LITMIR.BIZ

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into the engraved lines; so that, in the impressions taken on paper, the portions of the wood less prominent communicate the shades, the portions cut away, on the block, remain colorless and blank.

      Thus the same process, pursued on the metallic plate, and on the wood-block, produces effects diametrically opposite, and to produce the same effects from the two materials converse processes must be pursued.

      Thus we will engrave the word on a plate of metal, and on a block of wood, and let these two engravings be perfect fac-similies, line for line alike, in form, length, width and depth; then, the impression taken from the engraved plate of metal, being derived from the depressed lines, filled with ink, into which the paper is forced by the action of the press, will present the appearance shown above.

      But, the impression taken from the engraved block of wood, being derived from the elevated portions of the block, covered with ink, upon which the paper is impinged by the action of the press, will give the appearance presented below.

      Observe, therefore, that as on the two engravings, the same work produces results exactly the reverse, one of the other; so to produce the same effect from each of the two engravings, we must have recourse to two different processes.

      The former of the above two cuts, is the effect produced on paper from a metallic plate, into the surface of which the lines producing the shades are engraved or cut in.

      The same effects precisely may be produced on paper from a wood-block; but, in order to produce it, all the portions of the wood-block, which now give solid black upon the paper, must be cut out of the wood; leaving the lines, which now give white on the paper, prominent, so as to receive the ink and make their impression on the surface to be printed.

      The same end could be attained on the other side – that is to say, a light lettering on a dark ground – by cutting away all the metal, except the lines now producing dark impressions on a light ground, which would then give light lines on a dark ground; but the labor of doing this would be interminable, and the advantage gained, nothing.

      This principle once understood, the whole system becomes comprehensible at a glance. If, in an engraving on metal, all the lines cut into the plate were of equal depth and capacity, all the impressions would be equal as to shade, and the print would display an impression in pure black and pure white only, without intermediate tints.

      So, in cutting a wood block, if all the prominent parts be left equally prominent, the quantity of ink deposited by each and all will be identical, and the impression will be, as before, in simple black and white.

      To produce greater depth of shadow in one part of a metallic engraving than in others, the lines must be cut deepest where the shadow is to be the blackest, and thence graduated, less and less deep, to the plain surface, which gives pure white.

      To produce greater depth of shadows in one part of a wood-cut than in others, the prominent lines must be left most prominent where the shadow is to be the blackest; and thence shaved away more and more, as the shadows are to be less intense, until no lines at all are left on which the paper can impinge, and there will be pure white.

      The superiority of wood-blocks to metallic-plates consists in their superior capacity for impressing broad, solid masses of pure black, as contrasted with pure white. An effect which cannot be readily or effectually given on metal. Since in intaglio engraving the nearest approach to absolute blackness, extending over spaces, is obtained by the continual crossing and recrossing of slender black lines, until the white interstices become infinitesimal, and their effect is more or less swallowed up and lost. The superiority of metal to wood, on the other hand, consists in the greater readiness and facility with which it transfers to paper the finest and most delicate hair-strokes, such as could hardly be left to sustain themselves in wood when all surrounding lights are cut away.

      This leads to a different mode of handling in the two materials. Shadows in metallic engraving are produced, mainly, by what is called cross-hatching, or cutting lines, intersecting each other diagonally, with white, lozenge-shaped intersections between them. This method cannot be resorted to with any facility on wood, as any one may comprehend, who will consider, that in one case, on metal, the engraver has only to cut long, continuous lines intersecting each other, each line by a single stroke; leaving the interstices to take care of themselves; while in the other, on wood, every separate lozenge-shaped interstice has to be cut out in precise and regular form, and with such nicety as to leave the intersections, often no wider than a hair, in continuous and accurate lines.

      The labor and waste of time in this method is enormous; and, although it is adhered to by some artists, the better and, in our opinion, more effective way of giving shadow is by leaving greater breadth to the prominent lines where the heavier shadows are required, and so diminishing the size of the light spaces left, though in a different direction, and by a different method.

      The finest cross-hatched wood-cut in existence, probably the finest ever executed, is a large cut of the death of Dentatus, engraved by Mr. Harvey from the design of Mr. R. B. Haydon. But, though it is unquestionably the most elaborately engraved large wood-cut that ever has appeared, and though parts of it are better than any thing earlier or later, in the same style, it cannot be regarded as a successful specimen of the art. It is, in fact, an attempt to rival a copperplate-engraving on wood; and, as such, has transcended the powers of the art, and the capabilities of the material.

      That Mr. Harvey has effected with wood all that could be effected on wood in this manner, is undeniable; but that he could have produced much more with wood, in a different manner, is equally certain.

      If the ne plus ultra of wood-engraving were to produce imitations of metal-engraving of inferior effect, and with much greater labor, then Mr. Harvey’s Dentatus were the ne plus ultra of wood-engraving.

      But wood, within its own legitimate bounds, is greater and more effective, in some peculiarities, than copper. Just as copper, in other peculiarities, is greater than wood. Neither was ever intended to clash or contend with the other. Each in its own empire is supreme.

      It should be added here, before quitting the technical portion of the subject, that one advantage possessed by wood-cuts is this – that giving their impression from the elevated surfaces precisely as metallic types, the wood-blocks can be inserted in the same forms among the types; so that the impressions can be worked by the same press, and printed on the same pages, while the reverse sides can also be printed, either with letter-press or other wood-cuts, so as to form part and parcel of one continuous narrative. Metallic-plates, on the contrary, must be worked by an entirely different press, and on separate pages, apart from the letter-press, and on one side of the paper only.

      This gives a great superiority for purposes of illustration, whether by anagrams or slight sketches of things described in the body of the work, to the wood-cut, above the copper-plate. And, indeed, this admitted advantage, with the extreme comparative cheapness of wood-engraving, and the rare delicacy and beauty which has been attained by the more modern artists of the day, has led to the very general adoption of this style of illustration for ornamented volumes.

      It is, in fact, rapidly gaining the preference over metallic engraving; the great expense and very inferior durability of copper, and the coldness, hardness, and absence of richness which seem to be inherent to steel, having gone far to banish both from general use as ornaments or additions to printed books.

      As the finest of all methods of reproducing large pictures and fine productions of art; as affording exquisite adornments for the walls of ornamented apartments – vastly superior, would people but believe it, to second-rate oil-paintings – as the legitimate treasures of hoarded portfolios, fine copperplate-engravings will and must ever hold their place. But for the illustration of books – as books must now be – accessible to the million, we fully believe that wood is the best, and soon to be almost the sole material.

      The day of steel,1 we think and hope, is already past, for though we have seen good things executed on that most thankless and intractable of substances, we never saw such that we did not regret the time, the talent, and the toil, so comparatively wasted.

      Now, to return to the history of wood-cutting proper, we find that but little improvement

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