manifests.collections.yale.edu: Copyright Statement=Public Domain on ycba object 94ff71bb-375d-4d48-8b6e-b046d9faa961 (https://manifests.collections.yale.edu/v2/ycba/obj/2275); Image Use Rights=No Copyright: You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. (CC0 1.0) (read 2026-09-16)
At the end of last century a sort of revival took place under Thomas Bewick and his school, which led, not to a revival of the firm and open linear drawing of the designers of the early printers, but rather to a search after extra fineness and qualities of tone and colour, hitherto associated with steel or copper-plate. This tendency or aim of the engravers, however, only served to put the woodcut out of relation with the type, and the type itself grew uglier, and was hardly considered as part …
When he came to embody his own thoughts and dreams, he recurred quite spontaneously to the methods of the maker of the MS. books. He became his own calligrapher, illuminator and miniaturist, while availing himself of the copper-plate (which he turned into a surface printing block) and the printing press for the reproduction of his designs, and in some cases for producing them in tints. His hand-coloured drawings, the borderings and devices to his own poems, will always be things by themselves. His treatment of the resources of black and …
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William Blake made 'Behold him, when past by; what then is seen' (Page 25), and made these too.