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+Project Gutenberg's The Best Portraits in Engraving, by Charles Sumner
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Best Portraits in Engraving
+
+Author: Charles Sumner
+
+Release Date: September 11, 2007 [EBook #22574]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE BEST PORTRAITS IN ENGRAVING ***
+
+
+
+
+Produced by Irma Spehar and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
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+
+THE BEST PORTRAITS IN ENGRAVING.
+
+BY
+
+CHARLES SUMNER.
+
+_Fifth Edition._
+
+FREDERICK KEPPEL & CO.
+
+NEW YORK,
+20 EAST 16th STREET.
+
+LONDON, PARIS,
+
+3 DUKE STREET, ADELPHI. 27 QUAI DE L'HORLOGE.
+
+Entered according to Act of Congress, in the year 1875, by
+
+FREDERICK KEPPEL,
+
+In the Office of the Librarian of Congress at Washington.
+
+
+
+
+THE BEST PORTRAITS IN ENGRAVING.
+
+
+
+
+Engraving is one of the fine arts, and in this beautiful family has
+been the especial handmaiden of painting. Another sister is now coming
+forward to join this service, lending to it the charm of color. If, in
+our day, the "chromo" can do more than engraving, it cannot impair the
+value of the early masters. With them there is no rivalry or
+competition. Historically, as well as aesthetically, they will be
+masters always.
+
+Everybody knows something of engraving, as of printing, with which it
+was associated in origin. School-books, illustrated papers, and shop
+windows are the ordinary opportunities open to all. But while creating
+a transient interest, or, perhaps, quickening the taste, they furnish
+little with regard to the art itself, especially in other days. And
+yet, looking at an engraving, like looking at a book, may be the
+beginning of a new pleasure and a new study.
+
+Each person has his own story. Mine is simple. Suffering from
+continued prostration, disabling me from the ordinary activities of
+life, I turned to engravings for employment and pastime. With the
+invaluable assistance of that devoted connoisseur, the late Dr. Thies,
+I went through the Gray collection at Cambridge, enjoying it like a
+picture-gallery. Other collections in our country were examined also.
+Then, in Paris, while undergoing severe medical treatment, my daily
+medicine for weeks was the vast cabinet of engravings, then called
+Imperial, now National, counted by the million, where was everything
+to please or instruct. Thinking of those kindly portfolios, I make
+this record of gratitude, as to benefactors. Perhaps some other
+invalid, seeking occupation without burden, may find in them the
+solace that I did. Happily, it is not necessary to visit Paris for the
+purpose. Other collections, on a smaller scale, will furnish the same
+remedy.
+
+In any considerable collection, portraits occupy an important place.
+Their multitude may be inferred when I mention that, in one series of
+portfolios, in the Paris cabinet, I counted no less than forty-seven
+portraits of Franklin and forty-three of Lafayette, with an equal
+number of Washington, while all the early Presidents were numerously
+represented. But, in this large company, there are very few possessing
+artistic value. The great portraits of modern times constitute a very
+short list, like the great poems or histories, and it is the same with
+engravings as with pictures. Sir Joshua Reynolds, explaining the
+difference between an historical painter and a portrait-painter,
+remarks that the former "paints men in general, a portrait-painter a
+particular man, and consequently a defective model."[1] A portrait,
+therefore, may be an accurate presentment of its subject without
+aesthetic value.
+
+But here, as in other things, genius exercises its accustomed sway
+without limitation. Even the difficulties of a "defective model" did
+not prevent Raffaelle, Titian, Rembrandt, Rubens, Velasquez, or
+Vandyck from producing portraits precious in the history of art. It
+would be easy to mention heads by Raffaelle, yielding in value to only
+two or three of his larger masterpieces, like the Dresden Madonna.
+Charles the Fifth stooped to pick up the pencil of Titian, saying "it
+becomes Caesar to serve Titian!" True enough; but this unprecedented
+compliment from the imperial successor of Charlemagne attests the
+glory of the portrait-painter. The female figures of Titian, so much
+admired under the names of Flora, La Bella, his daughter, his
+mistress, and even his Venus, were portraits from life. Rembrandt
+turned from his great triumphs in his own peculiar school to portraits
+of unwonted power; so also did Rubens, showing that in this department
+his universality of conquest was not arrested. To these must be added
+Velasquez and Vandyck, each of infinite genius, who won fame
+especially as portrait-painters. And what other title has Sir Joshua
+himself?
+
+[Sidenote: Suyderhoef.]
+
+Historical pictures are often collections of portraits arranged so as
+to illustrate an important event. Such is the famous PEACE OF MUeNSTER,
+by Terburg, just presented by a liberal Englishman to the National
+Gallery at London. Here are the plenipotentiaries of Holland, Spain,
+and Austria, uniting in the great treaty which constitutes an epoch in
+the Law of Nations. The engraving by Suyderhoef is rare and
+interesting. Similar in character is the Death of Chatham, by Copley,
+where the illustrious statesman is surrounded by the peers he had
+been addressing--every one a portrait. To this list must be added the
+pictures by Trumbull in the Rotunda of the Capitol at Washington,
+especially the Declaration of Independence, in which Thackeray took a
+sincere interest. Standing before these, the author and artist said to
+me, "These are the best pictures in the country," and he proceeded to
+remark on their honesty and fidelity; but doubtless their real value
+is in their portraits.
+
+Unquestionably the finest assemblage of portraits anywhere is that of
+the artists occupying two halls in the gallery at Florence, being
+autographs contributed by the masters themselves. Here is Raffaelle,
+with chestnut-brown hair, and dark eyes full of sensibility, painted
+when he was twenty-three, and known by the engraving of Forster--Julio
+Romano, in black and red chalk on paper,--Massaccio, called the father
+of painting, much admired--Leonardo da Vinci, beautiful and
+grand,--Titian, rich and splendid,--Pietro Perugino, remarkable for
+execution and expression,--Albert Duerer, rigid but masterly,--Gerhard
+Dow, finished according to his own exacting style,--and Reynolds, with
+fresh English face; but these are only examples of this incomparable
+collection, which was begun as far back as the Cardinal Leopold de
+Medici, and has been happily continued to the present time. Here are
+the lions, painted by themselves, except, perhaps, the foremost of
+all, Michael Angelo, whose portrait seems the work of another. The
+impression from this collection is confirmed by that of any group of
+historic artists. Their portraits excel those of statesmen, soldiers,
+or divines, as is easily seen by engravings accessible to all. The
+engraved heads in Arnold Houbraken's biographies of the Dutch and
+Flemish painters, in three volumes, are a family of rare beauty.[2]
+
+The relation of engraving to painting is often discussed; but nobody
+has treated it with more knowledge or sentiment than the consummate
+engraver Longhi in his interesting work, _La Calcografia_.[3] Dwelling
+on the general aid it renders to the lovers of art, he claims for it
+greater merit in "publishing and immortalizing the portraits of
+eminent men for the example of the present and future generations;"
+and, "better than any other art, serving as the vehicle for the most
+extended and remote propagation of deserved celebrity." Even great
+monuments in porphyry and bronze are less durable than these light and
+fragile impressions subject to all the chances of wind, water, and
+fire, but prevailing by their numbers where the mass succumbs. In
+other words, it is with engravings as with books; nor is this the only
+resemblance between them. According to Longhi, an engraving is not a
+copy or imitation, as is sometimes insisted, but a translation. The
+engraver translates into another language, where light and shade
+supply the place of colors. The duplication of a book in the same
+language is a copy, and so is the duplication of a picture in the same
+material. Evidently an engraving is not a copy; it does not reproduce
+the original picture, except in drawing and expression; nor is it a
+mere imitation, but, as Bryant's Homer and Longfellow's Dante are
+presentations of the great originals in another language, so is the
+engraving a presentation of painting in another material which is like
+another language.
+
+Thus does the engraver vindicate his art. But nobody can examine a
+choice print without feeling that it has a merit of its own different
+from any picture, and inferior only to a good picture. A work of
+Raffaelle, or any of the great masters, is better in an engraving of
+Longhi or Morghen than in any ordinary copy, and would probably cost
+more in the market. A good engraving is an undoubted work of art, but
+this cannot be said of many pictures, which, like Peter Pindar's
+razors, seem made to sell.
+
+Much that belongs to the painter belongs also to the engraver, who
+must have the same knowledge of contours, the same power of
+expression, the same sense of beauty, and the same ability in drawing
+with sureness of sight as if, according to Michael Angelo, he had "a
+pair of compasses in his eyes." These qualities in a high degree make
+the artist, whether painter or engraver, naturally excelling in
+portraits. But choice portraits are less numerous in engraving than in
+painting, for the reason, that painting does not always find a
+successful translator.
+
+[Illustration: PHILIP MELANCTHON.
+
+(Engraved by Albert Duerer from his own Design.)]
+
+[Sidenote: Duerer.]
+
+The earliest engraved portraits which attract attention are by Albert
+Duerer, who engraved his own work, translating himself. His eminence as
+painter was continued as engraver. Here he surpassed his predecessors,
+Martin Schoen in Germany, and Mantegna in Italy, so that Longhi does
+not hesitate to say that he was the first who carried the art from
+infancy in which he found it to a condition not far from flourishing
+adolescence. But, while recognizing his great place in the history of
+engraving, it is impossible not to see that he is often hard and
+constrained, if not unfinished. His portrait of ERASMUS is justly
+famous, and is conspicuous among the prints exhibited in the British
+Museum. It is dated 1526, two years before the death of Duerer, and has
+helped to extend the fame of the universal scholar and approved man of
+letters, who in his own age filled a sphere not unlike that of
+Voltaire in a later century. There is another portrait of Erasmus by
+Holbein, often repeated, so that two great artists have contributed to
+his renown. That by Duerer is admired. The general fineness of touch,
+with the accessories of books and flowers, shows the care in its
+execution; but it wants expression, and the hands are far from
+graceful.
+
+Another most interesting portrait by Duerer, executed in the same year
+with the Erasmus, is PHILIP MELANCTHON, the St. John of the
+Reformation, sometimes called the teacher of Germany. Luther, while
+speaking of himself as rough, boisterous, stormy, and altogether
+warlike, says, "but Master Philippus comes along softly and gently,
+sowing and watering with joy according to the rich gifts which God has
+bestowed upon him." At the date of the print he was twenty-nine years
+of age, and the countenance shows the mild reformer.
+
+[Sidenote: Caracci.]
+
+Agostino Caracci, of the Bolognese family, memorable in art, added to
+considerable success as painter undoubted triumphs as engraver. His
+prints are numerous, and many are regarded with favor; but out of the
+long list not one is so sure of that longevity allotted to art as his
+portrait of TITIAN, which bears date 1587, eleven years after the
+death of the latter. Over it is the inscription, _Titiani Vicellii
+Pictoris celeberrimi ac famosissimi vera effigies_, to which is added
+beneath, _Cujus nomen orbis continere non valet_! Although founded on
+originals by Titian himself, it was probably designed by the
+remarkable engraver. It is very like, and yet unlike the familiar
+portrait of which we have a recent engraving by Mandel, from a
+repetition in the gallery of Berlin. Looking at it, we are reminded of
+the terms by which Vasari described the great painter, _guidicioso,
+bello e stupendo_. Such a head, with such visible power, justifies
+these words, or at least makes us believe them entirely applicable. It
+is bold, broad, strong, and instinct with life.
+
+This print, like the Erasmus of Duerer, is among those selected for
+exhibition at the British Museum, and it deserves the honor. Though
+only paper with black lines, it is, by the genius of the artist, as
+good as a picture. In all engraving nothing is better.
+
+[Sidenote: Goltzius.]
+
+Contemporary with Caracci was Hendrik Goltzius, at Harlem,
+excellent as painter, but, like the Italian, pre-eminent as engraver.
+His prints show mastery of the art, making something like an epoch in
+its history. His unwearied skill in the use of the burin appears in a
+tradition gathered by Longhi from Wille, that, having commenced a
+line, he carried it to the end without once stopping, while the long
+and bright threads of copper turned up were brushed aside by his
+flowing beard, which at the end of a day's labor so shone in the light
+of a candle that his companions nicknamed him "the man with the golden
+beard." There are prints by him which shine more than his beard. Among
+his masterpieces is the portrait of his instructor, THEODORE
+COERNHERT, engraver, poet, musician, and vindicator of his country,
+and author of the national air, "William of Orange," whose passion for
+liberty did not prevent him from giving to the world translations of
+Cicero's Offices and Seneca's Treatise on Beneficence. But that of the
+ENGRAVER HIMSELF, as large as life, is one of the most important in
+the art. Among the numerous prints by Goltzius, these two will always
+be conspicuous.
+
+[Illustration: JAN LUTMA.
+
+(Etched by Rembrandt from his own Design.)]
+
+[Sidenote: Pontius.]
+
+[Sidenote: Rembrandt.]
+
+[Sidenote: Visscher.]
+
+In Holland Goltzius had eminent successors. Among these were Paul
+Pontius, designer and engraver, whose portrait of RUBENS is of great
+life and beauty, and Rembrandt, who was not less masterly in engraving
+than in painting, as appears sufficiently in his portraits of the
+BURGOMASTER SIX, the two COPPENOLS, the ADVOCATE TOLLING, the
+goldsmith LUTMA, all showing singular facility and originality.
+Contemporary with Rembrandt was Cornelis Visscher, also designer and
+engraver, whose portraits were unsurpassed in boldness and picturesque
+effect. At least one authority has accorded to this artist the palm of
+engraving, hailing him as Corypheus of the art. Among his successful
+portraits is that of a CAT; but all yield to what are known as the
+GREAT BEARDS, being the portraits of WILLIAM DE RYCK, an ophthalmist
+at Amsterdam, and of GELLIUS DE BOUMA, the Zutphen ecclesiastic. The
+latter is especially famous. In harmony with the beard is the heavy
+face, seventy-seven years old, showing the fulness of long-continued
+potation, and hands like the face, original and powerful, if not
+beautiful.
+
+[Illustration: THE SLEEPING CAT.
+
+(Engraved by Cornelis Visscher from his own Design.)]
+
+[Sidenote: Vandyck.]
+
+In contrast with Visscher was his companion Vandyck, who painted
+portraits with constant beauty and carried into etching the same
+Virgilian taste and skill. His aquafortis was not less gentle than his
+pencil. Among his etched portraits I would select that of SNYDERS, the
+animal painter, as extremely beautiful. M. Renouvier, in his learned
+and elaborate work, _Des Types et des Manieres des Maitres Graveurs_,
+though usually moderate in praise, speaks of these sketches as
+"possessing a boldness and delicacy which charm, being taken, at the
+height of his genius, by the painter who knew the best how to idealize
+the painting of portraits."
+
+Such are illustrative instances from Germany, Italy, and Holland. As
+yet, power rather than beauty presided, unless in the etchings of
+Vandyck. But the reign of Louis XIV. was beginning to assert a
+supremacy in engraving as in literature. The great school of French
+engravers which appeared at this time brought the art to a
+splendid perfection, which many think has not been equalled since, so
+that Masson, Nanteuil, Edelinck, and Drevet may claim fellowship in
+genius with their immortal contemporaries, Corneille, Racine, La
+Fontaine, and Moliere.
+
+[Illustration: THE SUDARIUM OF ST. VERONICA.
+
+(Engraved by Claude Mellan from his own Design.)]
+
+[Sidenote: Mellan.]
+
+The school was opened by Claude Mellan, more known as engraver than
+painter, and also author of most of the designs he engraved. His life,
+beginning with the sixteenth century, was protracted beyond ninety
+years, not without signal honor, for his name appears among the
+"Illustrious Men" of France, in the beautiful volumes of Perrault,
+which is also a homage to the art he practiced. One of his works, for
+a long time much admired, was described by this author:
+
+     "It is a Christ's head, designed and shaded, with his crown
+     of thorns and the blood that gushes forth from all parts, by
+     one single stroke, which, beginning at the tip of the nose,
+     and so still circling on, forms most exactly everything that
+     is represented in this plate, only by the different
+     thickness of the stroke, which, according as it is more or
+     less swelling, makes the eyes, nose, mouth, cheeks, hair,
+     blood, and thorns; the whole so well represented and with
+     such expressions of pain and affliction, that nothing is
+     more dolorous or touching."[4]
+
+This print is known as the SUDARIUM OF ST. VERONICA. Longhi records
+that it was thought at the time "inimitable," and was praised "to the
+skies;" but people think differently now. At best it is a curiosity
+among portraits. A traveler reported some time ago that it was the
+sole print on the walls of the room occupied by the director of the
+Imperial Cabinet of Engravings at St. Petersburgh.
+
+[Sidenote: Morin.]
+
+Morin was a contemporary of Mellan, and less famous at the time. His
+style of engraving was peculiar, being a mixture of strokes and dots,
+but so harmonized as to produce a pleasing effect. One of the best
+engraved portraits in the history of the art is his CARDINAL
+BENTIVOGLIO; but here he translated Vandyck, whose picture is among
+his best. A fine impression of this print is a choice possession.
+
+[Illustration: CARDINAL BENTIVOGLIO.
+
+(Painted by Anthony Van Dyck, and Engraved by Jean Morin.)]
+
+[Sidenote: Masson.]
+
+Among French masters Antoine Masson is conspicuous for brilliant
+hardihood of style, which, though failing in taste, is powerful in
+effect. Metal, armor, velvet, feather, seem as if painted. He is also
+most successful in the treatment of hair. His immense skill made him
+welcome difficulties, as if to show his ability in overcoming them.
+His print of HENRI DE LORRAINE, COMTE D'HARCOURT, known as _Cadet a la
+Perle_, from the pearl in the ear, with the date 1667, is often placed
+at the head of engraved portraits, although not particularly pleasing
+or interesting. The vigorous countenance is aided by the gleam and
+sheen of the various substances entering into the costume. Less
+powerful, but having a charm of its own, is that of BRISACIER, known
+as the GRAY-HAIRED MAN, executed in 1664. The remarkable
+representation of hair in this print has been a model for artists,
+especially for Longhi, who recounts that he copied it in his head of
+Washington. Somewhat similar is the head of CHARRIER, the criminal
+judge at Lyons. Though inferior in hair, it surpasses the other in
+expression.
+
+[Sidenote: Nanteuil.]
+
+Nanteuil was an artist of different character, being to Masson as
+Vandyck to Visscher, with less of vigor than beauty. His original
+genius was refined by classical studies, and quickened by diligence.
+Though dying at the age of forty-eight, he had executed as many as two
+hundred and eighty plates, nearly all portraits. The favor he enjoyed
+during life was not diminished with time. His works illustrate the
+reign of Louis XIV., and are still admired. Among these are portraits
+of the KING, ANNIE OF AUSTRIA, JOHN BAPTISTE VAN STEENBERGHEN, the
+Advocate-General of Holland, a heavy Dutchman, FRANCOIS DE LA MOTTE LE
+VAYER, a fine and delicate work, TURENNE, COLBERT, LAMOIGNON, the poet
+LORET, MARIDAT DE SERRIERE, LOUISE-MARIE DE GONZAGUE, LOUIS HESSELIN,
+CHRISTINE OF SWEDEN--all masterpieces; but above these is the POMPONE
+DE BELLIEVRE, foremost among his masterpieces, and a chief masterpiece
+of art, being, in the judgment of more than one connoisseur, the most
+beautiful engraved portrait that exists. That excellent authority, Dr.
+Thies, who knew engraving more thoroughly and sympathetically than any
+person I remember in our country, said in a letter to myself, as long
+ago as March, 1858:
+
+     "When I call Nanteuil's Pompone the handsomest engraved
+     portrait, I express a conviction to which I came when I
+     studied all the remarkable engraved portraits at the royal
+     cabinet of engravings at Dresden, and at the large and
+     exquisite collection there of the late King of Saxony, and
+     in which I was confirmed or perhaps, to which I was led, by
+     the director of the two establishments, the late Professor
+     Frenzel."
+
+And after describing this head, the learned connoisseur proceeds:--
+
+     "There is an air of refinement, _vornehmheit_, round the
+     mouth and nose as in no other engraving. Color and life
+     shine through the skin, and the lips appear red."
+
+It is bold, perhaps, thus to exalt a single portrait, giving to it the
+palm of Venus; nor do I know that it is entirely proper to classify
+portraits according to beauty. In disputing about beauty, we are too
+often lost in the variety of individual tastes, and yet each person
+knows when he is touched. In proportion as multitudes are touched,
+there must be merit. As in music a simple heart-melody is often more
+effective than any triumph over difficulties, or bravura of manner, so
+in engraving the sense of the beautiful may prevail over all else, and
+this is the case with the Pompone, although there are portraits by
+others showing higher art.
+
+No doubt there have been as handsome men, whose portraits were
+engraved, but not so well. I know not if Pompone was what would be
+called a handsome man, although his air is noble and his countenance
+bright. But among portraits more boldly, delicately, or elaborately
+engraved, there are very few to contest the palm of beauty.
+
+[Illustration: POMPONE DE BELLIEVRE.
+
+(Painted by Charles Le Brun, and Engraved by Robert Nanteuil.)]
+
+And who is this handsome man to whom the engraver has given a lease of
+fame? Son, nephew, and grandson of eminent magistrates, high in the
+nobility of the robe, with two grandfathers chancellors of France,
+himself at the head of the magistry of France, first President of
+Parliament according to inscription on the engraving, _Senatus Franciae
+Princeps_, ambassador to Italy, Holland, and England, charged in the
+latter country by Cardinal Mazarin with the impossible duty of
+making peace between the Long Parliament and Charles the First, and at
+his death, great benefactor of the General Hospital of Paris,
+bestowing upon it riches and the very bed on which he died. Such is
+the simple catalogue, and yet it is all forgotten.
+
+A Funeral Panegyric pronounced at his death, now before me in the
+original pamphlet of the time,[5] testifies to more than family or
+office. In himself he was much, and not of those who, according to the
+saying of St. Bernard, give out smoke rather than light. Pure glory
+and innocent riches were his, which were more precious in the sight of
+good men, and he showed himself incorruptible, and not to be bought at
+any price. It were easy for him to have turned a deluge of wealth into
+his house; but he knew that gifts insensibly corrupt,--that the
+specious pretext of gratitude is the snare in which the greatest souls
+allow themselves to be caught,--that a man covered with favors has
+difficulty in setting himself against injustice in all its forms, and
+that a magistrate divided between a sense of obligations received and
+the care of the public interest, which he ought always to promote, is
+a paralytic magistrate, a magistrate deprived of a moiety of himself.
+So spoke the preacher, while he portrayed a charity tender and prompt
+for the wretched, a vehemence just and inflexible to the dishonest and
+wicked, with a sweetness noble and beneficent for all; dwelling also
+on his countenance, which had not that severe and sour austerity that
+renders justice to the good only with regret, and to the guilty only
+with anger; then on his pleasant and gracious address, his
+intellectual and charming conversation, his ready and judicious
+replies, his agreeable and intelligent silence, his refusals, which
+were well received and obliging; while, amidst all the pomp and
+splendor accompanying him, there shone in his eyes a certain air of
+humanity and majesty, which secured for him, and for justice itself,
+love as well as respect. His benefactions were constant. Not content
+with giving only his own, he gave with a beautiful manner still more
+rare. He could not abide beauty of intelligence without goodness of
+soul, and he preferred always the poor, having for them not only
+compassion but a sort of reverence. He knew that the way to take the
+poison from riches was to make them tasted by those who had them not.
+The sentiment of Christian charity for the poor, who were to him in
+the place of children, was his last thought, as witness especially the
+General Hospital endowed by him, and presented by the preacher as the
+greatest and most illustrious work ever undertaken by charity the most
+heroic.
+
+Thus lived and died the splendid Pompone de Bellievre, with no other
+children than his works. Celebrated at the time by a Funeral Panegyric
+now forgotten, and placed among the Illustrious Men of France in a
+work remembered only for its engraved portraits, his famous life
+shrinks, in the voluminous _Biographie Universelle_ of Michaud, to
+the seventh part of a single page, and in the later _Biographie
+Generalle_ of Didot disappears entirely. History forgets to mention
+him. But the lofty magistrate, ambassador, and benefactor, founder of
+a great hospital, cannot be entirely lost from sight so long as his
+portrait by Nanteuil holds a place in art.
+
+[Sidenote: Edelinck.]
+
+Younger than Nanteuil by ten years, Gerard Edelinck excelled him in
+genuine mastery. Born at Antwerp, he became French by adoption,
+occupying apartments in the Gobelins, and enjoying a pension from
+Louis XIV. Longhi says that he is the engraver whose works, not only
+according to his own judgment, but that of the most intelligent,
+deserve the first place among exemplars, and he attributes to him all
+perfections in highest degree, design, chiaro-oscuro, aerial
+perspective, local tints, softness, lightness, variety, in short
+everything which can enter into the most exact representation of the
+true and beautiful without the aid of color. Others may have surpassed
+him in particular things, but, according to the Italian teacher, he
+remains by common consent "the prince of engraving." Another critic
+calls him "king."
+
+It requires no remarkable knowledge to recognize his great merits.
+Evidently he is a master, exercising sway with absolute art, and
+without attempts to bribe the eye by special effects of light, as on
+metal or satin. Among his conspicuous productions is the TENT OF
+DARIUS, a large engraving on two sheets, after Le Brun, where the
+family of the Persian monarch prostrate themselves before Alexander,
+who approaches with Hephaestion. There is also a HOLY FAMILY, after
+Raffaelle, and the BATTLE OF THE STANDARD, after Leonardo da Vinci;
+but these are less interesting than his numerous portraits, among
+which that of PHILIPPE DE CHAMPAIGNE is the chief masterpiece; but
+there are others of signal merit, including especially that of MADAME
+HELIOT, or _La Belle Religieuse_, a beautiful French coquette praying
+before a crucifix; MARTIN VAN DER BOGAERT, a sculptor; FREDERIC
+LEONARD, printer to the king; MOUTON, the Lute-player; MARTINUS
+DILGERUS, with a venerable beard white with age; JULES HARDOUIN
+MANSART, the architect; also a portrait of POMPONE DE BELLIEVRE which
+will be found among the prints of Perrault's Illustrious Men.
+
+The PHILIPPE DE CHAMPAIGNE is the head of that eminent French artist
+after a painting by himself, and it contests the palm with the
+Pompone. Mr. Marsh, who is an authority, prefers it. Dr. Thies, who
+places the latter first in beauty, is constrained to allow that the
+other is "superior as a work of the graver," being executed with all
+the resources of the art in its chastest form. The enthusiasm of
+Longhi finds expression in unusual praise:
+
+     "The work which goes the most to my blood, and with regard
+     to which Edelinck, with good reason, congratulated himself,
+     is the portrait of Champaigne. I shall die before I cease to
+     contemplate it with wonder always new. Here is seen how he
+     was equally great as designer and engraver."[6]
+
+[Illustration: MARTIN VAN DER BOGAERT.
+
+(Painted by Hyacinthe Rigaud, and Engraved by Gerard Edelinck.)]
+
+And he then dwells on various details; the skin, the flesh, the eyes
+living and seeing, the moistened lips, the chin covered with a beard
+unshaven for a few days, and the hair in all its forms.
+
+Between the rival portraits by Nanteuil and Edelinck it is unnecessary
+to decide. Each is beautiful. In looking at them we recognize anew the
+transient honors of public service. The present fame of Champaigne
+surpasses that of Pompone. The artist outlives the magistrate. But
+does not the poet tell us that "the artist never dies?"
+
+[Sidenote: Drevet.]
+
+As Edelinck passed from the scene, the family of Drevet appeared,
+especially the son, Pierre Imbert Drevet, born in 1697, who developed
+a rare excellence, improving even upon the technics of his
+predecessor, and gilding his refined gold. The son was born engraver,
+for at the age of thirteen he produced an engraving of exceeding
+merit. He manifested a singular skill in rendering different
+substances, like Masson, by the effect of light, and at the same time
+gave to flesh a softness and transparency which remain unsurpassed. To
+these he added great richness in picturing costumes and drapery,
+especially in lace.
+
+He was eminently a portrait engraver, which I must insist is the
+highest form of the art, as the human face is the most important
+object for its exercise. Less clear and simple than Nanteuil, and less
+severe than Edelinck, he gave to the face individuality of character,
+and made his works conspicuous in art. If there was excess in the
+accessories, it was before the age of Sartor Resartus, and he only
+followed the prevailing style in the popular paintings of Hyacinthe
+Rigaud. Art in all its forms had become florid, if not meretricious,
+and Drevet was a representative of his age.
+
+Among his works are important masterpieces. I name only BOSSUET, the
+famed eagle of Meaux; SAMUEL BERNARD, the rich Councillor of State;
+FENELON, the persuasive teacher and writer; CARDINAL DUBOIS, the
+unprincipled minister, and the favorite of the Regent of France; and
+ADRIENNE LE COUVREUR, the beautiful and unfortunate actress, linked in
+love with the Marshal Saxe. The portrait of Bossuet has everything to
+attract and charm. There stands the powerful defender of the Catholic
+Church, master of French style, and most renowned pulpit orator of
+France, in episcopal robes, with abundant lace, which is the perpetual
+envy of the fair who look at this transcendent effort. The ermine of
+Dubois is exquisite, but the general effect of this portrait does not
+compare with the Bossuet, next to which, in fascination, I put the
+Adrienne. At her death the actress could not be buried in consecrated
+ground; but through art she has the perpetual companionship of the
+greatest bishop of France.
+
+[Illustration: JACQUES BENIGNE BOSSUET, BISHOP OF MEAUX.
+
+(Painted by Hyacinthe Rigaud, and Engraved by Pierre Imbert Drevet.)]
+
+[Sidenote: Balechou.]
+
+[Sidenote: Beauvarlet.]
+
+[Sidenote: Ficquet.]
+
+With the younger Drevet closed the classical period of portraits in
+engraving, as just before had closed the Augustan age of French
+literature. Louis XIV. decreed engraving a fine art, and established
+an academy for its cultivation. Pride and ostentation in the king and
+the great aristocracy created a demand which the genius of the age
+supplied. The heights that had been reached could not be maintained.
+There were eminent engravers still; but the zenith had been passed.
+Balechou, who belonged to the reign of Louis XV., and Beauvarlet,
+whose life was protracted beyond the reign of terror, both produced
+portraits of merit. The former is noted for a certain clearness and
+brilliancy, but with a hardness, as of brass or marble, and without
+entire accuracy of design; the latter has much softness of manner.
+They were the best artists of France at the time; but none of their
+portraits are famous. To these may be added another contemporary
+artist, without predecessor or successor, Stephen Ficquet, unduly
+disparaged in one of the dictionaries as "a reputable French
+engraver," but undoubtedly remarkable for small portraits, not unlike
+miniatures, of exquisite finish. Among these the rarest and most
+admired are LA FONTAINE, MADAME DE MAINTENON, RUBENS and VANDYCK.
+
+[Sidenote: Schmidt.]
+
+[Sidenote: Wille.]
+
+Two other engravers belong to this intermediate period, though not
+French in origin: Georg F. Schmidt, born at Berlin, 1712, and Johann
+Georg Wille, born in the small town of Koenigsberg, in the Grand Duchy
+of Hesse-Darmstadt, 1717, but attracted to Paris, they became the
+greatest engravers of the time. Their work is French, and they are the
+natural development of that classical school.
+
+[Sidenote: Schmidt.]
+
+Schmidt was the son of a poor weaver, and lost six precious years as a
+soldier in the artillery at Berlin. Owing to the smallness of his size
+he was at length dismissed, when he surrendered to a natural talent
+for engraving. Arriving at Strasburg, on his way to Paris, he fell in
+with Wille, a wandering gunsmith, who joined him in his journey, and
+eventually, in his studies. The productions of Schmidt show ability,
+originality, and variety, rather than taste. His numerous portraits
+are excellent, being free and life-like, while the accessories of
+embroidery and drapery are rendered with effect. As an etcher he
+ranks next after Rembrandt. Of his portraits executed with the
+graver, that of the EMPRESS ELIZABETH OF RUSSIA is usually called the
+most important, perhaps on account of the imperial theme, and next
+those of COUNT RASSAMOWSKY, COUNT ESTERHAZY, and DE MOUNSEY, which he
+engraved while in St. Petersburgh, where he was called by the Empress,
+founding there the Academy of Engraving. But his real masterpieces are
+unquestionably PIERRE MIGNARD and LATOUR, French painters, the latter
+represented laughing.
+
+[Illustration: L'INSTRUCTION PATERNELLE, (THE "SATIN GOWN.")
+
+(Painted by Gerard Terburg, and Engraved by Johann Georg Wille.)]
+
+[Sidenote: Wille.]
+
+Wille lived to old age, not dying till 1808. During this long life he
+was active in the art to which he inclined naturally. His mastership
+of the graver was perfect, lending itself especially to the
+representation of satin and metal, although less happy with flesh. His
+SATIN GOWN, or _L'Instruction Paternelle_, after Terburg, and _Les
+Musiciens Ambulans_, after Dietrich, are always admired. Nothing of
+the kind in engraving is finer. His style was adapted to pictures of
+the Dutch school, and to portraits with rich surroundings. Of the
+latter the principal are COMTE DE SAINT-FLORENTIN, POISSON MARQUIS DE
+MARIGNY, JOHN DE BOULLONGNE, and the CARDINAL DE TENCIN.
+
+[Sidenote: Bervic.]
+
+[Sidenote: Toschi.]
+
+[Sidenote: Desnoyers.]
+
+[Sidenote: Mueller.]
+
+[Sidenote: Vangelisti.]
+
+[Sidenote: Anderloni and Jesi.]
+
+Especially eminent was Wille as a teacher. Under his influence the art
+assumed a new life, so that he became father of the modern school. His
+scholars spread everywhere, and among them are acknowledged masters.
+He was teacher of Bervic, whose portrait of Louis XVI. in his
+coronation robes is of a high order, himself teacher of the Italian
+Toschi, who, after an eminent career, died as late as 1858; also
+teacher of Tardieu, himself teacher of the brilliant Desnoyers,
+whose portrait of the EMPEROR NAPOLEON IN HIS CORONATION ROBES is the
+fit complement to that of LOUIS XVI.; also teacher of the German, J.
+G. von Mueller, himself father and teacher of J. Frederick von Mueller,
+engraver of the SISTINE MADONNA, in a plate whose great fame is not
+above its merit; also teacher of the Italian Vangelisti, himself
+teacher of the unsurpassed Longhi, in whose school were Anderloni and
+Jesi. Thus not only by his works, but by his famous scholars, did the
+humble gunsmith gain sway in art.
+
+[Illustration: NAPOLEON I.
+
+(Painted by Francois Gerard, and Engraved by Auguste Boucher
+Desnoyers.)]
+
+Among portraits by this school deserving especial mention is that of
+KING JEROME OF WESTPHALIA, brother of Napoleon, by the two Muellers,
+where the genius of the artist is most conspicuous, although the
+subject contributes little. As in the case of the Palace of the Sun,
+described by Ovid, _Materiam superabat opus_. This work is a beautiful
+example of skill in representation of fur and lace, not yielding even
+to Drevet.
+
+[Sidenote: Longhi.]
+
+Longhi was a universal master, and his portraits are only parts of his
+work. That of WASHINGTON, which is rare, is evidently founded on
+Stuart's painting, but after a design of his own, which is now in the
+possession of the Swiss Consul at Venice. The artist felicitated
+himself on the hair, which is modelled after the French masters.[7]
+The portraits of MICHAEL ANGELO, and of DANDOLO, the venerable Doge of
+Venice, are admired; so also is the NAPOLEON, AS KING OF ITALY, with
+the iron crown and finest lace. But his chief portrait is that of
+EUGENE BEAUHARNAIS, VICEROY OF ITALY, full length, remarkable for
+plume in the cap, which is finished with surpassing skill.
+
+[Sidenote: Morghen.]
+
+Contemporary with Longhi was another Italian engraver of widely
+extended fame, who was not the product of the French school, Raffaelle
+Morghen, born at Florence in 1758. His works have enjoyed a popularity
+beyond those of other masters, partly from the interest of their
+subjects, and partly from their soft and captivating style, although
+they do not possess the graceful power of Nanteuil and Edelinck, and
+are without variety. He was scholar and son-in-law of Volpato, of
+Rome; himself scholar of Wagner, of Venice, whose homely round faces
+were not high models in art. The AURORA, OF GUIDO, and the LAST
+SUPPER, OF LEONARDO DA VINCI, stand high in engraving, especially the
+latter, which occupied Morghen three years. Of his two hundred and one
+works, no less than seventy-three are portraits, among which are the
+Italian poets DANTE, PETRARCH, ARIOSTO, TASSO, also BOCCACCIO, and a
+head called RAFFAELLE, but supposed to be that of BENDO ALTOVITI, the
+great painter's friend, and especially the DUKE OF MENCADA on
+horseback, after Vandyck, which has received warm praise. But none of
+his portraits is calculated to give greater pleasure than that of
+LEONARDO DA VINCI, which may vie in beauty even with the famous
+Pompone. Here is the beauty of years and of serene intelligence.
+Looking at that tranquil countenance, it is easy to imagine the large
+and various capacities which made him not only painter, but sculptor,
+architect, musician, poet, discoverer, philosopher, even
+predecessor of Galileo and Bacon. Such a character deserves the
+immortality of art. Happily an old Venetian engraving reproduced in
+our day,[8] enables us to see this same countenance at an earlier
+period of life, with sparkle in the eye.
+
+[Illustration: GIOVANNI BOCCACCIO
+
+Firenze presso Luigi Bardi e C'Borgo degli Albizzi N^o 460]
+
+Raffaelle Morghen left no scholars who have followed him in portraits;
+but his own works are still regarded, and a monument in Santa Croce,
+the Westminster Abbey of Florence, places him among the mighty dead of
+Italy.
+
+[Sidenote: Houbraken]
+
+Thus far nothing has been said of English engravers. Here, as in art
+generally, England seems removed from the rest of the world; _Et
+penitus toto divisos orbe Britannos_. But though beyond the sphere of
+Continental art, the island of Shakespeare was not inhospitable to
+some of its representatives. Vandyck, Rubens, Sir Peter Lely, and Sir
+Godfrey Kneller, all Dutch artists, painted the portraits of
+Englishmen, and engraving was first illustrated by foreigners. Jacob
+Houbraken, another Dutch artist, born in 1698, was employed to execute
+portraits for Birch's "Heads of Illustrious Persons of Great Britain,"
+published at London in 1743, and in these works may be seen the
+aesthetic taste inherited from his father, author of the biography of
+Dutch artists, and improved by study of the French masters. Although
+without great force or originality of manner, many of these have
+positive beauty. I would name especially the SIR WALTER RALEIGH and
+JOHN DRYDEN.
+
+[Illustration: MARY QUEEN OF SCOTS.
+
+(Painted by Federigo Zuccaro, and Engraved by Francesco Bartolozzi.)]
+
+[Sidenote: Bartolozzi.]
+
+Different in style was Bartolozzi, the Italian, who made his home in
+England for forty years, ending in 1807, when he removed to Lisbon.
+The considerable genius which he possessed was spoilt by haste in
+execution, superseding that care which is an essential condition of
+art. Hence sameness in his work and indifference to the picture he
+copied. Longhi speaks of him as "most unfaithful to his archetypes,"
+and, "whatever the originals, being always Bartolozzi." Among his
+portraits of especial interest are several old "wigs," as MANSFIELD
+and THURLOW; also the DEATH OF CHATHAM, after the picture of Copley in
+the Vernon Gallery. But his prettiest piece undoubtedly is MARY QUEEN
+OF SCOTS, with her little son James I., after what Mrs. Jameson calls
+"the lovely picture of Zuccaro at Chiswick." In the same style are his
+vignettes, which are of acknowledged beauty.
+
+[Sidenote: Strange.]
+
+Meanwhile a Scotchman honorable in art comes upon the scene--Sir
+Robert Strange, born in the distant Orkneys in 1721, who abandoned the
+law for engraving. As a youthful Jacobite he joined the Pretender in
+1745, sharing the disaster of Culloden, and owing his safety from
+pursuers to a young lady dressed in the ample costume of the period,
+whom he afterwards married in gratitude, and they were both happy. He
+has a style of his own, rich, soft, and especially charming in the
+tints of flesh, making him a natural translator of Titian. His most
+celebrated engravings are doubtless the VENUS and the DANAE after
+the great Venetian colorist, but the CLEOPATRA, though less famous, is
+not inferior in merit. His acknowledged masterpiece is the MADONNA OF
+ST. JEROME called THE DAY, after the picture by Correggio, in the
+gallery of Parma, but his portraits after Vandyck are not less fine,
+while they are more interesting--as CHARLES FIRST, with a large hat,
+by the side of his horse, which the Marquis of Hamilton is holding,
+and that of the same Monarch standing in his ermine robes; also the
+THREE ROYAL CHILDREN with two King Charles spaniels at their feet,
+also HENRIETTA MARIA, the Queen of Charles. That with the ermine robes
+is supposed to have been studied by Raffaelle Morghen, called
+sometimes an imitator of Strange.[9] To these I would add the rare
+autograph PORTRAIT OF THE ENGRAVER, being a small head after Greuze,
+which is simple and beautiful.
+
+[Illustration: JOHN HUNTER
+
+(Painted by Sir Joshua Reynolds, and Engraved by William Sharp.)]
+
+[Sidenote: Sharp.]
+
+One other name will close this catalogue. It is that of William Sharp,
+who was born at London in 1746, and died there in 1824. Though last in
+order, this engraver may claim kindred with the best. His first essays
+were the embellishment of pewter pots, from which he ascended to the
+heights of art, showing a power rarely equalled. Without any instance
+of peculiar beauty, his works are constant in character and
+expression, with every possible excellence of execution; face, form,
+drapery--all are as in nature. His splendid qualities appear in the
+DOCTORS OF THE CHURCH, which has taken its place as the first of
+English engravings. It is after the picture of Guido, once belonging
+to the Houghton gallery, which in an evil hour for English taste was
+allowed to enrich the collection of the Hermitage at St. Petersburgh;
+and I remember well that this engraving by Sharp was one of the few
+ornaments in the drawing-room of Macaulay when I last saw him, shortly
+before his lamented death. Next to the Doctors of the Church is his
+LEAR IN THE STORM, after the picture by West, now in the Boston
+Athenaeum, and his SORTIE FROM GIBRALTAR, after the picture by
+Trumbull, also in the Boston Athenaeum. Thus, through at least two of
+his masterpieces whose originals are among us, is our country
+associated with this great artist.
+
+It is of portraits especially that I write, and here Sharp is truly
+eminent. All that he did was well done; but two were models; that of
+MR. BOULTON, a strong, well-developed country gentleman, admirably
+executed, and of JOHN HUNTER, the eminent surgeon, after the painting
+by Sir Joshua Reynolds, in the London College of Surgeons,
+unquestionably the foremost portrait in English art, and the coequal
+companion of the great portraits in the past; but here the engraver
+united his rare gifts with those of the painter.
+
+[Sidenote: Mandel.]
+
+In closing these sketches I would have it observed that this is no
+attempt to treat of engraving generally, or of prints in their mass or
+types. The present subject is simply of portraits, and I stop now just
+as we arrive at contemporary examples, abroad and at home, with the
+gentle genius of Mandel beginning to ascend the sky, and our own
+engravers appearing on the horizon. There is also a new and kindred
+art, infinite in value, where the sun himself becomes artist, with
+works which mark an epoch.
+
+CHARLES SUMNER.
+
+WASHINGTON, 11TH DEC., 1871.
+
+[Illustration]
+
+    FOOTNOTES:
+
+    [Footnote 1: Discourses before the Royal Academy, No. IV.]
+
+    [Footnote 2: De Groote Schonburgh der Nederlantsche
+    Konctschilders en Schilderessen.]
+
+    [Footnote 3: This rare volume is in the Congressional
+    Library, among the books which belonged originally to Hon.
+    George P. Marsh, our excellent and most scholarly minister in
+    Italy. I asked for it in vain at the Paris Cabinet of
+    Engravings, and also at the Imperial Library. Never
+    translated into French or English; there is a German
+    translation of it by Carl Barth.]
+
+    [Footnote 4: Les Hommes Illustres, par Perrault, Tome ii., p.
+    97. The excellent copy of this work in the Congressional
+    Library belonged to Mr. Marsh. The prints are early
+    impressions.]
+
+    [Footnote 5: Panegyrique Funebre de Messire Pompone de
+    Bellievre, Premier President au Parlement, pronounce a
+    l'Hostel-Dieu de Paris, le 17 Avril, 1657, par un Chanoine
+    regulier de la Congregation de France. The dedication shows
+    this to have been the work of F. Lallemant of St. Genevieve.]
+
+    [Footnote 6: _La Calcografia_, p. 176.]
+
+    [Footnote 7: _La Calcografia_, pp. 165, 418.]
+
+    [Footnote 8: Les Arts au Moyen Age et a l'Epoque de la
+    Renaissance, par Paul Lacroix, p. 198.]
+
+    [Footnote 9: Longhi, _La Calcografia_, p. 199.]
+
+
+
+
+
+End of Project Gutenberg's The Best Portraits in Engraving, by Charles Sumner
+
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