rectangular nick and a guiding line, which correspond exactly to a similar nick and guiding line in the outline block. A separate block having thus been produced for each colour, the remains of the paper copies will be removed, and unless any alterations are required, the engraver’s work is concluded. Although it is difficult to overrate the amount of skill often exhibited by the Japanese wood engraver, it is easy to see from this description how thoroughly subordinate he is to the artist. 
Wild Duck (Kishi Renzan Toku).
“Printing is the next process. The various blocks now pass into the hands of an operator of little less importance than the engraver in point of skill, and requiring much greater artistic talent. In a work of any importance the artist, having selected his paper and directed the mixing of the various colours, will probably superintend the printing of the first proofs. But there is no printing-press. The outline block is placed face upwards upon a stool or upon the floor, and the portions in relief are carefully painted with an ink brush. A sheet of paper is then placed upon the block, one of its corners in the rectangular nick, its edge against the guiding line, and retained in position by one of the printer’s hands. He will next proceed to pass a flat padded disc over the back of the paper with his other hand, exercising the requisite amount of pressure with his arm. The whole of this process will be repeated until he has printed off the number of outline proofs required for the first issue. He then replaces the outline block with one of the colour blocks, and applies the colour to the portions of the surface that are in relief. Should any shading be required, he will carefully wipe the colour in gradation partially off the requisite portions with either his hand or a damp rag. This shading, of course, requires very nice manipulation, but it is a process not unknown to English etchers. One of the outline proofs is now placed on the colour block, its corner
