pared, they are either useless, or must be altered to fit some other ship at a great loss of labour, time, and materials; and, in case of accidents or urgency, this variety disables the ships from assisting each other; and it requires that the naval arsenals, both at home and abroad, should be furnished, at a very great expense, with a much larger assortment of these articles than would be necessary if they could be made more generally applicable to the probable wants of the whole fleet; this will be explained to your Royal Highness more forcibly, by stating that for the single class of ships of the third rate, called 74's, there were lately not less than seven diffe: rent schemes of masting and rigging; and that a squadron might be composed of seven vessels of this force, which could not properly employ one another's spare spars and sails, and for each of which the dock yard must necessarily have their individual gear. It is in this particular, above all others, that uniformity would be desirable; but the experience of what occurred immediately after the establishment of 1746, as we have already stated, and of all subsequent times, shows that it is unfortunately unattainable: the varieties of ships produced by successive endeavours to improve our models, and still more the great number of ships of all classes, which have been captured from the various enemies with whom we have been at war, render any scheme of perfect uniformity impracticable; but this very important subject has not escaped our consideration An Inquiry into the Origin and early History of Engraving, upon Copper and in Wood, with an Account of Engravers, and their Works, from the invention of Chalcography, by Maso Finiguerra, to the time of Marc Antonio Raimondi. By William Young Ottley, F. S. A. 2 vols. Quarto. Price Eight Guineas. I. and A. Arch, London. 1816. NOTHING is more common among title pages than promises made to the eye, which the work itself does not fulfil to the understanding: but, the title page to this work, promises much less than the Author takes occasion to perform. That he investigates the origin of Chalcography is true; but, he directs much of his attention to the origin of Printing also, and adduces historical evidence respecting the rise and practice of an art, eminently distinguished by the merit of renovating the intellectual and moral faculties of mankind. We do not mean to deny that the art of Writing, as preserving memorials of past transactions, of agreements, enactments, regulations, and other institutions of law and polity, was entitled to the affection and veneration of mankind; but, we say, that nothing has equalled the Art of Printing in diffusing knowledge generally among all classes of society. It has had a favourable effect on the virtue of nations, also; though it has not been able to eradicate, or to counteract, the vicious propensities of human nature. We have, in conjunction with the Navy Board, and with the assistance of a committee of experienced sea officers, taken measures for pushing this principle of uniformity as far as the nature of the case would allow and though the experience of what has occurred on former occasions dissuades us from attempting to establish, by the approbation and sanction of your Royal Highness in Council, minute details of the forms, lines, and scantlings of his Majesty's ships, we have the satisfaction of stating, that a system of gradual assimilation is in progress, and that we hope to see it every day become of more extensive operation, and more practical utility; and we beg leave humbly to assure your Royal Highness, that no efforts shall be spared on our parts, to prevent for the fu-versation between friends, of which this ture, any unnecessary deviation from the establishment of rigging and armament, and to reduce the variations which exist to as few classes as possible. (To be Continued.) It is not uncommon for the ingenuous to regret the oppositions and contentions which obtain among the learned; nevertheless, it cannot be denied that numerous advantages have flowed from the same source. None can be more sincerely and deeply offended with contentions which degenerate into personalities, than we are; yet we appeal to all liberal minds whether a communicative contention in search of truth, whether a con is the object, conducted with the dignity and decorum of truly liberal literature, is not extremely agreeable, and beyond expression delightful. Those who know, take a pleasure in eliciting the know ledge of others at once they give and I observe, that in the earliest ages of receive: petimus damusque vicissim. Christianity, sculptures or pictures were We are friends to such peaceful con- admitted into certain parts of Christian tentions, where, equally the vanquished edifices. We have accounts of the exand the victor are benefitted; and after planations of such representations enthe mortal combat is over, may walk tering into the instruction given to worhome together, arm in arm, stone dead. shippers (perhaps, to strangers generally) And why should not the question on the who came to church, before the regular origin of Printing, one of the noblest of service began; we know, that over the human discoveries, be included among entrance of the Church of the Holy Sethose questions, equally interesting and pulchre at Jerusalem, is a tablet, reprelearned, which demand the talents of senting the triumphal entry of Christ into the ingenious united to the good fortune that city; which is thought to be at least of the inquisitive, the happy discovery co-eval with the building. Dr. E. D. of facts combined with the placid and Clarke says of this performance. "Over considerate inference of unbiassed judg- the door we observed a bas-relief, exment? ecuted in a style of sculpture meriting more attention than it has hitherto received. At first sight, it seemed of higher antiquity than the existence of any place of Christian worship: but, upon a nearer view, we recognized the history of the Messiah's entry into Jeru salem-the multitude strewing palmbranches before him. The figures were very numerous. Perhaps it may be considered as offering an example of the first work in which Pagan sculptors represented a Christian theme." We except strongly against the allusion to Pagan sculptors, on this occasion: no such profanation would have been tolerated. Were there no Christian sculptors, at the time? That pictures were admitted into churches, we learn from the calumniating criticisms of Julian the Apostate, who forces an indecency into It is, certainly, a question of moment, to those countries respectively, whether Holland or Germany was the seat of the invention of printing types, and consequently of printing? The learned of Germany exert no little diligence and zeal in reporting and proving that Mentz was the first city where this art was practised the learned of Holland no less tenaciously maintain that the art with its first materials, was stolen from their countryman, at Haarlem ; and that purloining is not inventing. We, who are neither Hollanders nor Germans, have long entertained a suspicion that Italy might prefer claims to the rudiments of this Art, which have not yet been set before the public in their full strength. Mr. Ottley determines the question of letter types in favour of Laurence Coster, at Haarlem ; but, he adduces evidence in proof that figures, with their explanatory inscriptions, were printed in Italy, before the time of Coster. Now, we know, that these inscriptions were not always cut on the same block as the figures; and should any separate impression, or proof, of such inscriptions be discovered, the progress to a still further separation of parts would become obvious. From stereotype lines, to moveable types, the transition though inexpressibly fortunate and ingenious, yet is natural, and orderly; if not consecutive. Perhaps, a few words in elucidation of the deeper antiquity of these figures, may not be thought ill placed in the present article. We would, therefore, that very common subject Adam and Eve, in Paradise; as we gather from the answer of Augustine* to the censorious Emperor. And, it deserves remark, that this emblem occurs more frequently than any other, on the sculptured tombs of Christians of the early centuries, as may be proved from numerous instances yet existing. The sentiment seems to have been-" in Adam all die; in Christ all are made alive;" for, the accompanying subjects are, almost without exception, allusions to the resurrection : -the deliverance of Jonah-of Daniel -the raising of Lazarus, &c. For the present, assigning these, mostly, to the A Pictoribus me didicisse derides, quod Adam et Mulier ejus pudenda contexerint. Horatianum illud decantatum audire me precipis: Quidlibet audendi semper fuit aqua potestas. Lib. v. cap.2. 25] fourth or fifth centuries, we proceed to adduce a passage containing evidence selected by Mr. Ottley from the works of Heineken, a decided Germanist, on the question of the Origin of Printing. The subject described is the Biblia Pauperum; or Poor Man's Bible. Christ; and, on each side of it, Pharaoh The original composition of this short abstract of Holy writ, is illustrated by designs of the chief stories of the Old and New Testament, it is probably of great antiquity. Heineken describes a manuscript of it, which he considers of the four-century. teenth century; and informs us that upon the first leaf of an incomplete copy of the second edition of the Biblia Pauperum, in the Royal library at Hanover, some ancient possessor of the book had written thus S. ANSGARIUS EST AUTOR HUJUS LIBRI. “A hand less ancient," continues he, "has added in the German language, to the following effect-"This book of devout and pious images was (probably) first invented, in honour of God, and for the devotion of the laity (the word probably is written by a more modern hand) by S. Ansgarius, the first bishop of Hamburgh." He who wrote the word probably has added: vid. « Clau dii Oruhielmi Historia Svenonum Gothorumque Ecclestastica lib. i. cap. 21. p. m. 70. item Tenzel, et la vielle Chronique et Histoire de Zeeland." Ansgarius, a native of France, and a monk of the convent of Corbie, continues Heineken, "was sent into lower Saxony, and towards the North, to convert the Pagans; on which account he was styled the Apostle of the Northern Nations. In the year SS1, he was created the first Bishop of Hamburgh, and in 844 he was translated to the Bishoprick of Bremen, where he died in 864." Heineken saw, in the cloister of the Church termed the Dome at Bremen, two bassi-relievi sculptured in stone, the figures of which are of a middle size, and line for line the same as those in the German edition of the Biblia Panperum. One of them is in the first arch of the vault, close to the principal entrance of the church; and represents, in the middle, the Annunciation; and, on either side, Eve tempted by the serpent, and Gideon with the fleece. At bottom are two busts of prophets, and the same Latin inscription: Legitur in Genesi, &c. in Gothic characters; and also the same verses: For my own part, I am very much inclined to doubt the existence of any cloister or church with an arched roof, divided, as this appears to be, by groins, of so high an antiquity, throughout Germany, or, indeed, any where else. Ansgarius, however, might still have been the original author of the "Biblia Paupe rum. פי "The words of Ornhielm," as Heineken observes "are remarkable. He says that books were attributed to Ansgarius, written by cyphers and images (per numeros et signa) which were called pigmenta, "these words occasioned the ancient pospaintings. Perhaps, continues Heineken, sessor of the copy at Hanover, to attribute the book to this bishop." Such may indeed have heen the case: but it is very possible that that person had The bassi rilievi some further traditional authority for asin the cloister of Bremen, even supposing cribing it to Ansgarius. them to be not earlier than the thirteenth or fourteenth century, may still be considered as in some degree corroborative of the story; since they might have been executed in honor of the Apostle of the North, and in remembrance of his method of instructing the people in the mysteries of the Christian religion, upon the rebuilding or restoration of the Church over which he presided: and were, perhaps, copied from, or renewed upon the authority of more ancient sculptures or paintings then in existence; or even from manuscripts ascribed to Ansgarius himself. It may be admitted that Ansgarius was the author of this series of designs to his German couverts; according to this tradition; but, the probability is very strong that he did but repeat a practice brought from his alma mater at Corbie; and that the Monks at Corbie were not the originals, in this matter, but adopted a custom established at the head quarters of their religious supremacy. For, it will be recollected, that from the earliest institutions of pilgrim we shall insert it entire for the informa. tion of our readers. MCCCCXLI. October the 11th. Whereas the art and mystery of making cards and printed figures, which is used at Venice, has fallen to total decay; and this in consequence of the great quantity of playing cards, and coloured figures printed, which are made out of Venice; to which evil it is necessary to apply some remedy; in or age to any remarkable place, those who resorted thither brought away some memorial of the localities, or "stations" they had visited: so from Jerusalem, the stigmata, or indelible marks formed by punctures, in the skin, &c. as is still customary. Others purchased models, or small shrines, as we read in the Acts of the Apostles, and others doubtless procured views or representations of the tem-der that the said artists, who are a great ple, or other Holy place, as St. Peter's at Rome, &c. If we extend this idea to memorials of the pictures on sacred subjects, which had been shewn as the curiosities of certain churches, and to the explanations of what they represented, there narrated, by those who had them in charge, or were competent to that office, the reason readily presents itself, why delineations of these subjects would be in request; and why a series of them should be called the Bible of the poor. We cannot, however, think with Heineken, that so great a number as forty should be the earliest effort of the engraver on wood, or of printing for distribution; a smaller number, say at first a single pair, and afterwards six or eight, is much more credible. That the ancients were acquainted with the mode of illustrating books by delineations, we have already had occasion to notice.* That blocks of wood, or metal, were employed at Babylon to imprint the bricks destined to the various structures in that metropolis, we presume has been sufficiently shewn in a late article; and it is acknowledged that the East, particularly China, has practiced the art of printing from wooden blocks, from time immemorial. But, these advantages were not confined to the Chinese, to the exclusion of other many in family, may find encouragement rather than foreigners.-Let it be ordered and, according to that which the said masters have supplicated, that, from this time in future, no work of the said art, that is printed or painted on cloth, or on paper, that is to say altar-pieces (or images) and playing cards, and whatever other work of the said art is done with a brush and printed, shall be allowed to be brought into or imported into this city, under pain of forfeiting the works so imported and xxx livres and xii soldi; of which fine, one third shall go to the state, one third to the affair is committed, and one third to the Signiori Giustizeri Vecchi, to whom the accuser. With this condition, however, that the Artists, who make the said works in this city, may not expose the said works to sale in any other place but their own shops, under the pain aforesaid, except on the day of Wednesday at S. Paulo, and on Saturday at S. Marco, under the pain aforesaid." Then follows the subscription of the Proveditori del Commune, and that of the Signori Giustizieri Vecchi. a note, I, To the word "image" Mr. O. annexes "Ancona (an Altar-piece) probably a corruption of EIKON, icon, an image. It may appear to admit a doubt, whether the introduction of foreign pictures as well as prints was not intended to be prohibited by this decree. however, think not." Now, we are mistaken, if these icons, or images, or altar pieces, were not, among others, those representations of sacred subjects to which &c. for the edification of the unlearned ; we have alluded, hung up in cloisters, of which, copies being made, and transferred to paper, or other portable materials, they were brought from foreign parts, by those who had there contem eastern nations; and Mr. Ottley thinks * Compare LIT. PAN. Vol. III. p. 614. 616. This document proves, that the art the artists were numerous;-that it had had been long practiced; for we find been popular; for the artists had their accustomed "shops," (botege); and | of a translator, who possibly, was incor rect, or incorrectly understood: the exploits of Alexander should naturally refer to some Pope in whose family that name was familiar. This evidence, were it beyond controversy, would be conclusive against the contested priority of Germany and Holland; to which, however, we must now refer, as a striking particular in the history of the art. To enter on the antiquity of playing cards, the figures on which were cut on blocks and printed, to which Mr. O. devotes many pages, would prolong this article to an inconvenient extent*. that it had formerly been more flourishing, than it was at this period; which implies a time as well for its former rise, as for its later decay. Nor can we wholly suppress a suspicion, that this injunction had at least an oblique reference to the traffic of Rome; which would be perfectly consonant with the incessant jealousy of the Venetian government against every intrusion of Papal maxims, intercourse, and influence. The subjects of the earliest block prints which remain; the preservation of them by monks, or other religious; their conformity to such originals (sculptures,&c.) as remain from those times, with other We must, however, previously obparticulars, are conformable to this sug-serve, that the first plate in Mr. Ottley's gestion. The miraculous images would afford abundant materials for such representations; and we know that as well the Greek Church as the Latin, takes effectual care to disperse memorials of such sacra to every town, village, and family. So far we have trod on ground on the stability of which the reader may judge. A no less curious part of Mr. O's volumes is that in which he supports the history given by Papillon, who asserts having seen in 1719 or 1720 a series of prints from wood, dedicated to Pope Honorius IV. by Alessandro Alberico Cunio, Cavaliere, and Isabella Cunio, twin brother and sister. The subjects were exploits of Alexander, the hero of Macedon. Honorius was pope only two years, from April 2, 1285 to April 3, 1287. If, therefore, this instance be authentic, it refers the art of printing from wooden blocks to a date long prior to whatever has (independently of this evidence) been suspected. Our author adduces reasons for crediting Papillon; and it must be acknowledged, that his account has the air of truth, so far as his report is in question ;-unless he have inadvertently, or unfortunately, for we do not think he has purposely, deviated into error. The history of these Cunios has subsequently been traced with much diligence; and the causes of the rarity of their performances are assigned with considerable sagacity and discretion, by our ingenious writer. Unfortu. nately, Papillon depended on the fidelity : volume is a St. Bridget, writing; from the matchless collection of Lord Spencer. Should another impression of this block be discovered, perhaps it may enable Mr. O. to place it among Venetian works, as signified by the lion of St. Mark and to ascertain the date; which in this impression appears to be damaged. Some account of the St. Christopher, from the same collection, has been introduced to our readers, when reporting on Mr. Dibdin's Bibliotheca Spenceriana. The date of this print is indisputably 1423. Vide loc. cit. The claims of Haarlem to the discovery of printing types rest principally on the testimony of Junius, who informs us, that about an hundred and twentyeight years before he wrote (supposed to be in 1568) Laurence Coster resided in Haarlem, opposite the royal palace; during his afternoon walks in the vicinity of the city, he began by amusing himself with cutting letters out of the bark of the beech tree, and with these, one after auother, the letters being inverted, he printed small sentences for the instruction of his grand-children. Being an intelligent man, he afterwards improved his types, his ink, and enlarged his powers. One of his workmen, becoming master of his secret, took the earliest opportunity of robbing Coster of his newly invented art, and his materials; with which he escaped first to Amsterdam, thence to Cologne, and lastly, he took up his residence at Comp. LIT. PAN. Vol. III. p. 798. |