. Old picture books; with other essays on bookish subjects. gfn&Tj THE DANCE OF DEATH. FROM PIGOUCHETS HORAE OF 1498. 70 OLD PICTURE BOOKS from the birth of the Blessed Virgin to the Last Judg-ment, and special sets of the Nativity and Passion withOld Testament types. All these were extensively imitatedby other publishers, and the same honour was paid to thefamous set of the Dance of Death, which Pigouchet beganto introduce early in 1496, and gradually increased insuccessive editions till in that of 8th August 1497 we findthe full number of ten triple blocks of male victims andtwelve of women.
. Old picture books; with other essays on bookish subjects. gfn&Tj THE DANCE OF DEATH. FROM PIGOUCHETS HORAE OF 1498. 70 OLD PICTURE BOOKS from the birth of the Blessed Virgin to the Last Judg-ment, and special sets of the Nativity and Passion withOld Testament types. All these were extensively imitatedby other publishers, and the same honour was paid to thefamous set of the Dance of Death, which Pigouchet beganto introduce early in 1496, and gradually increased insuccessive editions till in that of 8th August 1497 we findthe full number of ten triple blocks of male victims andtwelve of women. A similar succession may be traced inthe gradual changes in the full-page cuts, so that we canoften tell within two or three months the time at which anundated edition was sent to press. In my own little bookthere are no large border-pieces, only ledges round thetext, but from its containing the picture of the stem ofJesse (shown as one of our illustrations) and the ChurchMilitant and Triumphant, it must be assigned to the year1498 or a little GRANOLLACHS LUNAKE. FLORENCE: L. MORGIANl FOR P. TACINI, FROM THE NATIVES EOITION OF I485 THE TRANSFERENCE OF WOODCUTS 73 THE TRANSFERENCE OF WOODCUTS IN THE FIFTEENTH AND SIXTEENTH CENTURIES^ DESPITE some efforts to prove the contrary, therecan be Httle doubt that the art of taking clichesof woodcuts, or of cuts engraved on soft metaltreated in the same way as wood, was quite unknownduring the fifteenth and sixteenth centuries. If one printeror publisher desired the use of a set of cuts in possession ofanother, it was open to him to try to borrow or buy them,and failing this to have them copied as best he could, onthe theory of artistic copyright having as yet been the present paper, after a few words on the simpler pro-cesses of borrowing and buying, I propose to bring togethersome typical instances of the different methods in which cutsdesigned in one country or district were copied in another,and inc
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectbibliog, bookyear1902
