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diff --git a/22574.txt b/22574.txt new file mode 100644 index 0000000..39dc62f --- /dev/null +++ b/22574.txt @@ -0,0 +1,1319 @@ +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 + +*** END OF THIS PROJECT GUTENBERG EBOOK THE BEST PORTRAITS IN ENGRAVING *** + +***** This file should be named 22574.txt or 22574.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 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.) + + +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. 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