diff options
Diffstat (limited to '22574-h')
| -rw-r--r-- | 22574-h/22574-h.htm | 1590 | ||||
| -rw-r--r-- | 22574-h/images/illo009.jpg | bin | 0 -> 241326 bytes | |||
| -rw-r--r-- | 22574-h/images/illo009_th.jpg | bin | 0 -> 39860 bytes | |||
| -rw-r--r-- | 22574-h/images/illo013.jpg | bin | 0 -> 248703 bytes | |||
| -rw-r--r-- | 22574-h/images/illo013_th.jpg | bin | 0 -> 36995 bytes | |||
| -rw-r--r-- | 22574-h/images/illo017.jpg | bin | 0 -> 314404 bytes | |||
| -rw-r--r-- | 22574-h/images/illo017_th.jpg | bin | 0 -> 52560 bytes | |||
| -rw-r--r-- | 22574-h/images/illo019.jpg | bin | 0 -> 284277 bytes | |||
| -rw-r--r-- | 22574-h/images/illo019_th.jpg | bin | 0 -> 29562 bytes | |||
| -rw-r--r-- | 22574-h/images/illo023.jpg | bin | 0 -> 220400 bytes | |||
| -rw-r--r-- | 22574-h/images/illo023_th.jpg | bin | 0 -> 31907 bytes | |||
| -rw-r--r-- | 22574-h/images/illo027.jpg | bin | 0 -> 280334 bytes | |||
| -rw-r--r-- | 22574-h/images/illo027_th.jpg | bin | 0 -> 38025 bytes | |||
| -rw-r--r-- | 22574-h/images/illo033.jpg | bin | 0 -> 209359 bytes | |||
| -rw-r--r-- | 22574-h/images/illo033_th.jpg | bin | 0 -> 32031 bytes | |||
| -rw-r--r-- | 22574-h/images/illo037.jpg | bin | 0 -> 266182 bytes | |||
| -rw-r--r-- | 22574-h/images/illo037_th.jpg | bin | 0 -> 44526 bytes | |||
| -rw-r--r-- | 22574-h/images/illo041.jpg | bin | 0 -> 233426 bytes | |||
| -rw-r--r-- | 22574-h/images/illo041_th.jpg | bin | 0 -> 29195 bytes | |||
| -rw-r--r-- | 22574-h/images/illo043.jpg | bin | 0 -> 248485 bytes | |||
| -rw-r--r-- | 22574-h/images/illo043_th.jpg | bin | 0 -> 39174 bytes | |||
| -rw-r--r-- | 22574-h/images/illo047.jpg | bin | 0 -> 358513 bytes | |||
| -rw-r--r-- | 22574-h/images/illo047_th.jpg | bin | 0 -> 43411 bytes | |||
| -rw-r--r-- | 22574-h/images/illo051.jpg | bin | 0 -> 234459 bytes | |||
| -rw-r--r-- | 22574-h/images/illo051_th.jpg | bin | 0 -> 35835 bytes | |||
| -rw-r--r-- | 22574-h/images/illo055.jpg | bin | 0 -> 204244 bytes | |||
| -rw-r--r-- | 22574-h/images/illo055_th.jpg | bin | 0 -> 27791 bytes | |||
| -rw-r--r-- | 22574-h/images/illo058.jpg | bin | 0 -> 33134 bytes | |||
| -rw-r--r-- | 22574-h/images/illo058_th.jpg | bin | 0 -> 8107 bytes |
29 files changed, 1590 insertions, 0 deletions
diff --git a/22574-h/22574-h.htm b/22574-h/22574-h.htm new file mode 100644 index 0000000..0232613 --- /dev/null +++ b/22574-h/22574-h.htm @@ -0,0 +1,1590 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of The Best Portraits in Engraving, by Charles Sumner. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + text-indent: 1em; + } + h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + h1 {text-align: center; + clear: both; + line-height: 160%;} + hr {width: 45%; + margin-top: 0em; + margin-bottom: 0em; + margin-left: auto; + margin-right: auto; + clear: both; + height: 1px; + border: 0; + background-color: black; + color: black;} + + hr.chapter {width: 25%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + height: 1px; + border: 0; + background-color: black; + color: black;} + + body{margin-left: 15%; + margin-right: 10%; + } + + .dropcap { + float: left; + padding-left: 3px; + font-size: 250%; + line-height: 93%; + overflow: visible; + } + + .firstword { + text-transform: uppercase; + letter-spacing: 0.20ex; + } + + p.newchapter { + text-indent: 0em; + } + + p.publisher { + margin-top: 1em; + text-align: center; + font-size: smaller; + margin-bottom: 3em; + } + + p.copyright { + margin-top: 1em; + text-align: center; + font-size: 80%;} + + img + {border: solid 1px; + padding: 2px; + margin-bottom: 1em; + border-color: #6D7B8D; + } + + sup { vertical-align: baseline; + font-size: 90%; + position: relative; + top: -.4em; } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + right: 1%; + font-size: x-small; + text-align: right; + } /* page numbers */ + + a:link { + text-decoration: none; + color: #104E8B; + background-color: inherit; + } + a:visited { + text-decoration: none; + color: #8B0000; + background-color: inherit; + } + a:hover { + text-decoration: underline; + } + a:active { + text-decoration: underline; + } + + .blockquot{margin-left: 5%; margin-right: 10%; font-size: 80%;} + .sidenote { position: absolute; left: 5%; width: 15%; + padding-left: 0; text-indent: 0; margin: 0 0 0 0; + font-size: small; text-align: left; line-height: 1.0; + font-style: normal; + } + + .center {text-align: center;} + .right {position: absolute; right: 10%;} + .smcap {font-variant: small-caps;} + .caption {font-weight: bold; + text-align: center; + font-size: 70%; + padding-bottom: 1em; + text-indent: 0em; + font-family: sans-serif;} + + .figcenter {margin: auto; text-align: center; text-indent: 0em; padding-top: 1em;} + + .footnotes p {text-indent: 0em;} + + .footnotes {border: dotted 1px; + padding-bottom: 1em; + margin-top: 2em; + } + .footnote {margin-left: 10%; margin-right: 10%; font-size: smaller;} + .footnote .label {position: absolute; right: 79%; text-align: right;} + .fnanchor { vertical-align: baseline; + font-size: 80%; + position: relative; + top: -.4em; } + + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +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 Špehar 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.) + + + + + + +</pre> + + + + + +<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 & 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 æsthetically, 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 æsthetic 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 Cæsar 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 Münster</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—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—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 Dürer, 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<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 Dürer 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 Dürer, who engraved his own work, translating +himself. His eminence as painter was continued as<span class="sidenote">Dürer.</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 Dürer, 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 Dürer +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 Dürer, 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 Dürer, 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 Maniéres +des Maîtres 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 Molière.</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 à 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">François 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 Serrière</span>, <span class="smcap">Louise-Marie +de Gonzague</span>, <span class="smcap">Louis Hesselin</span>, <span class="smcap">Christine of Sweden</span>—all +masterpieces; but above these is the <span class="smcap">Pompone de +Bellièvre</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>—</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 Bellièvre" title="Pompone de Bellièvre" /></a></p> + +<p class="caption">POMPONE DE BELLIÈVRE.<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 +Franciæ 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,—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 +<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 Bellièvre, +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 Généralle</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, Gérard 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, ærial 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 Hephæstion. 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 Léonard</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 +Bellièvre</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 Gérard 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">Fénelon</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 Bénigne Bossuet, Bishop of Meaux" title="Jacques Bénigne Bossuet, Bishop of Meaux" /></a></p> + +<p class="caption">JACQUES BÉNIGNE 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 Königsberg, 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. G. +von Müller, himself father and teacher of J. Frederick von<span class="sidenote">Müller.</span> +Müller, 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 François Gérard, 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 Müllers, 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 æsthetic 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—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">Danaë</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—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—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 Athenæum, and his +<span class="smcap">Sortie from Gibraltar</span>, after the picture by Trumbull, +also in the Boston Athenæum. 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> Panégyrique Funébre de Messire Pompone de Bellièvre, Premier Président au +Parlement, pronouncé á l'Hostel-Dieu de Paris, le 17 Avril, 1657, par un Chanoine +régulier de la Congrégation de France. The dedication shows this to have been the +work of F. Lallemant of St. Geneviève.</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 à 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> + + + + + +End of Project Gutenberg's The Best Portraits in Engraving, by Charles Sumner + +*** END OF THIS PROJECT GUTENBERG EBOOK THE BEST PORTRAITS IN ENGRAVING *** + +***** This file should be named 22574-h.htm or 22574-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/2/5/7/22574/ + +Produced by Irma Špehar 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.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> diff --git a/22574-h/images/illo009.jpg b/22574-h/images/illo009.jpg Binary files differnew file mode 100644 index 0000000..dab78b4 --- /dev/null +++ b/22574-h/images/illo009.jpg diff --git a/22574-h/images/illo009_th.jpg b/22574-h/images/illo009_th.jpg Binary files differnew file mode 100644 index 0000000..ebd64e1 --- /dev/null +++ b/22574-h/images/illo009_th.jpg diff --git a/22574-h/images/illo013.jpg b/22574-h/images/illo013.jpg Binary files differnew file mode 100644 index 0000000..4769921 --- /dev/null +++ b/22574-h/images/illo013.jpg diff --git a/22574-h/images/illo013_th.jpg b/22574-h/images/illo013_th.jpg Binary files differnew file mode 100644 index 0000000..c55431d --- /dev/null +++ b/22574-h/images/illo013_th.jpg diff --git a/22574-h/images/illo017.jpg b/22574-h/images/illo017.jpg Binary files differnew file mode 100644 index 0000000..cef13fd --- /dev/null +++ b/22574-h/images/illo017.jpg diff --git a/22574-h/images/illo017_th.jpg b/22574-h/images/illo017_th.jpg Binary files differnew file mode 100644 index 0000000..cc73cd3 --- /dev/null +++ b/22574-h/images/illo017_th.jpg diff --git a/22574-h/images/illo019.jpg b/22574-h/images/illo019.jpg Binary files differnew file mode 100644 index 0000000..1b297d9 --- /dev/null +++ b/22574-h/images/illo019.jpg diff --git a/22574-h/images/illo019_th.jpg b/22574-h/images/illo019_th.jpg Binary files differnew file mode 100644 index 0000000..8e992bf --- /dev/null +++ b/22574-h/images/illo019_th.jpg diff --git a/22574-h/images/illo023.jpg b/22574-h/images/illo023.jpg Binary files differnew file mode 100644 index 0000000..36aee9d --- /dev/null +++ b/22574-h/images/illo023.jpg diff --git a/22574-h/images/illo023_th.jpg b/22574-h/images/illo023_th.jpg Binary files differnew file mode 100644 index 0000000..29226ab --- /dev/null +++ b/22574-h/images/illo023_th.jpg diff --git a/22574-h/images/illo027.jpg b/22574-h/images/illo027.jpg Binary files differnew file mode 100644 index 0000000..62f294e --- /dev/null +++ b/22574-h/images/illo027.jpg diff --git a/22574-h/images/illo027_th.jpg b/22574-h/images/illo027_th.jpg Binary files differnew file mode 100644 index 0000000..7757fb4 --- /dev/null +++ b/22574-h/images/illo027_th.jpg diff --git a/22574-h/images/illo033.jpg b/22574-h/images/illo033.jpg Binary files differnew file mode 100644 index 0000000..97cabc0 --- /dev/null +++ b/22574-h/images/illo033.jpg diff --git a/22574-h/images/illo033_th.jpg b/22574-h/images/illo033_th.jpg Binary files differnew file mode 100644 index 0000000..0c2044f --- /dev/null +++ b/22574-h/images/illo033_th.jpg diff --git a/22574-h/images/illo037.jpg b/22574-h/images/illo037.jpg Binary files differnew file mode 100644 index 0000000..be0f45f --- /dev/null +++ b/22574-h/images/illo037.jpg diff --git a/22574-h/images/illo037_th.jpg b/22574-h/images/illo037_th.jpg Binary files differnew file mode 100644 index 0000000..f36c71d --- /dev/null +++ b/22574-h/images/illo037_th.jpg diff --git a/22574-h/images/illo041.jpg b/22574-h/images/illo041.jpg Binary files differnew file mode 100644 index 0000000..470ef7a --- /dev/null +++ b/22574-h/images/illo041.jpg diff --git a/22574-h/images/illo041_th.jpg b/22574-h/images/illo041_th.jpg Binary files differnew file mode 100644 index 0000000..7a3ec9a --- /dev/null +++ b/22574-h/images/illo041_th.jpg diff --git a/22574-h/images/illo043.jpg b/22574-h/images/illo043.jpg Binary files differnew file mode 100644 index 0000000..6d08e89 --- /dev/null +++ b/22574-h/images/illo043.jpg diff --git a/22574-h/images/illo043_th.jpg b/22574-h/images/illo043_th.jpg Binary files differnew file mode 100644 index 0000000..4b02c05 --- /dev/null +++ b/22574-h/images/illo043_th.jpg diff --git a/22574-h/images/illo047.jpg b/22574-h/images/illo047.jpg Binary files differnew file mode 100644 index 0000000..b1dd04e --- /dev/null +++ b/22574-h/images/illo047.jpg diff --git a/22574-h/images/illo047_th.jpg b/22574-h/images/illo047_th.jpg Binary files differnew file mode 100644 index 0000000..16be561 --- /dev/null +++ b/22574-h/images/illo047_th.jpg diff --git a/22574-h/images/illo051.jpg b/22574-h/images/illo051.jpg Binary files differnew file mode 100644 index 0000000..f2a5297 --- /dev/null +++ b/22574-h/images/illo051.jpg diff --git a/22574-h/images/illo051_th.jpg b/22574-h/images/illo051_th.jpg Binary files differnew file mode 100644 index 0000000..aae5514 --- /dev/null +++ b/22574-h/images/illo051_th.jpg diff --git a/22574-h/images/illo055.jpg b/22574-h/images/illo055.jpg Binary files differnew file mode 100644 index 0000000..d7ad202 --- /dev/null +++ b/22574-h/images/illo055.jpg diff --git a/22574-h/images/illo055_th.jpg b/22574-h/images/illo055_th.jpg Binary files differnew file mode 100644 index 0000000..c4fbd25 --- /dev/null +++ b/22574-h/images/illo055_th.jpg diff --git a/22574-h/images/illo058.jpg b/22574-h/images/illo058.jpg Binary files differnew file mode 100644 index 0000000..9922e1e --- /dev/null +++ b/22574-h/images/illo058.jpg diff --git a/22574-h/images/illo058_th.jpg b/22574-h/images/illo058_th.jpg Binary files differnew file mode 100644 index 0000000..f7907a1 --- /dev/null +++ b/22574-h/images/illo058_th.jpg |
