acy any piece of Work of the same Measure with those carved on
Metal. This performance was very much in Vogue, and continued down
to this Day, to serve for Initials, Fregii and Finali; it is called
a clear Impression, but often gray and hazy, far from coming up to
that clear black Impression produced with cutting on the side of a
piece of Box-wood or Pear-tree. Much about the same time there
started another Method of Engraving on the end ways of Wood itself,
which was cut to the height of the Letters to accompany them in the
Press, and engraved in the same Manner as the Metal Performance;
this Method was also encouraged, and is the only way of Engraving
on Wood at present used in the English Printing-houses. These
performances are to be seen in Magazines, News Papers, &c. and are
the Remains of the ancient Manner of Cutting on Wood, and is the
reason why the Curious concluded it was intirely lost.

[11] Chatto, _op. cit._ (footnote 6), p. 446.

[12] _An enquiry into the origins of printing in Europe, by a lover of
art_, London, 1752, pp. 25, 26.

This is important evidence that end-grain wood engraving was not only
known in England in the early 18th century but was actually the
prevailing style. In that country, where a woodcut tradition did not
exist, the new method gained its first foothold. But it was not yet
conceived in terms of white lines; it was merely a cheaper substitute
for cutting with the knife on the plank. In European countries with long
art and printing traditions, this substitute method was considered
beneath contempt. Jackson[13] describes the aversion of French
woodcutters for the newer and cheaper process:

From this Account it is evident that there was little encouragement
to be hoped for in _England_ to a Person whose Genius led him to
prosecute his Studies in the ancient Manner; which obliged Mr.
_Jackson_ to go over to the Continent, and see what was used in the
Parisian Printing-houses. At his arrival there he found the
_French_ engravers on Wood all working in the old Manner; no Metal
engravers, or any of the same performance on the end of the Wood,
was ever used or countenanced by the Printers or Booksellers in
that City.

[Illustration: Figure 5.--Example of the Woodcut Style that Created
Facsimile Drawings. Woodcut (actual size) by Hans Lutzelburger, after a
drawing by Holbein f