DOI Page / Citation link:
https://doi.org/10.11588/diglit.7597#0063
34
PAPILLONS ACCOUNT OF
[chap. 1.
been applied to the engraved block without being first damped.
Now it is well known, that many of the very early wood prints
were printed without any mixture of oil in the colour used for
the purpose; and there is good reason, likewise, to believe, that
the paper was often applied in its dry* state. The observations
of Papillon are, therefore, not only evidence that he saw and
examined these prints with great attention, but that his eye was
habituated to very nice discrimination, touching all those particulars
which, perhaps more than any others that could be named, are guides
to enable us to judge of the antiquity of wood engravings. He was
consequently a competent witness.
The probity of Papillon's character seems to preclude the idea
that, in his account of the two Cunio, he had any intention to deceive.
Nevertheless, had these two ancient amateurs been of French
extraction, some motive at least for a forgery might have been
assigned; as it is, there appears none. But, putting France out
of the question, he shews no desire to exalt the pretensions of Italy
at the expense of Germany; for of the two ancient books of wood
cuts which he saw at the same time with that of " the Actions of
Alexander," one is described to be German ;f and, indeed, in another
part of his book, he awards to Germany the honor of having first
practised the art of engraving in chiaro-scuro; % although Italy, on
* The shining appearance of the backs of
those old wood engravings which were taken
off by friction, is, I think, a strong evidence
that the paper was commonly used dry. Wet
paper could hardly have supported the violence
of the friction which appears to have been
applied, and would not, I think, have been
capable of receiving such a polish. Besides,
the impressions being taken off with distem-
per, or water colour, this colour, if the paper
had been used damp, would have run, and
prevented the desired neatness and precision
in the impression.
-f It may not be irrelevant to observe, that
Heineken bears testimony to the existence of
the other two books of old wood engravings
which Papillon saw at the house of De Gre-
der, in company with that of " the Actions of
Alexander."
j The mode practised by Ugo da Carpi
and others, by which the effect of chiaro-
scuro drawings is produced by means of two,
three, or more blocks of wood, printed with
different tints, one after the other, upon the
same paper.
PAPILLONS ACCOUNT OF
[chap. 1.
been applied to the engraved block without being first damped.
Now it is well known, that many of the very early wood prints
were printed without any mixture of oil in the colour used for
the purpose; and there is good reason, likewise, to believe, that
the paper was often applied in its dry* state. The observations
of Papillon are, therefore, not only evidence that he saw and
examined these prints with great attention, but that his eye was
habituated to very nice discrimination, touching all those particulars
which, perhaps more than any others that could be named, are guides
to enable us to judge of the antiquity of wood engravings. He was
consequently a competent witness.
The probity of Papillon's character seems to preclude the idea
that, in his account of the two Cunio, he had any intention to deceive.
Nevertheless, had these two ancient amateurs been of French
extraction, some motive at least for a forgery might have been
assigned; as it is, there appears none. But, putting France out
of the question, he shews no desire to exalt the pretensions of Italy
at the expense of Germany; for of the two ancient books of wood
cuts which he saw at the same time with that of " the Actions of
Alexander," one is described to be German ;f and, indeed, in another
part of his book, he awards to Germany the honor of having first
practised the art of engraving in chiaro-scuro; % although Italy, on
* The shining appearance of the backs of
those old wood engravings which were taken
off by friction, is, I think, a strong evidence
that the paper was commonly used dry. Wet
paper could hardly have supported the violence
of the friction which appears to have been
applied, and would not, I think, have been
capable of receiving such a polish. Besides,
the impressions being taken off with distem-
per, or water colour, this colour, if the paper
had been used damp, would have run, and
prevented the desired neatness and precision
in the impression.
-f It may not be irrelevant to observe, that
Heineken bears testimony to the existence of
the other two books of old wood engravings
which Papillon saw at the house of De Gre-
der, in company with that of " the Actions of
Alexander."
j The mode practised by Ugo da Carpi
and others, by which the effect of chiaro-
scuro drawings is produced by means of two,
three, or more blocks of wood, printed with
different tints, one after the other, upon the
same paper.