as a mode of ornamental work[1] in metal that had been practised for centuries in the workshops of the goldsmiths, and on this account they have been ascribed to the goldsmiths of the great Northern cities.[2] They appeared certainly as early as 1450, and probably much earlier.[3] Some of these prints are evidently taken from metal plates not originally meant to be printed from, for the inscriptions on the prints as well as the actions of the figures appear reversed, the words reading backward, and the figures performing actions with the left hand almost always performed by the right hand.[4] These may be the work of the first years of the fifteenth century, or they may have been taken long afterward, in a spirit of curiosity or experiment. The existence of these early prints, however, undoubtedly from the workshops of the goldsmiths, and after a mode long practised by them, strengthens the hypothesis—suggested by their wide acquaintance with artistic processes and their exclusive possession of all the proper instruments—that they originated the art of taking impressions on paper from engraved work; at all events, this seems the least wild, the most consistent, and best supported conjecture which has been put forth.
- ↑ Theophilus Presbyter, "Schedula Diversarum Artium." Revidirter text, ubersetzung und appendix von Albert Ilg. Wein, 1874; cap. lxxi., lxxi., pp. 281-283.
- ↑ Renouvier, "Histoire de l'Origine et des Progrès de la Gravure dans les Pays-Bas et en Allemagne, jusqu'à la fin du quinzième Siècle." Bruxelles, 1860.
- ↑ The date of 1406 has been assigned to two examples at Paris with great ingenuity, but not unquestionably, by M. le Vte. Henri Delaborde, "Notice sur Deux Estampes de 1406 et sur les commencements de la Gravure Criblée."—Gazette des Beaux Arts, Mars 1, 1869.
- ↑ Willshire, vol. ii., pp. 62, 63.
