A Brief History of Wood-engraving from Its Invention Part 3

The first cut is intended to represent, figuratively, the first six chapters of St. John's Gospel. An upright eagle, with spread wings and claws, has three human heads--that of the Saint with a dove above it is in the middle, the head {27} of Christ is on its right, and that of Moses on its left. A lute, from which three bells depend, lies across the eagle's breast; this is supposed to refer to the Marriage in Cana, and a little numeral tells us that the account of it is in the second chapter. Between the outspread claws is a bucket surmounted by a crown. These are symbolical of the Well of Samaria and the n.o.bleman's son at Capernaum in chapter iv.

On the bend of the eagle's outspread right wing is a fish and the numeral 5, referring to the Pool of Bethesda in chapter v., and on the left wing are five barley loaves and two small fishes, and a small 6, referring to the parable of the loaves and fishes in the sixth chapter. This very singular book must have been a great favourite with the priests, and perhaps with the laity, for it was reprinted over and over again. It appears to have been of German origin.

Of the other block books mentioned in chapter ii. it would be tedious to give an account; they are very similar to those we have just described.

{28}

CHAPTER IV

_SPECULUM HUMANae SALVATIONIS_

Historians tell us that in the fourteenth and fifteenth centuries the cities of the Netherlands were the most populous and the richest in all Western Europe. Bruges, Ghent, Liege and Brussels by their manufactures, and Antwerp by her commerce, in which she rivalled Venice, had become celebrated for their great wealth, the grandeur of their rulers, and the magnificence of their great Guilds. The more northern towns, too, Amsterdam, Haarlem, and Utrecht, and many cities of Germany, such as Mentz, Cologne, Strasburg, Nurnberg, Augsburg, and Basel, were rich and prosperous. It was among these cities that the sister arts of printing and wood-engraving first flourished.

From undoubted evidence acc.u.mulated by the patience and labour of many bibliographers, it appears that the art of printing by means of movable type was not invented by any one man, but was the result of a gradual development of the art of engraving. In the fifteenth century, as in the nineteenth, there was an ever-growing demand for school books. One of the most popular of these in the fifteenth century was the 'Donatus,' a grammar so called from the name of the author. There was also a Latin Delectus called a 'Catho.' These were cheap books and were usually printed from engraved wood blocks. These and the block books already described were contemporary, and the immediate forerunners of separate types. (See Blades, 'Pentateuch of Printing,' p. 12.) {29}

In certain editions of the 'Speculum' there are to be seen woodcuts printed in ink of one colour and text in ink of another colour, from metal movable types. These types are rude in the extreme, far more so than the German Indulgence of 1454, the very earliest known dated piece of printing. There is no doubt that the Donatuses were at first printed from wood blocks, both in Germany and the Low Countries, but there is not a single Dutch block-book Donatus known, while there are some nineteen or twenty early type-printed Dutch Donatuses already catalogued. Therefore it appears likely that Gutenberg simply developed the process which had already been for some time in use in the Low Countries for Donatuses and similar books.

[Ill.u.s.tration: FIRST PAGE OF THE SPECULUM HUMANae SALVATIONIS]

The first book of importance that was printed at a press {30} and from movable type was the celebrated Bible[2] which Gutenberg produced at Mentz about the year 1455. About the same time it is a.s.serted that Laurent Janszoon Coster of Haarlem issued the _Speculum Humanae Salvationis_, and much discussion has risen as to which book has the prior claim. The Dutch insist on Coster as being the proto-printer; the Germans not only a.s.sert the claim of Gutenberg but say that Coster is a myth! The controversy is still carried on and there is little likelihood that it will ever be decided.

In the year 1462 there was a small revolution in Mentz, owing to the rival claims of two Archbishops, and the city was sacked. The printers in the employment of Gutenberg and his partners, Fust and Peter Schoeffer, were scattered in every direction. Fifteen years afterwards printing-presses were to be found in every large city of Germany and the Netherlands, as well as in Italy and France; and about 1477, Caxton set up his first press in the precincts of Westminster Abbey.

_Speculum Humanae Salvationis_--'The Mirror of Man's Salvation.'--This was the first book, printed from type, that had wood engravings. It is a small folio containing fifty-eight cuts, each of which is divided into two subjects, inclosed in an architectural frame, in which is the t.i.tle in Latin. The cuts are placed at the head of the pages, of which they occupy one-third. It is to be noticed that, though the cuts are all printed in brown ink, the text beneath them is printed in black: probably because the prints were to be coloured.

The arrangement and scope of this work are much like those of the 'Biblia Pauperum'; the subjects are taken from the Old and New Testaments, including the Apocrypha, and a few are from cla.s.sic history.

The ill.u.s.trations are from the first page: Casus {31} Luciferi--'The Fall of Lucifer'--and Deus creavit hominem ad ymaginem et similitudinem suam--'G.o.d created Man after His own image and likeness.'

[Ill.u.s.tration: SPECULUM: THE FALL OF LUCIFER (_Size of the original cut_)]

{32}

We see that the arts of drawing and engraving had improved since the time of the 'Biblia Pauperum.' The figures are in better proportion: in many of the designs the folds of the dress fall more gracefully and the shading is more artistically done. There are four fifteenth-century editions of this work known, two with the text in Dutch, and two in Latin. Three editions are printed entirely with movable type, while part of the fourth--the second Latin edition--is certainly from engraved blocks. No one can tell the reason of this curious anomaly--we can only conjecture. Experts tell the various editions by the state of the cuts; when these are unblemished, it is a.s.sumed that they are of the first edition; when a few of the lines of the cuts are broken, it is supposed that they belong to the second edition; when many are broken, to the third edition, and so on.

Mr. Woodbery[3] has so graphically described the 'Speculum' that we cannot do better than quote his words: 'A whole series needs to be looked at before one can appreciate the interest which these designs have in indicating the subjects on which imagination and thought were then exercised, and the modes in which they were exercised. Symbolism and mysticism pervade the whole. All nature and history seem to have existed only to prefigure the life of the Saviour: imagination and thought hover about Him, and take colour, shape, and light only from that central form; the stories of the Old Testament, the histories of David, Samson, and Jonah, the ma.s.sacres, victories, and miracles there recorded, foreshadow, as it were in parables, the narrative of the Gospels; the temple, the altar, and the ark of the covenant, all the furnis.h.i.+ngs and observances of the Jewish ritual, reveal occult meanings; the garden of Solomon's Song, and the sentiment of the Bridegroom and the Bride who wander in it, are interpreted, sometimes in graceful or even poetic feeling, under the inspiration of mystical devotion; old kings of pagan Athens are transformed into witnesses of Christ, and, with the Sibyl of Rome, attest spiritual truth. {33}

[Ill.u.s.tration: THE GRIEF OF HANNAH (_From the Cologne Bible_)]

{34} This book and others like it are mirrors of the ecclesiastical mind; they picture the princ.i.p.al intellectual life of the Middle Ages; they show the sources of that deep feeling in the earlier Dutch artists which gave dignity and sweetness to their works. Even in the rudeness of these books, in the texts as well as in the designs, there is a _navete_, an openness and freshness of nature, a confidence in limited experience and contracted vision, which make the sight of these cuts as charming as conversation with one who had never heard of America or dreamed of Luther, and who would have found modern life a puzzle and an offence. The author of the _Speculum_ laments the evils which fell upon man in consequence of Adam's sin, and recounts them: blindness, deafness, lameness, floods, fire, pestilence, wild beasts, and law-suits (in such order he arranges them); and he ends the long list with this last and heaviest evil, that men should presume to ask "why G.o.d willed to create man, whose fall He foresaw; why He willed to create the angels, whose ruin He foreknew; wherefore He hardened the heart of Pharaoh, and softened the heart of Mary Magdalene unto repentance; wherefore He made Peter contrite, who had denied Him thrice, but allowed Judas to despair in his sin; wherefore He gave grace to one thief, and cared not to give grace to his companion." What modern man can fully realise the mental condition of this poet, who thus weeps over the temptation to ask these questions, as the supreme and direst curse which Divine vengeance allows to overtake the perverse children of this world?'

By far the most excellent book issued about this time is The Psalter, printed by Gutenberg's former partners, Fust and Schoeffer, at Mentz in 1459. The initial letters, which are printed in red and blue and the Gothic type, all of which are in exact imitation of the best ma.n.u.scripts, could not be excelled at the present day. The book belongs more to the History of Printing, but on account of its beautiful initial letters, which, it is said, were drawn and engraved by Schoeffer, we feel constrained to notice it. {35}

[Ill.u.s.tration: FRONTISPIECE TO BREYDENBACH'S TRAVELS (_Much reduced_)]

{36}

A _Book of Fables_ issued from the press of Albrecht Pfister, of Bamberg, in 1461, may be mentioned as a very early work in which woodcuts and type were printed together; it is a small folio of twenty-eight leaves, containing eighty-five fables in rhyme in the old German language, ill.u.s.trated with a hundred and one cuts. They are of little merit and show no advancement in the art of wood-engraving. The only known copy of this book, which is in the Wolfenb.u.t.tel Library, was taken away by the French under Napoleon's orders and added to the Bibliotheque Nationale; it was restored at the surrender of Paris in 1815.

We cannot give a list of all the books containing woodcuts that were issued in Germany at the end of the fifteenth century; their name is legion. We must, however, mention two or three of the most important.

In the Cologne Bible, printed about the year 1475, there are one hundred and nine cuts, one of which we give as an example; they are about equal in merit to those in the 'Biblia Pauperum,' but show no improvement. The subject of the cut is 'The Grief of Hannah.' We see Elkanah and his two wives, Hannah and Peninnah, in a room from which the artist has obligingly taken away one of the sides. In the Nurnberg Bible, printed in 1482, we find the same set of cuts.

The Nurnberg Chronicle, often quoted as an example of early German wood-engraving, is a folio volume containing more than two thousand cuts, which include views of cities, portraits of saints and other holy men, scenes from Biblical and profane history, and a great many other subjects, produced, we are told, under the superintendence of Michael Wolgemuth and William Pleydenwurff, 'mathematical men skilled in the art of painting.'

The same head does duty for the portrait of a dozen or more historians or poets--the {37} same portrait is given to many military heroes--the saints are treated in the same way, and even the same view serves for several different cities. The cuts are bolder and more full of colour than any we have had before, and so far may be said to be in advance, and this we must put down to the superintendence of Wolgemuth, who was an artist of repute.

Chatto says they are the most tasteless and worthless things that are to be found in any book, ancient or modern--but this is too sweeping an a.s.sertion. The work was compiled by Hartman Schedel, a physician of Nurnberg, and printed in that city by Anthony Koburger in 1493.

The most important book of this time, so far as the woodcuts are concerned, is a Latin edition of Breydenbach's Travels, which was printed in folio by Erhard Reuwich in Mentz in 1486. We give a much reduced copy of the frontispiece, which is without doubt the best example of wood-engraving of the fifteenth century. In this cut we see for the first time cross-hatching used in the shadows, in the folds of the drapery of the princ.i.p.al figure--Saint Catherine, who is the patroness of learned men--in the upper parts of the s.h.i.+elds and beneath the top part of the frame. Bernard de Breydenbach, who was a canon of the cathedral of Mentz, was accompanied in his travels to the Holy Sepulchre at Jerusalem and the shrine of St.

Catherine on Mount Sinai by John, Count of Solms and Lord of Mintzenberg, and Philip de Bicken, Knight. The arms of the three travellers are given in the cut with the names beneath them. Besides the frontispiece there are many other good engravings in this volume--a picture of Venice, five feet long and ten inches high; views of Corfu, Modon, in Southern Greece, and the country round Jerusalem. There are also many pictures of animals, such as a giraffe, a unicorn, a salamander, a camel, and a creature something like an ouran-outang. Travellers saw wonderful things in those days! It is a great pity that we do not know the names of the artists {38} who drew and engraved the cuts in this most interesting book.

[Ill.u.s.tration: THE BIBLIOMANIAC _From 'Navis Stultifera' (The s.h.i.+p of Fools)_]

Just at the close of the century we find the first humorous conception of German artists in the ill.u.s.trations of the Navis Stultifera (s.h.i.+p of Fools), written by Sebastian Brandt and printed at Basel in 1497. This very bold and original work had an immense success and was frequently reprinted.

Every page is adorned with the antics of clowns and men in fools' caps and bells, in caricature of some absurdity, and the bibliomaniac is not spared: 'I have the first place among fools,' he is made to say; 'I have heaps of books which I {39} rarely open. If I read them I forget them and am no wiser.' As will be seen by the cut, though the perspective of the draughtsman is not to be praised, the work of the engraver is excellent; the fineness of the lines is new to us and the shadows are well treated.

Notice also the bindings of the books, with their bosses, hinges, and clasps; nearly all are folios, and four or five are ornamented with the same pattern. The decoration at the side is evidently copied from an illuminated ma.n.u.script. With this book we may fitly close our notice of German wood-engraving of the fifteenth century.

{40}

CHAPTER V

_ON WOOD-ENGRAVING IN ITALY IN THE FIFTEENTH CENTURY_

Although at this time Germany took the lead of all European countries so far as the ill.u.s.trations of printed books are concerned, the transition from German to Italian art is like the change from the strong bleak winds of the North to the balmy air and sunny skies of the South. We are aware of the difference both of climate and of art in a moment: the very first picture presented to us reveals it. The Italians of the fifteenth century could not take up a handicraft without making it a fine art. Here is a t.i.tle-page of a folio KALENDARIO produced in Venice in the year 1476. This is the first t.i.tle-page on which the contents of the book, the name of the author, the imprint of the publishers, who were also the printers, and the date of the issue of the book, were ever given. Mark the decoration. Though the publishers were Germans, the artist who drew this border must have been an Italian; and probably the engraver was an Italian also, for the book was produced at Venice. The character of the design suggests the work of an illuminator. The introduction of the printing-press must have interfered sadly with the writer of ma.n.u.scripts and his brother the illuminator, and both were doubtless glad to avail themselves of the new art. The ma.n.u.script writer may have turned compositor, and the illuminator may have been transformed into a book decorator. {41}

[Ill.u.s.tration: t.i.tLE-PAGE OF A FOLIO KALENDARIO BY JOANNE DE MONTE REGIO, PRINTED AT VENICE IN 1476 (_much reduced_)]

We have before us a facsimile of a cut called 'The Triumph of Love,' which appeared as one of the ill.u.s.trations of TRIUMPHI DEL PETRARCA, a book printed in Venice, in 1488. A man, seated with his hands bound behind him, is tied with a rope to a triumphal car which is drawn by four horses; on a ball of fire, which rises from the car, a blindfolded Cupid is shooting an arrow (apparently at the near leader); a great crowd of men and women, among whom we see a king and a mitred bishop, follow and surround the car, and on a distant hill we behold Petrarch conversing with his friend. There are two rabbits feeding calmly in the {42} foreground, notwithstanding the danger of the horses' hoofs, and the usual conventional designs for gra.s.s and flowers. The groundwork of the border of this curious print is black, with an Italian design carefully cut out in white, with but little shadow.

From the waviness of many of the lines which should be straight, we think this print must be from an engraving on metal.

Of all the wood-engravings executed in Italy in the fifteenth century, none can compare in excellence with those in the HYPNEROTOMACHIA POLIPHILI (Dream of Poliphilo) printed in Venice, by Aldus, in 1499.[4] There are, in all, one hundred and ninety-two subjects, of which eighty-six relate to mythology and ancient history, fifty-four are pictures of processions and emblematic figures, thirty-six are architectural and ornamental, and sixteen vases and statues. They have been attributed to many different artists, the most probable of whom is Carpaccio. The subject of the 'Hypnerotomachia' has been described as a 'Contest between Imagination and Love'; it is a curious medley of all kinds of fable, history, architecture, mathematics, and other matters, seasoned with suggestions which do not reflect credit on the moral perceptions of its author, a Dominican monk, named Francesco Colonna. An enthusiastic admirer of this book thus poetically describes it: 'There is, perhaps, no volume where the exuberant vigour of that age is more clearly shown, or where the objects for which that age was impa.s.sioned are more glowingly described. {43}

[Ill.u.s.tration: POLIPHILO IN THE GARDEN _From 'Hypnerotomachia Poliphili,' printed by Aldus at Venice in 1499_]

The romantic and fantastic rhapsody mirrors every aspect of nature and art in which the Italians then took delight--peaceful landscape, where rivers flow by flower-starred banks and through bird-haunted woods; n.o.ble architecture and exquisite sculpture, {44} the music of soft instruments, the ruins of antiquity, the legends of old mythology, the motions of the dance, the elegance of the banquet, splendour of apparel, courtesy of manners, even the ma.n.u.script, with its cover of purple velvet sown with Eastern pearls--everything that was cared for and sought in that time when the gloom of asceticism lifted and disclosed the wide prospect of the world lying, as it were, in the loveliness of daybreak.' But it is more on account of the beauty of the cuts than the poetry of the author that this book has been so much admired and so frequently reprinted. Our ill.u.s.tration shows us where Poliphilo in his dream visits a bevy of fair maidens in a garden. These nymphs are not very beautiful, but, though they have such high waists, remark how gracefully their figures are drawn, and look at the action and the drapery of the damsel running away. The engraving is, without doubt, an exact facsimile of the artist's drawing; the lines are clear and crisp, and are evidently the work of a practised hand. The drawing of the gateway and trees is simply conventional. We are sorry that we have not room for more of the ill.u.s.trations of this remarkable work.

In these early books it seems to have been n.o.body's business to record the name of the engraver who produced the ill.u.s.trations, and, although the printer's name is generally very conspicuous in the colophon, the artist's name rarely, if ever, appears. But the work of certain masters of certain schools is generally recognised with ease, either by some peculiarity of manner, or by some particular mark. Thus one artist, who, towards the end of the fifteenth century, ill.u.s.trated a few books printed in Italy, is known as 'the master of the dolphin,' because in most of his work this fish appears among the decorations. Another is known to us only by the name of 'the ill.u.s.trator of the "Poliphilus,"' that quaint romance of Colonna which has taken a proud place in literature, not for its own intrinsic merits, but {45} rather on account of the beauty of its woodcuts, the name of whose author is still a matter of conjecture.

We may here say a few words about Aldo Manuzio, better known in England by his Latinised name, Aldus Manutius, the celebrated printer, and some of the other early printers of Venice. One of the first to set up a press in Venice was Nicolas Jenson, a Frenchman, who had worked at Mentz, and who was the first to cut and introduce Roman type such as is now in use. At his death his business and plant were bought by a rich man, Andrea Torresano, of Asola, and the work was carried on successfully. Aldo Manuzio, who was born at Sermoneta, a village near Velletri, in 1450, received an excellent education, especially in Greek; and the celebrated Pico da Mirandola made him tutor to his nephews, Alberto and Leonardo Pio, Lords of Carpi. Alberto Pio, under his master's training, became a great lover of literature; and when Aldo conceived the idea of starting a printing-press, the young lord advanced him the necessary funds, and gave him a house in Venice near the Church of Sant' Agostino. Aldo then married a daughter of Torresano, and the two printing businesses were joined and carried on together under Aldo's direction. His house, we are told, was a veritable colony; besides the compositors' rooms and the press-rooms, he had closets for press-readers and studios for the special use of learned authors. The first 'printer's devil' was a little negro boy who had been brought by one of the men from Greece.