Jennings vs Fisher: Two Illustrated Books on Devon 1829

  Two Simultaneously Published Illustrated Works on Devonshire   Jennings vs Fisher The History of Devonshire      &     Devonshire & Cornwall I llustrated   Cover to Issue 1 - Fisher's  Devonshire & Cornwall Illustrated Cover to Issue 1 - Jennings'  History and Topography of ... Devon Use the links here to go directly to desired pages: I. Introduction .- see below II. Steel Engraving. III. Subscribers and Funding. IV. The Authors , V. The Printers and Publishers. VI. The Engravers. V II. The Maps & Mapmakers. VIII. Publishing History. IX. Collaboration or Coincidence. Thanks, Apologies, List of Illustrations, Disclaimer and Select Bibliography . Use following links to go directly to Tables and to Views. Appendix I. Dedications found in both works. Appendix II. List of plates included in Moore. Apendix III. List of plates in Devon section of Fisher. Appendix IV. Publishing History of Moore's History . Appendix V. Publishing History of Fisher's Ill

  II:  Steel Engraving The first illustrations in printed books used the woodcut, a relief process where the back is cut away leaving the design raised. Probably because both wood and wood carvers were plentiful this remained a popular printing technique long after copper plate engraving had been invented. Wood would remain an important medium for illustrations until the 20 th century and early Victorian guide books often included attractive woodcut s. Because they were relatively cheap to prepare, woodcuts also tended to be popular in penny newspapers and where illustrations were embedded in the text. Despite the increase in copper printing, innovations in wood block engraving continued throughout this period. [i] Alexander Jenkins had used wood engravings to illustrate his History ... of Exeter (1806) which he himself had prepared. [ii] When the London Illustrated News hit the streets in 1842 it contained 32 wood engravings and sold 26 000 copies.   Fig. 1. Alexander Jenki

  III. Subscribers and Funding Subscribers were an important feature when it came to covering the cost of publishing expensive books. John Ogilby in the mid-1700s had shown how atlases could be produced in parts with the subscribers paying a monthly fee for the next part of a work. Ogilby's career as a publisher and printer was gradual. The first editions of his Vergil and Aesop were published by John and Andrew Crook, not known for the quality of their printed works. [i] His edition of Vergil's works, printed in 1654, was already a splendid volume, of which Ogilby wrote jubilantly that it was "the most beautiful that the English art of printing can boast of to date". [ii] Ogilby had financed the printing of the elaborate edition of Vergil's works with an entirely new and innovative method: subscription. To illustrate the work, he had one hundred full-page engravings made according to designs by the renowned painter Francis Cleyn. Subscribers could then pay to