Graham's Magazine, Vol. XLI, No. 6, December 1852. Various

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and feelings verged

        In a soft sadness to one common point.

        Then low I spoke: – “Were it not sweet and well

        To die from out this chaos of a life

        Into the waiting dark, and leave our toil

        To stronger minds and hands? To spurn the clay,

        And mount the crystal air in spiral gyre,

        Glad-voiced, and angel-winged, like bird uncaged?

        I think it sweet! or so it seemeth now,

        When I look back, as down a charnel-vault,

        Into the retrospect, and see it all; —

        See every should-be that was never done,

        And every would-be that has died its death,

        And my hot dreams, and my distempered hopes,

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      It may not probably be known to ordinary readers that while a copperplate-engraving begins to fail after two or three thousand copies have been taken from it, and is worthless after six or eight thousand, fifty or sixty thousand can be taken from wood-blocks, and yet more from steel, without detriment.

      2

      History Wood Engraving. Jackson. London.

      3

      As an exemplication of the above statement, two wood-cuts are here submitted, with the view of proving the absolute necessity of a good artist-like drawing to enable the engraver to produce a handsome or even creditable wood-cut. Both the following cuts are from one sketch, by the great landscape-painter Morland – the one meagre, tame, unfilled, and presenting nothing beyond a bare, cold outline; the other a remarkably spirited and flowing sketch, not one of the extra or additional lines being supernumerary, but each tending to give both effect and support to the outline.

      4

      And here it is well to point out to those seeking to obtain good wood-engravings, for the illustration of works which they propose to write or publish, that the

1

It may not probably be known to ordinary readers that while a copperplate-engraving begins to fail after two or three thousand copies have been taken from it, and is worthless after six or eight thousand, fifty or sixty thousand can be taken from wood-blocks, and yet more from steel, without detriment.

2

History Wood Engraving. Jackson. London.

3

As an exemplication of the above statement, two wood-cuts are here submitted, with the view of proving the absolute necessity of a good artist-like drawing to enable the engraver to produce a handsome or even creditable wood-cut. Both the following cuts are from one sketch, by the great landscape-painter Morland – the one meagre, tame, unfilled, and presenting nothing beyond a bare, cold outline; the other a remarkably spirited and flowing sketch, not one of the extra or additional lines being supernumerary, but each tending to give both effect and support to the outline.

4

And here it is well to point out to those seeking to obtain good wood-engravings, for the illustration of works which they propose to write or publish, that there are two absurdities, about equally great, usually committed by persons in their position. The one of which is the ordering and paying liberally for the work of a clever artist and designer, and then mulcting the engraver one half the price he ought to receive, if he do his duty and spend the requisite time on the work, and wondering why the product is a wretched botch and not a fine work of art. The other is the converse of this, paying an engraver well to cut, and grudging the extra expense of a good artist. For it must be remembered, that in wood-engraving the artist and designer, where they are not one, as in the case of Bewick and a few others – and this is a rare case – must work in unity of intent, with a perfect comprehension of, and a full sympathy in, the meaning and genius each of the other.

5

Entrance of chamber B, plan 3.

6

Ezekiel, xxxi. 3, etc.; Zephaniah, ii. 13 and 14.

7

Chamber C.

8

Storms of this nature are frequent during the early part of summer throughout Mesopotamia, Babylonia, and Susiana. It is difficult to convey an idea of their violence. They appear suddenly and without any previous sign, and seldom last above an hour. It was during one of them that the Tigris steamer, under the command of Colonel Chesney, was wrecked in the Euphrates; and so darkened was the atmosphere, that, although the vessel was within a short distance of the bank of the river, several persons who were in her are supposed to have lost their lives from not knowing in what direction to swim.

9

Chamber B, plan 3.

10

This bas-relief will be placed in the British Museum.

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Entrance A, chamber B, plan 3.

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