As few persons know, even amongst those who profess to be admirers of the art of Wood Engraving, by what means its effects, as seen in books and single impressions, are produced, and as a yet smaller number understand in what manner it specifically differs in its procedure from the art of engraving on copper or steel, it appears necessary, before entering into any historic detail of its progress, to premise a few observations explanatory of the word Engraving in its general acceptation, and more particularly descriptive of that branch of the art which several persons affect to call Xylography; but which is as clearly expressed, and much more generally understood, by the term Wood Engraving.

The primary meaning of the verb “to engrave” is defined by Dr. Johnson, “to picture by incisions in any matter;” and he derives it from the French “engraver.” The great lexicographer is not, however, quite correct in his derivation; for the French do not use the verb “engraver” in the sense of “to engrave,” but to signify a ship or a boat being embedded in sand or mud so that she cannot float. The French synonym of the English verb “to engrave,” is “graver;” and its root is to be found in the Greek γραϕω, (grapho, I cut,) which, with its compound επιγραϕω, according to Martorelli, as cited by Von Murr, is always used by Homer to express cutting, incision, or wounding; but never to express writing by the superficial tracing of characters with a reed or pen.