 |
| Isaac Beckett after Nicolas de Largillière Mary of Modena, Queen Consort of James II ca. 1685-88 mezzotint British Museum |
-National-Gallery-of-Australia-Canberra.jpg) |
| André Lanskoy Cortège 1985 pochoir (greeting-card, recto) National Gallery of Australia, Canberra |
-National-Gallery-of-Australia-Canberra.jpg) |
| André Lanskoy Cortège 1985 pochoir (greeting-card, verso) National Gallery of Australia, Canberra |
-after-Rosso-Fiorentino-Holy-Family-with-St-Elizabeth-c1544-chiaroscuro-woodcut-(School-of-Fontainebleau)-British-Museum.jpg) |
| Master N.D. after Rosso Fiorentino Holy Family with St Elizabeth ca. 1544 chiaroscuro woodcut (School of Fontainebleau) British Museum |
-after-Rosso-Fiorentino-Holy-Family-with-St-Elizabeth-c1544-chiaroscuro-woodcut-(School-of-Fontainebleau)-Metropolitan-Museum-of-Art-New-York.jpg) |
| Master N.D. after Rosso Fiorentino Holy Family with St Elizabeth ca. 1544 chiaroscuro woodcut (School of Fontainebleau) Metropolitan Museum of Art, New York |
-after-Rosso-Fiorentino-Holy-Family-with-St-Elizabeth-c1544-chiaroscuro-woodcut-(School-of-Fontainebleau)-Metropolitan-Museum-of-Art-New-York-b.jpg) |
| Master N.D. after Rosso Fiorentino Holy Family with St Elizabeth ca. 1544 chiaroscuro woodcut (School of Fontainebleau) Metropolitan Museum of Art, New York |
 |
| Arthur Pond after Jacopo Bertoia Venus in Chariot with Putti ca. 1736 etching and chiaroscuro woodcut British Museum |
-1925-lithograph-and-pochoir-Cooper-Hewitt-Smithsonian-Design-Museum.jpg) |
| Georges Barbier Le Matin (plate from Gazette du Bon-Ton) 1925 lithograph and pochoir Cooper Hewitt, Smithsonian Design Museum |
 |
| Jean-Gabriel Domergue Le Miroir Ovale 1920 pochoir National Gallery of Australia, Canberra |
 |
| Viktor Hammer Dr Oskar Stracker, Vienna ca. 1920-30 mezzotint Smithsonian American Art Museum, Washington DC |
-1693-color-mezzotint-printed-%C3%A0-la-poup%C3%A9e-Herzog-Anton-Ulrich-Museum-Braunschweig.jpg) |
| Georg Fennitzer after Johann Bergmann Posthumous Portrait of Andreas Bergmann 1693 color mezzotint printed à la poupée Herzog Anton Ulrich Museum, Braunschweig |
 |
| Vivant-Denon L'Abbé Zani discovering unique niello engraving by Maso Finiguerra 1803 chiaroscuro woodcut and letterpress Agnes Etherington Art Centre, Kingston, Ontario |
 |
| Chuck Webster Do the Earth by Hand 2013 pochoir and screenprint Whitney Museum of American Art, New York |
 |
| Chuck Webster Houses Rise and Fall 2013 linocut, pochoir and screenprint Whitney Museum of American Art, New York |
 |
| Chuck Webster Old Stone to New Building 2013 pochoir and screenprint Whitney Museum of American Art, New York |
 |
| Jan van Somer after Adam Elsheimer Tobias and the Archangel Raphael in Moonlight ca. 1670-80 mezzotint British Museum |
-1927-lithograph-and-pochoir-National-Portrait-Gallery-Washington-DC.jpg) |
| Paul Colin Le Tumulte Noir (formerly but wrongly said to be Josephine Baker) 1927 lithograph and pochoir National Portrait Gallery, Washington DC |
CATALEXIS ("leaving off") – A term of great importance, inasmuch as there is no other single one which can replace it; but a little vague and elastic in use. Strictly speaking, a catalectic line is one which comes short, by a half-foot or syllable, of the full normal measure; a brachycatalectic ("short leaving off"), one which is a whole foot minus; and a hypercatalectic ("leaving over"), one which has a half foot (or perhaps a whole one in rare cases) too much. The terms "catalexis" and "catalectic" are sometimes used loosely to cover all these varieties of deficiency and redundance in their several developments. Acatalectic means a fully and exactly measured line, without excess or defect.
– George Saintsbury, from Historical Manuel of English Prosody (1910)