Page:The New International Encyclopædia 1st ed. v. 20.djvu/742

* WOOD-ENGBAVING. 634 WOODFALL. The founders of the modern French school ■were Charles Thompson, a pupil of John Thomp- son, and the Frenchmen Best and Brevigre. During the reign of Louis Philippe important masters designed for woodcuts, such as Grand- ville, Gavarni, and Tony Johannot, and of very great influence upon its development was Gus- tav Dore (q.v.), whose illustrations occupied a number of engravers, anjong the best of whom were Pannemaker (fils), Ligny, and Tricon. Repre- sentative engravers of the present day are Le- p6re, Baude, Jonnard, and Jules Huyot, ncAto mention Florian (d.l'JOO), who achieved remark- able etVects of tone. The chief living master is probalily Stephan Pannemaker, whose style is as brilliant as it is grand and robust. Artistic dash, intelligent use of the graver, and the achieve- ment of tone are in fact the strongest [joints of the French school, which at present enjoys a higher perfection than any other in Europe. The American School. The earliest Ameri- can work consisted almost entirely in the reproduction of English book illustrations for American reprints. The first artist of impor- tance was Alexander Anderson (1775-1870), who engraved blocks after Holbein's Dance of Death, Bewick's British Quadrupeds, and other English works. He adopted the manner of Bewick, and his original blocks were the best engraved at that time outside of his master's immediate circle. The best wood-engraving of the first half of the nineteenth century was by Joseph Alexander Adams, whose original designs rank with the best English contemporaries. The Civil War in- terfered for a time with the new magazines which now offered chief employment to the en- gravers. Tile best work of the period before 1870 is to be found in the refined, delicate cuts of A. V. R. Anthony, the detailed, careful illustra- tions of Henry Jlarsh, as in Harris's Insects Harmful to Vegetation (1802), and, especially, in the engravings of William James Linton (d. 1899), who came from England to America in 1868. In his writings, as well as his masterly work, ranking with the best ever done, he was the champion of the methods of Bewick against the manipulative methods of the new school. The last and most characteristic phase of the American development began in the years fol- lowing 1870, in connection with the popular magazines, whose enormous circulation depended to a large extent upon their illustrations. The pulilie demand being for the nearest possible re- production of the originals, a school of engravers arose who accomplished tills to a very remarkable extent — rendering the briisli work and impasto of painting, the technical eil'ccts of etching, chalk drawing, and the like. This was rendered pos- sible by photographing directly on the block the original, which was retained by the artist as a guide. The technical mastery acquired by the new school was soon employed in original work of a high order, especially in landscapes en- graved from nature directly upon the block, and in portrait heads of great brilliancy and power. The recent perfection of iihotograpliic processes (see PiioTo-lOxfiKAViNO) lias, to some extent, re- moved the raison d'etre of wood-engraving of the new school, and the great. icrican engravers have returned to a more legitimate ]iractice of the art. The head of the American school, and prob- ably its most remarkable technician, is Timothy Cole. Another important exponent of modern methods was the late Frederick Juengling. El- bridge Kingsley is known for liis fine landscapes directly from nature, while Gustav Kruell fol- lows the methods of Linton. Other important names are W. B. Closson, who has done good work from nature ; F. S. King, who imitated copper engraving ^ith great success; and Frank French, known by his Xew England scenes. The technical processes of wood-engraving have in recent years been much improved both as regards the tools used in cutting the wood, such as the graver, chisels, etc., and the ]irinting presses, the most perfect of which are in America. The process of electrotyping, by coat- ing the woodcut with a thin film of metal, enables the ])rinter to make an indefinite number of impressions, or by reproducing the block in metal to .secure facsimiles for commercial pur- poses. For the important development of wood- engraving and color printing in Japan, wliic'.i lies outside of the sphere of the Western evolu- tion, see Japanese Abt. BiBi.iooRAPiiY. Early treatises are those of Papillon (Paris, 1766), Heinecken (Leipzig, 1771). and Jansen (Paris, 1808); but really critical treatment began in the historical works of Heller (Bamberg. 1822), Ottley (London, 1840), and Cliatto"(ib., 1801). Among good modern histories are those of Delaborde (Paris, 1882). Wondbui-y (London, 1883), and Wessely, in his Oeschiehte der f/raphisclwn Kiinste (Leip- zig, 1890) ; and especially Masters of Engraving, by W. J. Linton (London and New Haven, 1882), who united to a remarkable extent the qualities of scholarship with practical engraving. For the works of the old German school, consult ^'on Liitzow, Geschichte des deutschen Kupferstichs vnd noI::sehnitts (Berlin, 1889); Muther, Die dcutsche Biicherillustration der Vothik iind der Friih renaissance (Munich, 1884). For the American school, see Baker. American Emiravers and Their Work (Philadelphia, 1875); Linton, nisiory of Wood Engraving in America (ib., 1884). See also Hering, Anleitung zur UoJz- schneidekunst (Leipzig. 1873). and De Lostalot, Les proccdfs de la grarure (Paris, 1882). "WOODEN HORSE, The. The treacherous devii'c by which. according to the legend, the Greeks were introduced into Troy and captured the city. "WOOD'FALL, Henry Samp.sox (1739-1805). An English journalist and printer, born in Little Britain. London, and educated at Saint Paul's School. In 1758 he was made editor of the Public Adrertiser, which the letters of .Junius (q.v.), published in its columns between 1707 and 1772, brought into widespread notice. Woodfall declared that he had no personal acqiaintance with the author of the letters and also, accord- ing to the statement of his son. that Sir Philip Francis was certainly not res|)onsible for them. He published (hem in book form in 1772 and profited largely by their sale, although he was ]irosecuted by (be Crown for libel on account of them. In 1793 he sold the Puhlie Adreriiser and passed the rest of his days in Chelsea, where he died. His son. Georoe (1707-1844). also a printer, was born in London and was trained by his father, whose partner lie was till the hitter's retirement. He then set up in business for him-