the explanatory texts, facing the figures, the whole engraved rudely in wood. In this manner they even formed a species of books, such as Historia sancti Johannis ejusque visiones apocalyptica; Historia Veteris Novi Testamenti, known by the name of "The Poor Man's Bible." These short mementos were printed only on one side, and two

of them, being pasted together, had the appearance of a single sheet or leaf. The anonymous writer then mentions, that the earliest date found on these wooden cuts is 1423. The subject is, St. Christopher, carrying the infant Jesus over the sea, which was preserved in a convent at Buxheim near Memmengen; and, that " it is of a folio size, illuminated in the same manner as the playing cards; and at the bottom is this inscription, Christoferi, faciem die quacunque tueris. Illa nempe die morte mala non morieris. Millesimo CCCCXX° tertio."*

Mr. Bullet, in his researches into the history of Cards, printed at Lyons in 1757, supposes the invention of them to have taken place between the years 1367 and 1380: Other authors make the year 1367 to be the epocha of the discovery; but, do not allow that they were made from engraving, or carving, of any kind. They contend that the figures were painted upon thick paper; and continued to be made by that method till after printing was invented.

Upon the invention of moveable types, that branch of the breef malers business, which was connected with the making of that kind of books, mentioned by the Leipsic author, was gradually discontinued; but the art of engraving on wood, was still practised and improved. Toward the end of the 15th, or beginning of the 16th century, it be

Later writers have contradicted the statement of the Leipsic author, so far as it respects the date, which, doubtless, is erroneous. The error arises from the omission by design, or accident of an L. The true date probably should stand thus: "Millessimo CCCCLXX° tertio."

came customary for almost every one of the Ger man engravers on copper, to engrave on wood also. Among the Germans, the engravings of Albert Durer, on wood, are justly held in the highest estimation. Italy, France and Holland produced many capital artists in this line.

One Hugo de Carpi projected a scheme of cutting in wood, by means of which the prints appeared as if painted in chiaro scuro. In order to effect this, he made three kinds of stamps for the same design; which were drawn after one another through the press for the same print. They were so contrived as that one served for the grand lights, a second for the demi tints, and a third for the outlines and deep shade.

The art of engraving in wood, was carried to a high degree of perfection, in Europe, two hundred years ago; and, for beauty of design, might vie with that of engraving on copper. It afterward much degenerated; and, for a long period, was neglected. Some years since, it was revived, but in a different style, to that which was practised at an earlier period. The best cutting in wood is now made to imitate, when impressed, the prints from copperplates.

Blocks of wood are still used in Europe, for cuts to be printed at letter press; but in this country, particularly in Newengland, type metal is substituted for wood.

It is believed that Schoeffer was the first, in Europe, who engraved on copper for the press; but, he went no further than to engrave matrices for the faces of metal types, before he had discovered the

art of cutting steel punches to impress them. The modern art of taking impressions of pictures, &c. from engravings, is said to have taken its rise not much earlier than the middle of the 15th century. One Maso Finiguerra, a goldsmith of Florence, has the credit of the discovery of copperplate printing in the year 1440; he had poured some melted brimstone on an engraved plate; and, when the brimstone was cold, he found thereon the exact impression of the engraving, marked black with the matter taken out of the strokes, by the liquid sulphur.* He then attempted to do the same with wet paper on silver plates, by passing a roller smoothly and forcibly over it, and succeeded. Prints, from engraved copperplates made their first appearance about 1450, in Germany. Stoltzhirs is said to be the first who both engraved and printed from copperplates. He produced several pieces, or specimens, of this kind of work..

Printing Presses.

A PARTICULAR description of the presses first used in printing, has not come under my observation; but early writers mention that they were constructed like common wine presses; and that Guttemburg, before he quitted Strasburg, had one made,

* Sculptura, Historico Technica, p. 2.

+ Strutt's Hist. of Engraving.