DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0050
34
Ecirly German ancl Flemish Woodcuts.
Second
method: the
rubber.
Third
method: the
printing-
press.
and pressed down from the back by band-force ; tbat was all. Tbis
hypothesis will account fully for tbe irregular spreading of tbe ink,
tlie blurred lines and all tbe peculiarities of tbe supposed “metal-
cuts/’ and also for tbe appearance of tbe backs of tbese early cuts,
wbicb do not sbow tbe strong indentations produced botb by tbe
rubbing process and by printing in tbe press.
Tbe different, but equally simple, process of printing witb the
“ rubber ” (Reiber, frotton) rnust have corne into use later, towards
tbe middle of tbe xv century, because tlre cuts wliicb are found to
have been printed in tbis way sbow tbe influence of tbe Flemisb
scbool of painting and tbe other developments in design (tbe progress
from mere outline to batcbing, tlren to cross-hatching) wbicli were
gradually introduced from about 1440-50 onwards. In tbis process
the block was laid down face upwards; tbe paper was laid on tbe
bloek and forced down upon it by vigorous rubbing witlr a flat piece
of wood, or witli a leatber ball, till it liad sufficiently taken tbe
impression. Tbe ink used for tbis purpose was not tbe black greasy
ink formerly used, but a tbinner black, or more often a brown
or grey watery fluid, a sort of distemper, wlricb gave a mucb sharper,
tbougb paler, impression, and was better adapted to tlie subsequent
colouring witb water-colour tlian an oily ink. Tbe impression was
still liable to be uneven, if tlie rubbing was not applied equally to
tbe wliole surface, but witb proper care it could be very distinct
indeed, and tbe pressure of the paper on tbe block made a strong
inclentation, by wbicli, combined witli a certain glaze or polisb pro-
duced by the action of tbe rubber on tbe paper, tbese impressions can
be recognisecl wdien tlre back of tbe print is exposecb
Tbe rubber continued to be usecl t.ill late in tbe xv century, on
account of its portability and cbeapness, by Briefmaler, wbo dicl not
possess a regular printing-press. It is not necessary to suppose tliat
wroodcuts were never printed witli a press before tbe invention of
printing books witb movable type, for tbey could liave been printed
in any screw-press, sucb as wTas used, for instance, by bookbinders.
“ Unurn instrumentum ad imprimendas scripturas et ymagines ” bas
already been mentionecl as one of tbe effects left by an abbess wffio
died at Malines in 1465. Wbetlier this “ instrument for printing ”
wms a press of any kincl or not it is impossible to say. At any rate
tbe printing - press, wbicb combined mechanical regularity of
impression witb the great advantage of enabling type to be used along
German woodcuts, that I hesitate to believe tliat any woodcuts printed with the rubber
can be so early, or tliat oil-ink was not in use beforc 1426.
The use of watery ink is no mark of early date, unless it is supported by the
evidence of style, for tke same pale fluid was used by Briefmaler till after -14S0.
Ecirly German ancl Flemish Woodcuts.
Second
method: the
rubber.
Third
method: the
printing-
press.
and pressed down from the back by band-force ; tbat was all. Tbis
hypothesis will account fully for tbe irregular spreading of tbe ink,
tlie blurred lines and all tbe peculiarities of tbe supposed “metal-
cuts/’ and also for tbe appearance of tbe backs of tbese early cuts,
wbicb do not sbow tbe strong indentations produced botb by tbe
rubbing process and by printing in tbe press.
Tbe different, but equally simple, process of printing witb the
“ rubber ” (Reiber, frotton) rnust have corne into use later, towards
tbe middle of tbe xv century, because tlre cuts wliicb are found to
have been printed in tbis way sbow tbe influence of tbe Flemisb
scbool of painting and tbe other developments in design (tbe progress
from mere outline to batcbing, tlren to cross-hatching) wbicli were
gradually introduced from about 1440-50 onwards. In tbis process
the block was laid down face upwards; tbe paper was laid on tbe
bloek and forced down upon it by vigorous rubbing witlr a flat piece
of wood, or witli a leatber ball, till it liad sufficiently taken tbe
impression. Tbe ink used for tbis purpose was not tbe black greasy
ink formerly used, but a tbinner black, or more often a brown
or grey watery fluid, a sort of distemper, wlricb gave a mucb sharper,
tbougb paler, impression, and was better adapted to tlie subsequent
colouring witb water-colour tlian an oily ink. Tbe impression was
still liable to be uneven, if tlie rubbing was not applied equally to
tbe wliole surface, but witb proper care it could be very distinct
indeed, and tbe pressure of the paper on tbe block made a strong
inclentation, by wbicli, combined witli a certain glaze or polisb pro-
duced by the action of tbe rubber on tbe paper, tbese impressions can
be recognisecl wdien tlre back of tbe print is exposecb
Tbe rubber continued to be usecl t.ill late in tbe xv century, on
account of its portability and cbeapness, by Briefmaler, wbo dicl not
possess a regular printing-press. It is not necessary to suppose tliat
wroodcuts were never printed witli a press before tbe invention of
printing books witb movable type, for tbey could liave been printed
in any screw-press, sucb as wTas used, for instance, by bookbinders.
“ Unurn instrumentum ad imprimendas scripturas et ymagines ” bas
already been mentionecl as one of tbe effects left by an abbess wffio
died at Malines in 1465. Wbetlier this “ instrument for printing ”
wms a press of any kincl or not it is impossible to say. At any rate
tbe printing - press, wbicb combined mechanical regularity of
impression witb the great advantage of enabling type to be used along
German woodcuts, that I hesitate to believe tliat any woodcuts printed with the rubber
can be so early, or tliat oil-ink was not in use beforc 1426.
The use of watery ink is no mark of early date, unless it is supported by the
evidence of style, for tke same pale fluid was used by Briefmaler till after -14S0.