JAPAN
brush-marks of the artist in order to retain the character of the original. Hence the credit of the picture does not belong solely to the artist, but is shared by the engraver. In Japan the engraver has no honour; he is a mere artisan. This interesting point will be understood from the following description of the Japanese chromo-xylographic process (furnished by Mr. S. Tuke, one of the most zealous students of the subject):—
In the first place, the artist will compose his original design somewhat in this fashion. He commences with a small rough sketch, perhaps on an odd scrap of paper. Next he proceeds to make an outline drawing with a brush dipped in very thin and pale Indian ink on a sheet of paper of the requisite size. Having corrected this and satisfied himself with his performance, he will carefully and accurately draw in the whole outline in black ink. If this outline is not entirely satisfactory, he will make a corrected tracing upon thin paper. In this case he may partially paint the original picture with the colour printing.
At this stage the wood-engraver's services are called in. Having procured a block of cherry wood of the desired dimensions and sawn with the grain (not across the grain, as is our habit in the West), the original drawing, or the tracing as the case may be, will be pasted face down upon the block. If the drawing cannot be distinctly seen through the back of the paper, its upper layers will be very carefully rubbed off with a wet hand or cloth, until the outline can be clearly seen through the thinnest possible film of paper. Having received the requisite instructions from the artist, the engraver will commence to carve out the space between the black portions of the design, leaving the black outline alone in relief. This operation concluded, and the fragments of paper having been removed with a brush, the outline having been made, the first stage will be completed. In the case of an ordinary print in black and white the engraver's labours are now ended, but in the case of a52
