- St. Bridget, from an old cut in the possession of Earl Spencer
The figure writing is that of St. Bridget of Sweden, who was born in 1302 and died in 1373. From the representation of the Virgin with the infant Christ in her arms we may suppose that the artist intended to show the pious widow writing an account of her visions or revelations, in which she was often favoured with the blessed Virgin’s appearance. The pilgrim’s hat, staff, and scrip may allude to her pilgrimage to Jerusalem, which she was induced to make in consequence of a vision. The letters S. P. Q. R. in a shield, are no doubt intended to denote the place, Rome, where she saw the vision, and where she died. The lion, the arms of Sweden, and the crown at her feet, are most likely intended to denote that she was a princess of the blood royal of that kingdom. The words above the figure of the saint are a brief invocation in the German language, “O Brigita bit Got für uns!” “O Bridget, pray to God for us!” At the foot of the desk at which St. Bridget is writing are the letters M. I. Chrs., an abbreviation probably of Mater Jesu Christi, or if German, Mutter Iesus Christus.
- St. Christopher, with the date 1423, from a cut in the possession of Earl Spencer
This cut is much better designed than the generality of those which we find in books typographically executed from 1462, the date of the Bamberg Fables, to 1493, when the often-cited Nuremberg Chronicle was printed. Amongst the many coarse cuts which “illustrate” the latter, and which are announced in the book itselfII.11 as having been “got up” under the superintendence of Michael Wolgemuth, Albert Durer’s master, and William Pleydenwurff, both “most skilful in the art of painting,” I cannot find a single subject which either for spirit or feeling can be compared to the St. Christopher. In fact, the figure of the saint, and that of the youthful Christ whom he bears on his shoulders, are, with the exception of the extremities, designed in such a style, that they would scarcely discredit Albert Durer himself. To the left of the engraving the artist has introduced, with a noble disregard of perspective what Bewick would have called a “bit of Nature.” In the foreground a figure is seen driving an ass loaded with 48a sack towards a water-mill; while by a steep path a figure, perhaps intended for the miller, is seen carrying a full sack from the back-door of the mill towards a cottage. To the right is seen a hermit—known by the bell over the entrance of his dwelling—holding a large lantern to direct St. Christopher as he crosses the stream. The two verses at the foot of the cut, Cristofori faciem die quacunque tueris, Illa nempe die morte mala non morieris, may be translated as follows: Each day that thou the likeness of St. Christopher shalt see, That day no frightful form of death shall make an end of thee.
- A Son of Pan
“A Son of Pan,” by William Padgett. Example of outline drawing, put in solidly with a brush. If this had been done with pencil or autographic chalk, much of the feeling and expression of the original would have been lost. The drawing has suffered slightly in reproduction, where (as in the shadows on the neck and hands) the lines were pale in the original. Size of drawing 11½ × 6½ in. Zinc process.
- Ashes of Roses
This careful drawing, from the painting by Mr. Boughton, in the Royal Academy, reproduced by the Dawson process, is interesting for variety of treatment and indication of textures in pen and ink. It is like the picture, but it has also the individuality of the draughtsman, as in line engraving. Size of drawing about 6½ x 3½ in
Pen and Ink Drawing
- The Trumpeter
THE TRUMPETER.” (SIR JOHN GILBERT, R.A.) (Drawn in pen and ink, from his picture in the Royal Academy, 1883.) [Size of drawing, 5½ by 4¾ in. Photo-zinc process.]
- Baptism of Clovis
- A miracle of Remigius 2
- A miracle of Remigius
- Group of reindeer drawn upon a piece of slate
Group of reindeer drawn upon a piece of slate
- Esquimaux carving
The first of these illustrations is perhaps the best, as it is certainly the most delicate and graceful of all the fragments yet discovered. It represents the profile of the head and shoulder of an ibex, carved in low relief upon a piece of the palm of a reindeer’s antler. So exact and well characterised is the sculpture, that naturalists have no hesitation in deciding the animal to be an ibex of the Alps, and not of the Pyrenees.
- Prehistoric carving
In short, the prehistoric carvings are from the hands of men who were neither beginners nor blunderers in their art. The practised skill of a modern wood engraver would scarcely exceed in firmness and decision, nor in evident rapidity of execution, the outline of the animals in the example which is here engraved.
- Statue of Rânofir
- The Colossus of Ramses II emerging from the earth
- Egyptian jewellery of the XIXTH dynasty
- Gold pectoral inlaid with enamel
- Pectoral in shape of a hawk with a ram’s head
- Pectoral of Ramses II
- Statuette in wood
- The lady Touî, statuette in wood
- Statuette in wood 2
- The Soul - front view
- Bronze Cat
- The Soul - back view
- The Queen's first baby
Drawn and Etched by Her Majesty the Queen. [Queen Victoria]
- A Grazing Bison, Delicately and Carefully Drawn, Engraved on a Wall of the Altamira Cave, Northern Spain
This was the work of a Reindeer Man or Cromagnard, in the Upper or Post-Glacial Pleistocene, perhaps 25,000 years ago. Firelight must have been used in making these cave drawings and engravings.
- American Indian Picture-Writing
Specimens of American Indian picture-writing No. 1, painted on a rock on the shore of Lake Superior, records an expedition across the lake, in which five canoes took part. The upright strokes in each indicate the number of the crew, and the bird represents a chief, “The Kingfisher.” The three circles (suns) under the arch (of heaven) indicate that the voyage lasted three days, and the tortoise, a symbol of land, denotes a safe arrival. No. 2 is a petition sent to the United States Congress by a group of Indian tribes, asking for fishing rights in certain small lakes. The tribes are represented by their totems, martens, bear, manfish, and catfish, led by the crane. Lines running from the heart and eye of each animal to the heart and eye of the crane denote that they are all of one mind; and a line runs from the eye of the crane to the lakes, shown in the crude little “map” in the lower left-hand corner.
- A Reindeer Age Masterpiece
These late Palæolithic people not only drew remarkably well for our information, and with an increasing skill as the centuries passed, but they have also left us other information about their lives in their graves. They buried. They buried their dead, often with ornaments, weapons, and food; they used a lot of colour in the burial, and evidently painted the body. From that one may infer that they painted their bodies during life. Paint was a big fact in their lives. They were inveterate painters; they used black, brown, red, yellow, and white pigments, and the pigments they used endure to this day in the caves of France and Spain. Of all modern races, none have shown so pictorial a disposition; the nearest approach to it has been among the American Indians.
- A Menhir of the Neolithic Period
A Carved Statue (“Menhir”) of the Neolithic Period—a Contrast to the Freedom and Vigour of Palæolithic Art.