Part 4 (2/2)
[K] For fust, log of wood, erroneously 'fer' in the later printed editions Compare the account of the works of Art and Nature, towards the end of the Romance of the Rose
[L] Of course it would have been ih for the compass of a lecture, the conditions of opposition between the Heptarchy and the Northmen;--between the Byzantine and Roman;--and between the Byzantine and Arab, which form minor, but not less trenchant, divisions of Art-province, for subsequent delineation If you can refer to my ”Stones of Venice,” see - 20 of its first chapter
[M] Again th of explanation here impossible My lectures on Architecture, now in preparation (”Val d'Arno”), will contain further detail
[N] At the side ofmemorandum, which was expanded in the viva-voce lecture The reader must make what he can of it, for I can't expand it here
_Sense_ of Italian Church plan
Baptistery, to make Christians in; house, or dome, for the all over the tohen they were either to pray together, rejoice together, or to be warned of danger
Harvey's picture of the Covenanters, with a shepherd on the outlook, as a campanile
[O] And 'chassis,' aframe, or tracery
[P] This present lecture does not, as at present published, justify its title; because I have not thought it necessary to write the viva-voce portions of it which aive the substance of them in better foriven may be in its oay useful
LECTURE III
THE TECHNICS OF WOOD ENGRAVING
73 I ain to tell you what it is necessary you should observe respectingOnly to _begin_ to tell you There need be no end of telling you such things, if you care to hear them The theory of art is soon ran tratto;' and as I have several times told you in former lectures, every day shows me more and more the importance of the Hand
74 Of the hand as a Servant, observe,--not of the hand as a Master For there are two great kinds ofand obeying orders; the other in which it is acting independently, or even giving orders of its own And the dependent and submissive hand is a noble hand; but the independent or i as the pen, or chisel, or other graphic instrument, is moved under the direct influence ofnobly;--the moment it moves independently of them, and performs some habitual dexterity of its own, it is base
75 _Dexterity_--I say;--soht wisely keep that word for what the hand does at the ; and use an opposite word--sinisterity,--for what it does at its own For indeed ant such a word in speaking of modern art; it is all full of sinisterity Hands independent of brains;--the left hand, by division of labor, not knohat the right does,--still less what it ought to do
76 Turning, then, to our special subject All engraving, I said, is intaglio in the solid But the solid, in wood engraving, is a coarse substance, easily cut; and in eneral, you may be prepared to accept ruder and more elementary work in one than the other; and it will be the means of appeal to blunter minds
You probably already know the difference between the actuala printed impression from wood and metal; but I raving, you cut ditches, fill the, you leave ridges, rub the tops of them with ink, and stamp them on your paper
The instrument hich the substance, whether of the wood or steel, is cut away, is the sa the earth aside, throws it up and out, producing at first a simple ravine, or furrow, in the wood or metal, which you can widen by another cut, or extend by successive cuts This (Fig 1) is the general shape of the solid plowshare: but it is of course made sharper or blunter at pleasure The furrow produced is at first the wedge-shaped or cuneiform ravine, already so much dwelt upon in my lectures on Greek sculpture
[Illustration: FIG 1]
77 Since, then, in wood printing, you print fro, from the hollows cut into it, it follows that if you put few touches on wood, you draw, as on a slate, hite lines, leaving a quantity of black; but if you put few touches ona quantity of white
Now the eye is not in the least offended by quantity of white, but is, or ought to be, greatly saddened and offended by quantity of black
Hence it follows that you must never put little work on wood You must not sketch upon it You may sketch on metal as much as you please
78 ”Paradox,” you will say, as usual ”Are not all our journals,--and the best of them, Punch, par excellence,--full of the raved on wood; while line-engravings take ten years to produce, and cost ten guineas each when they are done?”
Yes, that is so; but observe, in the first place, what appears to you a sketch on wood is not so at all, but a most laborious and careful imitation of a sketch on paper; whereas when you see what appears to be a sketch on metal, it _is_ one And in the second place, so far as the popular fashi+on is contrary to this natural method,--so far as we do in reality try to produce effects of sketching in wood, and of finish in