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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: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE BEST PORTRAITS IN ENGRAVING ***
+
+
+
+
+Produced by Irma �pehar 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 �sthetically, 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
+�sthetic 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 C�sar 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 M�NSTER,
+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 D�rer, 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 D�rer from his own Design.)]
+
+[Sidenote: D�rer.]
+
+The earliest engraved portraits which attract attention are by Albert
+D�rer, 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 D�rer, 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 D�rer 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 D�rer, 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 D�rer, 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 Mani�res des Ma�tres 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 Moli�re.
+
+[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 � 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, FRAN�OIS DE LA MOTTE LE
+VAYER, a fine and delicate work, TURENNE, COLBERT, LAMOIGNON, the poet
+LORET, MARIDAT DE SERRI�RE, LOUISE-MARIE DE GONZAGUE, LOUIS HESSELIN,
+CHRISTINE OF SWEDEN--all masterpieces; but above these is the POMPONE
+DE BELLI�VRE, 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 BELLI�VRE.
+
+(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 Franci�
+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 Belli�vre, 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
+G�n�ralle_ 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, G�rard 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, �rial
+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 Heph�stion. 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
+L�ONARD, 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 BELLI�VRE 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 G�rard 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;
+F�NELON, 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 B�NIGNE 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 K�nigsberg, 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: M�ller.]
+
+[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 M�ller, himself father and teacher of J. Frederick von M�ller,
+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 Fran�ois G�rard, 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 M�llers,
+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
+�sthetic 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 DANA� 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
+Athen�um, and his SORTIE FROM GIBRALTAR, after the picture by
+Trumbull, also in the Boston Athen�um. 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: Pan�gyrique Fun�bre de Messire Pompone de
+    Belli�vre, Premier Pr�sident au Parlement, pronounc� �
+    l'Hostel-Dieu de Paris, le 17 Avril, 1657, par un Chanoine
+    r�gulier de la Congr�gation de France. The dedication shows
+    this to have been the work of F. Lallemant of St. Genevi�ve.]
+
+    [Footnote 6: _La Calcografia_, p. 176.]
+
+    [Footnote 7: _La Calcografia_, pp. 165, 418.]
+
+    [Footnote 8: Les Arts au Moyen Age et � 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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+Project Gutenberg's The Best Portraits in Engraving, by Charles Sumner
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+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
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+Title: The Best Portraits in Engraving
+
+Author: Charles Sumner
+
+Release Date: September 11, 2007 [EBook #22574]
+
+Language: English
+
+Character set encoding: ISO-8859-1
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+*** START OF THIS PROJECT GUTENBERG EBOOK THE BEST PORTRAITS IN ENGRAVING ***
+
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+Produced by Irma �pehar and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
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+
+
+
+<h1><small>THE</small><br />
+BEST PORTRAITS<br />
+<span style="font-size: 55%">IN</span><br />
+ENGRAVING.</h1>
+
+<p class="center" style="padding-top: 2em; font-weight: bold; text-indent: 0em">BY</p>
+
+<p class="center" style="font-weight: bold; text-indent: 0em; font-size: 140%">CHARLES SUMNER.</p>
+
+<p class="center" style="padding-top: 4em; font-style: italic">Fifth Edition.</p>
+
+<p class="center" style="padding-top: 3em">FREDERICK KEPPEL &amp; CO.</p>
+
+<p class="publisher">
+NEW YORK,<br />
+20 EAST 16th STREET.<br />
+<br />
+<span style="padding-right: 9em">LONDON,</span> PARIS,<br />
+<span style="padding-right: 2em">3 DUKE STREET, ADELPHI.</span> 27 QUAI DE L'HORLOGE.<br />
+</p>
+
+<hr style="margin-top: 4em" />
+
+<p class="copyright">Entered according to Act of Congress, in the year 1875, by</p>
+
+<p class="copyright">FREDERICK KEPPEL,</p>
+
+<p class="copyright">In the Office of the Librarian of Congress at Washington.</p>
+
+
+<hr style="margin-bottom: 5em" />
+
+<h2><a name="THE_BEST_PORTRAITS_IN_ENGRAVING" id="THE_BEST_PORTRAITS_IN_ENGRAVING"></a>THE BEST PORTRAITS IN ENGRAVING.</h2>
+
+<hr class="chapter" />
+
+<p class="newchapter"><span class="firstword"><span class="dropcap">E</span>ngraving</span> 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 &aelig;sthetically, they will be masters always.</p>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span>
+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.</p>
+
+<p>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."<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> A portrait, therefore, may be an accurate
+presentment of its subject without &aelig;sthetic value.</p>
+
+<p>But here, as in other things, genius exercises its accustomed
+<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span>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 C&aelig;sar 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?</p>
+
+<p>Historical pictures are often collections of portraits
+arranged so as to illustrate an important event. Such is
+the famous <span class="smcap">Peace of M&uuml;nster</span>, by Terburg, just presented<span class="sidenote">Suyderhoef.</span>
+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<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>
+statesman is surrounded by the peers he had been addressing&mdash;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.</p>
+
+<p>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&mdash;Julio Romano, in black and red chalk on paper,&mdash;Massaccio,
+called the father of painting, much admired&mdash;Leonardo
+da Vinci, beautiful and grand,&mdash;Titian,
+rich and splendid,&mdash;Pietro Perugino, remarkable
+for execution and expression,&mdash;Albert D&uuml;rer, rigid but
+masterly,&mdash;Gerhard Dow, finished according to his own
+exacting style,&mdash;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<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span>
+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.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p>
+
+<p>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, <i>La Calcografia</i>.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> 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
+<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p class="figcenter"><a href="images/illo009.jpg"><img src="images/illo009_th.jpg"
+alt="Philip Melancthon" title="Philip Melancthon" /></a></p>
+<p class="caption">PHILIP MELANCTHON.<br />
+(Engraved by Albert D&uuml;rer from his own Design.)<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span></p>
+
+
+<p>The earliest engraved portraits which attract attention
+are by Albert D&uuml;rer, who engraved his own work, translating
+himself. His eminence as painter was continued as<span class="sidenote">D&uuml;rer.</span>
+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 <span class="smcap">Erasmus</span> is justly
+famous, and is conspicuous among the prints exhibited
+in the British Museum. It is dated 1526, two years before
+the death of D&uuml;rer, 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 D&uuml;rer
+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.</p>
+
+<p>Another most interesting portrait by D&uuml;rer, executed
+in the same year with the Erasmus, is <span class="smcap">Philip Melancthon</span>,
+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,<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span>
+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.</p>
+
+
+<p>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<span class="sidenote">Caracci.</span>
+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
+<span class="smcap">Titian</span>, which bears date 1587, eleven years after the death
+of the latter. Over it is the inscription, <i>Titiani Vicellii
+Pictoris celeberrimi ac famosissimi vera effigies</i>, to which
+is added beneath, <i>Cujus nomen orbis continere non valet</i>!
+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, <i>guidicioso,
+bello e stupendo</i>. 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.</p>
+
+<p>This print, like the Erasmus of D&uuml;rer, 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.</p>
+
+
+<p>Contemporary with Caracci was Hendrik Goltzius, at<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>
+Harlem, excellent as painter, but, like the Italian, pre-eminent
+as engraver. His prints show mastery of the art,<span class="sidenote">Goltzius.</span>
+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, <span class="smcap">Theodore Coernhert</span>, 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 <small>ENGRAVER HIMSELF</small>, 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.</p>
+
+<p class="figcenter"><a href="images/illo013.jpg"><img src="images/illo013_th.jpg"
+alt="Jan Lutma" title="Jan Lutma" /></a></p>
+
+<p class="caption">JAN LUTMA.<br />
+(Etched by Rembrandt from his own Design.)</p>
+
+
+<p>In Holland Goltzius had eminent successors. Among
+these were Paul Pontius, designer and engraver, whose
+portrait of <span class="smcap">Rubens</span> is of great life and beauty, and Rembrandt,<span class="sidenote">Pontius.</span>
+who was not less masterly in engraving than in
+painting, as appears sufficiently in his portraits of the <span class="smcap">Burgomaster
+Six</span>, the two <span class="smcap">Coppenols</span>, the <span class="smcap">Advocate Tolling</span>,<span class="sidenote">Rembrandt.</span>
+the goldsmith <span class="smcap">Lutma</span>, all showing singular facility and
+originality. Contemporary with Rembrandt was Cornelis<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span>
+Visscher, also designer and engraver, whose portraits were<span class="sidenote">Visscher.</span>
+
+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 <span class="smcap">Cat</span>; but all yield to
+what are known as the <span class="smcap">Great Beards</span>, being the portraits
+of <span class="smcap">William de Ryck</span>, an ophthalmist at Amsterdam, and
+of <span class="smcap">Gellius de Bouma</span>, 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.</p>
+
+<p class="figcenter"><a href="images/illo017.jpg"><img src="images/illo017_th.jpg"
+alt="The Sleeping Cat" title="The Sleeping Cat" /></a></p>
+
+<p class="caption">THE SLEEPING CAT.<br />
+(Engraved by Cornelis Visscher from his own Design.)</p>
+
+
+<p>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<span class="sidenote">Vandyck.</span>
+was not less gentle than his pencil. Among his
+etched portraits I would select that of <span class="smcap">Snyders</span>, the animal
+painter, as extremely beautiful. M. Renouvier, in his
+learned and elaborate work, <i>Des Types et des Mani&eacute;res
+des Ma&icirc;tres Graveurs</i>, 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."</p>
+
+<p>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<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span>
+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 Moli&egrave;re.</p>
+
+<p class="figcenter"><a href="images/illo019.jpg"><img src="images/illo019_th.jpg"
+alt="The Sudarium of St. Veronica" title="The Sudarium of St. Veronica" /></a></p>
+
+<p class="caption">THE SUDARIUM OF ST. VERONICA.<br />
+(Engraved by Claude Mellan from his own Design.)</p>
+
+
+<p>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<span class="sidenote">Mellan.</span>
+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:</p>
+
+<div class="blockquot"><p>"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."<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p></div>
+
+<p>This print is known as the <span class="smcap">Sudarium of St. Veronica</span>.
+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
+<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span>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.</p>
+
+
+<p>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<span class="sidenote">Morin.</span>
+a pleasing effect. One of the best engraved portraits
+in the history of the art is his <span class="smcap">Cardinal Bentivoglio</span>; but
+here he translated Vandyck, whose picture is among his
+best. A fine impression of this print is a choice possession.</p>
+
+<p class="figcenter"><a href="images/illo023.jpg"><img src="images/illo023_th.jpg"
+alt="Cardinal Bentivoglio" title="Cardinal Bentivoglio" /></a></p>
+
+<p class="caption">CARDINAL BENTIVOGLIO.<br />
+(Painted by Anthony Van Dyck, and Engraved by Jean Morin.)</p>
+
+
+<p>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,<span class="sidenote">Masson.</span>
+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 <span class="smcap">Henri de Lorraine, Comte d'Harcourt</span>,
+known as <i>Cadet &agrave; la Perle</i>, 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 <span class="smcap">Brisacier</span>,
+known as the <span class="smcap">Gray-haired Man</span>, 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 <span class="smcap">Charrier</span>, the criminal judge at Lyons.
+Though inferior in hair, it surpasses the other in expression.<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span></p>
+
+
+<p>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,<span class="sidenote">Nanteuil.</span>
+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 <span class="smcap">King</span>, <span class="smcap">Annie of Austria</span>,
+<span class="smcap">John Baptiste van Steenberghen</span>, the Advocate-General
+of Holland, a heavy Dutchman, <span class="smcap">Fran&ccedil;ois de la Motte
+Le Vayer</span>, a fine and delicate work, <span class="smcap">Turenne</span>, <span class="smcap">Colbert</span>,
+<span class="smcap">Lamoignon</span>, the poet <span class="smcap">Loret</span>, <span class="smcap">Maridat de Serri&egrave;re</span>, <span class="smcap">Louise-Marie
+de Gonzague</span>, <span class="smcap">Louis Hesselin</span>, <span class="smcap">Christine of Sweden</span>&mdash;all
+masterpieces; but above these is the <span class="smcap">Pompone de
+Belli&egrave;vre</span>, 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:</p>
+
+<div class="blockquot"><p>"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."</p></div>
+
+<p>And after describing this head, the learned connoisseur
+proceeds:<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span>&mdash;</p>
+
+<div class="blockquot"><p>"There is an air of refinement, <i>vornehmheit</i>, round the mouth and nose as in
+no other engraving. Color and life shine through the skin, and the lips appear
+red."</p></div>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p class="figcenter"><a href="images/illo027.jpg"><img src="images/illo027_th.jpg"
+alt="Pompone de Belli&egrave;vre" title="Pompone de Belli&egrave;vre" /></a></p>
+
+<p class="caption">POMPONE DE BELLI&Egrave;VRE.<br />
+(Painted by Charles Le Brun, and Engraved by Robert Nanteuil.)</p>
+
+<p>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, <i>Senatus
+Franci&aelig; Princeps</i>, ambassador to Italy, Holland, and England,
+charged in the latter country by Cardinal Mazarin<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>
+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.</p>
+
+<p>A Funeral Panegyric pronounced at his death, now before
+me in the original pamphlet of the time,<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> 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,&mdash;that the specious pretext
+of gratitude is the snare in which the greatest souls
+allow themselves to be caught,&mdash;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
+<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span>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.</p>
+
+<p>Thus lived and died the splendid Pompone de Belli&egrave;vre,
+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 <i>Biographie Universelle</i> of<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span>
+Michaud, to the seventh part of a single page, and in the
+later <i>Biographie G&eacute;n&eacute;ralle</i> 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.</p>
+
+<p>Younger than Nanteuil by ten years, G&eacute;rard Edelinck
+excelled him in genuine mastery. Born at Antwerp, he
+became French by adoption, occupying apartments in the<span class="sidenote">Edelinck.</span>
+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, &aelig;rial 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."</p>
+
+<p>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 <span class="smcap">Tent of Darius</span>, a large
+engraving on two sheets, after Le Brun, where the family
+of the Persian monarch prostrate themselves before Alexander,
+who approaches with Heph&aelig;stion. There is also<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span>
+a <span class="smcap">Holy Family</span>, after Raffaelle, and the <span class="smcap">Battle of the
+Standard</span>, after Leonardo da Vinci; but these are less interesting
+than his numerous portraits, among which that
+of <span class="smcap">Philippe de Champaigne</span> is the chief masterpiece; but
+there are others of signal merit, including especially that
+of <span class="smcap">Madame Heliot</span>, or <i>La Belle Religieuse</i>, a beautiful
+French coquette praying before a crucifix; <span class="smcap">Martin van
+der Bogaert</span>, a sculptor; <span class="smcap">Frederic L&eacute;onard</span>, printer to
+the king; <span class="smcap">Mouton</span>, the Lute-player; <span class="smcap">Martinus Dilgerus</span>,
+with a venerable beard white with age; <span class="smcap">Jules Hardouin
+Mansart</span>, the architect; also a portrait of <span class="smcap">Pompone de
+Belli&egrave;vre</span> which will be found among the prints of Perrault's
+Illustrious Men.</p>
+
+<p>The <span class="smcap">Philippe de Champaigne</span> 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:</p>
+
+<div class="blockquot"><p>"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."<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p></div>
+
+<p class="figcenter"><a href="images/illo033.jpg"><img src="images/illo033_th.jpg"
+alt="Martin van der Bogaert" title="Martin van der Bogaert" /></a></p>
+
+<p class="caption">MARTIN VAN DER BOGAERT.<br />
+(Painted by Hyacinthe Rigaud, and Engraved by G&eacute;rard Edelinck.)</p>
+
+<p>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.</p>
+<p><span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span></p>
+<p>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?"</p>
+
+<p>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<span class="sidenote">Drevet.</span>
+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.</p>
+
+<p>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.</p>
+
+<p>Among his works are important masterpieces. I name<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>
+only <span class="smcap">Bossuet</span>, the famed eagle of Meaux; <span class="smcap">Samuel Bernard</span>,
+the rich Councillor of State; <span class="smcap">F&eacute;nelon</span>, the persuasive
+teacher and writer; <span class="smcap">Cardinal Dubois</span>, the unprincipled
+minister, and the favorite of the Regent of France;
+and <span class="smcap">Adrienne Le Couvreur</span>, 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.</p>
+
+<p class="figcenter"><a href="images/illo037.jpg"><img src="images/illo037_th.jpg"
+alt="Jacques B&eacute;nigne Bossuet, Bishop of Meaux" title="Jacques B&eacute;nigne Bossuet, Bishop of Meaux" /></a></p>
+
+<p class="caption">JACQUES B&Eacute;NIGNE BOSSUET, BISHOP OF MEAUX.<br />
+(Painted by Hyacinthe Rigaud, and Engraved by Pierre Imbert Drevet.)</p>
+
+
+<p>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<span class="sidenote">Balechou.</span>
+engraving a fine art, and established an academy for its
+cultivation. Pride and ostentation in the king and the<span class="sidenote">Beauvarlet.</span>
+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<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span>
+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<span class="sidenote">Ficquet.</span>
+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 <span class="smcap">La Fontaine</span>, <span class="smcap">Madame
+de Maintenon</span>, <span class="smcap">Rubens</span> and <span class="smcap">Vandyck</span>.</p>
+
+
+<p>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<span class="sidenote">Schmidt.</span>
+town of K&ouml;nigsberg, 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<span class="sidenote">Wille.</span>
+they are the natural development of that classical school.</p>
+
+<p>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,<span class="sidenote">Schmidt.</span>
+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<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>
+next after Rembrandt. Of his portraits executed with the
+graver, that of the <span class="smcap">Empress Elizabeth of Russia</span> is usually
+called the most important, perhaps on account of the imperial
+theme, and next those of <span class="smcap">Count Rassamowsky</span>,
+<span class="smcap">Count Esterhazy</span>, and <span class="smcap">De Mounsey</span>, 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 <span class="smcap">Pierre Mignard</span>
+and <span class="smcap">Latour</span>, French painters, the latter represented laughing.</p>
+
+<p class="figcenter"><a href="images/illo041.jpg"><img src="images/illo041_th.jpg"
+alt="The Satin Gown" title="L'Instruction Paternelle, (The Satin Gown)" /></a></p>
+
+<p class="caption">L'INSTRUCTION PATERNELLE, (THE "SATIN GOWN.")<br />
+(Painted by Gerard Terburg, and Engraved by Johann Georg Wille.)</p>
+
+<p>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,<span class="sidenote">Wille.</span>
+lending itself especially to the representation of satin and
+metal, although less happy with flesh. His <span class="smcap">Satin Gown</span>,
+or <i>L'Instruction Paternelle</i>, after Terburg, and <i>Les Musiciens
+Ambulans</i>, 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
+<span class="smcap">Comte de Saint-Florentin</span>, <span class="smcap">Poisson Marquis de Marigny</span>,
+<span class="smcap">John de Boullongne</span>, and the <span class="smcap">Cardinal de Tencin</span>.</p>
+
+<p>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,<span class="sidenote">Bervic.</span>
+and among them are acknowledged masters. He
+was teacher of Bervic, whose portrait of Louis XVI. in his<span class="sidenote">Toschi.</span>
+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<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span>
+brilliant Desnoyers, whose portrait of the <span class="smcap">Emperor Napoleon
+in his Coronation Robes</span> is the fit complement to<span class="sidenote">Desnoyers.</span>
+that of <span class="smcap">Louis XVI.</span>; also teacher of the German, J.&nbsp;G.
+von M&uuml;ller, himself father and teacher of J. Frederick von<span class="sidenote">M&uuml;ller.</span>
+M&uuml;ller, engraver of the <span class="smcap">Sistine Madonna</span>, in a plate whose
+great fame is not above its merit; also teacher of the Italian<span class="sidenote">Vangelisti.</span>
+Vangelisti, himself teacher of the unsurpassed Longhi,
+in whose school were Anderloni and Jesi. Thus not only<span class="sidenote">Anderloni<br /> and Jesi.</span>
+by his works, but by his famous scholars, did the humble
+gunsmith gain sway in art.</p>
+
+<p class="figcenter"><a href="images/illo043.jpg"><img src="images/illo043_th.jpg"
+alt="Napoleon I." title="Napoleon I." /></a></p>
+
+<p class="caption">NAPOLEON I.<br />
+(Painted by Fran&ccedil;ois G&eacute;rard, and Engraved by Auguste Boucher Desnoyers.)</p>
+
+<p>Among portraits by this school deserving especial mention
+is that of <span class="smcap">King Jerome of Westphalia</span>, brother of Napoleon,
+by the two M&uuml;llers, 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, <i>Materiam superabat opus</i>. This work is a beautiful
+example of skill in representation of fur and lace, not
+yielding even to Drevet.</p>
+
+<p>Longhi was a universal master, and his portraits are
+only parts of his work. That of <span class="smcap">Washington</span>, which is
+rare, is evidently founded on Stuart's painting, but after<span class="sidenote">Longhi.</span>
+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.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a>
+The portraits of <span class="smcap">Michael Angelo</span>, and of <span class="smcap">Dandolo</span>, the
+venerable Doge of Venice, are admired; so also is the
+<span class="smcap">Napoleon, as King of Italy</span>, with the iron crown and
+finest lace. But his chief portrait is that of <span class="smcap">Eugene</span>
+<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span><span class="smcap">Beauharnais, Viceroy of Italy</span>, full length, remarkable
+for plume in the cap, which is finished with surpassing
+skill.</p>
+
+<p>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<span class="sidenote">Morghen.</span>
+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 <span class="smcap">Aurora, of Guido</span>, and
+the <span class="smcap">Last Supper, of Leonardo da Vinci</span>, 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 <span class="smcap">Dante</span>, <span class="smcap">Petrarch</span>, <span class="smcap">Ariosto</span>, <span class="smcap">Tasso</span>, also <span class="smcap">Boccaccio</span>,
+and a head called <span class="smcap">Raffaelle</span>, but supposed to be that
+of <span class="smcap">Bendo Altoviti</span>, the great painter's friend, and especially
+the <span class="smcap">Duke of Mencada</span> on horseback, after Vandyck, which
+has received warm praise. But none of his portraits is
+calculated to give greater pleasure than that of <span class="smcap">Leonardo
+da Vinci</span>, 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,<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>
+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,<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> enables us to see this same
+countenance at an earlier period of life, with sparkle in
+the eye.</p>
+
+<p class="figcenter"><a href="images/illo047.jpg"><img src="images/illo047_th.jpg"
+alt="giovanni Boccaccio" title="Giovanni Boccaccio" /></a></p>
+
+<p class="caption">GIOVANNI BOCCACCIO<br />
+Firenze presso Luigi Bardi e C'Borgo degli Albizzi N<sup>o</sup> 460</p>
+
+<p>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.</p>
+
+<p>Thus far nothing has been said of English engravers.
+Here, as in art generally, England seems removed from
+the rest of the world; <i>Et penitus toto divisos orbe Britannos</i>.
+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<span class="sidenote">Houbraken</span>
+at London in 1743, and in these works may be seen
+the &aelig;sthetic 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
+<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span>would name especially the <span class="smcap">Sir Walter Raleigh</span> and <span class="smcap">John
+Dryden</span>.</p>
+
+<p class="figcenter"><a href="images/illo051.jpg"><img src="images/illo051_th.jpg"
+alt="Mary Queen of Scots" title="Mary Queen of Scots" /></a></p>
+
+<p class="caption">MARY QUEEN OF SCOTS.<br />
+(Painted by Federigo Zuccaro, and Engraved by Francesco Bartolozzi.)</p>
+
+<p>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<span class="sidenote">Bartolozzi.</span>
+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 <span class="smcap">Mansfield</span> and <span class="smcap">Thurlow</span>;
+also the <span class="smcap">Death of Chatham</span>, after the picture of Copley
+in the Vernon Gallery. But his prettiest piece undoubtedly
+is <span class="smcap">Mary Queen of Scots</span>, 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.</p>
+
+
+<p>Meanwhile a Scotchman honorable in art comes upon
+the scene&mdash;Sir Robert Strange, born in the distant
+Orkneys in 1721, who abandoned the law for engraving.<span class="sidenote">Strange.</span>
+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 <span class="smcap">Venus</span> and<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span>
+the <span class="smcap">Dana&euml;</span> after the great Venetian colorist, but the <span class="smcap">Cleopatra</span>,
+though less famous, is not inferior in merit. His
+acknowledged masterpiece is the <span class="smcap">Madonna of St. Jerome</span>
+called <span class="smcap">The Day</span>, after the picture by Correggio, in the gallery
+of Parma, but his portraits after Vandyck are not less
+fine, while they are more interesting&mdash;as <span class="smcap">Charles First</span>,
+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 <span class="smcap">Three
+Royal Children</span> with two King Charles spaniels at their
+feet, also <span class="smcap">Henrietta Maria</span>, the Queen of Charles. That
+with the ermine robes is supposed to have been studied
+by Raffaelle Morghen, called sometimes an imitator of
+Strange.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> To these I would add the rare autograph <span class="smcap">Portrait
+of the Engraver</span>, being a small head after Greuze,
+which is simple and beautiful.</p>
+
+<p class="figcenter"><a href="images/illo055.jpg"><img src="images/illo055_th.jpg"
+alt="John Hunter" title="John Hunter" /></a></p>
+
+<p class="caption">JOHN HUNTER<br />
+(Painted by Sir Joshua Reynolds, and Engraved by William Sharp.)</p>
+
+<p>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<span class="sidenote">Sharp.</span>
+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&mdash;all are as
+in nature. His splendid qualities appear in the <span class="smcap">Doctors
+of the Church</span>, which has taken its place as the first of
+English engravings. It is after the picture of Guido,
+<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>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 <span class="smcap">Lear in the Storm</span>, after the
+picture by West, now in the Boston Athen&aelig;um, and his
+<span class="smcap">Sortie from Gibraltar</span>, after the picture by Trumbull,
+also in the Boston Athen&aelig;um. Thus, through at least
+two of his masterpieces whose originals are among us, is
+our country associated with this great artist.</p>
+
+<p>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 <span class="smcap">Mr. Boulton</span>, a strong, well-developed
+country gentleman, admirably executed, and of<span class="smcap"> John
+Hunter</span>, 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.</p>
+
+<p>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<span class="sidenote">Mandel.</span>
+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<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span>
+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.</p>
+
+<p class="right">
+CHARLES SUMNER.</p>
+
+<p style="padding-top: 2em; font-size: 80%"><span class="smcap">Washington, 11th Dec., 1871.</span><br />
+</p>
+
+<p class="figcenter"><a href="images/illo058.jpg"><img src="images/illo058_th.jpg" style="border-style: none"
+alt="Printer's decoration" title="" /></a></p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Discourses before the Royal Academy, No. IV.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> De Groote Schonburgh der Nederlantsche Konctschilders en Schilderessen.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> 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.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> 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.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Pan&eacute;gyrique Fun&eacute;bre de Messire Pompone de Belli&egrave;vre, Premier Pr&eacute;sident au
+Parlement, pronounc&eacute; &aacute; l'Hostel-Dieu de Paris, le 17 Avril, 1657, par un Chanoine
+r&eacute;gulier de la Congr&eacute;gation de France. The dedication shows this to have been the
+work of F. Lallemant of St. Genevi&egrave;ve.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> <i>La Calcografia</i>, p. 176.</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> <i>La Calcografia</i>, pp. 165, 418.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Les Arts au Moyen Age et &agrave; l'Epoque de la Renaissance, par Paul Lacroix,
+p. 198.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Longhi, <i>La Calcografia</i>, p. 199.</p></div>
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
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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
+produced from images generously made available by The
+Internet Archive/American Libraries.)
+
+
+
+
+
+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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