a term used in various senses and various arts; in the general, it implies a division or separation.

Cutting is particularly used in heraldry, where the shield is divided into two equal parts, from right to left, parallel to the horizon, or in the fesse-way.

The word also is applied to the honourable ordinaries, and even to animals and moveables, when they are divided equally the same way; so, however, as that one moiety is colour, the other metal. The ordinaries are said to be cut, couped, when they do not come full to the extremities of the shield.

**Cutting**, in surgery, denotes the operation of extracting the stone out of the bladder by section. See **LITHOTOMY**.

**Cutting in coinage**. When the laminæ or plates of the metal, be it gold, silver, or copper, are brought to the thickness of the species to be coined, pieces are cut out, of thicknesses, and nearly of the weight, of the intended coin; which are now called planchets, till the king's image hath been stamped on them. The instrument wherewith they cut, consists of two pieces of steel, very sharp, and placed over one another; the lower a little hollow, representing a mortar, the other a pestle. The metal put between the two, is cut out in the manner described under **COINAGE**.

Note. Medallions, where the relievo is to be great, are not cut, but cast or moulded.

**Cutting**, in the manege, is when the horse's feet interfere; or when with the shoe of one foot he beats off the skin from the pattern joint of another foot. This is more frequent in the hind feet than the fore; the causes are either weariness, weaknesses in the reins, not knowing how to go, or ill shoeing.

**Cutting**, in painting, the laying one strong lively colour over another, without any shade or softening. The cutting of colours has always a disagreeable effect.

**Cutting** in wood, a particular kind of sculpture or engraving; denominated from the matter wherein it is employed.

It is used for various purposes; as for figured letters, head and tail-pieces of books; and even for schemes and other figures, to save the expenses of engraving on copper: and for prints and stamps for paper, calicoes, linens, &c.

The invention of cutting in wood, as well as that in copper, is ascribed to a goldsmith of Florence; but it is to Albert Durer and Lucas they are both indebted for their perfection. See **ENGRAVING**, and **PRINTING**.

One Hugo de Carpi invented a manner of cutting in wood, by means whereof the prints appeared as if painted in clair-obscur. In order to this, he made three kinds of stamps for the same design; which were drawn, after one another, through the press for the same print; they were so conducted, as that one served for the grand lights, a second for the demi-teints, and a third for the outlines and the deep shadows.

The art of cutting in wood was certainly carried to a very great pitch above two hundred years ago; and might even vie, for beauty and justness, with that of engraving in copper. At present it is in a low condition, as having been long neglected, and the application of artists wholly employed on copper, as the more easy and promising province: not but that wooden cuts have the advantage of those in copper on many accounts; chiefly for figures and devices in books; as being printed at the same time and in the same press as the letters: whereas for the other, there is required a particular impression. In the representation of plants and flowers, and in designs for paper-hangings, where the outline only is wanted to be printed, in a bold full manner, this method will be found cheaper and more effectual than the use of copper-plates.

The cutters in wood begin with preparing a plank or block of the size and thickness required, and very even and smooth on the side to be cut: for this, they usually take beech, pear-tree, or box; though the latter is the best, as being the closest, and least liable to be worm-eaten. The wood being cut into a proper form and size, should be planed as even and truly as possible: it is then fit to receive the drawing or chalking of the design to be engraved. But the effect may be made more apparent, and the ink, if any be used in drawing, be prevented from running, by spreading thinly on the surface of the wood white lead tempered with water, by grinding with a brush pencil, and afterwards rubbing it well with a fine linen rag whilst it is wet; and when it is dry, brushing off any loose or powdery part with a soft pencil.

On this block they draw their design with a pen or pencil, just as they would have it printed. Those who cannot draw their own design, as there are many who cannot, make use of a design furnished them by another; fastening it upon the block with paste made of flour and water, with a little vinegar or gum tragacanth; the strokes or lines turned towards the wood.

When the paper is dry, they wash it gently over with a sponge dipped in water; which done, they take off the paper by little and little, still rubbing it a little first with the tip of the finger; till at length there be nothing left on the block but the strokes of ink that form the design, which mark out so much of the block as is to be spared or left standing. Figures are sometimes cut out of prints, by taking away all the white part or blank paper, and cemented with gum-water to the surface of the wood. The rest they...