A treatise on wood engravings : historical and practical . No. No. 3. indicate that, though zealously engaged in disseminating the doctrines ofChrist, he had not ceased to work with his hands. WOOD ENGEAVING. 389 Many of the cuts in this work are copied in a subsequent edition, alsoin folio, printed in 1537 ; and some of the copies are so extremely likethe originals—every line being retained—as to induce a suspicion thatthe impressions of the latter had been transferred to the blocks by meansof what is technically termed rubbing down. About 1530 the art of chiaro-scuro engraving on wood, w
A treatise on wood engravings : historical and practical . No. No. 3. indicate that, though zealously engaged in disseminating the doctrines ofChrist, he had not ceased to work with his hands. WOOD ENGEAVING. 389 Many of the cuts in this work are copied in a subsequent edition, alsoin folio, printed in 1537 ; and some of the copies are so extremely likethe originals—every line being retained—as to induce a suspicion thatthe impressions of the latter had been transferred to the blocks by meansof what is technically termed rubbing down. About 1530 the art of chiaro-scuro engraving on wood, whichappears to have been first introduced into Italy by Ugo da Carpi, waspractised by Antonio Fantuzzi, called also Antonio da Trente. Most ofthis engravers chiaro-scuros are from the designs of Parmegiano. It issaid that Fantuzzi was employed by Parmegiano for the express purposeof executing chiaro-scuro engravings from his drawings, and that, whenresiding with his employer at Bologna, he took an opportunity ofrobbing him of all his blocks, impressions, and
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectwoodengraving, bookye
