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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #66848 (https://www.gutenberg.org/ebooks/66848)
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-The Project Gutenberg eBook of Engravers and Etchers, by Fitzroy
-Carrington
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world 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. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: Engravers and Etchers
-       Six Lectures Delivered on the Scammon Foundation at the Art
-       Institute of Chicago, March 1916
-
-Author: Fitzroy Carrington
-
-Release Date: November 30, 2021 [eBook #66848]
-
-Language: English
-
-Produced by: Charlene Taylor, Alan 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.)
-
-*** START OF THE PROJECT GUTENBERG EBOOK ENGRAVERS AND ETCHERS ***
-
-
-
-
-
-                        ENGRAVERS AND ETCHERS
-
-
-
-
-  [Illustration: MASTER OF THE AMSTERDAM CABINET. TWO LOVERS
-  Size of the original engraving, 6½ × 4⅛ inches
-  In the Ducal Collection, Coburg]
-
-
-
-
-                               ENGRAVERS
-                                  AND
-                                ETCHERS
-
-           SIX LECTURES DELIVERED ON THE SCAMMON FOUNDATION
-              AT THE ART INSTITUTE OF CHICAGO, MARCH 1916
-
-                                  BY
-                       FITZROY CARRINGTON, M. A.
-
-             CURATOR OF PRINTS AT THE MUSEUM OF FINE ARTS,
-            BOSTON; LECTURER ON THE HISTORY AND PRINCIPLES
-             OF ENGRAVING AT HARVARD UNIVERSITY; EDITOR OF
-                   “THE PRINT-COLLECTOR’S QUARTERLY”
-
-                        WITH 133 ILLUSTRATIONS
-
-                            [Illustration]
-
-                     THE ART INSTITUTE OF CHICAGO
-                                 1917
-
-
-
-
-                            COPYRIGHT 1917
-                      THOMSEN-BRYAN-ELLIS COMPANY
-
-
-                       DESIGNED AND PUBLISHED BY
-                      THOMSEN-BRYAN-ELLIS COMPANY
-
-                       WASHINGTON     BALTIMORE
-                        NEW YORK    PHILADELPHIA
-
-
-
-
-                               TO THOSE
-                     WHO HELPED ME MAKE THIS BOOK
-                        IN GRATEFUL RECOGNITION
-
-
-
-
-_NOTE_
-
-
-_The lectures presented in this volume comprise the twelfth series
-delivered at the Art Institute of Chicago on the Scammon Foundation.
-The Scammon Lectureship is established on an ample basis by bequest of
-Mrs. Maria Sheldon Scammon, who died in 1901. The will prescribes that
-these lectures shall be upon the history, theory, and practice of the
-Fine Arts (meaning thereby the graphic and plastic arts), by persons
-of distinction or authority on the subject on which they lecture, such
-lectures to be primarily for the benefit of the students of the Art
-Institute, and secondarily for members and other persons. The lectures
-are known as “The Scammon Lectures.”_
-
-
-
-
-CONTENTS
-
-
-                                                                    PAGE
-
-  _LECTURE I_
-
-  GERMAN ENGRAVING: FROM THE BEGINNINGS
-  TO MARTIN SCHONGAUER                                                13
-
-
-  _LECTURE II_
-
-  ITALIAN ENGRAVING: THE FLORENTINES                                  51
-
-
-  _LECTURE III_
-
-  GERMAN ENGRAVING: THE MASTER OF THE
-  AMSTERDAM CABINET AND ALBRECHT
-  DÜRER                                                               95
-
-
-  _LECTURE IV_
-
-  ITALIAN ENGRAVING: MANTEGNA TO MARCANTONIO
-  RAIMONDI                                                           139
-
-
-  _LECTURE V_
-
-  SOME MASTERS OF PORTRAITURE                                        181
-
-
-  _LECTURE VI_
-
-  LANDSCAPE ETCHING                                                  227
-
-
-
-
-LIST OF ILLUSTRATIONS
-
-
-                                                                    PAGE
-
-  MASTER OF THE AMSTERDAM CABINET. Two Lovers
-                                            _Frontispiece_
-
-  MASTER OF THE PLAYING CARDS. St. George                             15
-    Man of Sorrows                                                    16
-
-  MASTER OF THE YEAR 1446. Christ Nailed to the Cross                 19
-
-  MASTER OF ST. JOHN THE BAPTIST. St. John the
-  Baptist                                                             20
-
-  MASTER E. S. OF 1466. Madonna and Child with Saints
-  Marguerite and Catherine                                            23
-    Ecstasy of St. Mary Magdalen                                      24
-    Design for a Paten                                                27
-    St. John on the Island of Patmos                                  28
-
-  MARTIN SCHONGAUER. Virgin with a Parrot                             31
-    Temptation of St. Anthony                                         32
-    Death of the Virgin                                               33
-    Pilate Washing His Hands                                          34
-    St. John on the Island of Patmos                                  37
-    Christ Appearing to the Magdalen                                  38
-    Virgin Seated in a Courtyard                                      39
-    Angel of the Annunciation                                         40
-    The Miller                                                        43
-    Censer                                                            44
-
-  MASTER L CZ. Christ Tempted                                         47
-    Christ Entering Jerusalem                                         48
-
-  ANONYMOUS FLORENTINE, XV CENTURY. Profile Portrait
-  of a Lady                                                           53
-    Wild Animals Hunting and Fighting                                 54
-    Triumphal Procession of Bacchus and Ariadne                       57
-    Jupiter                                                           58
-    Mercury                                                           63
-    Lady with a Unicorn                                               64
-    The Christian’s Ascent to the Glory of Paradise.
-      From “Il Monte Sancto di Dio,” Florence, 1477                   67
-    Dante and Virgil with the Vision of Beatrice.
-      From the “Divina Commedia,” Florence, 1481                      68
-    Assumption of the Virgin (After Botticelli)                       71
-    Triumph of Love. From the Triumphs of Petrarch                    72
-    Triumph of Chastity. From the Triumphs of Petrarch                75
-    Libyan Sibyl                                                      76
-
-  ANONYMOUS NORTH ITALIAN, XV CENTURY. The
-  Gentleman. From the Tarocchi Prints (E Series)                      79
-    Clio. From the Tarocchi Prints (S Series)                         80
-    The Sun. From the Tarocchi Prints (E Series)                      83
-    Angel of the Eighth Sphere. From the Tarocchi Prints (E Series)   84
-
-  CRISTOFANO ROBETTA. Adoration of the Magi                           87
-
-  ANTONIO POLLAIUOLO. Battle of Naked Men                             88
-
-  MASTER OF THE AMSTERDAM CABINET. Ecstasy of St.
-  Mary Magdalen                                                       97
-    Crucifixion                                                       98
-    Stag Hunt                                                        101
-    St. George                                                       102
-
-  ALBRECHT DÜRER. Virgin and Child with the Monkey                   107
-    Four Naked Women                                                 108
-    Hercules                                                         111
-
-  ANONYMOUS NORTH ITALIAN, XV CENTURY. Death of
-  Orpheus                                                            112
-
-  ALBRECHT DÜRER. Death of Orpheus                                   113
-    Battle of the Sea-Gods (After Mantegna)                          114
-    Adam and Eve                                                     117
-    Apollo and Diana                                                 118
-    St. Jerome by the Willow Tree (First State)                      121
-    Holy Family                                                      122
-    Knight, Death and the Devil                                      125
-    Melancholia                                                      126
-    St. Jerome in His Cell                                           129
-    Virgin Seated Beside a Wall                                      130
-    Christ in the Garden                                             133
-    Erasmus of Rotterdam                                             134
-
-  ANDREA MANTEGNA. Virgin and Child                                  141
-    Battle of the Sea-Gods                                           142
-    The Risen Christ Between Saints Andrew and Longinus              147
-
-  SCHOOL OF ANDREA MANTEGNA. Adoration of the Magi                   148
-
-  ZOAN ANDREA (?). Four Women Dancing                                151
-
-  GIOVANNI ANTONIO DA BRESCIA. Holy Family with
-  Saints Elizabeth and John                                          152
-
-  SCHOOL OF LEONARDO DA VINCI. Profile Bust of a Young
-  Woman                                                              155
-
-  NICOLETTO ROSEX DA MODENA. Orpheus                                 156
-
-  JACOPO DE’ BARBARI. Apollo and Diana                               159
-    St. Catherine                                                    160
-
-  GIULIO CAMPAGNOLA. Christ and the Woman of
-  Samaria                                                            163
-    Ganymede (First State)                                           164
-    St. John the Baptist                                             167
-
-  GIULIO AND DOMENICO CAMPAGNOLA. Shepherds in a
-  Landscape                                                          168
-
-  MARCANTONIO RAIMONDI. St. George and the Dragon                    171
-    Bathers                                                          172
-    St. Cecelia                                                      173
-    Death of Lucretia                                                174
-    Philotheo Achillini (“The Guitar Player”)                        177
-    Pietro Aretino                                                   178
-
-  MASTER W CADUCEUS S. Head of a Young Woman                         183
-
-  ALBRECHT DÜRER. Albert of Brandenburg                              184
-    Philip Melanchthon                                               187
-
-  ANTHONY VAN DYCK. Portrait of Himself (First State)                188
-    Frans Snyders (First State)                                      191
-    Lucas Vorsterman (First State)                                   192
-
-  REMBRANDT. Jan Cornelis Sylvius                                    195
-    Rembrandt Leaning on a Stone Sill                                196
-    Clement de Jonghe (First State)                                  197
-    Jan Lutma (First State)                                          198
-
-  CLAUDE MELLAN. Virginia da Vezzo                                   201
-    Fabri de Peiresc                                                 202
-
-  JEAN MORIN. Cardinal Guido Bentivoglio                             205
-
-  ROBERT NANTEUIL. Pompone de Bellièvre                              206
-    Basile Fouquet                                                   211
-    Jean Loret                                                       212
-
-  J. A. McN. WHISTLER. Annie Haden                                   215
-  Riault, the Engraver                                               216
-
-  ANDERS ZORN. Ernest Renan                                          219
-    The Toast                                                        220
-    Madame Simon                                                     221
-    Miss Emma Rassmussen                                             222
-
-  ALBRECHT DÜRER. The Cannon                                         229
-
-  AUGUSTIN HIRSCHVOGEL. Landscape                                    230
-
-  REMBRANDT. The Windmill                                            233
-    Three Trees                                                      234
-    Six’s Bridge                                                     237
-    Landscape with a Ruined Tower and Clear Foreground               238
-    Landscape with a Haybarn and a Flock of Sheep                    239
-    Three Cottages                                                   240
-    Goldweigher’s Field                                              243
-
-  JACOB RUYSDAEL. Wheat Field                                        244
-
-  CLAUDE LORRAIN. Le Bouvier                                         249
-
-  CHARLES JACQUE. Troupeau de Porcs                                  250
-    Storm--Landscape with a White Horse                              253
-
-  CHARLES-FRANÇOIS DAUBIGNY. Deer in a Wood                          254
-    Deer Coming Down to Drink                                        257
-    Moonlight on the Banks of the Oise                               258
-
-  CAMILLE COROT. Souvenir of Italy                                   261
-
-  JEAN-FRANÇOIS MILLET. The Gleaners                                 262
-
-  SEYMOUR HADEN. Cardigan Bridge                                     265
-    By-Road in Tipperary                                             266
-    Sunset in Ireland                                                267
-    Sawley Abbey                                                     268
-
-  J. A. McN. WHISTLER. Zaandam (First State)                         271
-
-  REMBRANDT. View of Amsterdam from the East                         272
-
-
-
-
-TO THE READER
-
-
-When that most sensitive of American print-lovers, the late Francis
-Bullard, learned that I was to deliver at Harvard, each year, a course
-of lectures on the History and Principles of Engraving, he wrote me
-one of those characteristic letters which endeared him to his friends,
-concluding his wise counsels with these words: “_Nothing original--get
-it all out of the books_.”
-
-In these six lectures I have endeavored to profit by his suggestion. In
-them there is little original: most of it _is_ out of the books. Books,
-however, like Nature, are a storehouse from which we draw whatever
-is best suited to our immediate needs; and if in choosing that which
-might interest an audience, to the majority of whom engravings and
-etchings were an unexplored country, I have preferred the obvious to
-the profound, I trust that the true-blue Print Expert will forgive me.
-These simple lectures make no pretense of being a History of Engraving,
-or a manual of How to Appreciate Prints. My sole aim has been to share
-with my audience the stimulation and pleasure which certain prints by
-the great engravers and etchers have given me. If I have succeeded,
-even a little, I shall be happy. I would add that the lectures are
-printed in substantially the same form as they were delivered.
-Consequently they must be read in connection with the illustrations
-which accompany them.
-
-The Bibliographies which follow each chapter have been prepared by Mr.
-Adam E. M. Paff, Assistant in the Department of Prints at the Museum of
-Fine Arts, Boston.
-
-  FITZROY CARRINGTON
-
-  _Museum of Fine Arts, Boston
-         June 26, 1916_
-
-
-
-
-ENGRAVERS AND ETCHERS
-
-
-
-
-GERMAN ENGRAVING: FROM THE BEGINNINGS TO MARTIN SCHONGAUER
-
-
-Where were the beginnings? When were the beginnings? Germany,
-the Netherlands, and Italy have each claimed priority. Max Lehrs
-has settled these rival claims, so far as they can be settled at
-the present time, by locating the cradle of engraving neither
-in Germany, in the Netherlands, nor in Italy, but in a neutral
-country--Switzerland, in the vicinity of Basle--naming the MASTER
-OF THE PLAYING CARDS as probably the earliest engraver whose works
-have come down to us. Undoubtedly this artist was not the first to
-engrave upon metal plates, but of his predecessors nothing is known,
-nor has any example of their work survived.
-
-The technical method of the Master of the Playing Cards is that
-of a painter rather than of a goldsmith. There is practically no
-cross-hatching, and the effect is produced by a series of delicate
-lines, mostly vertical, laid close together. His plates are unsigned
-and undated, so that we can only approximate the period of his
-activity. That he preceded, by at least ten years, the earliest dated
-engraving, the _Flagellation_, by the Master of 1446, may safely
-be assumed, since in the manuscript copy of Conrad von Würzburg’s
-“The Trojan War,” transcribed in 1441 by Heinrich von Steinfurt (an
-ecclesiastic of Osnabrück), there are pen drawings of figures wearing
-costumes which correspond exactly with those in prints by the Master
-of the Playing Cards in his middle period. The Master of the Playing
-Cards is, therefore, the first bright morning star of engraving. From
-him there flows a stream of influence affecting substantially all of
-the German masters until the time of Martin Schongauer, some of whose
-earlier plates show unmistakable traces of an acquaintanceship with his
-work.
-
-  [Illustration: MASTER OF THE PLAYING CARDS. ST. GEORGE
-  Size of the original engraving, 5⅞ × 5¼ inches
-  In the Royal Print Room, Dresden]
-
-  [Illustration: MASTER OF THE PLAYING CARDS. MAN OF SORROWS
-  Size of the original engraving, 7¾ × 5⅛ inches
-  In the British Museum]
-
-_St. George and the Dragon_ is in his early manner. Here are plainly
-to be seen the characteristics of this first period--the broken,
-stratified rocks, the isolated and conventionalized plants, and the
-peculiar drawing of the horse, especially its slanting and half-human
-eyes. _The Playing Cards_, from which he takes his name, may safely
-be assigned to his middle period. The suits are made up of _Flowers_
-(roses and cyclamen), _Wild Men_, _Birds_, and _Deer_, with a fifth,
-or alternative suit of _Lions_ and _Bears_. Like all the early German
-designers of playing cards, he has given free rein to his fancy and
-inventiveness. The position of the different emblems is varied for each
-numeral card; and each flower, wild man, bird, or beast, has an
-attitude and character of its own, no two being identical. No engraver
-has surpassed him in truthfulness and subtlety of observation and in
-the delineation of birds few artists have equalled him. His rendering
-of the growth and form of flowers would have delighted John Ruskin.
-In the _King of Cyclamen_ and the _Queen of Cyclamen_ the faces have
-an almost portrait-like individuality. The hands are well drawn and
-do not yet display that attenuation which is characteristic of nearly
-all fifteenth century German masters and is a noticeable feature in
-engravings by Martin Schongauer himself. The clothing falls in natural
-folds, and in the _King of Cyclamen_ the representation of fur could
-hardly be bettered.
-
-To his latest and most mature period must be assigned the _Man of
-Sorrows_--in some ways his finest, and certainly his most moving,
-plate. Not only has he differentiated between the textures of the linen
-loin-cloth and the coarser material of the cloak; but the column, the
-cross with its beautiful and truthful indication of the grain of the
-wood, and the ground itself, all are treated with a knowledge and a
-sensitiveness that is surprising. The engraver’s greatest triumph,
-however, is in the figure of Christ. There is a feeling for form
-and structure, sadly lacking in the work of his successors, and his
-suggestion of the strained and pulsing veins, which throb through the
-Redeemer’s tortured limbs, is of a compelling truth.
-
-Chief among the engravers who show most clearly the influence of the
-Master of the Playing Cards is the MASTER OF THE YEAR 1446,
-so named from the date which appears in the _Flagellation_. His prints
-present a more or less primitive appearance, and were it not for this
-date, one might be tempted, on internal evidence, to assign them to
-an earlier period. In the _Passion_ series, in particular, many of
-the figures are more gnome-like than human. Such creatures as the man
-blowing a horn, in _Christ Nailed to the Cross_, and the man pulling
-upon a rope, in the same print, recall to our minds, by an association
-of ideas, the old German fairy tales.
-
-Contemporary with the Master of 1446, and belonging to the
-Burgundian-Netherlands group, to which also belong the two anonymous
-engravers known as the MASTER OF THE MOUNT OF CALVARY and the
-MASTER OF THE DEATH OF MARY, is the MASTER OF THE GARDENS
-OF LOVE. His figures are crude in drawing and stiff in their
-movements. His knowledge of tree forms is rudimentary; but his animals
-and birds show real observation and seem to have been studied from life.
-
-  [Illustration: MASTER OF THE YEAR 1446. CHRIST NAILED TO THE CROSS
-  Size of the original engraving, 4⅛ × 3¼ inches
-  In the Royal Print Room, Berlin]
-
-  [Illustration: MASTER OF ST. JOHN THE BAPTIST. ST. JOHN THE BAPTIST
-  Size of the original engraving, 8½ × 5⅞ inches
-  In the Albertina, Vienna]
-
-In the larger of the two engravings from which he takes his name, we
-see reflected the pleasure-loving court of the Dukes of Burgundy. On
-the right, a lady leads her lover to a table spread with tempting
-viands. She stretches forth her right hand to take the fruit. It is a
-fig, the sign of fertility. To their right, drinking from a stream,
-is a unicorn, the sign of chastity. The artist seemingly wishes the
-lady’s message to read that she is still unwedded, and that, were she
-wedded, she would be a good mother. Observe, likewise, the way in which
-the engraver has placed the wild hogs, deer, and bears emerging from
-the woods, while, in the sky, numerous birds wing their flight. In the
-immediate foreground a lady and a cavalier are reading poetry to each
-other. Another lady plays to a gallant who, in a most uncomfortable
-attitude, holds a sheet of music. In the right-hand corner is a fourth
-pair, the lady busily twining a wreath for her lover’s hat, which lies
-on her lap. We have here a compendium of the courtly life of the time,
-which is about 1448.
-
-THE MASTER OF ST. JOHN THE BAPTIST may fittingly be called
-the first _realist_ in engraving. His plates do not display that
-extraordinary delicacy in cutting which is characteristic of the Master
-of the Playing Cards. Like that earlier engraver, he makes little use
-of cross-hatching, and his strokes are freely disposed--more in the
-manner of a painter than a goldsmith-engraver. His birds and flowers
-are closely observed and admirably rendered.
-
-The mullein, the columbine, and the iris in _St. John the Baptist_ are
-each given their individual character; the tree trunks to the right no
-longer resemble twisted columns, as in earlier work, but have real bark
-with knot holes and branches organically joined, though the foliage
-is still conventionally treated. One cannot but remark, also, the
-skilful way in which the engraver has differentiated between the furry
-undergarment and the cloak which St. John the Baptist wears.
-
-In _St. Christopher_ we have probably one of his latest works. His
-representation of the waves, of the sky and clouds, is noteworthy,
-while, on the beach, the sea-shells give mute testimony to his love for
-little things.
-
-Of the predecessors of Martin Schongauer, none exerted a greater
-influence than the MASTER E. S. OF 1466. On the technical
-side he was the actual creator of engraving as practised in modern
-times, and was a determining factor in the progress of the art. Even
-the Italian engravers were unable to withstand it; their Prophets and
-Sibyls are partly derived from his Evangelists and Apostles, the easy
-disposition of his draperies furnishing them with models. Over three
-hundred engravings by the Master E. S. have come down to us, and over
-a hundred more can be traced through copies by other hands, or as
-having formed component parts of his two sets of playing cards--the
-smaller set made up of _Wild Animals_, _Helmets_, _Escutcheons_, and
-_Flowers_, while the larger set comprises _Men_, _Dogs_, _Birds_, and
-_Escutcheons_.
-
-  [Illustration: MASTER E. S. OF 1466. MADONNA AND CHILD WITH SAINTS
-  MARGUERITE AND CATHERINE
-  Size of the original engraving, 8⅝ × 6⅜ inches
-  In the Royal Print Room, Dresden]
-
-  [Illustration: MASTER E. S. OF 1466. ECSTASY OF ST. MARY MAGDALEN
-  Size of the original engraving, 6½ × 5 inches
-  In the Royal Print Room, Dresden]
-
-His work shows unmistakably the influence of the Master of the Playing
-Cards, and we may safely place him in the region of the upper Rhine,
-probably in the vicinity of Freiburg or Breisach. In the _Madonna and
-Child with Saints Marguerite and Catherine_ his peculiar qualities and
-limitations may clearly be seen. The plants and flowers, with which
-the ground is thickly carpeted, are engraved in firm, clear-cut lines,
-betokening the trained hand of the goldsmith. The figures and drapery
-are rendered with delicate single strokes; but in the shaded portions
-of the wall, back of the Madonna, cross-hatching is skilfully employed.
-As is the case in nearly all the works of the early German engravers,
-the laws of perspective are imperfectly understood, but none the less
-the composition has a charm all its own.
-
-The _Ecstasy of St. Mary Magdalen_ is of interest, not only technically
-and artistically, but because of its influence upon the Master of the
-Amsterdam Cabinet, who has twice treated the subject, and upon Albrecht
-Dürer, by whom we have a woodcut seemingly copied from this engraving.
-Martin Schongauer, likewise, may have profited by the feathered forms
-of the angels which reappear, somewhat modified, in his engraving of
-the _Nativity_. The birds and the isolated plants in the foreground
-still show the influence of the Master of the Playing Cards.
-
-_St. Matthew_ (whom we shall meet again in our consideration of
-Florentine engraving, transformed into the _Tiburtine Sibyl_, engraved
-in the Fine Manner of the Finiguerra School) and _St. Paul_ (who
-likewise reappears as _Amos_ in the series of _Prophets and Sibyls_)
-show an increasing command of technical resources. The draperies are
-beautifully disposed; and, in _St. Paul_, the system of cross-hatching
-upon the back of the chair, in the shaded portions beneath, and upon
-the mantle of the saint, is fully developed.
-
-The _Madonna of Einsiedeln_, dated 1466, is usually accounted the
-engraver’s masterpiece. Beautiful though it is in composition and
-in execution, it suggests a translation, into black and white, of a
-painting, and on technical grounds, as well as for the beauty of its
-component parts, one may prefer the _Design for a Paten_, dating from
-the same year [1466]. Here the central scene, representing St. John
-the Baptist, owes not a little, both in composition and in technique,
-to the Master of St. John the Baptist. The four Evangelists, arranged
-in alternation with their appropriate symbols, around the central
-picture, are little masterpieces of characterization and of engraving,
-and there can be nothing but unmixed admiration for the way in which
-plant and bird forms are woven into a perfectly harmonious pattern.
-
-  [Illustration: MASTER E. S. OF 1466. DESIGN FOR A PATEN
-  Size of the original engraving, 7⅛ inches in diameter
-  In the Royal Print Room, Berlin]
-
-  [Illustration: MASTER E. S. OF 1466. ST. JOHN ON THE ISLAND OF PATMOS
-  Size of the original engraving, 8⅛ × 5½ inches
-  In the Hofbibliotek, Vienna]
-
-_St. John on the Island of Patmos_ likewise shows unmistakably
-the influence of the Master of St. John the Baptist and is doubly
-interesting inasmuch as, in its turn, it had a shaping influence upon
-the engraving of the same subject by Martin Schongauer. It is dated
-1467, the latest date found upon any plate by the Master E. S., and it
-is assumed that in this year his activity came to an end.
-
-MARTIN SCHONGAUER, who was born in Colmar about 1445 and is
-known to have died in 1491, is not only the most eminent painter and
-engraver in the latter third of the fifteenth century, he is one of
-the very greatest masters of the graphic arts. His plates number one
-hundred and fifteen, and, as in the case of Albrecht Dürer, it is upon
-his engraved work, rather than upon his all too few paintings, that his
-immortality must rest.
-
-Schongauer’s prints can be arranged in something approximating
-chronological order. In the earliest twelve engravings the shanks of
-the letter M, in his monogram, are drawn vertically, whereas in all
-his later prints they slant outward. This apparently minor point is
-really of great significance in a study of his development, since it
-enables us to place correctly certain plates which, until recently,
-were assigned to his latest period, such as the _Death of the Virgin_,
-the _Adoration of the Magi_, and the _Flight Into Egypt_.
-
-One of the richest toned plates in this first group is the _Virgin with
-a Parrot_, an engraving which, incidentally, exists in two states. In
-the second state, the cushion upon which the Christ Child is seated,
-instead of being plain, has an elaborate pattern upon the upper side,
-and the flowing tresses of the Virgin are extended more to the left,
-thereby greatly improving the composition as a whole.
-
-For Martin Schongauer, as for nearly all the earlier German masters,
-the grotesque had a strange fascination. His power of welding together
-parts of various animals into living fantastic creatures is nowhere
-better seen than in the _Temptation of St. Anthony_. Vasari tells how
-the young Michelangelo, meeting with an impression of this engraving in
-Florence, was impelled to copy it with a pen “in such a manner as had
-never before been seen. He painted it in colors also, and the better to
-imitate the strange forms among these devils, he bought fish which had
-scales somewhat resembling those of the demon. In this pen copy also he
-displayed so much ability that his credit and reputation were greatly
-enhanced thereby.” It would appear to be one of Schongauer’s early
-plates, not only from the form of the monogram, but also from the
-treatment of the upper portion of the sky, shaded with many horizontal
-graver strokes, growing stronger as the upper edge of the plate is
-reached--a treatment which does not occur in any other print by him.
-
-  [Illustration: MARTIN SCHONGAUER. VIRGIN WITH A PARROT
-  Size of the original engraving, 6¼ × 4¼ inches
-  In the Public Art Collections, Basle]
-
-  [Illustration: MARTIN SCHONGAUER. TEMPTATION OF ST. ANTHONY
-  Size of the original engraving, 12⅜ × 9⅛ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: MARTIN SCHONGAUER. DEATH OF THE VIRGIN
-  Size of the original engraving, 10⅛ × 6⅝ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: MARTIN SCHONGAUER. PILATE WASHING HIS HANDS
-  Size of the original engraving, 6⅜ × 4½ inches
-  In the Museum of Fine Arts, Boston]
-
-Among the myriad renderings of the _Death of the Virgin_, by painters
-and engravers, it is doubtful if any version is superior, so far as
-dramatic intensity is concerned, to Schongauer’s. As a composition,
-Dürer’s woodcut from the _Life of the Virgin_, is simpler and more
-“telling,” in that certain non-essentials have been eliminated; but
-could we well spare so beautiful a design as that of the candelabrum
-which, in Schongauer’s engraving, stands at the foot of the bed?
-
-From the twelve plates of the _Passion_, each of which repays study,
-it is not easy to select one for reproduction. The _Crucifixion_,
-a subject which Schongauer engraved no less than six times, has a
-poignant charm; and for sheer beauty the _Resurrection_ is among
-the most significant of the series. _Pilate Washing His Hands_ has,
-however, a double interest. The faces of Christ’s tormentors and of
-the figures standing beside and to the left of Pilate’s throne, are
-strongly characterized, portrait-like heads, in marked contrast with
-the gentleness of Christ, and the weak and vacillating Pilate. The
-enthroned Pilate later reappears as the _Prophet Daniel_ in the series
-of _Prophets and Sibyls_, Florentine engravings in the Fine Manner.
-
-We have already referred to _St. John on the Island of Patmos_ by
-the Master E. S. A more significant contrast between the work of the
-earlier engraver and that of Schongauer could hardly be found. The
-Master E. S. gives a multiplicity of objects, animate and inanimate,
-charming and interesting in themselves, but distracting from the main
-purpose of the composition--witness the _St. Christopher_ crossing
-the river in the middle distance, the lion and the terrified horse in
-the wood to the right, the swan in the stream to the left, and the
-life-like birds perched upon the castle-crowned cliff. Schongauer
-eliminates all these accessories. One vessel and two small boats alone
-break the calm expanse of the unruffled sea. Save for the two plants in
-the foreground (which betray the influence of the Master of the Playing
-Cards) the ground is simply treated and offers little to distract
-our attention from the seated figure of St. John, who faces to the
-left and gazes upwards at the Madonna and Child in glory. The eagle
-bears a strong family likeness to the same bird in the _Design for a
-Paten_ by the Master E. S. Schongauer has here drawn a tree, not bare,
-as is his wont, but adorned with foliage beautifully disposed
-and artistically treated, in marked contrast to the conventional and
-decorative manner of the Master E. S. and his predecessors.
-
-  [Illustration: MARTIN SCHONGAUER. ST. JOHN ON THE ISLAND OF PATMOS
-  Size of the original engraving, 6½ × 4⅝ inches
-  In the Kunsthalle, Hamburg]
-
-  [Illustration: MARTIN SCHONGAUER. CHRIST APPEARING TO THE MAGDALEN
-  Size of the original engraving, 6¼ × 6⅛ inches
-  In the Kunsthalle, Hamburg]
-
-  [Illustration: MARTIN SCHONGAUER. VIRGIN SEATED IN A COURTYARD
-  Size of the original engraving, 6¾ × 4⅞ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: MARTIN SCHONGAUER. ANGEL OF THE ANNUNCIATION
-  Size of the original engraving, 6⅝ × 4½ inches
-  In the Museum of Fine Arts, Boston]
-
-The type of the Redeemer, which Schongauer has made so peculiarly his
-own, is nowhere seen to better advantage than in the two beautiful
-plates of the _Baptism of Christ_ and _Christ Appearing to the
-Magdalen_. Max Geisberg acclaims the last-named as Schongauer’s most
-beautiful engraving. “Here, the contents of the composition have
-received an embodiment, the fervor, depth, and delicacy of which have
-never been surpassed in art.”[1] It can, however, share this high
-praise with the _Virgin Seated in a Courtyard_ and the _Angel of the
-Annunciation_. For sheer beauty, these plates remain to this day not
-only unsurpassed, but unequalled. What quietude and restraint there is
-in the _Virgin Seated in a Courtyard_, the wall back of her discreetly
-bare, the grass indicated by a few small but significant strokes,
-while the branches of one little, leafless tree form an exquisite
-pattern against the untouched sky! By contrast one of Dürer’s technical
-masterpieces--the _Virgin Seated by a City Wall_--seems overworked and
-overloaded with needless accessories.
-
-[1] Martin Schongauer. By Dr. Max Geisberg. The Print-Collector’s
-Quarterly. Vol. IV. April, 1914. p. 128.
-
-The _Angel of the Annunciation_ marks the culmination of Schongauer’s
-art and belongs to his most mature period. Everything not absolutely
-necessary for a clear presentation has been eliminated. A slight
-shadow upon the ground gives solidity to the figure. All else is
-blank. The art of simplification can hardly go further, and were one
-to be restricted to the choice of a single print by any of Dürer’s
-predecessors, one might wisely select the _Angel of the Annunciation_.
-
-That Schongauer was equally interested in things mundane is
-convincingly proved by _Peasants Going to Market_, _Goldsmith’s
-Apprentices Fighting_, or _The Miller_. How well he has differentiated
-between the mother-ass, filled with maternal solicitude, and the
-woolly, stocky, and somewhat foolish little donkey which follows, while
-the miller with upraised staff urges her onward.
-
-The _Crozier_ and the _Censer_ furnish unmistakable proof, were such
-needed, that as a goldsmith-designer, no less than as an engraver,
-Schongauer is entitled to the loftiest place in German art. They are
-masterpieces, alike in invention and in execution. His influence was
-not confined to his contemporaries, but can be traced in many ways, and
-in many media, long after his death. His School, however, produced no
-engraver worthy, for a moment, of comparison with him.
-
-  [Illustration: MARTIN SCHONGAUER. THE MILLER
-  Size of the original engraving, 3½ × 4⅞ inches
-  In the Albertina, Vienna]
-
-  [Illustration: MARTIN SCHONGAUER. CENSER
-  Size of the original engraving, 11½ × 8¼ inches]
-
-The MASTER L Cz alone seems to have caught something of
-Schongauer’s spirit while, at the same time, preserving his own
-individuality. The face of the Redeemer in _Christ Entering Jerusalem_
-is reminiscent of the earlier engraver; and, among the Apostles to
-the left, two, at least, are taken, with slight modifications, from
-Schongauer’s _Death of the Virgin_.
-
-_Christ Tempted_ has a singular charm. The figure of Satan,
-realistically treated, is an interesting example of that passion
-for the grotesque from which even the greatest artists in the North
-seemed unable to shake themselves wholly free. The wood in the
-middle distance, to the left of Christ, evinces a close study of
-natural forms, while the landscape takes its place admirably in the
-composition. The excessive rarity of engravings by L Cz alone has
-prevented them from being appreciated at their true worth. They are
-original in composition, full of fantasy and charm. Even so universal
-an artist as Albrecht Dürer did not disdain to borrow, from _Christ
-Tempted_, the motive of the mountain goat gazing downward, which
-reappears, slightly modified, in _Adam and Eve_, his masterpiece of the
-year 1504.
-
-
-ENGRAVERS AND ETCHERS
-
-GERMAN ENGRAVING: FROM THE BEGINNINGS TO MARTIN SCHONGAUER
-
-BIBLIOGRAPHY
-
- LE PEINTRE GRAVEUR. _By Adam Bartsch._ 21 volumes. Vienna:
- 1803-1821. Volumes 6 and 10, Early German Engravers.
-
- LES DEUX CENTS INCUNABLES XYLOGRAPHIQUES DU DÉPARTEMENT DES
- ESTAMPES. _By Henri Bouchot._ Volume 1, Text. Volume 2, Atlas
- (191 reproductions). Paris: Librairie Centrale des Beaux-Arts. 1903.
-
- GESCHICHTE UND KRITISCHER KATALOG DES DEUTSCHEN, NIEDERLÄNDISCHEN
- UND FRANZÖSISCHEN KUPFERSTICHS IM XV. JAHRHUNDERT. _By Max
- Lehrs._ Vienna: Gesellschaft für vervielfältigende Kunst. Volume 1.
- The Primitives. With portfolio of 114 reproductions on 43 plates.
- 1908. Volume 2. Master E. S. With portfolio of 237 reproductions on 92
- plates. 1910.
-
- DIE ÄLTESTEN DEUTSCHEN SPIELKARTEN DES KÖNIGLICHEN
- KUPFERSTICH-CABINETS ZU DRESDEN. _By Max Lehrs._ 97 reproductions
- on 29 plates. Dresden: W. Hoffmann. 1885.
-
- KATALOG DER IM GERMANISCHEN MUSEUM BEFINDLICHEN DEUTSCHEN
- KUPFERSTICHE DES XV. JAHRHUNDERTS. _By Max Lehrs._ 1 original
- engraving and 9 reproductions. Nürnberg. 1887.
-
- LE PEINTRE-GRAVEUR. _By J. D. Passavant._ 6 volumes. Leipzig:
- Rudolph Weigel. 1860-1864. Volumes 1 and 2, Early German Engravers.
-
- HISTOIRE DE L’ORIGINE ET DES PROGRÈS DE LA GRAVURE DANS LES
- PAYS-BAS ET EN ALLEMAGNE, JUSQU’À LA FIN DU QUINZIÈME SIÈCLE. _By
- Jules Renouvier._ Brussels: M. Hayez. 1860.
-
- DIE INKUNABELN DES KUPFERSTICHS IM KGL. KABINET ZU MÜNCHEN.
- _By Wilhelm Schmidt._ 32 reproductions. Munich. 1887.
-
- MANUEL DE L’AMATEUR DE LA GRAVURE SUR BOIS ET SUR MÉTAL AU
- XVᵉ SIÈCLE. _By Wilhelm Ludwig Schreiber._ Volumes 1-4,
- Text. Volumes 6-8, Reproductions. Berlin: Albert Cohn, 1891-1900.
- (Vol. 4 in Leipzig: O. Harrassowitz.)
-
- A DESCRIPTIVE CATALOGUE OF EARLY PRINTS IN THE BRITISH
- MUSEUM. _By William Hughes Willshire._ 2 volumes. 22
- reproductions. London: The Trustees. 1879-1883.
-
-
- MASTER OF THE PLAYING CARDS (flourished 1440-1450)
-
- DAS ÄLTESTE GESTOCHENE DEUTSCHE KARTENSPIEL VOM MEISTER DER
- SPIELKARTEN (VOR 1446). _By Max Geisberg._ 68 reproductions on 33
- plates. Strassburg: J. H. Ed. Heitz (Heitz & Mündel). 1905. (Studien
- zur deutschen Kunstgeschichte. Part 66.)
-
-
- MASTER OF THE GARDENS OF LOVE (flourished 1445-1450)
-
- DER MEISTER DER LIEBESGÄRTEN; EIN BEITRAG ZUR GESCHICHTE DES
- ÄLTESTEN KUPFERSTICHS IN DEN NIEDERLANDEN. _By Max Lehrs._ 28
- reproductions on 10 plates. Dresden: Bruno Schulze. 1893.
-
-
- MASTER E. S. (flourished 1450-1470)
-
- DER MEISTER E. S.; SEIN NAME, SEINE HEIMAT, UND SEIN ENDE.
- _By Peter P. Albert._ 20 reproductions on 16 plates. Strassburg:
- J. H. Ed-Heitz (Heitz & Mündel). 1911. (Studien zur deutschen
- Kunstgeschichte. Part 137.)
-
- THE MASTER E. S. AND THE “ARS MORIENDI”; A CHAPTER IN THE HISTORY
- OF ENGRAVING DURING THE FIFTEENTH CENTURY. _By Lionel Cust._ 46
- reproductions. Oxford: Clarendon Press. 1898.
-
- DIE ANFÄNGE DES DEUTSCHEN KUPFERSTICHES UND DER MEISTER E. S.
- _By Max Geisberg._ 121 reproductions on 71 plates. Leipzig: Klinkhardt
- & Biermann. 1909. (Meister der Graphik. Vol. 2.)
-
- GESCHICHTE UND KRITISCHER KATALOG DES DEUTSCHEN, NIEDERLÄNDISCHEN
- UND FRANZÖSISCHEN KUPFERSTICHS IM XV. JAHRHUNDERT. _By Max
- Lehrs._ Vienna: Gesellschaft für vervielfältigende Kunst. 1908-1910.
- Volume 2. Master E. S. With portfolio of 237 reproductions on 92
- plates.
-
- THE PLAYING CARDS OF THE MASTER E. S. OF 1466. _Edited by Max
- Lehrs._ 45 reproductions. London: Asher & Co. 1892. (International
- Chalcographical Society. Extraordinary Publication. Vol. 1.)
-
-
- SCHONGAUER, MARTIN (1445(?)-1491)
-
- ZWEI DATIERTE ZEICHNUNGEN MARTIN SCHONGAUERS. _By Sidney
- Calvin._ 2 illustrations. Jahrbuch der königlichen preussischen
- Kunstsammlungen, Vol. 6, pp. 69-74. Berlin. 1885.
-
- MARTIN SCHONGAUER’S KUPFERSTICHE. _By Max G. Friedländer._ 5
- illustrations. Zeitschrift für bildende Kunst, Vol. 26, pp. 105-112.
- Leipzig. 1915.
-
- MARTIN SCHONGAUER. _By Max Geisberg._ 14 illustrations. The
- Print-Collector’s Quarterly, Vol. 4, No. 2, pp. 102-129. Boston. 1914.
-
- MARTIN SCHONGAUER; NACHBILDUNGEN SEINER KUPFERSTICHE. _Edited
- by Max Lehrs._ 115 reproductions on 72 plates. Berlin: Bruno Cassirer.
- 1914. (Graphische Gesellschaft. Extraordinary Publication 5.)
-
- SCHONGAUERSTUDIEN. _By Wilhelm Lübke._ 3 illustrations.
- Zeitschrift für bildende Kunst, Vol. 16, pp. 74-86. Leipzig. 1881.
-
- SCHONGAUER UND DER MEISTER DES BARTHOLOMÄUS. _By L.
- Scheibler._ Repertorium für Kunstwissenschaft, Vol. 7, pp. 31-68.
- Berlin and Stuttgart. 1884.
-
- MARTIN SCHONGAUER ALS KUPFERSTECHER. _By Woldemar von
- Seidlitz._ Repertorium für Kunstwissenschaft, Vol. 7, pp. 169-182.
- Berlin and Stuttgart. 1884.
-
- MARTIN SCHONGAUER ALS KUPFERSTECHER. _By Hans Wendland._ 32
- reproductions. Berlin: Edmund Meyer. 1907.
-
- MARTIN SCHONGAUER. EINE KRITISCHE UNTERSUCHUNG SEINES LEBENS
- UND SEINER WERKE NEBST EINEM CHRONOLOGISCHEN VERZEICHNISSE SEINER
- KUPFERSTICHE. _By Alfred von Wurzbach._ Vienna: Manz’sche K. K.
- Hofverlags und Universitäts Buchhandlung. 1880.
-
-
- MASTER OF THE BANDEROLES (flourished c. 1464)
-
- DER MEISTER MIT DEN BANDROLLEN; EIN BEITRAG ZUR GESCHICHTE
- DES ÄLTESTEN KUPFERSTICHS IN DEUTSCHLAND. _By Max Lehrs._ 19
- reproductions on 7 plates. Dresden: W. Hoffmann. 1886.
-
-
- MECKENEM, ISRAHEL VAN (c. 1440-1503)
-
- DER MEISTER DER BERLINER PASSION UND ISRAHEL VAN MECKENEM.
- _By Max Geisberg._ 6 reproductions. Strassburg: J. H. Ed. Heitz (Heitz
- & Mündel). 1903. (Studien zur deutschen Kunstgeschichte. Part 42.)
-
- VERZEICHNIS DER KUPFERSTICHE ISRAHELS VAN MECKENEM. _By Max
- Geisberg._ 11 reproductions on 9 plates. Strassburg: J. H. Ed. Heitz
- (Heitz & Mündel). 1905. (Studien zur deutschen Kunstgeschichte. Part
- 58.)
-
-
- MASTER =W A= (flourished c. 1470)
-
- DER MEISTER =W A=; EIN KUPFERSTECHER DER ZEIT KARLS DES
- KÜHNEN. _By Max Lehrs._ 77 reproductions on 31 plates. Dresden:
- W. Hoffmann. 1895.
-
-
- STOSS, VEIT (c. 1450-c. 1533)
-
- VEIT STOSS; NACHBILDUNGEN SEINER KUPFERSTICHE. _Edited by
- Engelbert Baumeister._ 13 reproductions. Berlin: Bruno Cassirer. 1913.
- (Graphische Gesellschaft. Publication 17.)
-
-
- OLMÜTZ, WENZEL VON (flourished 1480-1500)
-
- WENZEL VON OLMÜTZ. _By Max Lehrs._ 22 reproductions on 11
- plates. Dresden: W. Hoffmann. 1889 (In German.)
-
-  [Illustration: MASTER L Cz. CHRIST TEMPTED
-  Size of the original engraving 8¾ × 6⅝ inches]
-
-  [Illustration: MASTER L Cz. CHRIST ENTERING JERUSALEM
-  Size of the original engraving, 8⅞ × 7 inches
-  In the Museum of Fine Arts, Boston]
-
-
-
-
-ITALIAN ENGRAVING: THE FLORENTINES
-
-
-Engraving in Italy differs, in many essentials, from the art as
-practised in Germany. Germany may claim priority in point of time, but
-it is doubtful whether the Florentines--for in Florence, and among
-the goldsmiths, the art took its rise in Italy--in the beginning were
-influenced by, or even acquainted with, the work of their northern
-contemporaries. In Germany the designer and the engraver were one, and
-some of the greatest masters embodied their finest conceptions in their
-prints. We may truly say that the world-wide reputation which Dürer
-and Schongauer have enjoyed for four centuries and more, rests almost
-entirely upon their engraved, rather than upon their painted, work.
-
-In Italy it was otherwise. There, with a few signal exceptions,
-engraving was used merely as a convenient method of multiplying an
-existing design. It may be that we owe to this fact both the color
-of the ink used in these early Florentine prints, and the method of
-taking impressions. This would seem, in many cases, to be by rubbing
-rather than by the use of the roller press, which appears to have been
-known and used in the North substantially from the very beginning. The
-Florentine, aiming to duplicate a drawing in silver-point or wash,
-would naturally endeavor to approximate the color of his original.
-Consequently we do not find the lustrous black impressions, strongly
-printed, which are the prize of the collector of early German
-engravings.
-
-Vasari’s story of the invention of engraving by MASO FINIGUERRA
-(1426-1464) was long ago disproved, and for a time it seemed as though
-Finiguerra and his work were likely to be consigned to that limbo of
-the legendary from which Baldini--at one time accredited with many
-prints--is only just now emerging. Yet Finiguerra, although not the
-“inventor” of the art, is, beyond peradventure, the most important
-influence in early Italian engraving, not only on account of his own
-work on copper, but still more through the Picture-Chronicle, which
-served as an inspiration to the artists working in his School and
-continuing his tradition after his death. So that Vasari’s tale, though
-not accurate in the matter of fact, was veracious in the larger sense.
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. PROFILE PORTRAIT OF A
-  LADY
-  Size of the original engraving, 8⅞ × 5⅝ inches
-  In the Royal Print Room, Berlin]
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. WILD ANIMALS HUNTING
-  AND FIGHTING
-  Size of the original engraving, 10⅛ × 14¾ inches
-  In the British Museum]
-
-The Picture-Chronicle is a book of drawings illustrating the History
-of the World, and evidently proceeds from the hand and workshop of a
-Florentine goldsmith-engraver of about 1460. It was acquired by
-the British Museum from Mr. Ruskin in 1888. The drawings are in pen
-and ink and wash, often reinforced with open pen-shading like that
-imitated later by the Broad Manner engravers. At its best the work
-has the true early Renaissance combination of archaic strength with
-attractive naiveté--the ornamental detail carried out with a masterly
-power of pen, and with the patient delight of one who is by instinct
-and training above all things a jeweler.
-
-Finiguerra’s fame as the leading worker in niello was firmly
-established by 1450; and although we cannot assign certainly any
-engraving by him to a date earlier than 1460, there is a group of
-Florentine primitives which may be placed between the years 1450 and
-1460, thus antedating Finiguerra’s first plate by about ten years. The
-most beautiful of these early prints in conception, and the purest in
-execution, is the _Profile Portrait of a Lady_, a single impression of
-which has come down to us and is now in Berlin. In style it recalls the
-paintings of Piero della Francesca, Verrocchio, Uccello, or Pollaiuolo,
-and although it would be unwise to attribute it to any known master,
-there is a sensitive quality in the drawing, and a restraint, which
-differentiates it from any other print of this period.
-
-Among the engravings which may be by Finiguerra himself, one of
-the most interesting is the plate of _Wild Animals Hunting and
-Fighting_, wherein we see a number of motives taken directly from the
-Picture-Chronicle--motives which reappear again and again in works
-undoubtedly by other hands. This print, as also the _Encounter of a
-Hunting Party with a Family of Wild Folk_, is unique. In the last-named
-we see a number of motives repeated from the _Wild Animals Hunting and
-Fighting_: such as the boar being pulled down by two hounds, the hound
-chasing a hare, in the upper right corner; and the dog, slightly to the
-left, devouring the entrails of yet another hare.
-
-The _Road to Calvary and the Crucifixion_ is a far more elaborate and
-important composition, and in this engraving we see that which is
-especially noteworthy in the _Judgment Hall of Pilate_--the largest
-and most important of all the Fine Manner prints--the goldsmith’s love
-of ornament. In the _Judgment Hall of Pilate_ the head-dresses, and
-especially the armor, are highly elaborate, while the architecture
-itself is overlaid with ornate decoration directly drawn from the
-Picture-Chronicle. In the only known impression the plate seems to have
-been re-worked, in the Broad Manner, by a later hand.
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. TRIUMPHAL PROCESSION
-  OF BACCHUS AND ARIADNE
-  Size of the original engraving, 8⅛ × 22 inches
-  In the British Museum]
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. JUPITER
-  Size of the original engraving, 12⅝ × 8½ inches
-  In the British Museum]
-
-Somewhat later in date, by an engraver of the Finiguerra School, is the
-_Triumphal Procession of_ _Bacchus and Ariadne_, the most joyous of
-all Florentine engravings. The original design was attributed at one
-time to Botticelli; and although, as Herbert P. Horne has shown, it
-cannot be by this master, it is similar in style to his compositions.
-Whatever the immediate original, it shows marked traces of classical
-influences, and its motive is directly derived from antique
-sculpture--a sarcophagus in all probability. “The splendid design has
-suffered not only from the feebleness of the engraving, but also from
-the florid manner in which the engraver has exaggerated some of the
-decorative details and added others.... In spite of the feebleness of
-its execution it remains an incomparably greater work of art than any
-other print in the Fine Manner.”[2]
-
-[2] Sandro Botticelli. By Herbert P. Horne. London: George Bell & Sons.
-1908. p. 84.
-
-The Fine Manner, in which all of the engravings hitherto mentioned
-are executed, owes its name to the method employed. The engraver has
-incised his outlines upon the plate--probably unbeaten copper or
-some even softer metal--and for his shading has employed a system of
-delicate strokes, laid close to one another and overlaid with two, and,
-at times, three, sets of cross-hatching. Such engravings, when printed,
-as is usually the case, in a greenish or grayish ink, give a result
-similar to a wash drawing. In the Broad Manner the style of engraving
-is based upon that of pen drawing, with open, diagonal shade strokes
-and without cross-hatching. The Broad Manner was finally developed by
-Pollaiuolo and Mantegna, who modified it by a series of delicate lines
-laid at an acute angle to the heavier shadings, blending the main lines
-into a harmonious whole.
-
-“None of the sciences that descended from antiquity,” writes Arthur
-M. Hind,[3] “possessed a firmer hold on the popular imagination of
-the Middle Ages than that of Astrology. That science took as its
-foundation the ancient conception of the universe, with the earth as
-the centre round which all the heavenly bodies revolved in the space
-of a day and a night. Encircling the earth were the successive spheres
-of water, air, fire, the seven planets (Moon, Mercury, Venus, Sun,
-Mars, Jupiter, Saturn), the firmament with the constellations (the
-_cœlum crystallinum_), and the Primum Mobile. To each of the planets
-were ascribed attributes according to the traditional character of
-the deity whose name it bore, and these attributes were regarded as
-transmissible under certain conditions to mankind. The influence of the
-planets depended on their position in the heavens in respect of the
-various constellations, with which each had different relations. Each
-planet had what was called its ‘house’ in one of the constellations,
-and according to its position relative to these was said to be in the
-‘ascendant’ or ‘descendant’. In regard to individual human beings the
-date of birth was the decisive point, and the degree of influence
-transmitted from the planets depended on the respective degree of
-‘ascendance’ or ‘descendance’ at the particular epoch.”
-
-[3] Catalogue of Early Italian Engravings ... in the British Museum. By
-Arthur Mayger Hind. London. 1910. pp. 49-50.
-
-The planets and their influences afforded subject matter for many
-artists of the fifteenth and sixteenth centuries, and the finest and
-most important series is that engraved in the Fine Manner by an artist
-of the Finiguerra School, who has, as usual, drawn directly upon the
-Picture-Chronicle for his ornamental accessories. We can reproduce two
-only from the set of seven--_Jupiter_ and _Mercury_. The inscription
-beneath _Jupiter_ reads, in part, as follows: “Jupiter is a male planet
-in the sixth sphere, warm and moist, temperate by nature, and of gentle
-disposition; he is sanguine, cheerful, liberal, eloquent; he loves
-fine clothes, is handsome and ruddy of aspect, and looks toward the
-Earth. Tin is his metal; his days are Sunday and Thursday, with the
-first, eighth, fifteenth and twenty-fourth hours; his night is that of
-Wednesday; he is friendly to the Moon, hostile to Mars....” In the
-landscape we again meet with several of the stock Finiguerra motives,
-the muzzled hounds, the dog chasing the hare, etc. Of especial interest
-is the group at the right--“wing-bearing Dante who flew through Hell,
-through the starry Heavens and o’er the intermediate hill of Purgatory
-beneath the beauteous brows of Beatrice; and Petrarch too, who tells
-again the tale of Cupid’s triumph; and the man who, in ten days,
-portrays a hundred stories (Boccaccio).”
-
-_Mercury_--“eloquent and inventive ... slender of figure, tall and
-well grown, with delicate lips. Quicksilver is his metal”--sets forth
-various applications of the arts and sciences. Especially interesting
-is the goldsmith’s shop at the left, where we see an engraver actually
-at work upon a plate. The goldsmith is seated, his apprentice behind
-him, as a prospective purchaser examines a richly ornamented vessel.
-In the foreground a sculptor is chiseling his statue, while, standing
-above, on a scaffolding, a fresco painter is actively at work--a record
-of the Florence of 1460 or thereabouts, full of interest for us.
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. MERCURY
-  Size of the original engraving, 12¾ × 8½ inches
-  In the British Museum]
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. LADY WITH A UNICORN
-  Size of the original engraving, 6¼ inches in diameter
-  In the British Museum]
-
-To a slightly later date, 1465-1470, belong the group of Fine Manner
-prints, known as the OTTO PRINTS, also emanating from the
-Finiguerra workshop. They are not a series, in any true sense, and owe
-their name--also their fortunate preservation--to the accidental
-circumstance of their having belonged at one time to Peter Ernst Otto,
-a merchant and collector of Leipzig. The purpose served by these
-prints--twenty-four in all--was the decoration of box lids, either as
-patterns to be copied, in the case of metal caskets, or to be colored
-and pasted on the lids of wooden boxes. The escutcheons are usually
-left blank, to be filled in by hand with the device of the donor or the
-recipient, or with some appropriate sentiment.
-
-In the print entitled _Two Heads in Medallions and Two Hunting Scenes_
-we again meet with the animal motives taken from the Picture-Chronicle.
-One of the most charming is the _Lady with a Unicorn_ (Chastity), in
-its arrangement suggestive of the beautiful drawing by Leonardo da
-Vinci in the British Museum; and its symbolic meaning is doubtless
-the same. “The unicorn,” writes Leonardo in his “Bestiarius,” “is
-distinguished for lack of moderation and self-control. His passionate
-love of young women makes him entirely forget his shyness and ferocity.
-Oblivious of all dangers, he comes straight to the seated maiden and
-falling asleep in her lap is then caught by the hunter.” The ermine,
-likewise a sign of chastity, is to be seen at the right, gazing upward
-into Marietta’s face.
-
-Still later than the Otto prints, and greatly inferior to them in
-execution, are the three illustrations for _Il Monte Sancto di Dio_, of
-1477; and the nineteen engravings for Dante’s _Divina Commedia_, with
-Landino’s Commentary, of 1481. _Il Monte Sancto di Dio_ is the first
-book in Italy or in Germany in which there appear illustrations from
-engraved plates printed on the text page. This entailed much additional
-labor, and was soon discontinued in favor of the wood-block, which
-could be printed simultaneously with the letterpress, and was not taken
-up again until nearly the end of the sixteenth century.
-
-Alike by tradition and internal evidence, Botticelli is unquestionably
-the author of the Dante designs; but no artist has been suggested as
-the probable designer of the three illustrations for _Il Monte Sancto
-di Dio_. In the first illustration the costume and general attitude
-of the young gallant to the left are strongly reminiscent of the Otto
-prints. The lower portion of the plate shows all the characteristics of
-the Fine Manner, but the angel heads are treated in a simpler and more
-open linear method. _The Christian’s Ascent to the Glory of Paradise_
-is allegorically represented by a ladder placed firmly in the ground
-of widespread Knowledge and Humility, and reaching up to the triple
-mountain of Faith, Hope, and Charity, on the summit of which stands the
-Saviour. This ladder is called Perseverance, one of its sides being
-Prayer, the other Sacrament. It has eleven steps: Prudence, Temperance,
-Fortitude, Justice, etc.
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. THE CHRISTIAN’S
-  ASCENT TO THE GLORY OF PARADISE. FROM “IL MONTE SANCTO DI DIO,”
-  FLORENCE, 1477
-  Size of the original engraving, 9⅞ × 7 inches
-  In the Fogg Art Museum, Harvard University]
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. DANTE AND VIRGIL
-  WITH THE VISION OF BEATRICE. FROM THE “DIVINA COMMEDIA,”
-  FLORENCE, 1481
-  Size of the original engraving, 3½ × 6⅞ inches
-  In the Museum of Fine Arts, Boston]
-
-The second illustration depicts the glory of Paradise; the third the
-punishment of Hell, the main motives of the last-named being adapted
-from the fresco attributed to Orcagna, in the Campo Santo at Pisa.
-
-In the illustrations to the _Divina Commedia_, of 1481, there is little
-left of the beauty which the original designs must have possessed.
-They are, indeed, “disguised into puerility by the feebleness of
-the engraver”; but, none the less, they remain, with the exception
-of Botticelli’s superb series of drawings on vellum, in Berlin and
-in the Vatican, unquestionably the best, one might say the _only_,
-satisfactory illustrations of Dante’s text. No known copy contains
-more than the first three engravings printed directly upon the page
-itself. In every other case, where a greater number of illustrations
-appear, they are printed separately and pasted in place, indicating the
-difficulty experienced by the Renaissance printer in making his plates
-register with the letterpress.
-
-The first print of the series shows Dante lost in the wood, emerging
-therefrom, and his meeting with Virgil--three subjects on a single
-plate. The second represents _Dante and Virgil with the Vision_ _of
-Beatrice_. Dante and Virgil are seen twice--first to the left, where
-Dante doubts whether to follow the guidance of Virgil further, and
-again on the slope of the hill to the right, where Virgil relates how
-the vision of Beatrice appeared to him. Near the summit of the rocky
-mountain is seen the entrance to Hell.
-
-“Of the extant engravings in the Broad Manner, unquestionably the most
-remarkable is the large print on two sheets of the _Assumption of the
-Virgin_, after Botticelli. The original design [no longer known to
-exist], whether drawing or painting, from which this engraving was
-taken, must have been among the grandest and most vigorous works of
-the last period of Botticelli’s art. The large and rugged treatment of
-the figures of the apostles, their strange mane-like hair and beards,
-their fervent and agitated gestures and attitudes, lend to this part of
-the design a forcible and primitive character, which recalls, though
-largely, perhaps, in an accidental fashion, the grand and impressive
-art of Andrea del Castagno. Not less vigorous in conception, but of
-greater beauty of form and movement, is the figure of the Virgin, and
-the motive and arrangement of the angels who form a ‘mandorla’ around
-her are among the most lovely and imaginative of the many inventions
-of the kind which Botticelli has left us.”[4] In the distant valley
-is a view of Rome showing the Pantheon, the Column of Trajan, the
-Colosseum, and other buildings.
-
-[4] Sandro Botticelli. By Herbert P. Horne. London: George Bell & Sons.
-1908. p. 289.
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. ASSUMPTION OF THE
-  VIRGIN (After Botticelli)
-  Size of the original engraving, 32⅝ × 22¼ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. TRIUMPH OF LOVE. FROM
-  THE TRIUMPHS OF PETRARCH.
-  Size of the original engraving, 10⅜ × 6¾ inches
-  In the Museum of Fine Arts, Boston]
-
-If the _Assumption of the Virgin_ is the noblest print in the Broad
-Manner, the _Triumphs of Petrarch_--a set of six prints--may be said
-to possess the greatest charm, not less by its subject than by its
-treatment. Petrarch first saw Laura on April 6, 1327, in the Church
-of Santa Clara at Avignon, and “in the same city, on the same 6th day
-of the same month of April, in the year 1348, the bright light of her
-life was taken away from the light of this earth.” The poet’s aim in
-composing these _Trionfi_ is the same which he proposed to himself in
-the _Canzoniere_: namely, “to return in thought, from time to time,
-now to the beginning, now to the progress, and now to the end of his
-passion, taking by the way frequent opportunities of rendering praise
-and honor to the single and exalted object of his love. To reach this
-aim he devised a description of man in his various conditions of life,
-wherein he might naturally find occasion to speak of himself and of his
-Laura.
-
-“Man in his first stage of youth is the slave of appetites, which may
-all be included under the generic name of LOVE, or Self-Love. But as
-he gains understanding, he sees the impropriety of such a condition,
-so that he strives advisedly against those appetites and overcomes them
-by means of CHASTITY, that is, by denying himself the opportunity of
-satisfying them. Amid these struggles and victories DEATH overtakes him
-and makes victors and vanquished equal by taking them all out of the
-world. Nevertheless, it has no power to destroy the memory of a man,
-who by illustrious and honorable deeds seeks to survive his own death.
-Such a man truly lives through a long course of ages by means of his
-FAME. But TIME at length obliterates all memory of him, and he finds,
-in the last resort, that his only sure hope of living forever is by joy
-in God and by partaking with God in his blessed ETERNITY.
-
-“Thus LOVE triumphs over man, CHASTITY over
-LOVE, and DEATH over both alike; FAME
-triumphs over DEATH, TIME over FAME, and
-ETERNITY over TIME.”[5]
-
-[5] Le Rime di Francesco Petrarca con l’interpretazione di Giacomo
-Leopardi ... e gli argomenti di A. Marsand. Florence. 1839. p.
-866. Translation in, Petrarch: His Life and Times. By H. C.
-Hollway-Calthrop. London. 1907. pp. 41-42.
-
-With the exception of the first plate, _The Triumph of Love_, none
-of these engravings illustrates, in any strict sense of the word,
-the text of Petrarch’s poem. It is the spirit which the engraver has
-interpreted. Who may have been the designer we know not, but they
-show certain affinities to the work of Pesellino and Baldovinetti.
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. TRIUMPH OF CHASTITY.
-  FROM THE TRIUMPHS OF PETRARCH
-  Size of the original engraving, 10 × 6⅜ inches
-  In the Fogg Art Museum, Harvard University]
-
-  [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. LIBYAN SIBYL
-  Size of the original engraving, 7 × 4¼ inches
-  In the British Museum]
-
-In the first plate, Cupid, the blind archer, with flame-tipped arrow,
-is poised upon a ball rising from a flaming vase, the base of which,
-in its turn, rests upon flame. Jupiter(?), chained, is seated in the
-front of the car, while Samson, bearing a column, walks upon the
-further side. Four prancing steeds draw the car; behind, Love’s victims
-follow in endless procession. In the second plate, _Chastity_ stands
-upon an urn; in front of her kneels Cupid, still blindfolded, with his
-broken arrow beside him. Two unicorns, symbols of chastity, draw the
-car, while upon the banner borne by the maiden at the extreme right
-there appears the symbolic ermine. Then follow in order the Triumphs of
-_Death_, of _Fame_, of _Time_, and of _Eternity_.
-
-This series of illustrations reappears, somewhat modified and
-simplified, in the form of woodcuts, in the editions of the _Trionfi_
-published in Venice in 1488, 1490, 1492, and in Florence in 1499.
-
-We have already referred to the _Evangelists and Apostles_ engraved by
-the German, Master E. S. of 1466. It is from him that the anonymous
-Florentine engraver borrowed his figures, in many cases leaving
-the form of the drapery unchanged but enriching it with elaborate
-designs in the manner of Finiguerra. The Prophet _Ezekiel_ is thus
-compounded of _St. John_ and _St. Peter_, while _Amos_ is copied in
-reverse from _St. Paul_. The seated figure of _Daniel_, in its turn,
-is derived from Martin Schongauer’s engraving, _Christ Before Pilate_,
-but the throne upon which he is seated is strongly reminiscent of the
-Picture-Chronicle, and likewise recalls Botticelli’s early painting of
-_Fortitude_. The _Tiburtine Sibyl_ is derived from _St. Matthew_, who,
-in changing his position, has likewise changed his sex. The precedent
-thus established has been followed by _St. John_, transformed into the
-_Libyan Sibyl_ in the Fine Manner, with the addition of a flying veil,
-to the right, copied from the _Woman with the Escutcheon_, also by the
-Master E. S. In the Broad Manner print the figure of this Sibyl gains
-in dignity by the elimination of much superfluous ornament upon her
-outer garment, and from the fact that she now sits in a more upright
-posture, the Fine Manner print still suggesting the crouching attitude
-of its Northern prototype. It is to the influence, if not to the hand,
-of Botticelli that such improvement is most likely due.
-
-The twenty-four _Prophets_ and the twelve _Sibyls_, engraved both
-in the Fine and in the Broad Manner of the Finiguerra School, are
-individually and collectively among the most delightful productions
-of Italian art. It was doubtless as illustrations of mystery plays or
-pageants in Florence that this series of engravings was designed,
-and we are able to reconstruct from the _Triumphs of Petrarch_, and
-from these prints, a Florentine street pageant at its loveliest.
-
-  [Illustration: ANONYMOUS NORTH ITALIAN, XV CENTURY. THE GENTLEMAN.
-  FROM THE TAROCCHI PRINTS
-  (E Series)
-  Size of the original engraving, 7⅛ × 4 inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ANONYMOUS NORTH ITALIAN, XV CENTURY. CLIO. FROM THE
-  TAROCCHI PRINTS (S Series)
-  Size of the original engraving, 7⅛ × 4 inches
-  In the Museum of Fine Arts, Boston]
-
-However great their beauty and however strong the fascination which
-they exert, they have a rival in the series of fifty instructive
-prints, which, for many years, were miscalled the _Tarocchi Cards of
-Mantegna_. Tarocchi cards they are not, and of Mantegna’s influence,
-direct or indirect, there would seem to be no trace whatsoever. They
-are of North Italian origin and are the work, in all probability, of
-some anonymous Venetian engraver, working from Venetian or Ferrarese
-originals, about 1465--contemporary, therefore, with the Florentine
-engravings of the _Prophets and Sibyls_. Forming, apparently, a
-pictorial cyclopædia of the mediæval universe, with its systematic
-classification of the various powers of Heaven and Earth, they divide
-themselves into five groups of ten cards each. First we have the ranks
-and conditions of men from Beggar to Pope; next Apollo and the nine
-Muses; then the Liberal Arts, with the addition of Poetry, Philosophy,
-and Theology, in order to make up the ten; next the Seven Virtues,
-the set being brought up to the required number by the addition of
-_Chronico_, the genius of Time, _Cosmico_, the genius of the Universe,
-and _Iliaco_, the genius of the Sun. The fifth group is based on
-the Seven Planets, together with the Sphere of the Fixed Stars and
-the Primum Mobile, which imparts its own revolving motion to all the
-spheres within it; and enfolding all the Empyrean Sphere, the abode of
-Heavenly Wisdom.
-
-Much wisdom and many words have been expended upon the still unsolved
-riddle as to which of the two sets, known respectively as the E
-series and the S series (from the letters which appear in the lower
-left-hand corners of the ten cards of the _Sorts and Conditions of
-Men_) may claim priority of date. Both series are in the Fine Manner,
-the outlines clearly defined, the shadings and modelling indicated
-with delicate burin strokes, crossed and re-crossed so as to give a
-tonal effect. These delicate strokes soon wore out in printing, and the
-structural lines of the figures then emerge in all their beauty. It may
-seem absurd that one should admire impressions from plates obviously
-worn, but the critic would do well to suspend his condemnation, since
-the Tarocchi Prints present many and manifold forms of beauty--in
-the early impressions a delicate and bloom-like quality; in certain
-somewhat later proofs, a charm of line which recalls the art of the Far
-East.
-
-  [Illustration: ANONYMOUS NORTH ITALIAN, XV CENTURY. THE SUN. FROM THE
-  TAROCCHI PRINTS (E Series)
-  Size of the original engraving, 7⅛ × 4 inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ANONYMOUS NORTH ITALIAN, XV CENTURY. ANGEL OF THE
-  EIGHTH SPHERE. FROM THE TAROCCHI PRINTS
-  (E Series)
-  Size of the original engraving, 7⅛ × 4 inches
-  In the Museum of Fine Arts, Boston]
-
-_The Gentleman_ is the fifth in order in the first group of the _Sorts
-and Conditions of Men_, and is from the so-called E series (claimed
-by Sir Sidney Colvin and Mr. Arthur M. Hind, of the British Museum, to
-be the earlier of the two sets). The sequence runs: (1) The Beggar, (2)
-The Servant, (3) The Artisan, (4) The Merchant, (5) The Gentleman, (6)
-The Knight, (7) The Doge, (8) The King, (9) The Emperor, (10) The Pope.
-
-_Clio_ is the ninth of the Muses and is from the S series (placed first
-in point of time, by Kristeller, and about ten years later than the E
-series, by the British Museum authorities).
-
-_The Sun_ naturally finds his place in the group of _Planets_ and
-_Spheres_. There is a delightful and childish touch in the way in which
-_Phæton_ is pictured as a little boy falling headlong into the river
-Po, which conveniently flows immediately beneath him. To this group
-belongs likewise the _Angel of the Eighth Sphere_, the Sphere of the
-Fixed Stars, one of the loveliest prints in the entire set, both in
-arrangement and in execution.
-
-Nothing could be in greater contrast to the gracefulness of such a
-print as the above than the _Battle of Naked Men_ by ANTONIO
-POLLAIUOLO, “the stupendous Florentine”--if one may borrow Dante’s
-title; but, for the moment, we will hold Pollaiuolo and his one
-engraving in reserve while we glance at the work of CHRISTOFANO
-ROBETTA, who, born in Florence in 1462, was consequently the
-junior of Pollaiuolo by thirty years. As an engraver, Robetta is
-inferior to the anonymous master to whom we owe the E series of the
-Tarocchi prints. His style is somewhat dry, and the individual lines
-are lacking in beauty; but his plates have that indefinable and
-indescribable fascination and charm which is the peculiar possession
-of Italian engraving and of the Florentine masters in particular. The
-shaping influences which determined his choice and treatment of subject
-are Botticelli, and, in a much larger measure, Filippino Lippi, though
-only in a few cases can he be shown to have worked directly from that
-painter’s designs. The _Adoration of the Magi_ is obviously inspired
-by Filippino Lippi’s painting in the Uffizi, though whether Robetta
-actually worked from the painting itself, or, as seems more probable,
-translated one of Filippino’s drawings, is an interesting question. The
-fact that the engraving is in reverse of the painting proves nothing;
-but there are so many points of difference between them--notably the
-introduction of the charming group of three angels above the Virgin and
-Child--that one can hardly think Robetta would have needlessly made so
-many and important modifications of the painting itself, if a drawing
-had been available. It is interesting, though of minor importance, that
-the hat of the King to the right, which lies on the ground, is copied
-in reverse from Schongauer’s _Adoration_, and that the _Allegory
-of the Power of Love_, one of Robetta’s most charming subjects, is
-engraved upon the reverse side of the plate of the _Adoration of
-the Magi_, the copper-plate itself being now in the Print Room of
-the British Museum. Whether the _Allegory of Abundance_ is entirely
-Robetta’s, or whether the design was suggested by another master’s
-painting or drawing, can be only a matter of conjecture. It shows,
-however, so many of the characteristics which we associate with his
-work that we may give him the benefit of the doubt and consider him as
-its “onlie begetter.”
-
-  [Illustration: CRISTOFANO ROBETTA. ADORATION OF THE MAGI
-  Size of the original engraving, 11⅝ × 11 inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ANTONIO POLLAIUOLO. BATTLE OF NAKED MEN
-  Size of the original engraving, 15¾ × 23½ inches
-  In the Museum of Fine Arts, Boston]
-
-_Hercules and the Hydra_ and _Hercules and Antæus_ show so markedly the
-influence of Pollaiuolo that we may conclude them to have been taken
-from the two small panels in the Uffizi; though, in the case of the
-first named, Pollaiuolo’s original sketch, now in the British Museum,
-may also have served Robetta.
-
-Whether POLLAIUOLO based his technical method upon that of
-Mantegna and his School, or whether Mantegna’s own engravings were
-inspired by his Florentine contemporary, is an interesting, but thus
-far unanswered, question. Pollaiuolo’s one print, the _Battle of Naked
-Men_, is engraved in the Broad Manner, somewhat modified by the use
-of a light stroke laid at an acute angle between the parallels. The
-outlines of the figures are strongly incised; while the treatment of
-the background lends color to the supposition that, in his youth,
-Pollaiuolo engraved in niello, as well as furnished designs to be
-executed by Finiguerra and his School. In this masterpiece the artist
-has summed up his knowledge of the human form, and has expressed, in
-a more convincing and vigorous measure than has any other engraver in
-the history of the art, the strain and stress of violent motion and the
-fury of combat.
-
-“What is it,” asks Bernhard Berenson, “that makes us return to this
-sheet with ever-renewed, ever-increased pleasure? Surely it is not the
-hideous faces of most of the figures and their scarcely less hideous
-bodies. Nor is it the pattern as decorative design, which is of great
-beauty indeed, but not at all in proportion to the spell exerted upon
-us. Least of all is it--for most of us--an interest in the technique
-or history of engraving. No, the pleasure we take in these savagely
-battling forms arises from their power to directly communicate life,
-to immensely heighten our sense of vitality. Look at the combatant
-prostrate on the ground and his assailant, bending over, each intent
-on stabbing the other. See how the prostrate man plants his foot on
-the thigh of his enemy and note the tremendous energy he exerts to
-keep off the foe, who, turning as upon a pivot, with his grip on the
-other’s head, exerts no less force to keep the advantage gained. The
-significance of all these muscular strains and pressures is so rendered
-that we cannot help realizing them; we imagine ourselves imitating all
-the movements and exerting the force required for them--and all without
-the least effort on our side. If all this without moving a muscle, what
-should we feel if we too had exerted ourselves? And thus while under
-the spell of this illusion--this hyperæsthesia not bought with drugs
-and not paid for with cheques drawn on our vitality--we feel as if the
-elixir of life, not our own sluggish blood, were coursing through our
-veins.”[6]
-
-[6] Florentine Painters of the Renaissance. By Bernhard Berenson. New
-York: Putnam’s Sons. 1899. pp. 54-55.
-
-Pollaiuolo is the one great original engraver Florence produced, and
-with him we bring to a close our all too brief study of Florentine
-engraving.
-
-
-ITALIAN ENGRAVING: THE FLORENTINES
-
-BIBLIOGRAPHY
-
- LE PEINTRE GRAVEUR. _By Adam Bartsch._ 21 volumes. Vienna:
- 1803-1821. Volume 13, Early Italian Engravers.
-
- THE DRAWINGS OF THE FLORENTINE PAINTERS. _By Bernhard
- Berenson._ 2 volumes. 180 illustrations. New York: E. P. Dutton &
- Company. 1903.
-
- CATALOGUE OF EARLY ITALIAN ENGRAVINGS PRESERVED IN THE DEPARTMENT
- OF PRINTS AND DRAWINGS IN THE BRITISH MUSEUM. _By Arthur Mayger
- Hind. Edited by Sidney Colvin._ 20 illustrations. London: The
- Trustees. 1910.
-
- ----. Illustrations to the Catalogue ... 198 plates. London: The
- Trustees. 1909.
-
- SOME EARLY ITALIAN ENGRAVERS BEFORE THE TIME OF MARCANTONIO.
- _By Arthur Mayger Hind._ 22 illustrations. The Print-Collector’s
- Quarterly, Vol. 2, No. 3, pp. 253-289. Boston. 1912.
-
- SULLE ORIGINI DELL’INCISIONE IN RAME IN ITALIA. _By Paul
- Kristeller._ 4 illustrations. Archivio Storico dell’Arte, Vol. 6, p.
- 391-400. Rome. 1893.
-
- LE PEINTRE-GRAVEUR. _By J. D. Passavant._ 6 volumes. Leipzig:
- Rudolph Weigel. 1860-1864. Volumes 1 and 5, Early Italian Engravers.
-
- DES TYPES ET DES MANIÈRES DES MAITRES GRAVEURS ... EN ITALIE, EN
- ALLEMAGNE, DANS LES PAYS-BAS ET EN FRANCE. _By Jules Renouvier._
- 2 volumes. Montpellier: Boehm, 1853-1855. Volume 1, Engravers of the
- Fifteenth Century.
-
- LIVES OF THE MOST EMINENT PAINTERS, SCULPTORS, AND
- ARCHITECTS. _By Giorgio Vasari._ Translated by Mrs. Jonathan
- Foster. With commentary by J. P. Richter. 6 volumes. London: George
- Bell & Sons. 1890-1892.
-
-
- FINIGUERRA, MASO (1426-1464)
-
- A FLORENTINE PICTURE-CHRONICLE; BEING A SERIES OF NINETY-NINE
- DRAWINGS REPRESENTING SCENES AND PERSONAGES OF ANCIENT HISTORY,
- SACRED AND PROFANE; REPRODUCED FROM THE ORIGINALS IN THE BRITISH
- MUSEUM. _Edited by Sidney Colvin._ 99 reproductions and 117 text
- illustrations. London: B. Quaritch. 1898.
-
- SANDRO BOTTICELLI. _By Herbert P. Horne._ 43 plates. London:
- George Bell & Sons. 1905. pp. 77-86.
-
-
- THE PLANETS (c. 1460)
-
- THE SEVEN PLANETS. _By Friedrich Lippmann. Translated by
- Florence Simmonds._ 43 reproductions. London. 1895. (International
- Chalcographical Society. 1895.)
-
-
- THE OTTO PRINTS (c. 1465-1470)
-
- FLORENTINISCHE ZIERSTÜCKE AUS DEM XV. JAHRHUNDERT. _Edited
- by Paul Kristeller._ 25 reproductions. Berlin: Bruno Cassirer. 1909.
- (Graphische Gesellschaft. Publication 10.)
-
- DELLE ‘IMPRESE AMOROSE’ NELLE PIÙ ANTICHE INCISIONE
- FIORENTINE. _By A. Warburg._ Rivista d’Arte, Vol. 3
- (July-August). Florence. 1905.
-
-
- ENGRAVINGS IN BOOKS (1477-1481)
-
- WORKS OF THE ITALIAN ENGRAVERS IN THE FIFTEENTH CENTURY;
- REPRODUCED ... WITH AN INTRODUCTION. _By George William Reid._ 20
- reproductions on 19 plates. First Series: Il Libro del Monte Sancto di
- Dio, 1477; La Divina Commedia of Dante; and the Triumphs of Petrarch.
-
-
- ILLUSTRATIONS OF THE DIVINA COMMEDIA, FLORENCE, 1481
-
- SANDRO BOTTICELLI. _By Herbert P. Horne._ 43 plates. London:
- George Bell & Sons. 1908. pp. 75-77, 190-255.
-
- ZEICHNUNGEN VON SANDRO BOTTICELLI ZU DANTE’S GOETTLICHER KOMOEDIE
- NACH DEN ORIGINALEN IM K. KUPFERSTICHKABINET ZU BERLIN. _Edited
- by Friedrich Lippmann._ 20 reproductions of engravings bound with
- text. With portfolio of 84 reproductions of the drawings.
-
- Supplemented by--DIE ACHT HANDZEICHNUNGEN DES SANDRO BOTTICELLI
- ZU DANTES GÖTTLICHER KOMÖDIE IM VATIKAN. _Edited by Josef
- Strzygowski._ With portfolio of 8 reproductions.
-
-
- TRIUMPHS OF PETRARCH (c. 1470-1480)
-
- PÉTRARQUE; SES ÉTUDES D’ART, SON INFLUENCE SUR LES ARTISTES, SES
- PORTRAITS AND CEUX DE LAURE, L’ILLUSTRATION DE SES ÉCRITS. _By
- Victor Masséna_, _Prince d’Essling_, and _Eugène Muntz_. 21 plates and
- 191 text illustrations. Paris: Gazette des Beaux-Arts. 1902.
-
- ÉTUDES SUR LES TRIOMPHES DE PÉTRARQUE. _By Victor Masséna,
- Prince d’Essling._ 6 illustrations. Gazette des Beaux-Arts. 2 parts.
- Part I. Vol. 35 (second period). pp. 311-321. Part II. Vol. 36 (second
- period). pp. 25-34. Paris. 1887.
-
- PETRARCH; HIS LIFE AND TIMES. _By H. C. Hollway-Calthrop._ 24
- illustrations. London: Methuen & Co. 1907.
-
-
- BROAD MANNER PLATES (c. 1470-1480)
-
- SANDRO BOTTICELLI. _By Herbert P. Horne._ 43 plates. London:
- George Bell & Sons. 1908. pp. 288-291.
-
-
- THE TAROCCHI PRINTS (c. 1467)
-
- DIE TAROCCHI; ZWEI ITALIENISCHE KUPFERSTICHFOLGEN AUS DEM XV.
- JAHRHUNDERT. _Edited by Paul Kristeller._ 100 reproductions on
- 50 plates. Berlin: Bruno Cassirer. 1910. (Graphische Gesellschaft.
- Extraordinary Publication 2.)
-
- DER VENEZIANISCHE KUPFERSTICH IM XV. JAHRHUNDERT. _By Paul
- Kristeller._ 6 illustrations. Mitteilungen der Gesellschaft für
- vervielfältigende Kunst, Vol. 30, No. 1. Vienna. 1907.
-
- ORIGINE DES CARTES À JOUER. _By R. Merlin._ About 600
- reproductions. Paris: L’auteur. 1869.
-
- THE TAROCCHI PRINTS. _By Emil H. Richter._ 13 illustrations.
- The Print-Collector’s Quarterly, Vol. 6, No. 1, pp. 37-89. Boston.
- 1916.
-
- CATALOGUE OF PLAYING AND OTHER CARDS IN THE BRITISH MUSEUM.
- _By William Hughes Willshire._ 78 reproductions on 24 plates. London:
- The Trustees. 1876.
-
-
- POLLAIUOLO, ANTONIO (1432-1498)
-
- FLORENTINE PAINTERS OF THE RENAISSANCE. _By Bernhard
- Berenson._ New York: Putnam’s Sons. 1899. pp. 47-57.
-
- ANTONIO POLLAIUOLO. _By Maud Cruttwell._ 51 illustrations.
- London: Duckworth and Company. 1907.
-
- NOTE SU MANTEGNA E POLLAIUOLO. _By Arthur Mayger Hind._ 2
- illustrations. L’Arte, Vol. 9, pp. 303-305. Rome. 1906.
-
-
-
-
-GERMAN ENGRAVING: THE MASTER OF THE AMSTERDAM CABINET AND ALBRECHT DÜRER
-
-
-With the exception of Martin Schongauer, none of Dürer’s immediate
-predecessors better repays a thorough study, or exerts a more potent
-fascination, than the MASTER OF THE AMSTERDAM CABINET. The
-earlier writers, from Duchesne to Dutuit, were united in their opinion
-that this engraver was a Netherlander; but Max Lehrs, following the
-track opened up by Harzen, has proved conclusively that the Master
-of the Amsterdam Cabinet (so called because the largest collection
-of his engravings--eighty subjects out of the eighty-nine which are
-known--is preserved in the Royal Print Rooms in Amsterdam) was not
-a Netherlander but a South German, a native of Rhenish Suabia--the
-very artist, in fact, who designed the illustrations of the Planets
-and their influences and the various arts and occupations of men, for
-the so-called “Medieval House Book” in the collection of Prince von
-Waldburg-Wolfegg.
-
-In subject-matter he owes little to his predecessors, and in technique
-he is an isolated phenomenon. _St. Martin and the Beggar_ and _St.
-Michael and the Dragon_ show that he was acquainted with the work of
-Martin Schongauer; the _Ecstasy of St. Mary Magdalen_ is obviously
-based upon a similar engraving by the Master E. S. of 1466; but for
-the most part he stands alone. He seems to have worked entirely in
-dry-point upon some soft metal--lead or pewter, perhaps--and the ink
-which he used, of a soft grayish tint, combines with the breadth and
-softness of the lines to impart to his prints much of the character of
-drawings in silver-point.
-
-The Master of the Amsterdam Cabinet has treated a wide range of
-subjects, his preference being for scenes of everyday life. His
-prints show appreciation of the beauties of landscape, his skill in
-the treatment of wide spaces is masterly, and there is a beauty and
-sweetness in the expression of his faces which makes him a worthy rival
-of Martin Schongauer himself. He has left us no purely ornamental
-designs, such as might serve in the decoration of vessels used in the
-church, and we may infer, from the character of his engravings, that
-he was a painter, who used the dry-point as a diversion, rather than
-a professional engraver, pursuing his craft as a means of livelihood.
-In power of composition he can hardly rank with Martin Schongauer,
-and in range of intellect he falls short of the heights reached by
-Albrecht Dürer; but his very limitations, perhaps, render him a more
-companionable personage, and his modernity makes an immediate appeal to
-us all.
-
-  [Illustration: MASTER OF THE AMSTERDAM CABINET. ECSTASY OF ST. MARY
-  MAGDALEN
-  Size of the original engraving, 7⅝ × 5¼ inches
-  In the Royal Print Room, Amsterdam]
-
-  [Illustration: MASTER OF THE AMSTERDAM CABINET. CRUCIFIXION
-  Size of the original engraving, 6 × 5¼ inches
-  In the Royal Print Room, Amsterdam]
-
-The _Ecstasy of St. Mary Magdalen_ is one of his earliest plates and
-is a free translation of the same subject by the Master E. S. It would
-seem as though his dry-point was the immediate original of Dürer’s
-woodcut. The position of the Magdalen’s hands is the same in both
-compositions, but Dürer has added a landscape which, admirable though
-it be, detracts from the main interest of his print.
-
-The Master of the Amsterdam Cabinet, in a second rendering, herewith
-reproduced, has eliminated all superfluous or distracting details and
-imparted a surprising degree of grace and purity to the lovely design.
-Anything like a chronological arrangement of the master’s work would
-be difficult, but one may safely assume that this beautiful engraving
-belongs to the latest and most mature period of his art, to which
-period we also may assign the _Two Lovers_.
-
-As a rule, his least successful engravings are those dealing with
-religious themes. At times, however, as in the _Crucifixion_, he rises
-to heights of dramatic intensity, and Dürer may be indebted more than
-we realize to this rendering of the divine tragedy. _Aristotle and
-Phyllis_ and _Solomon’s Idolatry_ are satirical illustrations of the
-follies of sages in love. Both plates are illumined by a truly modern
-sense of humor, while the arrangement of the figures within the spaces
-to be filled is admirable.
-
-Such subjects as _The Three Living and the Three Dead Kings_ and _Young
-Man and Death_ are variations upon a theme which was uppermost in the
-minds of many men at this time, when the _Ars Moriendi_ and the _Dance
-of Death_ were constant reminders of man’s mortality. In agreeable
-contrast is the dry-point of _Two Lovers_--a little masterpiece--one
-of his most charming designs. “The sweet shyness of the maiden, the
-tender glances of the lover and the soft pressure of their hands are
-rendered with an inimitable grace, and the work is altogether of such
-exceptional quality that we may count this delightful picture as one of
-the rarest gems of German engraving in the fifteenth century.”[7]
-
-[7] The Master of the Amsterdam Cabinet. By Max Lehrs. International
-Chalcographical Society, 1893 and 1894. p. 7.
-
-The _Stag Hunt_ is filled with the spirit of outdoor life, the
-exhilaration of the chase, and the joy of the hounds in pursuing their
-quarry. No other engraver of the fifteenth century has left us any such
-truthful rendering of a hunting scene, and the life-enhancing quality
-of this little dry-point makes even Dürer’s rendering of animal
-forms seem cold and relatively lifeless.
-
-  [Illustration: MASTER OF THE AMSTERDAM CABINET. STAG HUNT
-  Size of the original engraving, 3⅝ × 6¾ inches
-  In the Royal Print Room, Amsterdam]
-
-  [Illustration: MASTER OF THE AMSTERDAM CABINET. ST. GEORGE
-  Size of the original engraving, 5⅝ × 4⅛ inches
-  In the British Museum]
-
-The master’s knowledge of the anatomy of the horse, and his treatment
-of that noble beast, unfortunately fall far short of his rendering of
-the dogs and stags in the _Stag Hunt_. The figure of _St. George_ is
-sufficiently graceful and convincing, but the horse (seemingly of the
-rocking-horse variety) can hardly be proclaimed a complete success. In
-spite of this obvious defect it is one of the artist’s finest plates,
-remarkable for its exceptional force and animation. The unique proof,
-of which the British Museum is the fortunate possessor, is in splendid
-condition and rich in burr.
-
-And now, with some trepidation of spirit, we approach ALBRECHT
-DÜRER and his engraved work. His many-sidedness foredooms to
-failure any attempt at an adequate and comprehensive treatment. His
-compositions, as Max Allihn justly says, may fittingly be likened to
-the Sphinx of the old legend; for “they attack everyone who, either as
-critic, historian or harmless wanderer, ventures in the realm of art,
-and propose to him their unsolvable riddles.”
-
-Of his own work Dürer says: “What beauty may be I know not. Art is
-hidden in nature and whosoever can tear it out has it,” and his
-life-long quest of knowledge, his truly German reverence for fact,
-hangs like a millstone around his neck. “Of a truth,” writes Raphael,
-“this man would have surpassed us all if he had had the masterpieces
-of art constantly before him,” Raphael himself--“Raphael the
-Divine”--hardly paralyzed æsthetic criticism for a longer period than
-has Dürer, and in studying his engravings, if the student would see
-them for what they are, as works of art, and not through the enchanted,
-oftentimes stupefying, maze of metaphysics, he must be prepared for
-the gibes and verbal brick-bats of his contemporaries, who hold in
-reverence all that has the sanction of long-continued repetition by
-authority after authority.
-
-“If you see it in a book it’s true; if you see it in a German book it’s
-very true,” applies with only too telling a force to a considerable
-share of Dürer speculation. For better or worse I cannot but think
-that Dürer’s prime intention in his engravings was an artistic one,
-though obviously this intention was often overlaid with a desire to
-supply an existing demand and to introduce, into otherwise simple
-compositions, traditional moralistic motives which should render his
-engravings more marketable at the fairs, where mostly they were sold.
-So many and so fascinating are the facets of Dürer’s personality, so
-interesting is he as a man in whose mind meet, and sometimes blend,
-the ideas of the Middle Ages with those almost of our own time, that
-if we are to study, even in the briefest and most cursory fashion,
-his engraved work, we must perforce confine ourselves strictly to the
-artistic content of his plates and not be seduced into the by-ways of
-speculation which lead anywhere--or, more often, nowhere.
-
-Earliest of his authenticated engravings, without monogram and without
-date, crude in handling, possibly suggested by the work of some earlier
-master, and in all probability executed before his first journey to
-Venice (that is to say, before or in the year 1490) is the _Ravisher_,
-susceptible of as many and as varied interpretations as there are
-authorities; from a man using violence, to the struggle for existence.
-It has even been connected in some way with a belief in witchcraft!
-The _Holy Family with the Dragonfly_, to which Koehler gives second
-place in his chronological arrangement of Dürer’s engravings, shows an
-astonishing advance in technique and in composition. It is undated, but
-the monogram is in its early form. The galley and the two gondolas,
-in the distant water to the right, would seem to indicate that it was
-engraved in or about the year 1494, upon Dürer’s return from Venice,
-and it is probably his first plate after his return to Nuremberg. There
-is a sweetness and an attractiveness in the face of the Virgin which
-points to an acquaintance with Schongauer’s engraving, the _Virgin
-with a Parrot_. The poise of the head and the flowing hair lend color
-to this supposition.
-
-To how great an extent not only the engravings, but the theories, of
-Jacopo de’ Barbari may have influenced Dürer in such plates as _St.
-Jerome in Penitence_, the _Carrying Off of Amymone_, _Hercules_, or
-the _Four Naked Women_, is difficult to determine. It may have been
-considerable, though, at times, one cannot help wondering whether the
-theory of proportion of the human body, of which Jacopo spoke to Dürer,
-but concerning which he refused (or was unable) to give him further
-detailed particulars, may not have been more or less of a “bluff,”
-since there is no record of Jacopo having committed the results of his
-studies to writing, and in his engravings there is little evidence
-of any logical theory of proportion. That a potent influence was at
-work shaping Dürer’s development is clear, and the figure of _St.
-Jerome_ undoubtedly owes a good deal to Jacopo. The landscape is all
-Dürer’s own, the first of a long series finely conceived and admirably
-executed. The long, sweeping lines in the foreground recall the
-manner of Jacopo de’ Barbari, but otherwise the engraving owes little
-technically to that artist.
-
-  [Illustration: ALBRECHT DÜRER. VIRGIN AND CHILD WITH THE MONKEY
-  Size of the original engraving, 7½ × 4¾ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ALBRECHT DÜRER. FOUR NAKED WOMEN
-  Size of the original engraving, 7½ × 5¼ inches
-  In the Museum of Fine Arts, Boston]
-
-_The Virgin and Child with the Monkey_ is the most brilliant of Dürer’s
-engravings in his earlier period. In the opinion of many students
-it is, likewise, the most beautiful and dignified, not only in
-the figures of the Virgin and Child, but also in the breadth and
-richness of the landscape. The loveliness of the background was early
-recognized, and several Italian engravers, including Giulio Campagnola,
-availed themselves of it. When Dürer’s drawings and water-colors
-are more generally known, he will be acclaimed one of the masters
-of landscape. There is a freshness, a breeziness, an “out-of-doors”
-quality in his water-color of the _Weierhaus_ which will surprise those
-who hitherto have known him only through his engraved work, wherein the
-landscape undergoes a certain formalizing process.
-
-The _Virgin and Child with the Monkey_ is so beautiful in simplicity of
-handling, so delightful in arrangement of black and white, that it is
-hard to reconcile oneself to the comparatively coarse line work, the
-insensitiveness to beauty of form, the disregard of anatomy, shown in
-_Four Naked Women_ of 1497--Dürer’s first dated plate--especially the
-woman standing to the left, who combines the slackness of Jacopo de’
-Barbari at his worst with the heaviness and puffiness possible only
-to a Northerner unacquainted with the classic ideals of the Italian
-Renaissance.
-
-Speculation is again rife as to the meaning, if it has a meaning, of
-the skull and bone on the ground, and the devil emerging from the
-flames at the left. The engraving seems to be a straightforward,
-naturalistic study of the nude, with these accessories thrown in to
-give the subject a moralizing air which would make it palatable to
-the artist’s contemporaries. There could hardly be a greater contrast
-to this frankly hideous treatment of the human form than _Hercules_
-(called also the _Effects of Jealousy_, the _Great Satyr_, etc.). In
-this plate we are able, as in few others--the one notable exception
-being the _Adam and Eve_ of 1504--to follow out, step by step, Dürer’s
-upbuilding of the composition. The figures are, in this case, idealized
-according to the canons of classical beauty, rather than realistically
-rendered. Incidentally, the landscape is quite the most beautiful
-which appears in any of Dürer’s engravings. Its spaciousness instantly
-commands our admiration, and the gradation from light to dark, to
-indicate differing planes in the trees, is managed in a masterly manner.
-
-  [Illustration: ALBRECHT DÜRER. HERCULES
-  Size of the original engraving, 13¾ × 8¾ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ANONYMOUS NORTH ITALIAN, XV CENTURY. DEATH OF ORPHEUS
-  Size of the original engraving, 5¾ × 8⅜ inches
-  In the Kunsthalle, Hamburg]
-
-  [Illustration: ALBRECHT DÜRER. DEATH OF ORPHEUS
-  Size of the original drawing, 11⅜ × 8⅞ inches
-  In the Kunsthalle, Hamburg]
-
-  [Illustration: ALBRECHT DÜRER. BATTLE OF THE SEA-GODS.
-  (After Mantegna)
-  Size of the original drawing, 11½ × 15¼ inches
-  In the Albertina, Vienna]
-
-Beginning with the _Death of Orpheus_, engraved by some anonymous North
-Italian master working in the Fine Manner of the Tarocchi Cards, the
-next step is Dürer’s pen drawing, dated 1494. The figures of Orpheus
-and of the two Thracian Mænads remain unchanged, as does also the
-little child running towards the left. Dürer has, however, changed
-the lute into a lyre, as being more suited to Orpheus, and has added
-the beautiful group of trees which reappears, little changed,
-in his engraving of _Hercules_. There is a drawing of the Mantegna
-School which Dürer may, or may not, have seen; but the face of Orpheus
-in his drawing shows certain unmistakable Mantegna characteristics,
-far removed from the North Italian Fine Manner print. From Mantegna’s
-engraving, the _Battle of the Sea-Gods_ (right-hand portion), Dürer has
-borrowed the figure of the reclining woman to the left and the Satyr.
-That he was acquainted with this engraving by Mantegna is attested by
-a drawing of 1494. The man standing to the right, with legs spread
-wide apart, wearing a fantastic helmet in the shape of a cock, recalls
-the work of Pollaiuolo, by whom there exists a similar drawing, now in
-Berlin. From these various elements Dürer builds up his composition.
-Its full meaning he alone knew. It has remained an unsolved riddle from
-his time to our own.
-
-The _Carrying Off of Amymone_ belongs to this same period. Here Dürer
-has again used the motive taken from Mantegna’s engraving, the _Battle
-of the Sea Gods_; but in this instance he follows his original much
-more closely. Dürer alludes to this print in the diary of his journey
-to the Netherlands as _The Sea Wonder_ (_Das Meerwunder_); and although
-the interpretations given to it are many and various, its true meaning,
-as in the case of the Hercules, remains a matter of conjecture.
-
-By 1503, the year to which belongs the _Coat-of-Arms with the Skull_,
-and also, in all probability, the magnificent _Coat-of-Arms with
-the Cock_, Dürer seems to have overcome successfully all technical
-difficulties and is absolute master of his medium. From this time
-onwards, although his manner undergoes certain modifications in the
-direction of fuller color and of a more accurate rendering of texture,
-his language is adequate for anything he may wish to say, and he is
-free to address himself to the solution of scientific problems, such as
-are involved in the elucidation of his canon of human proportion, or
-the still deeper questions which stirred so profoundly the speculative
-minds of his time.
-
-With the exception of _Hercules_, _Adam and Eve_ is the only engraving
-by Dürer of which trial proofs, properly so-called, exist, whereby we
-can study Dürer’s method. First the outlines were lightly laid in; then
-the background was carried forward and substantially completed. In the
-first trial proof Adam’s right leg alone is finished; but in the second
-trial proof he is completed to the waist. This method of procedure
-is significant, in view of the endless controversies, based upon an
-incomplete study of Dürer’s technique, regarding the use of preliminary
-etching in many plates of his middle and later period.
-
-  [Illustration: ALBRECHT DÜRER. ADAM AND EVE
-  Size of the original engraving, 9¾ x 8⅝ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ALBRECHT DÜRER. APOLLO AND DIANA
-  Size of the original engraving, 4½ × 2¾ inches
-  In the Museum of Fine Arts, Boston]
-
-In _Adam and Eve_ Dürer has summed up the knowledge obtained by actual
-observation and by a series of drawings and studies extending over a
-number of years, and combined with it his theoretical working out of
-the proportions of the human figure, male and female. In no other plate
-has he lavished such loving care upon the representation of the human
-form. The flesh is, so to speak, caressed with the burin, as though,
-once and for all, the artist wished to prove to his contemporaries that
-the graver sufficed for the rendering of the most beautiful, the most
-subtle and scientific problems. That Dürer himself was satisfied with
-the result of his labors at this time is made manifest by the detailed
-inscription, ALBERTUS DURER NORICUS FACIEBAT, on the tablet,
-followed by his monogram and the date 1504. This plate proclaimed him
-indisputably the greatest master of the burin of his time; and along
-the lines which he laid down for himself it remains unsurpassed until
-our own day.
-
-_Adam and Eve_ is followed by a group of prints which, though
-interesting in treatment and charming in subject, such as the
-_Nativity_, _Apollo and Diana_, and the first four plates of the _Small
-Passion_, reveal nothing new in Dürer’s development as an artist
-or a man. In the year 1510, however, is made his first experiment
-in dry-point. Of the very small plate of _St. Veronica with the
-Sudarium_ two impressions only have come down to us, neither of them
-showing much burr. The _Man of Sorrows_, dated 1512, likewise must
-have been very delicately scratched upon the copper, all existing
-impressions being pale and delicate in tone. Whether Dürer’s desire
-was to produce engravings which should entail less labor and be more
-quickly executed than was possible by the slower and more laborious
-method of the burin, or whether, as seems much more likely, he was
-influenced by an acquaintanceship with the dry-point work of the
-Master of the Amsterdam Cabinet, cannot be asserted with any degree
-of assurance. Dürer’s third dry-point, the _St. Jerome by the Willow
-Tree_ (like the _Man of Sorrows_ dated 1512), is treated in so much
-bolder and more painter-like a manner, is so rich in burr and so
-satisfying as a composition, that one can hardly account for such
-remarkable development unaided by any outside influence or stimulation.
-The British Museum’s impression of the first state, before the
-monogram,--the richest impression known--yields nothing in color effect
-even to Rembrandt. Thausing is inclined to think that Rembrandt must
-have been inspired by this plate to himself take up the dry-point--an
-interesting speculation and one which would do honor to both of these
-great masters.
-
-  [Illustration: ALBRECHT DÜRER. ST. JEROME BY THE WILLOW TREE
-  (First State)
-  Size of the original dry-point 8⅛ × 7 inches
-  In the British Museum]
-
-  [Illustration: ALBRECHT DÜRER. HOLY FAMILY
-  Size of the original dry-point, 8¼ × 7¼ inches]
-
-The _Holy Family_, though without monogram and undated, belongs so
-unmistakably, from internal evidence, to this period, that we may
-safely assign it to the year 1512. The background and landscape to
-the left are indicated in outline only. Did Dürer intend to carry the
-plate further? We can never know. It is his fourth and, unfortunately,
-his last dry-point. There is a beauty in _St. Jerome by the Willow
-Tree_ and in this Holy Family which leads us to read in these two
-masterpieces certain Italian influences. There is the largeness of
-conception of the Venetian School, and both _St. Jerome_ and _St.
-Joseph_ show strong traces of such a master as Giovanni Bellini.
-
-With the brief space at our disposal, what shall we say of the crowning
-works of those two wonderful years, 1513-1514--_Knight, Death and
-the Devil_, _Melancholia_, and _St. Jerome in his Study_? Are they
-three of a proposed series of the four temperaments? Should they
-be considered as parts of a group--or is each masterpiece complete
-in itself? One thing at least they have in common: they are truly
-“Stimmungsbilder”--that is, the lighting is so arranged, in each
-composition, as directly to affect the mind and the mood of the
-beholder, and “the sombre gloom of the _Knight, Death and the Devil_,
-the weird, unearthly glitter of the _Melancholia_, with its uncertain,
-glinting lights, the soft, tranquil sunshine of the _St. Jerome_, are
-all in accordance with their several subjects. These, whether or not
-originally intended to represent ‘classes of men’ or ‘moods,’ certainly
-call up the latter in the mind of the beholder--the steady courage of
-the valiant fighter for the right, undismayed by darkness and dangers;
-the brooding, leading well-nigh to despair, over the vain efforts of
-human science to lift the veil of the eternal secret; and the calm
-content of the mind at peace with itself and the world around it.”[8]
-
-[8] A Chronological Catalogue of the Engravings, Dry-Points and
-Etchings of Albert Dürer, as exhibited at the Grolier Club. By
-Sylvester R. Koehler. New York; The Grolier Club. 1897. p. 65.
-
-Dürer, unfortunately, sheds no light upon the inner and deeper meaning
-of the _Knight, Death and the Devil_. He speaks of it simply as “A
-Horseman.” The many and various titles invented for it since his time
-carry us very little further forward than where we began. The letter S,
-which precedes the date, the dog which trots upon the further side of
-the horse, even the blades of grass under the hoof of the right hind
-leg of the horse, have all been matters of speculation and controversy,
-and we choose the part of wisdom if, disregarding the swirling currents
-of metaphysical interpretation, we enjoy this masterpiece of engraving
-for its æsthetic content primarily, and for its potential meanings
-afterwards.
-
-  [Illustration: ALBRECHT DÜRER. KNIGHT, DEATH AND THE DEVIL
-  Size of the original engraving, 9⅝ × 7⅜ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ALBRECHT DÜRER. MELANCHOLIA
-  Size of the original engraving, 9⅛ × 7¼ inches
-  In the Museum of Fine Arts, Boston]
-
-_Melancholia_ favors an even wider range of speculation than the
-_Knight, Death and the Devil_. This woman, who wears a laurel wreath
-and who, seated in gloomy meditation, supports her cheek in her left
-hand, while all the materials for human labor, for art, and for science
-lie scattered about her--does she symbolize human Reason in despair
-at the limits imposed upon her power? Or does the plate have a more
-personal and intimate meaning, reflecting Dürer’s deep grief at the
-death of his mother--the mother to whom he so often refers in his
-letters, always with heartfelt affection?
-
-The so-called “magic square” lends color to the latter interpretation.
-Dürer’s mother died on May 17, 1514. The figures in the diagonally
-opposite corners of the square can be read as follows, 16 + 1 and 13
-+ 4, making 17, the day of the month; as do the figures in the center
-read crosswise, 10 + 7 and 11 + 6, and also the middle figures at the
-sides read across, 5 + 12 and 8 + 9. The two middle figures in the top
-line, 3 + 2, give 5, the month in question, and the two middle figures
-in the bottom line give the year, 1514.
-
-Artistically the plate suffers from the multiplicity of objects
-introduced, and the loving care which Dürer has lavished upon them.
-He has wished to tell his story--whatever it may be--with absolute
-completeness in every particular, and in so doing he has weakened and
-confused the effect of his plate. It were idle to speculate upon what
-might have happened had so sensitive a master as Martin Schongauer
-possessed adequate technical skill for the interpretation of such a
-subject. What a masterpiece of masterpieces might have resulted if he
-had subjected it to that process of simplification and elimination
-of which he was so splendid an exponent! However this may be,
-_Melancholia_ has been, and probably will continue to be, one of the
-signal triumphs in the history of engraving. We may never solve the
-riddles which she propounds; but is she less fascinating for being only
-partially understood?
-
-_St. Jerome in his Cell_, all things considered, may be accounted
-Dürer’s high-water mark. There is a unity and harmony about this
-plate which is lacking in _Melancholia_. Nothing could be finer than
-the lighting; and, judged merely as a “picture,” it is altogether
-satisfying from every point of view. The accessories, even the animals
-in the foreground, take their just places in the composition. It is
-surprising that, although the plate is “finished” with minute and
-loving care, there is not the faintest evidence of labor apparent
-anywhere about it; but this is only one of its many and superlative
-merits. The light streaming in through the window at the left and
-bathing in its soft effulgence the Saint, intent upon his task, and
-the entire room in which he sits, has been for centuries the admiration
-of every art lover.
-
-  [Illustration: ALBRECHT DÜRER. ST. JEROME IN HIS CELL
-  Size of the original engraving, 9½ × 7¼ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ALBRECHT DÜRER. VIRGIN SEATED BESIDE A WALL
-  Size of the original engraving, 5¾ × 3⅞ inches
-  In the Museum of Fine Arts, Boston]
-
-To this year, 1514, also belongs the _Virgin Seated Beside a Wall_, a
-plate in which the variety of texture has been carried further than
-in any other engraving by Dürer. The flesh is simply treated, in line
-for the most part; but the undergarment, the fur-trimmed wrapper, and
-the scarf which covers the head of the Virgin, hanging down the back
-and thrown over the knee, are all carefully differentiated. Again, the
-various planes in the landscape leading up to the fortified city are
-beautifully handled, as is also the wall to the right. It is hard to
-say what technical problems remained for Dürer to solve after such a
-little masterpiece as this.
-
-His growing fame meanwhile had attracted the attention of the Emperor
-Maximilian, “the last of the Knights,” who in February, 1512, visited
-Nuremberg. Dürer is commissioned to design the _Triumphal Arch_, the
-_Triumphal Car_, and similar monumental records of the Emperor’s
-prowess; not to speak of such orders as the decoration of the Emperor’s
-Prayer-Book, etc. Such distraction absorbed the greater part of the
-artist’s time and energies, and there was left little opportunity for
-the development of his work along the lines he had hitherto followed.
-It may be that we owe to this fact, and to the quick mode of producing
-a print such a process offers, the six etchings on iron which bear
-dates from 1515 to 1518. But, whatever the reason, we are glad that
-he etched these plates. Discarding, for the moment, the elaborate and
-detailed method of line work of his engravings on copper, he adopts a
-more open system, such as would “come well” in the biting--closer work
-than in his woodcuts, but perfectly adapted to that which he wished to
-say.
-
-There is a tense and passionate quality in _Christ in the Garden_
-which places this etched plate among the noteworthy works even of
-Dürer, while the wind-torn tree to the left of Christ gives the needed
-touch of the supernatural to the composition. The _Carrying Off of
-Proserpine_--the spirited drawing for which is now in the J. Pierpont
-Morgan collection--is the working out, with allegorical accessories, of
-a study of a warrior carrying off a woman. The last of his plates, the
-_Cannon_, of 1518, with its charming landscape, was doubtless executed
-to supply, promptly, a popular demand. It represents a large field
-piece bearing the Arms of Nuremberg, and the five strangely costumed
-men to the right, gazing upon the “Nuremberg Field Serpent,” obviously
-have some relation to the fear of the Turk, then strong in Germany.
-
-  [Illustration: ALBRECHT DÜRER. CHRIST IN THE GARDEN
-  Size of the original etching, 8¾ × 6⅛ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ALBRECHT DÜRER. ERASMUS OF ROTTERDAM
-  Size of the original engraving, 9⅞ × 7⅝ inches
-  In the Museum of Fine Arts, Boston]
-
-In 1519 we have the first of Dürer’s engraved portraits--_Albert of
-Brandenburg, “The Little Cardinal”_ to distinguish it from the larger
-plate of 1523. Opinions as to Dürer’s importance as a portrait engraver
-vary considerably. Some students feel that in these later works the
-engraver has become so engrossed in the delight of his craft that
-he has failed to concentrate his attention upon the countenance and
-character of the sitter, bestowing excessive care upon the accessories
-and the minor accidents of surface textures--wrinkles and similar
-unimportant matters. On the other hand, such an authority as Koehler
-maintains that the _Albert of Brandenburg_, preeminent for delicacy and
-noble simplicity among these portrait engravings by Dürer, “will always
-be ranked among the best portraits engraved anywhere and at any time.”
-
-_Frederic the Wise, Elector of Saxony_, was one of the earliest patrons
-of Dürer, founder of the University of Wittenberg and a supporter of
-the Reformation, although he never openly embraced the doctrines of
-Martin Luther. Dürer’s drawing in silver-point gives a straightforward
-and characterful presentation of the man, and, in this instance,
-translation into the terms of engraving has nowise lessened the
-directness of appeal.
-
-_Erasmus of Rotterdam_ bears the latest date (1526) which we find
-upon any engraving by Dürer, and it well may be his last plate. Here
-the elaboration and finish bestowed upon the accessories certainly
-detract from the portrait interest. Erasmus was polite enough, when he
-saw this engraving, to excuse its unlikeness to himself by remarking
-that doubtless he had changed much during the five years which had
-intervened between Dürer’s drawing of 1521 and the completion of the
-plate. Technically, however, it is a masterpiece, a worthy close to the
-career of undoubtedly the greatest engraver Germany has produced.
-
-
-GERMAN ENGRAVING: THE MASTER OF THE AMSTERDAM CABINET AND ALBRECHT DÜRER
-
-BIBLIOGRAPHY
-
- MASTER OF THE AMSTERDAM CABINET (flourished c. 1467-c. 1500)
-
- ZUR ZEITBESTIMMUNG DER STICHE DES HAUSBUCH-MEISTERS. _By
- Curt Glaser._ Monatshefte für Kunstwissenschaft, Vol. 3, pp. 145-156.
- Leipzig. 1910.
-
- THE MASTER OF THE AMSTERDAM CABINET. _By Max Lehrs._ 89
- reproductions. London. 1894. (International Chalcographical Society.
- 1893 and 1894.)
-
- BILDER UND ZEICHNUNGEN VOM MEISTER DES HAUSBUCHS. _By Max
- Lehrs._ 5 illustrations. Jahrbuch der königlichen preussischen
- Kunstsammlungen, Vol. 20, pp. 173-182. Berlin. 1899.
-
- THE MASTER OF THE AMSTERDAM CABINET AND TWO NEW WORKS BY HIS
- HAND. _By Willy F. Storck._ 6 illustrations. The Burlington
- Magazine. Vol. 18, pp. 184-192. London. 1910.
-
-
- DÜRER, ALBRECHT (1471-1528)
-
- LE PEINTRE-GRAVEUR. _By Adam Bartsch._ Volume 7, pp. 5-197.
- Albert Durer, Vienna. 1803-1821.
-
- LITERARY REMAINS OF ALBRECHT DÜRER. _By William Martin
- Conway._ 14 illustrations. Cambridge: University Press. 1889.
-
- THE ENGRAVINGS OF ALBRECHT DÜRER. _By Lionel Cust._ 4
- reproductions and 25 text illustrations. London: Seeley & Co. 1906.
- (The Portfolio Artistic Monographs. No. 11.)
-
- ALBRECHT DÜRER; HIS ENGRAVINGS AND WOODCUTS. _Edited by
- Arthur Mayger Hind._ 65 reproductions. London and New York: Frederick
- A. Stokes Company, n. d. (Great Engravers.)
-
- DÜRER. _By H. Knackfuss. Translated by Campbell Dodgson._
- 134 illustrations. Bielefeld and Leipzig: Velhagen & Klasing. 1900.
- (Monographs on Artists.)
-
- EXHIBITION OF ALBERT DÜRER’S ENGRAVINGS, ETCHINGS AND DRY-POINTS,
- AND OF MOST OF THE WOODCUTS EXECUTED FROM HIS DESIGNS. (Museum of
- Fine Arts, Boston. November 15, 1888-January 15, 1889.) _By Sylvester
- R. Koehler._ Boston: Museum of Fine Arts. 1888.
-
- CHRONOLOGICAL CATALOGUE OF THE ENGRAVINGS, DRY-POINTS AND ETCHINGS
- OF ALBERT DÜRER, AS EXHIBITED AT THE GROLIER CLUB. _By Sylvester
- R. Koehler._ 9 reproductions on 7 plates. New York: The Grolier Club.
- 1897.
-
- DÜRER; DES MEISTERS GEMÄLDE, KUPFERSTICHE UND HOLZSCHNITTE.
- _Edited by Valentin Scherer._ 473 reproductions. Stuttgart and
- Leipzig: Deutsche Verlags-Anstalt. (Klassiker der Kunst. Vol. 4.)
-
- ALBERT DÜRER; HIS LIFE AND WORKS. _By William B. Scott._
- Illustrated. London: Longmans, Green & Co. 1869.
-
- ALBRECHT DÜRER; KUPFERSTICHE IN GETREUEN NACHBILDUNGEN.
- _Edited by Jaro Springer._ 70 plates. Munich: Holbein-Verlag. 1914.
-
- ALBERT DÜRER; HIS LIFE AND WORKS. _By Moritz Thausing.
- Translated from the German. Edited by Frederick A. Eaton._ 2 volumes.
- 58 illustrations. London: John Murray. 1882.
-
- DÜRER SOCIETY. [PORTFOLIOS] WITH INTRODUCTORY NOTES BY CAMPBELL
- DODGSON AND OTHERS. Series 1-10 (1898-1908). 311 reproductions.
- Index of Series 1-10. London. 1898-1908.
-
- ----. Publication No. 12. 24 reproductions. London. 1911.
-
-
-
-
-ITALIAN ENGRAVING: MANTEGNA TO MARCANTONIO RAIMONDI
-
-
-Andrea Mantegna is, both by his art and his influence, the most
-significant figure in early Italian engraving. His method or viewpoint
-is a determining feature in much of the best work which was produced
-during the last quarter of the fifteenth century, until the influence
-of Raphael, transmitted through Marcantonio, with a technical mode
-based upon the manner of Albrecht Dürer, completely changed the current
-of Italian engraving, seducing it from what might have developed into
-an original creative art, and condemned it to perpetual servitude as
-the handmaid of painting.
-
-Andrea Mantegna, born in 1431, at Vicenza, and consequently
-Pollaiuolo’s senior by one year, was adopted, at the age of ten, by
-Squarcione, in Padua. Squarcione appears to have been less a painter
-than a contractor, undertaking commissions to be executed by artists in
-his employ. He was likewise a dealer in antiquities, and in his shop
-the young Mantegna must have met many of the leading humanists who had
-made Padua famous as a seat of classical learning. From them he drew
-in and absorbed that passion for imperial Rome which was to color his
-life and his art. His dream was of forms more beautiful than those of
-everyday life, built of some substance finer and less perishable than
-the flesh of frail humanity; and as years went by his work takes on, in
-increasing measure, a grander and more majestic aspect. Fortunate for
-us is it that in his mature period, when his style was fully formed,
-he himself was impelled, by influences of which later we shall speak,
-to take up the graving tool and with it produce the seven imperishable
-masterpieces which, beyond peradventure, we may claim as his authentic
-work.
-
-The _Virgin and Child_, the earliest of his engravings, can hardly
-have been executed before 1475, and maybe not until after 1480, when
-Mantegna had reached his fiftieth year. Mr. Hind points out that there
-is a simplicity and directness about it which recalls quite early work,
-similarly conceived, such as the _Adoration of the Kings_ of 1454;
-but the reasons which he advances are of equal weight in assigning it
-to a later date, and I am convinced that the intensity of mother-love
-expressed in the poise and face of the Virgin betokens a deeper
-feeling, a broader humanity, than one normally would expect in a youth
-of twenty-three, even though he be illumined with that flame of genius
-which burned so brightly in Mantegna.
-
-  [Illustration: ANDREA MANTEGNA. VIRGIN AND CHILD
-  Size of the original engraving, 9¾ × 8⅛ inches
-  In the British Museum]
-
-  [Illustration: ANDREA MANTEGNA. BATTLE OF THE SEA-GODS
-  Size of the original engraving, 11⅝ × 17 inches.
-  In the Museum of Fine Arts, Boston]
-
-Technically, the plate plainly shows the hand of an engraver not yet
-master of his medium. It is marked with all the characteristics which
-we associate with Mantegna’s work: the strong outline, ploughed with
-repeated strokes of a rather blunt instrument into a plate of unbeaten
-copper or some yet softer metal; the diagonal shade lines widely
-spaced; and the light strokes blending all into a harmonious whole. In
-an impression of the first state, in the British Museum, there is a
-tone, similar to sulphur-tint, over portions of the plate, noticeably
-in the faces of the mother and child. How it was produced is still a
-matter of conjecture, but that it adds much to the beauty of the print
-is beyond question.
-
-The _Bacchanalian Group with Silenus_ and the _Bacchanalian Group with
-a Wine-Press_ (which, like the _Battle of the Sea-Gods_, may be joined
-together so as to form one long, horizontal composition) show greater
-skill on the part of the engraver. Mantegna’s increasing passion for
-the antique is reflected in the standing figure to the left, who with
-his left hand reaches up towards the wreath with which he is about
-to be crowned, while resting his right hand upon a horn of plenty.
-This figure is obviously inspired by the Apollo Belvedere, while the
-standing faun, at the extreme right, filled with the sheer delight of
-mere animal existence, is a delightful creation in Mantegna’s happiest
-mood.
-
-The two plates of the _Battle of the Sea-Gods_ may be assigned, on
-technical grounds, to about the same period as the two Bacchanals.
-The drawing which Durer made of the right-hand portion, as also of
-the _Bacchanalian Group with Silenus_, both dated 1494, conclusively
-prove that these engravings antedate the completion of the _Triumph
-of Cæsar_. Though Mantegna borrowed his material from the antique, he
-has so shaped it to his ends, so stamped upon it the impress of his
-own personality, as to make of it not an echo of classic art, but an
-original creation of compelling force and charm. “These are not the
-mighty gods of Olympus but the inferior deities of Nature, of the Earth
-and the Sea, who acknowledge none of the higher obligations and who
-display unchecked their wanton elemental nature, giving a loose rein to
-all the exuberance of their joy in living.... These creatures of the
-sea frolic about in the water, turbulent and wanton as the waves....
-The combat with those harmless-looking weapons is probably not meant to
-be in earnest; a vent for their superfluous energy is all they seek.”[9]
-
-[9] Andrea Mantegna. By Paul Kristeller. London; Longman’s Green & Co.
-1901. p. 395.
-
-To a somewhat later period belongs the _Entombment_. There is nothing
-of the meek spirit of the Redeemer in this passionate plate. The hard,
-lapidary landscape is in accord with the figures, which might, not
-unfittingly, find a place upon some triumphal arch. Three crosses crown
-the distant hill. At the right stands St. John, a magnificent figure,
-giving utterance to his unspeakable grief, while the Virgin, sinking in
-a swoon, is supported by one of the holy women.
-
-Here is none of that tenderness which we associate with the divine
-tragedy, none of that grace and beauty which inheres in the work of
-many of the Italian painters of the Renaissance. All is stark and
-harsh. It is not food for babes, but it is superb.
-
-_The Risen Christ Between Saints Andrew and Longinus_ is Mantegna’s
-last engraving. Christ towers above the two subsidiary figures, with a
-form and bearing which would better befit a Roman Emperor returning in
-triumph. In this plate, above all others, Mantegna’s technique shines
-forth as not only adequate, but as beyond question the best--perhaps
-the only one--to convey his message. Translated into another mode, one
-feels that it would lose much of its appeal. It has been suggested that
-the engraving was made as a project for a group of statuary--perhaps
-for the high altar of S. Andrea, in Mantua, raised above the most
-precious relic possessed by the city, the Blood of Christ, brought
-to Mantua by Longinus--a supposition borne out by the statuesque
-impressiveness of the group and by the fact that Christ gazes
-downwards, as though from a height.
-
-Although 1480 is the earliest date to which we can assign the first
-of Mantegna’s original engravings, there were in existence, at least
-five years before that time, engravings by other hands after designs
-by the master, and it may have been either to protect himself from
-unauthorized and fraudulent copyists, or as an artistic protest against
-the incapacity of his translators, that Mantegna was compelled to take
-up the graver. There has come down to us a letter, dated September
-15, 1475, addressed by Simone di Ardizone, of Reggio, to the Marquis
-Lodovico, of Mantua, complaining to the prince of Mantegna’s behavior
-towards him. His story was that “Mantegna, upon his arrival in Mantua,
-made him splendid offers, and treated him with great friendliness.
-Actuated by feelings of compassion, however, towards his old friend,
-Zoan Andrea, a painter in Mantua, from whom prints (_stampe_),
-drawings, and medals had been stolen, and wishing to help in the
-restoration of the plates, he had worked with his friend for four
-months. As soon as this came to Mantegna’s knowledge he proceeded to
-threats, and one evening Ardizone and Zoan Andrea had been assaulted by
-ten or more armed men and left for dead in the square.”
-
-  [Illustration: ANDREA MANTEGNA. THE RISEN CHRIST BETWEEN SAINTS ANDREW
-  AND LONGINUS
-  Size of the original engraving, 15½ × 12¾ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: SCHOOL OF ANDREA MANTEGNA. ADORATION OF THE MAGI
-  Size of the original engraving, 15⅛ × 10¾ inches
-  In the Museum of Fine Arts, Boston]
-
-The letter is “proof that, in Mantua, in the year 1475, two
-professional engravers, one of whom clearly designates himself as
-such, were at work.... It is clear that Mantegna had a very special
-interest in the engravings and drawings which had been stolen from Zoan
-Andrea, and which Ardizone, ‘out of compassion,’ helped to restore,
-since he sought by force to impede the engraver’s work. His anger can
-also be explained by the supposition that Zoan Andrea’s engravings
-were facsimiles of his own drawings which the former had succeeded in
-obtaining possession of and had used as designs for his engravings; and
-that being unable to win Ardizone’s assistance in his work Mantegna
-thought himself obliged to protest, by violent means, against this
-infringement of his artistic rights.”[10]
-
-[10] Andrea Mantegna By Paul Kristeller. London. 1901. pp. 381-384.
-
-It is probable that to this drastic and effectual method of protecting
-against piracy his own artistic property we owe the two renderings,
-both incomplete, of the _Triumph of Cæsar_. One may well be the series
-upon which Zoan Andrea and Ardizone were working when Mantegna brought
-their labors to an untimely close; whereas the second series, although
-authorized by Mantegna himself, may have seemed to him, not without
-just cause, so to misinterpret his original drawings as to impel him
-to abandon the project and, in future, engrave his own designs. The
-_Triumph_ series naturally remained incomplete, since, like every great
-artist, Mantegna would hardly feel disposed to repeat, in another
-medium, a subject which he had already treated. Of the _Triumph_
-plates, the _Elephants_ approximates most closely Mantegna’s undoubted
-work; but the drawing lacks distinction, and there is a feeling of
-“tightness” throughout the whole plate, which makes it impossible
-to attribute the engraving to Mantegna’s own hand. The plate which
-immediately follows--_Soldiers Carrying Trophies_--was left unfinished.
-The subject is repeated in the reverse sense and with the addition of
-a pilaster to the right. This pilaster is probably Mantegna’s original
-design for the upright members dividing the nine portions of the
-painted _Triumphs_, since the procession is supposed to pass upon the
-further side of a row of columns, the figures and animals being so
-arranged as to extend over one picture to the next, with a sufficient
-space between them for the introduction of the pilaster.
-
-  [Illustration: ZOAN ANDREA (?). FOUR WOMEN DANCING
-  Size of the original engraving, 8⅞ × 13 inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: GIOVANNI ANTONIO DA BRESCIA. HOLY FAMILY WITH SAINTS
-  ELIZABETH AND JOHN
-  Size of original engraving, 11⅞ × 10⅛ inches
-  In the Museum of Fine Arts, Boston]
-
-The _Adoration of the Magi_, which for some reason likewise remained
-unfinished, is taken directly from the central portion of the triptych
-in the Uffizi. The engraving, aside from its intrinsic beauty, is of
-especial interest as affording an example of the method adopted by
-Mantegna and his School. The structural lines are deeply incised, in
-many cases by repeated strokes of the graver. The diagonal shading is
-then added and the plate carried forward and completed, bit by bit.
-This engraving, at one time accounted an original work by the master
-himself, has received of recent years more than its merited share of
-harsh criticism. It obviously falls far short, in beauty, of Mantegna’s
-painting; but, for all that, it preserves many of the essential
-qualities of its immediate original, and one cannot but admire the
-manner in which an engraver, certainly not of the first rank, has
-captured the spirit of humility and adoration, eloquent in every line
-of the king at the left, humbly bending to receive the benediction of
-the Christ Child.
-
-By an engraver of the Mantegna School, perhaps ZOAN ANDREA,
-working in Mantegna’s manner and after his design for the _Parnassus_
-in the Louvre, is _Four Women Dancing_--one of the most charming and
-graceful prints of the period. It differs in many particulars from the
-painting (assigned to the year 1497) and almost certainly translates
-Mantegna’s drawing, rather than the painting itself.
-
-To GIOVANNI ANTONIO DA BRESCIA, of whose life, apart from what
-we may learn from a study of his work, we know substantially nothing,
-may be attributed the _Holy Family with Saints Elizabeth and_ _John_,
-based upon a design by Mantegna, of about 1500, and probably engraved
-at a date prior to Mantegna’s death, September 13, 1506. At a later
-period, Giovanni came under the influence of Marcantonio Raimondi,
-whose style he imperfectly assimilated.
-
-In the British Museum there is a unique impression of a _Profile Bust
-of a Young Woman_, which has been ascribed, with some show of reason,
-to LEONARDO DA VINCI. Its intrinsic beauty might lend some
-color to this attribution, were it not that, even in its re-worked
-condition, the texture and flow of the young woman’s abundant tresses,
-the treatment of the flowing ribbons, and the delicate shading in the
-face and upon the garment, betray the hand of the trained engraver.
-
-NICOLETTO ROSEX DA MODENA was working from about 1490 to
-1515. He engraved almost a hundred plates, the majority of them being
-presumably from his own designs, though in the _Adoration of the
-Shepherds_ the influence of Schongauer is markedly apparent, and in
-_Fortune_ and _St. Sebastian_ the inspiration of Mantegna is clearly to
-be seen.
-
-  [Illustration: SCHOOL OF LEONARDO DA VINCI. PROFILE BUST OF A YOUNG
-  WOMAN
-  Size of the original engraving, 4⅛ × 3 inches
-  In the British Museum]
-
-  [Illustration: NICOLETTO ROSEX DA MODENA. ORPHEUS
-  Size of the original engraving, 9⅞ × 6¾ inches
-  In the British Museum]
-
-The group of trees in the _Fate of the Evil Tongue_ is borrowed from
-Dürer’s print of _Hercules_, while the _Turkish Family_ and the _Four
-Naked Women_--the last-named being dated 1500--are copies of Dürer’s
-engravings. Vedriani, writing of Nicoletto as a painter, speaks
-of him as “chiefly distinguished in perspective,” and among the most
-charming of his plates in which this quality is seen is _Orpheus_.
-The bare tree is suggestive of Martin Schongauer, while the birds and
-beasts, including a dog, a peacock, a weasel, a monkey playing with
-a tortoise, a squirrel, a snake, a piping bird, two rabbits, a fox,
-and a stag, not to speak of the ducks and swans in the water, though
-not copied from northern originals, have all the charm and life-like
-quality which we find in the work of German engravers such as The
-Master of St. John the Baptist and The Master E. S. of 1466.
-
-Concerning JACOPO DE’ BARBARI there is a wealth of
-biographical material, in contrast with the meagerness of our knowledge
-concerning the earlier Italian engravers. Born at Venice, between
-1440 and 1450, he is known to have worked between 1500 and 1508 for
-the Emperor and various other princes in different towns of Germany.
-He was at Nuremberg in 1505, and in 1510 he was in the service of
-the Archduchess Margaret, Regent of the Netherlands, while, in the
-inventory of the Regent’s pictures of 1515-1516, he is referred to as
-dead.
-
-Not one of the thirty engravings by Jacopo is signed with his name,
-initials, or any form of monogram, nor does any of them bear a date.
-His emblem is the caduceus, which appears on the greater number of his
-prints; and those upon which it is lacking can readily be identified
-by his individual style. This style undergoes certain modifications
-with the passing years. In the early period, the shading, for the most
-part, is in parallel lines, which follow the contour of the figure, the
-figure itself being long and sinuous. In his middle and later period he
-indulged more freely in cross-hatching, and the faces are modelled with
-greater delicacy.
-
-Stress has been laid upon the influence exerted by Jacopo upon
-Dürer’s engraving; but with the exception of the _Apollo and Diana_
-this influence is theoretical rather than artistic. Dürer, in one
-of the manuscript sketches, dated 1523, for his book _The Theory of
-Human Proportions_, writes: “Howbeit, I can find none such who hath
-written aught about how to form a canon of human proportion, save one
-man--Jacopo by name, born at Venice, and a charming painter. He showed
-me the figures of a man and a woman, which he had drawn according to a
-canon of proportions, so that, at that time, I would rather have seen
-what he meant than be shown a new kingdom.... Then, however, I was
-still young and had not heard of such things before. Howbeit, I was
-very fond of art, so I set myself to discover how such a canon might be
-wrought out.” Dürer undoubtedly refers to the period of his first visit
-to Venice, and it is, accordingly, in Dürer’s earliest plates that
-we see most clearly the influence of the older master on his technical
-method. Dürer soon outstripped Jacopo in everything that pertains to
-the technical side of engraving and worked out for himself a method
-which, for his purpose, was substantially perfect.
-
-  [Illustration: JACOPO DE’ BARBARI. APOLLO AND DIANA
-  Size of the original engraving, 5¾ × 3⅞ inches.
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: JACOPO DE’ BARBARI. ST. CATHERINE
-  Size of the original engraving, 7⅛ × 4⅝ inches
-  In the British Museum]
-
-In such plates as _Judith_ and _St. Catherine_, Jacopo’s love for long,
-flowing lines finds its fullest expression. There is a grace about
-these single figures which is not without appealing charm, though
-obviously they leave something to be desired on the score of solidity
-and structure.
-
-GIROLAMO MOCETTO, born in Murano before 1458, was living at
-Venice in 1514, where he died after 1531. According to Vasari, Mocetto
-was, at some time, an assistant to Giovanni Bellini, whose influence
-may be traced in his work. His engravings are unpleasing in style
-and often clumsy in draughtsmanship. He owes such merit as he may
-possess to the originals which he interpreted. There is a compelling
-power in _Judith_, after Mantegna’s design, which atones for even so
-shapeless a member as Judith’s right hand. The grandeur of the plate
-is, however, derived from Mantegna. Mocetto has done little more than
-traduce it; but, even so, the engraving is noteworthy, inasmuch as
-it preserves for us a noble composition, of which otherwise we might
-remain in ignorance. The _Baptism of Christ_ is adapted, with some
-modifications, from Giovanni Bellini’s painting executed between 1500
-and 1510. In the engraving, the landscape, which differs radically from
-that in Bellini’s painting, may possibly be original with Mocetto,
-though it recalls the work of Cima, whose _Baptism_, in S. Giovanni in
-Bragora, Venice, was painted in 1494.
-
-BENEDETTO MONTAGNA was, like Mocetto, painter as well as
-engraver. His earliest engravings are executed in a large, open manner,
-which can be seen to advantage in the _Sacrifice of Abraham_. The
-outline is strongly defined and the shading chiefly in parallel lines.
-Where cross-hatching is used, it is laid generally at right angles.
-Later, Montagna modifies his style and adopts the finer system of
-cross-hatching perfected by Dürer, whose influence, especially in the
-backgrounds, is clearly to be traced, and whose _Nativity_, of the year
-1504, Montagna copied in reverse. _St. Jerome Beneath an Arch of Rock_
-belongs to this later period, and the plate is probably based upon a
-painting by Bartolommeo Montagna, the engraver’s father.
-
-GIULIO CAMPAGNOLA, born at Padua about 1482, is known to
-have been working in Venice in 1507 and is assumed to have died
-shortly after 1514. According to contemporary accounts, he was a
-youth of marvellously precocious and varied gifts and promise. To his
-musical and literary accomplishments, he added those of painter,
-miniaturist, engraver, and sculptor.
-
-  [Illustration: GIULIO CAMPAGNOLA. CHRIST AND THE WOMAN OF SAMARIA
-  Size of the original engraving, 5⅛ × 7¼ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: GIULIO CAMPAGNOLA. GANYMEDE (First State)
-  Size of the original engraving, 6⅜ × 4⅞ inches
-  In the Museum of Fine Arts, Boston]
-
-His engravings betray markedly the influence of Giorgione, and his
-manner of engraving may have been an attempt to imitate the rich
-softness of that master’s painting. He worked out and perfected a
-technical system all his own. In his earliest manner he works in pure
-line, as in his copies of Dürer’s engravings and in such plates as the
-_Old Shepherd_ and _St. Jerome_.
-
-In the _Young Shepherd_, the _Astrologer_, and _Christ and the Woman of
-Samaria_, the composition is first engraved in simple, open lines, with
-little cross-hatching. The plate is then carried forward and completed
-by a system of delicate flicks, so disposed as to produce a harmonious
-result, obliterating substantially all trace of the preliminary line
-work. In the third group, to which two prints belong--_Naked Woman
-Reclining_ and _The Stag_--no lines at all are used, and the plate is
-carried out, from first to last, in flick work.
-
-Only one of Campagnola’s plates is dated--the _Astrologer_, of 1509.
-In this he shows himself ripe, both as artist and as craftsman. To
-an earlier period would seem to belong the _Ganymede_, in which the
-landscape is a faithful copy of Dürer’s engraving of the _Virgin and
-Child with a Monkey_. The place which, in the original engraving, was
-occupied by the Virgin, is now filled by a clump of trees.
-
-_St. John the Baptist_ is, all things considered, Campagnola’s
-masterpiece. The figure is unquestionably based upon a drawing by
-Mantegna, and has all the largeness and grandeur of style which
-characterizes the work of that master. The landscape background may
-be original with the engraver but it clearly shows the influence of
-Giorgione. In this superb plate Campagnola’s method of combining line
-work with delicate flick work can be studied at its best. The _Young
-Shepherd_, known in two states--the first in pure line, the second
-completed with flick work--is as charming and graceful as _St. John
-the Baptist_ is monumental. It justly deserves the reputation and
-popularity which it enjoys among print lovers.
-
-_Christ and the Woman of Samaria_ is treated in a more open manner
-than either of the two preceding engravings. The beautiful landscape,
-as also the hill to the left, is entirely in line, while the flick
-work upon the figures and garments and, even more noticeably, in the
-foreground to the right, is of a more open character than that which
-appears in the _Young Shepherd_. It may belong to the latter part of
-Campagnola’s career as an engraver. There is an amplitude in the design
-of the seated woman which suggests Giorgione and Palma, though one
-cannot definitely name any painting by either of these masters from
-which Campagnola has borrowed his figure.
-
-  [Illustration: GIULIO CAMPAGNOLA. ST. JOHN THE BAPTIST
-  Size of the original engraving, 13⅝ × 9½ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: GIULIO AND DOMENICO CAMPAGNOLA. SHEPHERDS IN A
-  LANDSCAPE
-  Size of the original engraving, 5¼ × 10⅛ inches
-  In the Museum of Fine Arts, Boston]
-
-The last of Campagnola’s plates, left unfinished at his death and
-completed by DOMENICO CAMPAGNOLA, is _Shepherds in a Landscape_ or, as
-it is sometimes called, the _Musical Shepherds_. The original drawing,
-in reverse, for the right-hand half of this print is in the Louvre. It
-is unquestionably by Giulio Campagnola; but, equally without question,
-the left-hand portion of the engraving itself is by Domenico. Whether
-Domenico was a close relative or merely a pupil of Giulio’s has not
-been determined; but the _Shepherds in a Landscape_ conclusively proves
-that he was at least the artistic heir of the older master. Domenico’s
-style is in marked contrast to that of Giulio. Flick work is almost
-absent from his engravings, which are executed in rather open lines,
-more in the mode of an etcher than of an engraver working according
-to established tradition. The skies, in particular, have a romantic
-quality which is all their own, and which can be seen to advantage in
-the _Shepherd and the Old Warrior_, dated 1517.
-
-MARCANTONIO RAIMONDI, born in Bologna about 1480, for over
-three centuries enjoyed a reputation eclipsing that of any other
-Italian master. Of recent years, however, upon insufficient grounds,
-he has been somewhat pushed aside and belittled as a “reproductive
-engraver,” his critics wilfully forgetting the fact that, with the
-exception of Pollaiuolo and Mantegna, the Italian School is, in the
-main, derivative, and cannot boast of any original engravers of
-world-wide fame, such as Schongauer or Dürer. But Marcantonio was far
-from being a mere translator of alien works. “He is like some great
-composer who borrows another’s theme only to make it his own by the
-originality of his setting.”[11]
-
-[11] Marcantonio Raimondi. By Arthur M. Hind. The Print-Collector’s
-Quarterly, Vol. 3, No. 3. p. 276.
-
-The earliest influence which we may trace in Marcantonio’s work is
-that of the famous goldsmith and painter, Francesco Francia, with whom
-Marcantonio served his apprenticeship. Certain nielli, among them
-_Pyramus and Thisbe_ and _Arion on the Dolphin_, have been assigned to
-the young Marcantonio and attributed to this period of his life.
-
-_St. George and the Dragon_ is strongly reminiscent of the niello
-technique, with its dark shadows, against which the figures stand out
-in relief. The landscape is clearly borrowed or adapted from engravings
-in Dürer’s earlier period, the trees at the left, in particular,
-recalling the _Hercules_.
-
-  [Illustration: MARCANTONIO RAIMONDI. ST. GEORGE AND THE DRAGON
-  Size of the original engraving, 11⅞ × 8¾ inches
-  In the British Museum]
-
-  [Illustration: MARCANTONIO RAIMONDI. BATHERS
-  Size of the original engraving, 11¼ × 9 inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: MARCANTONIO RAIMONDI. ST. CECILIA
-  Size of the original engraving, 10¼ × 6⅛ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: MARCANTONIO RAIMONDI. DEATH OF LUCRETIA
-  Size of the original engraving, 8½ × 5¼ inches
-  In the Museum of Fine Arts, Boston]
-
-To this early period likewise belongs _Pyramus and Thisbe_, which bears
-the earliest date--1505--which we find upon any of his engravings.
-It may well have been executed during his residence in Venice,
-between 1505 and 1509.
-
-The _Bathers_, of 1510, is an artistic record of Marcantonio’s visit to
-Florence, on his way to Rome. The figures are taken from Michelangelo’s
-cartoon of the _Battle of Pisa_; but the landscape, including the
-thatched barn to the right, is a faithful copy, in reverse, of Lucas
-van Leyden’s plate of _Mahomet and the Monk Sergius_; for Marcantonio,
-like all great artists, freely borrowed his material wherever he found
-it, shaping it to his own ends.
-
-According to Vasari, it was the _Death of Lucretia_, engraved shortly
-after Marcantonio’s arrival in Rome, about 1510, after a drawing by
-Raphael, which attracted the attention of that master and showed him
-how much he might benefit by the reproduction of his work. One would
-be inclined to think that the _Death of Dido_ rather than the _Death
-of Lucretia_ might have been the means of bringing about this artistic
-collaboration; for, if Vasari is correct, the immediate result of
-Raphael’s personal influence upon Marcantonio was harmful rather than
-helpful, the _Lucretia_ by general consent being the finer plate of the
-two.
-
-It is significant that none of Marcantonio’s engravings interprets any
-existing painting by Raphael. We may infer that the engraver worked
-entirely after drawings supplied to him by Raphael--either drawings
-made for the purpose of being interpreted in terms of engraving, or
-the original studies for paintings, which, in their elaboration, were
-subjected to many modifications and changes.
-
-Among his most interesting engravings are _Saint Cecilia_, which may be
-compared, or rather contrasted, with the famous painting in Bologna;
-the _Virgin and Child in the Clouds_, which later appears as the
-_Madonna di Foligno_; and _Poetry_, based on a study by Raphael for the
-fresco in the Camera della Segnatura, in the Vatican.
-
-The _Massacre of the Innocents_, usually accounted the engraver’s
-masterpiece, is one of several subjects of which two plates exist.
-Authorities disagree as to which is the “original,” but some
-familiarity with both versions leads one to think that Marcantonio may
-well have been his own interpreter. At least one cannot name certainly
-any other engraver capable of producing either of the two versions of
-the _Massacre of the Innocents_, in point of drawing or of technique.
-
-Among Marcantonio’s portrait plates one of the most attractive is that
-of _Philotheo Achillini_ (“The Guitar Player”), which is in his early
-manner and probably dates from his Bolognese period. It may be based
-upon a drawing by Francia, but the trees and distant landscape all show
-markedly the influence of Dürer.
-
-  [Illustration: MARCANTONIO RAIMONDI. PHILOTHEO ACHILLINI
-  (“The Guitar Player”)
-  Size of the original engraving, 7¼ × 5¼ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: MARCANTONIO RAIMONDI. PIETRO ARETINO
-  Size of the original engraving, 7⅜ × 5⅞ inches
-  In the British Museum]
-
-To a much later period, and engraved in Marcantonio’s most mature
-manner, belongs the portrait of _Pietro Aretino_. Vasari refers to this
-plate as “engraved from life,” but its richness and color would seem to
-point to an original by Titian or Sebastiano del Piombo.
-
-After the death of Raphael, in 1520, Marcantonio’s engraving undergoes
-a change--a change for the worse, as might be expected, since a number
-of his plates are interpretations of designs by Giulio Romano. There is
-less care in the drawing, less delicacy in the management of the burin,
-and, although we may pity him for the loss of all that he possessed
-at the sack of Rome, in 1527, we cannot greatly regret that, as an
-engraver, Marcantonio’s active life terminates with that date.
-
-
-ITALIAN ENGRAVING: MANTEGNA TO MARCANTONIO RAIMONDI
-
-BIBLIOGRAPHY
-
- MANTEGNA, ANDREA (1431-1506)
-
- DÜRER AND MANTEGNA. _By Sidney Colvin._ 5 illustrations. The
- Portfolio, Vol. 8, pp. 54-63. London. 1877.
-
- ANDREA MANTEGNA AND THE ITALIAN PRE-RAPHAELITE ENGRAVERS.
- _Edited by Arthur Mayger Hind._ 75 reproductions. London and New York:
- Frederick A. Stokes Company, n. d. (Great Engravers.)
-
- ANDREA MANTEGNA. _By Paul Kristeller._ 26 plates and 162
- text illustrations. London: Longmans, Green & Co. 1901. Chapter XI,
- Mantegna as Engraver.
-
- MANTEGNA. _By H. Thode._ 105 illustrations. Bielefeld and
- Leipzig: Velhagen & Klasing. 1897. (Künstler Monographien. 27.)
-
-
- BARBARI, JACOPO DE’ (c. 1440-c. 1515)
-
- ENGRAVINGS AND WOODCUTS BY JACOPO DE’ BARBARI. _Edited by
- Paul Kristeller._ 33 reproductions and 2 text illustrations. London.
- 1896. (International Chalcographical Society, 1896.)
-
- LORENZO LOTTO. _By Bernhard Berenson._ 30 plates. New York:
- Putnam’s Sons. 1895. pp. 34-50.
-
-
- CAMPAGNOLA, GIULIO (c. 1482-c. 1514)
-
- GIULIO CAMPAGNOLA; KUPFERSTICHE UND ZEICHNUNGEN. _Edited by
- Paul Kristeller._ 27 reproductions. Berlin: Bruno Cassirer. 1907.
- (Graphische Gesellschaft. Publication 5.)
-
-
- MARCANTONIO RAIMONDI (c. 1480-c. 1530)
-
- MARC-ANTOINE RAIMONDI; ÉTUDE HISTORIQUE ET CRITIQUE SUIVIE D’UN
- CATALOGUE RAISONNÉ DES OEUVRES DU MAITRE. _By Henri Delaborde._
- 63 illustrations. Paris: Librairie de l’art. 1888.
-
- MARCANTONIO RAIMONDI. _By Arthur Mayger Hind._ 22
- illustrations. The Print-Collector’s Quarterly, Vol. 3, No. 3, pp.
- 243-276. Boston. 1913.
-
- MARCANTONIO AND ITALIAN ENGRAVERS AND ETCHERS OF THE SIXTEENTH
- CENTURY. _Edited by Arthur Mayger Hind._ 65 reproductions. London
- and New York: Frederick A. Stokes Company. n. d. (Great Engravers.)
-
-
-
-
-SOME MASTERS OF PORTRAITURE
-
-
-You will all remember how John Evelyn, writing to Samuel Pepys, advised
-him to collect engraved portraits--since, in his own words, “Some are
-so well done to the life, that they may stand comparison with the best
-paintings.” He then adds: “This were a cheaper, and so much a more
-useful, curiosity, as they seldom are without their names, ages and
-eulogies of the persons whose portraits they represent. I say you will
-be exceedingly pleased to contemplate the effigies of those who have
-made such a noise and bustle in the world; either by their madness and
-folly; or a more conspicuous figure, by their wit and learning. They
-will greatly refresh you in your study and by your fireside, when you
-are many years returned.” We know by his “Diary” that Pepys became an
-enthusiastic collector and that he went over to Paris to buy many of
-Robert Nanteuil’s engraved portraits--at a later date commissioning his
-wife to secure for him many more, which he strongly desired.
-
-From the time of Evelyn and Pepys in England, and that prince of
-print-collectors in France, the Abbé de Marolles--who in 1666 could
-boast of possessing over 123,000 prints, “and all the portraits
-extant”--portraits have had, for the student, a peculiar fascination,
-and it may be interesting to consider briefly the work of some six or
-eight of the acknowledged masters of the art.
-
-Aside from two unimportant plates by the Master of the Amsterdam
-Cabinet, which may, or may not, be portraits, the earliest engraver
-to address himself to portraiture, pure and simple, is the anonymous
-German master with the monogram =W caduceus B=. So far as we know, he
-executed four plates only (c. 1480-1485). In them the characterization
-is strong, the drawing clear and vigorous. The artist’s technique may
-have owed something to Martin Schongauer, but it is singularly lacking
-in the refinement and balance which mark the work of that engraver.
-
-DANIEL HOPFER, who, in 1493, was already working in Augsburg,
-has left us an etching, which certainly cannot be later than 1504,
-and may have been executed five, or even ten, years earlier. It is a
-portrait of _Kunz von der Rosen_, the Jester-Adviser of the Emperor
-Maximilian I. The etching is upon iron, and the quality of the line
-is well adapted to the rugged character of the personage. This plate
-was copied, in reverse, with some modifications, by an anonymous North
-Italian engraver and reappears as _Gonsalvo of Cordova_, who was in
-Italy, in command of the army of Ferdinand V of Castile, between 1494
-and 1504, when Ferdinand’s jealousy caused him to be superseded in the
-Vice Royalty of Naples.
-
-  [Illustration: MASTER =W caduceus B=. HEAD OF A YOUNG WOMAN
-  Size of the original engraving, 4¾ × 3⅜ inches
-  In the Royal Print Room, Berlin]
-
-  [Illustration: ALBRECHT DÜRER. ALBERT OF BRANDENBURG
-  Size of the original engraving, 5¾ × 3⅞ inches
-  In the Museum of Fine Arts, Boston]
-
-The earliest in date of DÜRER’S engraved portraits is likewise the
-best. _Albert of Brandenburg_ was twenty-nine years of age, in 1519,
-when Dürer engraved this plate. There is a concentration upon the
-purely portrait element lacking in some of the later prints. The burin
-work is singularly delicate and beautiful. Indeed, nothing better,
-from a technical standpoint, has ever been done on copper than Dürer’s
-six portrait plates; and if he at times succumbs to the temptation of
-rendering each minor detail with the same loving care which he bestows
-upon the face itself, he remains, notwithstanding, one of the greatest
-masters of the burin the world has seen.
-
-Dürer engraved a second plate of _Albert of Brandenburg_, in 1523.
-The intervening four years had left their mark upon the Cardinal,
-and neither as a portrait nor as an engraving is it as pleasing
-as the earlier one. In the following year, 1524, there are two
-portraits--_Frederic the Wise, Elector of Saxony_ and _Wilibald
-Pirkheimer_. The former was one of the earliest patrons of Dürer and
-likewise one of the most liberal-minded princes of his time. The
-plate is executed in Dürer’s painstaking and careful manner, nor
-does it lack, as a portrait, the directness and immediacy of appeal
-of the silver-point drawing, which may have served as its original.
-Wilibald Pirkheimer, the celebrated patrician and humanist, was Dürer’s
-life-long and most intimate friend, and it is to him that Dürer’s
-letters from Venice were addressed.
-
-_Philip Melanchthon_ is the simplest in treatment and the most
-satisfying, in its elimination of unnecessary detail, of Dürer’s
-portrait engravings, and is the best likeness of the mild reformer.
-The inscription reads: “Dürer could depict the features of the living
-Philip, but the skilled hand could not depict his mind.” Here Dürer
-does himself less than justice, for it is the portrait-like character
-which makes this engraving still noteworthy after the lapse of four
-centuries.
-
-To the same year, 1526, belongs _Erasmus of Rotterdam_. It is a
-technical masterpiece. Dürer has lavished all his skill upon this
-plate. It is magnificent; but from a purely portrait standpoint, it is
-a magnificent failure.
-
-  [Illustration: ALBRECHT DÜRER. PHILIP MELANCHTHON
-  Size of the original engraving, 6⅞ × 5 inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ANTHONY VAN DYCK. PORTRAIT OF HIMSELF (First State)
-  Size of the original etching, 9½ × 6⅛ inches
-  In the Museum of Fine Arts, Boston]
-
-For a full hundred years we have no portraits of note; then there
-enters upon the scene one of the great princes of the art--VAN
-DYCK--whose etched portraits vie with those of Rembrandt in vitality,
-and surpass them in immediacy of appeal. Van Dyck had not that
-deep humanity, that profound reading of human character, which raises
-Rembrandt above all rivals; but upon the purely technical side,
-working within the truest traditions of etching, with due regard to
-its possibilities and its limitations, Van Dyck may claim precedence.
-His fifteen original portrait etchings (together with _Erasmus of
-Rotterdam_, after Holbein) undoubtedly belong to the period between his
-return from Italy to Antwerp, in 1626, and his settlement in London, in
-1632. From the very first, Van Dyck seems to have been in possession of
-all his powers. His etchings show various modes of treatment, according
-to the character of the sitter, and it would be difficult to speak of
-the _development_ of his art, since, by the grace of God, he seems to
-have been a born etcher.
-
-Van Dyck’s _Portrait of Himself_ naturally interests us most, on
-account of its subject. So far as Van Dyck has seen fit to carry it, it
-is a perfect work of art, not the least remarkable feature being the
-splendid placing of the head upon the plate. Unfortunately, the first
-state is of such excessive rarity that the majority of print students
-can know this superb portrait only through reproductions (in which much
-of its delicacy is necessarily lost) or, in the later state, where the
-plate is finished with the graver by Jacob Neefs--a distressing piece
-of work, strangely enough, countenanced by Van Dyck himself; since
-in the British Museum there is a touched counter-proof of the first
-state, which proves that Van Dyck directed the elaboration of the
-plate, no doubt with the intention of using it as a title page to the
-_Iconography_, a series of a hundred engraved portraits of his friends
-and contemporaries.
-
-Of even subtler beauty is _Snyders_, unfortunately--like the portrait
-of Van Dyck himself--of the greatest rarity and also, like that plate,
-finished with the graver by Jacob Neefs. It is perfectly satisfying
-from every point of view, combining, as it does, the greatest freedom
-with absolute certainty of hand. The treatment of the face shows a
-thorough knowledge of all the technical resources of the art, the high
-lights having been “stopped out” exactly where needed, the etched dots
-and lines melting into a perfect harmony.
-
-In marked contrast to the delicacy of _Snyders_ is the bolder and
-more rugged treatment of _Jan Snellinx_. Fortunately, the plate has
-remained, until our own day, in essentially the same condition as when
-it left Van Dyck’s hands, and we can better realize what an artistic
-treasure-house the _Iconography_ might have been, had the public
-possessed the intelligence to appreciate, at their true worth, these
-fine flowerings of Van Dyck’s genius, instead of demanding, as they
-did, that a plate be absolutely “finished” to the four corners by
-the professional engraver.
-
-  [Illustration: ANTHONY VAN DYCK. FRANS SNYDERS (First State)
-  Size of the original etching, 9⅛ × 6⅛ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ANTHONY VAN DYCK. LUCAS VORSTERMAN (First State)
-  Size of the original engraving, 9⅝ × 6⅛ inches
-  In the Collection of Charles C. Walker, Esq.]
-
-_Lucas Vorsterman_ is, in some ways, the most purely pictorial of
-Van Dyck’s portrait etchings. Even the taste of the time demanded no
-further elaboration than an engraved background, which, judiciously
-added, left undisturbed Van Dyck’s original work.
-
-It would be interesting to know whether REMBRANDT was acquainted with
-the etched work of Van Dyck. If so, it is all the more astounding that
-his work should betray no trace of any outside influence.
-
-Rembrandt’s earliest dated etching is also, seemingly, his first
-etching--a _Portrait of His Mother_, of the year 1628--an unsurpassed
-little masterpiece. In its own mode of simple, direct, open, linear
-treatment, there is nothing finer, even in the work of Rembrandt
-himself. _Saskia with Pearls in Her Hair_, of 1634, as also the _Young
-Man in a Velvet Cap with Books Beside Him_, which belongs to the year
-1637, are in Rembrandt’s best manner, but the crowning triumph of this
-period is unquestionably _Rembrandt Leaning on a Stone Sill_, bearing
-the date 1639 and showing Rembrandt at the happiest period of his
-life--successful, prosperous, and perfect master of his medium.
-
-The portrait of an _Old Man in a Divided Fur_ _Cap_, of the following
-year, is likewise admirable--not a line too much and every line full
-of significance. _Jan Cornelis Sylvius_, of 1646, shows in a marked
-degree Rembrandt’s sympathy with, and appreciation of the beauty of old
-age. The face is treated in a delicate and sensitive manner, and, with
-the fewest possible strokes, Rembrandt has indicated the texture and
-growth of the sparse beard of his aged sitter. Sulphur-tint has been
-used to give additional modelling to the face, while the background
-and costume are finished in a way which would have won the admiration
-of Dürer himself. _Ephraim Bonus_, _Jan Asselyn_, and _Jan Six_ are
-Rembrandt’s three portrait etchings for the year 1647. _Jan Six_ is
-Rembrandt’s masterpiece, so far as elaborate finish is concerned. He
-has availed himself of all the resources of etching, dry-point, and of
-the burin--used freely as an etcher may use it--to carry forward this
-plate. The center of the room is bathed in subdued light, which melts
-into rich and mysterious shadows in the corners.
-
-  [Illustration: REMBRANDT. JAN CORNELIS SYLVIUS
-  Size of the original etching, 10⅞ × 7½ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: REMBRANDT. REMBRANDT LEANING ON A STONE SILL
-  Size of the original etching, 8⅛ × 6½ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: REMBRANDT. CLEMENT DE JONGHE (First State)
-  Size of the original etching, 8⅛ × 6⅜ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: REMBRANDT. JAN LUTMA (First State)
-  Size of the original etching, 7⅞ × 5⅞ inches
-  In the Museum of Fine Arts, Boston]
-
-_Rembrandt Drawing at a Window_ is one of the most characterful of
-his portraits. It shows him at the age of forty-two. Years of sorrow
-have left their mark upon his countenance, but what a strong, resolute
-face it is! _Clement de Jonghe_ (which should be seen in the first
-state before the expression of the face was entirely changed) is
-executed in Rembrandt’s open, linear manner, without strong
-contrasts of light and dark. For beauty of drawing and subtlety of
-observation, it is one of his finest plates. _Old Haaring_, of 1655,
-is a magnificent dry-point, in which Rembrandt has built up, with many
-lines, a completely harmonious picture; but for grip of character and
-straightforward presentation of the personality of his sitter, it must
-yield precedence to the unsurpassed _Jan Lutma_, of the following year.
-This portrait, in the first state, before the introduction of the
-window in the background, is one of Rembrandt’s most mature works, in
-that the method is perfectly adapted to the result desired.
-
-In France there is little of significance in portrait engraving during
-the sixteenth century. THOMAS DE LEU and LÉONARD GAULTIER based
-their style upon the miniature portrait engravers of the Northern
-School, such as the WIERIX. Although their graver work is often quite
-beautiful, it lacks originality, and when, as frequently happened,
-they endeavored to interpret the wonderful drawings of the Clouets
-or Dumonstier, they signally failed in capturing the charm of their
-originals.
-
-CLAUDE MELLAN, who was born at Abbeville in 1598, is, in a sense,
-the fountain-head of French portrait engraving. His work is
-characteristically French, in that it is the result of a system
-carefully worked out to its logical conclusion. In his desire to keep
-strictly within the limits of what he considered to be the proper
-province of engraving, he carried his insistence upon line to a point
-which borders on mannerism and which, for over two centuries, has
-militated against his full recognition.
-
-Mellan’s earliest engravings recall the work of Léonard Gaultier, but
-his first teacher is not known. Dissatisfied with his instruction in
-Paris, in 1624 he went to Rome where, while studying engraving under
-Villamena, he came under the influence of the French painter, Simon
-Vouet, who not only provided his protégé with drawings to engrave, but
-persuaded him to base all his training upon a thorough ground-work of
-drawing. It is this severe training as a draughtsman which lies at the
-foundation of Mellan’s style. His original drawings were executed in
-pencil, silver-point, or chalk, and in his engravings he preserves all
-the delicate and elusive charm of his originals.
-
-  [Illustration: CLAUDE MELLAN. VIRGINIA DA VEZZO
-  Size of the original engraving, 4½ × 3 inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: CLAUDE MELLAN. FABRI DE PEIRESC
-  Size of the original engraving, 8⅜ × 5⅝ inches
-  In the Museum of Fine Arts, Boston]
-
-His manner of engraving is peculiar to himself. The inventor of a mode,
-he so uses it as to exhaust its possibilities and leaves nothing for
-his successors to do along similar lines. Consequently, although his
-influence on French portrait engraving was great and far-reaching, he
-cannot, in any true sense, be considered as the founder of a “school.”
-Even in his early portrait plates (incidentally, among the most
-charming and perfect), such as _Virginia de Vezzo_, the wife of Simon
-Vouet, engraved in Rome in 1626, we find his style fully developed.
-Save for four little spots of deepest shadow, the entire portrait is
-executed in single, uncrossed lines, indicating, by their direction,
-the contour of the face, which is delicately modelled, while the flow
-of the hair is realistically and beautifully expressed. From this
-simple, linear method, adopted thus early, Mellan, with few unimportant
-exceptions, never departed; and although he lived and worked until
-1688, surviving Morin by twenty-two years and Robert Nanteuil by ten,
-he held to his own self-appointed course, his work showing no trace
-whatever of the influence of his two most distinguished contemporaries.
-
-Among his many portraits choice is difficult, but, by general consent,
-his style is seen at its very best in _Fabri de Peiresc_, which excels
-in point of drawing, grip of character, and straightforwardness of
-presentation. It is dated 1637 and was engraved on his way from Rome to
-Paris, in which city he settled, enjoying for many years a reputation
-and success second to none. Of his other portraits mention must be
-made of _Henriette-Marie de Buade Frontenac_, of a delightful silvery
-quality, and of her husband, _Henri-Louis Habert de Montmor_, the
-richest toned of all his works. _Nicolas Fouquet_ likewise is of
-peculiar interest, inasmuch as in this plate Mellan has departed for
-once from his invariable method of pure line work and has modelled the
-face with an elaborate system of dots, in the manner of Morin.
-
-JEAN MORIN was Mellan’s junior by two years. His style is in the
-greatest contrast to that of the older master, not only technically,
-but in that he was always a _reproductive_ engraver, never designing
-his own portraits, the majority of his plates being after the paintings
-of Philippe de Champaigne. His plates are executed almost entirely in
-pure etching, with just sufficient burin work to give crispness and
-decision. The heads are elaborately modelled, with many minute dots,
-recalling somewhat Van Dyck’s manner in such a portrait as _Snyders_.
-
-_Antoine Vitré_, the famous printer, shows Morin’s method at its
-richest; its brilliancy and color place it in the forefront of French
-portraits, though for charm it may not rank with _Anne of Austria_ or
-_Cardinal Richelieu_, both after paintings by Philippe de Champaigne.
-
-_Cardinal Guido Bentivoglio_, after Van Dyck, well deserves the
-reputation which it has so long enjoyed. It is, furthermore,
-significant as an example of Morin’s power of concentrating all the
-attention upon the countenance of his sitter. He was primarily a
-_portrait_ engraver and never allowed himself to be seduced, as were
-such eighteenth century masters as the Drevets, into lavishing his
-skill upon the purely ornamental accessories, to the detriment of the
-portrait itself. Fine though Van Dyck’s full-length painting is, Morin
-is more than justified in taking from it the head and bust only, since
-thereby he gives to his plate a vivid and compelling quality which
-otherwise would be lacking.
-
-  [Illustration: JEAN MORIN. CARDINAL GUIDO BENTIVOGLIO
-  Size of the original engraving, 11½ × 9¼ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ROBERT NANTEUIL. POMPONE DE BELLIÈVRE
-  Size of the original engraving, 12⅞ × 9⅞ inches
-  In the Museum of Fine Arts, Boston]
-
-ROBERT NANTEUIL is not only the greatest of French portrait engravers;
-he is one of the greatest portraitists in the history of French art. In
-his work the clarity and logic of the French temperament is enriched
-by a study of the engravers of the Flemish and Dutch schools, though
-in Nanteuil’s plates color is never sought at the expense of balance.
-His technique is a fusion of the best elements of Mellan and of Morin.
-From Mellan he derived his carefully balanced system of open line work,
-while Morin doubtless suggested to him the use of graver flicks in
-modelling the face.
-
-The date of Nanteuil’s birth is variously given as 1623, 1625, and
-1630, the last-named date, which is accepted by Robert-Dumesnil,
-corresponding best with what we know regarding the development of his
-work.
-
-His first portrait plates were done in 1648, the year in which he
-came to Paris, and from that time onwards he devoted himself almost
-exclusively to portraiture, until his death in 1678. His engravings
-form a gallery illustrating the reign of Louis XIV, from the King
-himself, whom he engraved no fewer than eleven times, to the Norman
-peasant and poet, Loret (incidentally, one of Nanteuil’s finest
-portrait plates), whose “Gazette” satirized each day “the intriguing
-nobles who were not afraid of bullets, but who were in deadly fear of
-winter mud.”
-
-An interesting story is told of Nanteuil’s début in Paris. It is said
-that he received his first order by following some divinity students to
-a wine-shop, where they were wont to take their meals. There, having
-chosen one of the portrait drawings he had brought from Rheims, he
-pretended to look for a sitter whose name and address he had forgotten.
-It is superfluous to add that the picture was not recognized, but it
-was passed from hand to hand, the price was asked, the artist was
-modest in his demands, and before the end of the repast his career had
-begun.
-
-One of the most interesting portraits, in his early manner, is that
-of _Cardinal de Retz_, engraved in 1650. Morin has likewise left us a
-portrait of this personage, and it is instructive to compare the two
-engravings. In Nanteuil’s the background is still somewhat stiff, but
-the costume is treated simply and directly, while the face shows a
-judicious blending of line and dot work.
-
-Nothing could be finer and more reticent than _Marie de Bragelogne_
-of 1656. The pale, elderly, and somewhat sad face of this old love
-of Cardinal Richelieu is treated with the greatest sympathy. For the
-most part, it is modelled with delicate flick work, and where lines
-are employed, they are so used as to blend perfectly into a harmonious
-whole. In contrast to the face, the collar is rendered in long, flowing
-lines, without cross-hatching, entirely in the manner of Claude Mellan.
-It is from Nanteuil’s own drawing from life and is perhaps the most
-beautiful of the eight engraved portraits of women we have from his
-hand.
-
-_Pompone de Bellièvre_, of 1657, after Le Brun’s painting, has enjoyed
-among collectors the reputation of being the most beautiful of all
-engraved portraits. Fine it undoubtedly is; but it lacks that grip of
-character which is so conspicuously present in Nanteuil’s engravings
-from life, and for compelling portrait quality it falls short of
-_Pierre Seguier_, engraved in the same year, likewise after Le Brun’s
-painting. _Jean Loret_ certainly does not owe its fame to the beauty
-of the personage portrayed. It is one of Nanteuil’s most convincing
-and vital plates. The modelling of the face and the means employed are
-absolutely adequate. This engraving alone would explain why, in his
-day, Nanteuil’s greatest fame rested upon the surprisingly life-like
-quality of his work, whether it be pastel, drawing, or engraving.
-
-To the year 1658 also belongs _Basile Fouquet_, brother of Nicolas
-Fouquet, the famous Superintendent of Finance. Not less beautiful than
-_Pompone de Bellièvre_, there is a vitality about the _Basile Fouquet_
-lacking in the better-known plate.
-
-Three years later, in 1661, Nanteuil engraved the portrait of _Nicolas
-Fouquet_--one of his masterpieces of characterization. Nothing could
-be finer than the way in which he has portrayed the great finance
-minister, whose ambition it was to succeed Mazarin as virtual ruler of
-the kingdom. It is a historical document of prime importance, of the
-greatest beauty, and preserves for all time the features of the then
-most powerful man in France, gazing out upon the world with a half
-quizzical expression, totally unaware of the sensational reversal of
-Fortune already drawing near.
-
-A plate not less admirable in its way--a little masterpiece--is
-_François de la Mothe le Vayer_, who was regarded as the Plutarch
-of his time for his boundless erudition and his mode of reasoning.
-Nanteuil’s engraving shows him at the age of seventy-five, in full
-possession of all his intellectual powers and in the enjoyment of that
-good health which lasted until his death, eleven years later, at the
-ripe age of eighty-six.
-
-  [Illustration: ROBERT NANTEUIL. BASILE FOUQUET
-  Size of the original engraving, 12⅞ × 9⅞ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ROBERT NANTEUIL. JEAN LORET
-  Size of the original engraving, 10⅛ × 7⅛ inches
-  In the Museum of Fine Arts, Boston]
-
-The masterly portrait of _Turenne_, engraved in 1663, after a painting
-by Philippe de Champaigne, is one of the engraver’s most vigorous
-plates, of a size somewhat larger than had hitherto been his wont.
-From this period date the life-size portraits, thirty-six of which
-were completed before he died in 1678, the last four years of his life
-being devoted entirely to these large plates--seven of them of the
-King himself. They were obviously intended to be framed and hung above
-the high wainscots used in those times, and although they do not show
-Nanteuil at his best, and--in the majority of cases--are, in part, the
-work of assistants, they are a remarkable performance.
-
-Nanteuil established the tradition of portrait engraving in France once
-and for all, and although his successors, profiting by his example,
-have left us many superbly engraved plates, none of them were able to
-combine the qualities of great engraver with great portraitist, which
-make Nanteuil supreme in the history of portrait engraving.
-
-The nineteenth century has produced three master portrait etchers. Of
-what previous century can we say as much? Other portraits may possess
-more charm, but none have a greater measure of dignity than those by
-ALPHONSE LEGROS. He has been called a “belated old master,” and in his
-portrait plates are combined the qualities which prove him to be a
-master indeed--not old, in the sense of out of touch with his time, but
-displaying the same qualities which make the portraits of Rembrandt or
-Van Dyck so compelling and of such continuing interest.
-
-_Cardinal Manning_--the triumph of spirit over flesh--simple, austere;
-_G. F. Watts_, in which the gravity and beauty of old age is portrayed
-as no one since Rembrandt has portrayed it, are plates which will
-assure his artistic immortality.
-
-MR. WHISTLER, when asked which of his etchings he considered the best,
-is reported to have answered, “All.” Fortunately for us, in the case of
-his portraits he has indicated his preference. “_One of my very best_”
-is written beneath a proof of _Annie Haden_, now in the Lenox Library;
-and Whistler, in the course of conversation with Mr. E. G. Kennedy,
-told him that if he had to make a decision as to which plate was his
-best, he would rest his reputation upon _Annie Haden_. It is the
-culmination of that wonderful series to which belong such masterpieces
-as _Becquet_, _Drouet_, _Finette_, _Arthur Haden_, _Mr. Mann_ and
-_Riault, the Engraver_. Whistler himself never surpassed this portrait,
-which for perfect balance, certainty of hand, and sheer charm, is not
-only one of the most delightful portrait plates in the history of the
-art, but one of the few successful representations of the elusive charm
-of young girlhood.
-
-  [Illustration: J. A. McN. WHISTLER. ANNIE HADEN
-  Size of the original dry-point, 13⅞ × 8⅜ inches
-  In the Collection of Howard Mansfield, Esq.]
-
-  [Illustration: J. A. McN. WHISTLER. RIAULT, THE ENGRAVER
-  Size of the original dry-point, 8⅞ × 5⅞ inches
-  In the Collection of Howard Mansfield, Esq.]
-
-Hardly less beautiful are the portraits of _Florence Leyland_,
-standing, holding her hoop in her right hand, every line of the slender
-figure rhythmic and beautiful; or of _Fanny Leyland_, seated, the
-soft flounces of her white muslin dress indicated with the fewest and
-most delicate lines; or _Weary_, lying back in her chair, with hair
-outspread. _Weary_ suggests the _Jenny_ of Rossetti’s poem, but it is
-a portrait of “Jo”--Joanna Heffernan--whom Whistler painted as _The
-White Girl_ and _La Belle Irlandaise_, and of whom, in 1861, two years
-previously, he had made a superb dry-point.
-
-Of Whistler’s portraits of men, _Riault_ is assuredly one of the
-finest, both in execution and in portrayal of character. The
-concentration of the wood-engraver on his task is expressed with
-convincing power, and those who mistakenly attribute to Whistler grace
-at the expense of strength could hardly do better than study this
-dry-point.
-
-Could there be a greater contrast than the work of Whistler and ZORN?
-Could anything better illustrate the infinite possibilities of the
-art, the pliability of the medium to serve the needs of etchers as
-dissimilar in method as in point of attack? With the fewest possible
-lines (_slashed_, one might almost say, into the copper) Zorn evolves
-a portrait of compelling power, vibrant with life. Mere speed counts
-for little, and it is of small significance that a masterpiece such
-as _Ernest Renan_ is the result of a single sitting of one hour only.
-It was done in Renan’s studio in Paris, in April, 1892. “His friends,”
-the artist relates, “came and asked me to make an etching of him. He
-arranged for a sitting. He was very ill, but I sat studying him for a
-little while, then took the plate and drew him. I asked him if it was a
-characteristic pose and he replied, ‘No, I very seldom sit like this.’
-But his wife came in and said, ‘You have caught him to perfection, it
-is himself. When he is not watched he is always like that.’ She was
-really touched by it.” What is significant in the portrait of _Renan_,
-astounding, one might say, is that with lines so few Zorn has given
-us not only the outer man, but a character study of profound insight.
-Renan, sunk in his chair, the bulky body topped by the massive head,
-the hair suggested with a mere handful of lines, was like a bomb-shell
-to such print-collectors as previously were unacquainted with Zorn’s
-work. It was, however, only one of a group of masterpieces with which
-the artist made his début in America, in 1892: _Zorn and His Wife_,
-_Faure_, _The Waltz_, _The Omnibus_, _Olga Bratt_, with its elusive
-charm, and the piquant _Girl with the Cigarette_, and _Madame Simon_,
-which still remains one of his most powerful portraits.
-
-  [Illustration: ANDERS ZORN. ERNEST RENAN
-  Size of the original etching, 9¼ × 13⅜ inches
-  In the Collection of the Author]
-
-  [Illustration: ANDERS ZORN. THE TOAST
-  Size of the original etching, 12⅝ × 10½ inches
-  In the Collection of Albert W. Scholle, Esq.]
-
-  [Illustration: ANDERS ZORN. MADAME SIMON
-  Size of the original etching, 9⅜ × 6¼ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: ANDERS ZORN. MISS EMMA RASSMUSSEN
-  Size of the original etching, 7⅞ × 5⅞ inches
-  In the Collection of the Author]
-
-_The Toast_ is etched from Zorn’s picture painted by him to
-celebrate the thirtieth anniversary of the Society of the Idun, a
-scientific and artistic society in Stockholm. Wieselgren, the President
-of the Society, a Viking-like figure, is about to propose a toast;
-beyond him, characterized with the fewest lines, are seen Nordenskjöld,
-the Arctic explorer; Hildebrand, the archæologist; Axel Key, professor
-of medicine; and Woern, the Minister of Finance. The plate has all the
-freshness, all the spontaneity, of an etching done directly from life
-and at a white heat.
-
-Among his many portraits of women, it is difficult to make a selection.
-_Miss Anna Burnett, seated at the Piano_, is charming. _Annie_, _Mrs.
-Granberg_, and _Kesti_--each, in its own way, fascinates us; but if
-one were to express a personal preference, it would be for _Miss Emma
-Rassmussen_. The blond beauty of her hair, the fair, tender flesh,
-sparkling eyes, and lips slightly open, showing the firm, small, even
-teeth, are in perfect harmony. The line is more delicate than is the
-artist’s wont, and both as a portrait and as an etching it is a lasting
-delight.
-
-
-SOME MASTERS OF PORTRAITURE
-
-BIBLIOGRAPHY
-
- PRINTS AND THEIR MAKERS. _Edited by FitzRoy Carrington._ 200
- illustrations. New York: Century Co. 1912.
-
- ETCHING AND ETCHERS. _By Philip Gilbert Hamerton._ 35 original
- etchings. London: Macmillan & Co. 1868.
-
- ----. Same. 6th edition. Boston: Roberts Brothers. 1892.
-
- THE GOLDEN AGE OF ENGRAVING. _By Frederick Keppel._ 161 illustrations.
- New York: The Baker and Taylor Company. 1910.
-
- THE BEST PORTRAITS IN ENGRAVING. _By Charles Sumner._ New York:
- Frederick Keppel. 1875.
-
-
- DÜRER, ALBRECHT (see Bibliography under “The Master of the Amsterdam
- Cabinet and Albrecht Dürer,” page 137).
-
-
- VAN DYCK, ANTHONY (1599-1641)
-
- EAUX-FORTES DE ANTOINE VAN DYCK; REPRODUITES ET PUBLIÉES PAR
- AMAND-DURAND. _Edited by Georges Duplessis._ 21 reproductions. Paris:
- Amand-Durand. 1874.
-
- VAN DYCK; HIS ORIGINAL ETCHINGS AND HIS ICONOGRAPHY. _By Arthur Mayger
- Hind._ 38 illustrations. The Print-Collector’s Quarterly, 2 parts.
- Part I. Vol. 5, No. 1, pp. 3-37. Part II. Vol. 5, No. 2, pp. 220-253.
- Boston. 1915.
-
- ----. Reprinted in revised form. 36 illustrations. Boston: Houghton
- Mifflin Company. 1915.
-
- VAN DYCK AND PORTRAIT ENGRAVING AND ETCHING IN THE SEVENTEENTH
- CENTURY. _Edited by Arthur Mayger Hind._ 65 reproductions. London and
- New York: Frederick A. Stokes Company, n. d. (Great Engravers.)
-
- VAN DYCK. _By H. Knackfuss. Translated by Campbell Dodgson._ 55
- illustrations. Bielefeld and Leipzig: Velhagen & Klasing. 1899.
- (Monographs on Artists.)
-
- ETCHINGS OF VAN DYCK. _Edited by Frank Newbolt._ 34 reproductions.
- London: George Newnes. n. d.
-
- ETCHINGS BY VAN DYCK. _By Walter H. Sparrow. With an introduction by
- H. Singer._ 23 reproductions of the first states. London: Hodder &
- Stoughton. 1905.
-
- L’ICONOGRAPHIE D’ANTOINE VAN DYCK, D’APRÈS LES RECHERCHES DE H. WEBER.
- _By Friedrich Wibiral._ 1 reproduction and 6 plates of watermarks.
- Leipzig: A. Danz. 1877.
-
-
- REMBRANDT HARMENSZ VAN RIJN (1606-1669)
-
- THE ETCHED WORK OF REMBRANDT; A MONOGRAPH (WRITTEN AS INTRODUCTION TO
- THE BURLINGTON CLUB EXHIBITION, 1877) WITH AN APPENDIX
-
- RESPECTING APPROPRIATION OF THE FOREGOING IN MIDDLETON’S DESCRIPTIVE
- CATALOGUE. _By Francis Seymour Haden._ London: Macmillan & Co. 1879.
-
- THE ETCHINGS OF REMBRANDT. _By Philip Gilbert Hamerton._ 4
- reproductions and 36 text illustrations. London: Seeley & Co. 1902.
- (Portfolio Monographs.)
-
- REMBRANDT’S ETCHINGS; AN ESSAY AND A CATALOGUE, WITH SOME NOTES ON
- THE DRAWINGS. _By Arthur Mayger Hind._ London: Methuen & Co. 1912.
- Volume 1, Text (with 34 plates illustrating the drawings). Volume 2,
- Illustrations (330 reproductions).
-
- ETCHINGS OF REMBRANDT. _Edited by Arthur Mayger Hind._ 62
- reproductions. London and New York: Frederick A. Stokes Company. 1907.
- (Great Engravers.)
-
- REMBRANDT. _By H. Knackfuss. Translated by Campbell Dodgson._ 159
- illustrations. Bielefeld and Leipzig: Velhagen & Klasing. 1899.
- (Monographs on Artists.)
-
- REMBRANDT’S AMSTERDAM. _By Frits Lugt._ 27 illustrations and map. The
- Print-Collector’s Quarterly, Vol. 5, No. 2, pp. 111-169. Boston. 1915.
-
- REMBRANDT; HIS LIFE, HIS WORK, AND HIS TIME. _By Emile Michel.
- Translated by Florence Simmonds. Edited by Frederick Wedmore._ 2
- volumes. 317 illustrations. London: William Heinemann. 1895.
-
- L’OEUVRE GRAVÉ DE REMBRANDT; REPRODUCTIONS DES PLANCHES DANS TOUT
- LEURS ÉTATS SUCCESSIFS, AVEC UN CATALOGUE RAISONNÉ. _By Dmitri
- Rovinski._ 1000 reproductions. St. Petersburg: L’Académie Impériale
- des Sciences. 1890. Volume 1, Text. Volumes 2-4, Reproductions.
-
- ---- ----. Supplement. _Collected by D. Rovinski. Arranged and
- described by N. Tchétchouline._ 94 reproductions. St. Petersburg: S.
- N. Kotoff, and Leipzig: Karl W. Hiersemann. 1914.
-
- KRITISCHES VERZEICHNIS DER RADIERUNGEN REMBRANDTS, ZUGLEICH EINE
- ANLEITUNG ZU DEREN STUDIUM. _By Woldemar von Seidlitz._ Leipzig: E. A.
- Seemann. 1895.
-
- REMBRANDT; DES MEISTERS RADIERUNGEN IN 402 ABBILDUNGEN. _Edited
- by Hans Wolfgang Singer._ Stuttgart and Leipzig: Deutsche
- Verlags-Anstalt. 1906. (Klassiker der Kunst. Vol. 8.)
-
-
- PORTRAIT ENGRAVING IN FRANCE
-
- DE LA GRAVURE DU PORTRAIT EN FRANCE. _By Georges Duplessis._ Paris:
- Rapilly. 1875.
-
- LE PEINTRE-GRAVEUR FRANÇAIS; UN CATALOGUE RAISONNÉ D’ESTAMPES
- GRAVÉES PAR LES PEINTRES ET LES DESSINATEURS DE L’ÉCOLE FRANÇAISE,
- OUVRAGE FAISANT SUITE AU PEINTRE-GRAVEUR DE M. BARTSCH. _By A. P.
- F. Robert-Dumesnil._ 11 volumes. (Vol. 11. Supplement by Georges
- Duplessis.) Paris: Mme. Huzard. 1835-71.
-
- LE PEINTRE-GRAVEUR FRANÇAIS CONTINUÉ ... OUVRAGE FAISANT SUITE
- AU PEINTRE-GRAVEUR FRANÇAIS DE ROBERT-DUMESNIL. _By Prosper de
- Baudicour._ Paris: Mme. Bouchard-Huzard. 1859-1861. 2 volumes.
-
- FRENCH PORTRAIT ENGRAVING OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES.
- _By T. H. Thomas._ 39 illustrations. London: George Bell & Sons. 1910.
-
-
- MELLAN, CLAUDE (1598-1688)
-
- CLAUDE MELLAN. _By Louis R. Metcalfe._ 13 illustrations. The
- Print-Collector’s Quarterly, Vol. 5, No. 3, pp. 258-292. Boston. 1915.
-
- CATALOGUE RAISONNÉ DE L’OEUVRE DE CLAUDE MELLAN D’ABBEVILLE. _By
- Anatole de Montaiglon. Biography by P. J. Mariette._ Abbeville: P.
- Briez. 1856.
-
-
- MORIN, JEAN (before 1590(?)-1650)
-
- JEAN MORIN. _By Louis R. Metcalfe._ 11 illustrations. The
- Print-Collector’s Quarterly, Vol. 2, No. 1, pp. 1-30. Boston. 1912.
-
-
- NANTEUIL, ROBERT (1623(25?)-1678)
-
- ROBERT NANTEUIL. By Louis R. Metcalfe. 12 illustrations. The
- Print-Collector’s Quarterly, Vol. 1, No. 5, pp. 525-561. Boston. 1911.
-
- NANTEUIL; SA VIE ET SON OEUVRE. _By Abbé Porrée._ Rouen: Cagniard.
- 1890.
-
- THE DRAWINGS AND PASTELS OF NANTEUIL. _By T. H. Thomas._ 15
- illustrations. The Print-Collector’s Quarterly, Vol. 4, No. 4, pp.
- 327-361. Boston. 1914.
-
-
- LEGROS, ALPHONSE (1837-1911)
-
- ALPHONSE LEGROS. _By Elisabeth Luther Cary._ 10 illustrations. The
- Print-Collector’s Quarterly, Vol. 2, No. 4, pp. 439-457. Boston. 1912.
-
- CATALOGUE RAISONNÉ DE L’ŒUVRE GRAVÉ ET LITHOGRAPHIÉ DE M. ALPHONSE
- LEGROS, 1855-77. _By Paul Auguste Poulet-Malassis and A. W.
- Thibaudeau._ 3 plates. Paris: J. Baur. 1877.
-
-
- WHISTLER, JAMES ABBOTT McNEILL (1834-1903) (see Bibliography under
- “Landscape Etching,” p. 277).
-
-
- ZORN, ANDERS (1860- )
-
- DAS RADIERTE WERK DES ANDERS ZORN. _By Fortunat von Schubert-Soldern._
- Illustrated. Dresden: Ernst Arnold. 1905.
-
- ANDERS ZORN. _By Loys Delteil._ 328 reproductions. Paris: L’auteur.
- 1909. (Le Peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. 4.)
-
- ANDERS ZORN. _By Mrs. Schuyler Van Rensselaer._ 5 illustrations. The
- Century, Vol. 24, p. 582 (New Series). New York. 1893.
-
- ANDERS ZORN: PAINTER-ETCHER. _By J. Nilsen Laurvik._ 18 illustrations.
- The Print-Collector’s Quarterly, Vol. 1, No. 5, pp. 611-637. Boston.
- 1911.
-
-
-
-
-LANDSCAPE ETCHING
-
-
-In landscape, as in portraiture, we are greeted on the threshold
-by ALBRECHT DÜRER. From his many drawings, water-colors, and the
-beautifully engraved backgrounds in a number of his plates, we know him
-to have been a profound student of natural forms and of atmospheric
-effects, sensitive to the character of the country he portrays; and
-it is a matter of regret that _The Cannon_ is the only plate in which
-the landscape element outweighs in interest the figures. _The Cannon_,
-which is dated 1518, is etched upon an iron plate, not necessarily
-because Dürer was unacquainted with a suitable mordant for copper,
-but rather, one is inclined to believe, because, etching having been
-used in the decoration of arms and armor, iron would naturally suggest
-itself as the most appropriate metal for the purpose. Although the
-cannon (“The Nuremberg Field Serpent”), to the left, and the five
-Turks, to the right, are the main motives of the composition, they are
-drawn and bitten with lines of exactly the same weight and character
-as the landscape itself, and we can, if we will, consider them as
-accessory figures, concentrating our attention upon the altogether
-delightful village, its church spire pointing heavenwards, while in
-the distance wooded hills rise towards the sombre sky, and to the
-left a seaport is indicated. Dürer either ignored or was unaware of
-the effects to be obtained by repeated rebitings, and consequently
-the plate is of a uniform tone. Within his self-imposed limits he has
-thoroughly understood the possibilities of the medium and has availed
-himself of them, adopting an open, linear technique, in marked contrast
-to his highly elaborate engravings on copper of this period.
-
-ALBRECHT ALTDORFER, who was born in Regensburg about 1480 and died
-in February, 1538, is notable as one of the earliest interpreters of
-landscape for its own sake. He has left us ten landscape etchings.
-None of them is dated, but they clearly belong to his last period.
-In them he has merely transferred to metal his mode of pen drawing,
-an excellent style in a way, since it is linear and suggestive, but
-lacking distinction and that passionate, dramatic quality which is so
-impressive in the painting, _St. George_, in the Munich Gallery, the
-engraving of the _Crucifixion_; or the _Agony in the Garden_, a drawing
-in the Berlin Print Room.
-
-  [Illustration: ALBRECHT DÜRER. THE CANNON
-  Size of the original etching, 8⅝ × 12⅞ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: AUGUSTIN HIRSCHVOGEL. LANDSCAPE
-  Size of the original etching, 5⅝ × 8½ inches
-  In the Museum of Fine Arts, Boston]
-
-The etchings of AUGUSTIN HIRSCHVOGEL are even simpler in treatment
-than those by Altdorfer. They bear dates from 1545 to 1549. The more
-one studies his landscape plates, breathing the spirit of the true
-nature lover, the more fascinating do they become. He has eliminated
-all non-essentials, concentrating his attention upon what were to
-him the most significant features, and in this respect he may have
-influenced the work of more than one nineteenth century master.
-
-HANS SEBALD LAUTENSACK, who was some twenty years Hirschvogel’s junior,
-was born in Nuremberg about 1524. The greater number of his landscape
-plates fall within the years 1551 and 1555. He is neither so simple nor
-so direct as Hirschvogel, and his plates suffer from over-elaboration.
-In an attempt to give a complete representation of the scene the value
-of the line is lost, and, in the majority of cases, the composition is
-lacking in repose.
-
-For almost a century we have no landscape etchings of prime importance.
-Then, in 1640, _Rembrandt_ appears on the scene with his _View of
-Amsterdam_, the first of a series of twenty-seven masterpieces which,
-beginning with this plate, comes to an end with _A Clump of Trees
-with a Vista_ (1652). The _View of Amsterdam_ is, among Rembrandt’s
-landscapes, comparable to the portrait of himself leaning on a stone
-sill, inasmuch as it is, in its own simple linear mode, a model of what
-etching can be at its best.
-
-As in the case of all these etchings, with the exception of the _Three
-Trees_ and the _Landscape with a Ruined Tower and Clear Foreground_,
-the sky is left perfectly blank, and our imagination must supply the
-quiet sunshine of a cloudless day or that delicate grayness which makes
-Holland a perpetual delight to the painter.
-
-The _Windmill_ (1641) is Rembrandt’s first _dated_ etching. It is truly
-a portrait of a place, not only in its outer aspect, but in that inner
-spirit which, if it be present, moves us so profoundly, as in the case
-of Meryon’s etchings of Paris and Piranesi’s plates of ancient Roman
-edifices; or, if it be absent, leaves us disappointed and cold. In the
-_Windmill_, “we feel the stains of weather, the touch of time, on the
-structure; we feel the air about it and the quiet light that rests
-on the far horizon as the eye travels over dike and meadow; we are
-admitted to the subtlety and sensitiveness of a sight transcending our
-own; and even by some intangible means beyond analysis we partake of
-something of Rembrandt’s actual mind and feeling, his sense of what the
-old mill meant, not merely as a picturesque object to be drawn, but
-as a human element in the landscape, implying the daily work of human
-hands and the association of man and earth.”[12]
-
-[12] Rembrandt’s Landscape Etchings. By Laurence Binyon. The
-Print-Collector’s Quarterly. Vol. 2, No. 4, p. 414.
-
-  [Illustration: REMBRANDT. THE WINDMILL
-  Size of the original etching, 5¾ × 8¼ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: REMBRANDT. THREE TREES
-  Size of the original etching, 8½ × 11 inches
-  In the Museum of Fine Arts, Boston]
-
-To the same year belong the _Landscape with a Cottage and Haybarn_ and
-_Landscape with a Cottage and a Large Tree_, two delightfully spacious
-plates. There is one etching in 1642, the _Cottage with a White
-Paling_, in which dry-point is judiciously used to give richness to the
-shadows.
-
-To the following year, 1643, belongs the _Three Trees_, the most famous
-of Rembrandt’s landscape etchings. Note how Rembrandt has suggested
-the passing of a summer thunder-storm, the rain-charged clouds rolling
-away to the left, while from the right the returning sunshine bathes
-the composition in glory, making each freshly washed leaf and blade of
-grass sparkle in its beams. Even the hard, slanting lines of rain in
-the upper left portion of the plate have their purpose, affording a
-needed contrast to the swiftly changing clouds, which the freshening
-breeze drives before it over the peopled plain and the far-reaching sea
-in the distance.
-
-In 1645 there are five landscape etchings. If the _Three Trees_ is
-Rembrandt’s most elaborate plate, _Six’s Bridge_ is, in some ways,
-his most learned performance. According to tradition, it was etched
-“against time,” for a wager, at the country house of Rembrandt’s
-friend, Jan Six, while the servant was fetching the mustard, that
-had been forgotten, from a neighboring village. There is, however,
-nothing hasty or incomplete about it. It is, to use Whistler’s words,
-“finished from the beginning,” beautifully balanced, not a line wasted,
-of its kind a perfect work of art.
-
-There are no more landscapes until 1650, a good year, since it gives
-us eight plates, every one worthy of the most serious consideration.
-Rembrandt by this time apparently had become dissatisfied with the
-relatively limited range of light and dark obtainable by the pure
-etched line, and from now onwards he relies more and more upon
-dry-point to obtain his effects, at times executing his plates entirely
-in that medium.
-
-The _Landscape with a Haybarn and a Flock of Sheep_ is one of the
-loveliest plates of this period. There is a brilliancy in the first
-state, a quiet harmony in the elaborated second state, which makes a
-choice difficult. Each, in its way, is of compelling beauty.
-
-Hardly less delightful is the _Landscape with a Milkman_, with a view
-of the sea to the right, while at the left the cottages snuggle beneath
-their protecting trees.
-
-  [Illustration: REMBRANDT. SIX’S BRIDGE
-  Size of the original etching, 5⅛ × 8¾ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: REMBRANDT. LANDSCAPE WITH A RUINED TOWER AND CLEAR
-  FOREGROUND
-  Size of the original etching, 4⅞ × 12⅝ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: REMBRANDT. LANDSCAPE WITH A HAYBARN AND A FLOCK OF
-  SHEEP
-  Size of the original etching, 3¼ × 7 inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: REMBRANDT. THREE COTTAGES
-  Size of the original etching, 6¼ × 8 inches
-  In the Museum of Fine Arts, Boston]
-
-The _Landscape with a Ruined Tower and Clear Foreground_ is, perhaps,
-of all these etchings the noblest and the most dramatic. In the sky to
-the left are piled thunder clouds. A faint breeze, the precursor of a
-coming storm, gently moves the upper branches of the trees. There is
-an expectant hush, a tenseness, and we are made to feel that in
-a few minutes the first heavy raindrops will be driving through the
-over-charged air. Otherwise all is still, the sky to the right being
-yet quiet and undisturbed. With the fewest etched lines Rembrandt has
-indicated the form and growth of the trees, adding, just where needed
-to give emphasis and enrichment, touches of dry-point, concentrating
-his richest blacks on the noble clump which shuts off the road leading
-toward the left. With such simple means, with black lines and white
-paper, he has given us by his art a more convincing record of one of
-Nature’s noblest spectacles than most painters, with a full palette at
-their command, could achieve in a lifetime of labor.
-
-In the _Three Cottages_ dry-point is used with magnificent effect.
-Early impressions of this masterpiece have a richness, a bloom, which
-is unmatched among Rembrandt’s landscape plates. A fine impression
-of the third state, with the added shading on the gabled end of the
-first cottage, represents the plate admirably. To be seen at its best,
-however, it should not be too heavily charged with ink, since the
-tree forms thereby are confused. Work such as this is so seemingly
-simple that one may readily overlook the power of analysis and the
-superb draughtsmanship it displays. Everyone who loves Rembrandt’s
-landscapes--and who that knows them does not love them?--must bitterly
-regret that at about this time, in the very plenitude of his powers, he
-saw fit to bring his landscape work to a close.
-
-It is true that we have the _Goldweigher’s Field_ of 1651--an
-unsurpassed masterpiece--and in the following year the _Landscape with
-a Road Beside a Canal_ and _A Clump of Trees with a Vista_; but had he
-treated a landscape motive with the passion which breathes from the
-_Three Crosses_, _Christ Presented to the People_, or the _Presentation
-in the Temple_, how much richer and fuller would landscape art have
-been!
-
-The _Goldweigher’s Field_, by tradition the country seat of the Receiver
-General, Uytenbogært, whose portrait Rembrandt had etched in 1639 (The
-_Goldweigher_), is, in point of suggestiveness, second to none of
-Rembrandt’s plates. The eye is gently led from field to fertile field,
-each with its own individual character and filled with interesting
-little details, and finally rests upon the quiet sea which stretches to
-the horizon.
-
-Contemporary with Rembrandt, treating scenes essentially the same, a
-whole school of etchers produced an enormous number of plates, many of
-them charming, but none to be classed with the permanently great work
-in the history of the art.
-
-  [Illustration: REMBRANDT. GOLDWEIGHER’S FIELD
-  Size of the original etching, 4¾ × 12⅝ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: JACOB RUYSDAEL. WHEAT FIELD
-  Size of the original etching, 4 × 6 inches
-  In the Museum of Fine Arts, Boston]
-
-HERCULES SEGHERS is interesting because of his choice of wild,
-rugged mountains for his subject-matter and of his experiments in color
-printing, but as an etcher he is of historical importance only.
-
-JACOB RUYSDAEL displays a knowledge of tree forms and an appreciation
-of their beauty, rare at any time. His work at its best recalls that
-of the great nineteenth century master, Théodore Rousseau, though
-the latter’s few plates show a greater economy of means and an equal
-affection for Nature in her wilder moods. The _Wheat Field_ is one of
-Ruysdael’s most satisfying plates. The sky, with its rolling clouds, is
-simply treated and shows a knowledge and reticence in the use of line
-denied to the greater number of his more laborious contemporaries, who,
-in the main, when they endeavored to “finish” a plate ended by leaving
-it fatigued and stiff.
-
-_Claude Gellée_, called _Claude Lorrain_, is the one seventeenth
-century French landscape etcher. Born in the year 1600 in the Diocese
-of Toul and the Duchy of Lorraine (whence he derives the name by which
-he is best known), early orphaned, at the age of thirteen, after a
-varied and picturesque boyhood, journeyed to Rome, thence to Naples,
-and later to Venice. In 1627 he settled permanently in Rome, where he
-remained until his death in 1682.
-
-His etchings are the fruit of that indefatigable study of nature
-which he pursued almost until the day of his death. Heedless of
-fatigue, he would spend day after day, from sunrise until nightfall,
-noting every phase of dawn, the glory of sunrise, or the majesty of
-the sunset hours. For him the modest nook held no charm and exerted
-no fascination. He chose for his theme Nature in her more spacious
-aspects--wide-stretching horizons and deep overarching skies, with
-clumps of stately trees, between and beyond which are to be seen
-castle-crowned hills, or a half-ruined temple, the relic of Imperial
-Rome, a passionate love for which burned with a steady flame in Claude,
-more Roman than the Romans themselves in his worship of the Eternal
-City and all that could recall her vanished glory.
-
-Claude’s paintings are to be seen in nearly every European gallery
-of importance, but his etchings are seldom met with. Really fine
-impressions (by which alone they can be judged) are unfortunately very
-rare. His work would seem to divide itself into two periods: 1630 to
-1637, and 1662 and 1663. It is to the earlier period that his finest
-work belongs, the later plates being heavy and stiff in treatment.
-Claude’s etchings show none of that economy and suggestiveness of line
-which make of Rembrandt’s most summary sketch a continuous stimulus and
-delight. They are highly wrought pictures, as carefully and lovingly
-finished in all details as are the paintings themselves. Etching,
-dry-point, the burnisher, and a tone produced by roughening the surface
-of the plate with pumice-stone or some similar material, all are called
-into play to produce a harmonious result, and of their kind there is
-nothing finer.
-
-The _Dance Under the Trees_ shows Claude in his most purely pastoral
-vein--classic pastoral--seen through Virgilian eyes and interpreted in
-the spirit of the Eclogues. It is carefully composed and beautifully
-drawn; and if, to our more modern taste, there seems a little too
-obvious an “arrangement,” with the two vistas balancing one another at
-the right and left of the central group of trees, we must remember that
-landscape, no less than literature or costume, has its fashions, and
-that, in Claude’s time, balance and proportion were esteemed of greater
-value than the freedom and spontaneity which we today, more insistent
-on the individual note, esteem the chief charm of etching.
-
-_Le Bouvier_, etched in 1636, is accounted Claude’s masterpiece.
-“For technical quality of a certain delicate kind it is the finest
-landscape etching in the world. Its transparency and gradation have
-never been surpassed.”[13] It is the work of a real nature lover and
-true poet, and sums up in a few square inches all that is best of
-Claude’s art when it has shaken itself free from the “set scene” and
-theatricalities. Technically it is not less admirable. The copper has
-been caressed, so to speak, with the needle, until it responds by
-yielding all those elusive half lights and luminous shadows which play
-among the leaves of the noble trees to the left, while on the right
-the landscape fairly swims in light and air. For this same quality of
-sunlight Claude tries again and again in his etchings, in _Sunrise_
-with complete success. When he essays to interpret Nature in her
-sterner moods, as in the _Flock in Stormy Weather_ (his one plate of
-the year 1651), he is far less happy. The clouds, which should be heavy
-with rain, are unconvincing, though the suggestion of movement in the
-trees is excellent, and in no other plate has he treated architecture
-with a firmer touch or in a more picturesque manner.
-
-[13] Etching and Etchers. By Philip Gilbert Hamerton. London; Macmillan
-& Co. 1868. p. 178.
-
-After the middle of the seventeenth century, etching, as an original,
-creative art, is increasingly neglected for almost two hundred years,
-though it grows in popularity as an easy and expeditious mode of
-“forwarding” a plate to be finished with the burin.
-
-  [Illustration: CLAUDE LORRAIN. LE BOUVIER
-  Size of the original etching, 5⅛ x 7¾ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: CHARLES JACQUE. TROUPEAU DE PORCS
-  Size of the original etching, 5⅛ × 8½ inches
-  In the Museum of Fine Arts, Boston]
-
-To CHARLES JACQUE, in the early “forties,” belongs the honor of having
-restored etching to its proper and legitimate place as a suggestive and
-linear art. His method is based on a thorough understanding of its
-limitations and qualities as exemplified by Rembrandt and his lesser
-contemporaries in Holland; and both by his work (he has left between
-five and six hundred plates) and by his influence, he is the father of
-the nineteenth century revival of etching, not only in France, where
-its possibilities were appreciated at once by the Romantic group and
-the “Men of 1830,” but in England, through Seymour Haden and Whistler.
-
-Charles Jacque was born in Paris on May 23, 1813, and to the last
-(he died at the ripe age of 81, in the year 1894) he retained, in
-country life, something of the city man’s point of view, the love of
-the “picturesque,” the anecdotic, in marked contrast to his greater
-contemporary, Jean-François Millet, whose few etchings form an epic of
-the soil even more powerful than his paintings. For all that, Jacque is
-a true etcher, working along the soundest lines and safest traditions.
-He is unequal: his work suffers at times from a hankering for “finish”;
-but at his best his little plates are delightfully suggestive, every
-line being there for a purpose, and not a line too much.
-
-Up to 1848 he had completed some three hundred etchings and dry-points,
-and it is among this group that many “masterpieces in little” are to
-be found. It would be hard to find a better model of style than the
-_Wheat Field_. The print is scarcely larger than a visiting card, but
-it conveys a sense of spaciousness and “out of doors” sadly lacking
-in many a painting in full color and of a hundred times its size. The
-_Truffle Gatherers_ is likewise of modest size, but the landscape with
-its leafless trees is full of air, and the sense of life and movement,
-as well as the effective composition of the “rooters” accompanied by
-their herdsman, is, from many points of view, unexcelled.
-
-The _Storm--Landscape with a White Horse_ is one of Jacque’s
-finest interpretations of wind and rough weather. This dry-point,
-unfortunately very rare, recalls the work of Rembrandt in his mature
-period. The sky, slashed with driving showers, the trees swayed this
-way and that by the gusty wind, the white horse with legs firmly
-braced, its mane and tail matted by the rain against its neck and
-flank, all combine to heighten and intensify the effect.
-
-Younger than Jacque by four years (he was born February 15, 1817),
-CHARLES-FRANÇOIS DAUBIGNY differs from him in that it is the lyric, the
-spiritual aspect of nature, rather than the incidental and picturesque
-details of country life, which moved him.
-
-  [Illustration: CHARLES JACQUE. STORM--LANDSCAPE WITH A WHITE HORSE
-  Size of the original dry-point, 6⅜ × 8⅜ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: CHARLES-FRANÇOIS DAUBIGNY. DEER IN A WOOD
-  Size of the original etching, 6⅜ × 4⅜ inches
-  In the Museum of Fine Arts, Boston]
-
-None of the other Barbizon men has so successfully interpreted the
-freshness of early morning, the sparkle of sunrise on tender
-young leaves or dew-bespangled grass, the tranquility of the quiet
-pool hidden in the depth of the forest. His first plate, etched in
-collaboration with his friend Meissonier, is dated 1838, and all
-through the “forties” Daubigny continued to etch either original
-motives or such as were commissioned by editors for the embellishment
-of various publications, in many cases poems and songs of a pastoral
-nature. It is, however, to the following decade that his finest work
-belongs--a series of little masterpieces which, in their way, remain
-unequalled. His plates, small in size, are as carefully worked out
-as those of Claude but with a truer feeling for the elusive charm of
-still, untroubled places. Later his style grows broader and bolder.
-Less is actually said, more is suggested. There is a freedom in his
-line work which these etchings of his middle period had hardly led us
-to expect but for which, in truth, they were the finest preparation. He
-has learned to eliminate the non-essential; and in etching the _art of
-omission_ is the supreme virtue.
-
-One of the most suggestive plates of his middle period is _Deer in a
-Wood_. The treatment is perfectly simple and straightforward, truly
-linear, as all good etching should be, but the spirit of the scene
-is captured and portrayed in these few, seemingly careless, lines.
-_Deer Coming Down to Drink_ is another altogether delightful plate in
-the same series. The early morning air is vibrant with the glory of
-sunrise, and the little leaves clap their hands in joy.
-
-“Has it not often occurred to you, in your explorations as a tourist,
-to see suddenly open before you a break in the landscape, a little
-valley, calm, in repose, full of elegant and tranquil forms, of
-discreet and harmonious colors, of softened shadows and lights,
-bordered by hillsides with rounded and retiring forms and where no
-step seems to have troubled the poetic silence? A pond, placed there
-like a mirror, reflects the picture, and bears on its cup-like edge
-sheaves of rushes, coltsfoot, arrow-heads, water-strawberries and the
-white and yellow flowers of the water lily, amid which swarm a buzzing
-world of insects and gnats.... As you approach, some heron, occupied
-in dressing its plumage, flies off, snapping its beak; the snipe runs
-away, piping its little cry; then everything falls again into silence,
-and the valley, welcoming you as its guest, takes up under your eyes
-its mysterious work.”[14] All this and more Daubigny gives us by his
-art.
-
-[14] Count Clément de Ris. L’Artiste. June, 1853.
-
-  [Illustration: CHARLES-FRANÇOIS DAUBIGNY. DEER COMING DOWN TO DRINK
-  Size of the original etching, 6⅛ × 4⅝ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: CHARLES-FRANÇOIS DAUBIGNY. MOONLIGHT ON THE BANKS OF
-  THE OISE
-  Size of the original etching, 4⅜ × 6½ inches
-  In the Museum of Fine Arts, Boston]
-
-Daubigny’s success as a painter, the constantly increasing demand for
-his work, left him little time, as years went by, for etching. “If
-only I could paint a picture that _wouldn’t_ sell,” he once said in
-sheer desperation, and, momentarily, his superb renderings of the
-mystery of evening and night accomplished his object, though now they
-are jealously guarded in some of the world’s finest collections. But
-to _etch_ night, to _suggest_ moonlight--there was a problem indeed!
-Whistler in his “Nocturnes” paints, so to speak, on his plate with
-printer’s ink. Daubigny relies on lines alone, to produce his result.
-“_Night cannot be etched_” is the dictum of more than one authority.
-No, nor sunlight either, nor clouds! None of these things can be
-pictured so that blind eyes can see them. But to those who will meet
-the etcher half way, who are content with a suggestion and are capable
-of reconstructing from it the artist’s mood, these simple linear plates
-of Daubigny’s last period are a revelation and a delight. _Moonlight
-on the Banks of the Oise_ measures scant four by six inches, yet what
-a feeling of space there is in it! Only a born etcher could have
-succeeded by means so simple, and seemingly inadequate, in capturing
-the very spirit of such a scene.
-
-Corot’s etched work comprises fourteen plates. It was not until 1845,
-when he was in his fiftieth year, that he made his first experiment.
-“Corot took a prepared copper-plate and drew in the outlines and masses
-of the well-known _Souvenir of Tuscany_, but did not proceed to the
-‘biting in’ process. Some years later Félix Bracquemond discovered the
-plate in a nail-box at Corot’s studio and begged the master to complete
-it, offering to take charge of the ‘biting in.’ Corot then took the
-plate and added the tones and details of the final state.... There was
-something in the use of mordants and acids that seemed to frighten
-Corot, and he always called in some good friend such as Bracquemond,
-Michelin or Delaunay to assist in this delicate process.”[15]
-
-[15] Le Père Corot. By Robert J. Wickenden. The Print-Collector’s
-Quarterly. Vol. 2, No. 3. p. 382.
-
-In etching his method is as personal as in his painting. He entirely
-disregards all the accepted canons of the art. Line, _as line_, hardly
-exists in his plates; it is scribble, scribble, everywhere. The tree
-trunks, the rocks, foreground and distance, often the foliage itself,
-all are as “wrong as wrong can be,” so far as accurate representation
-is concerned. Yet Corot, great artist and great nature poet, can
-transgress every rule and still succeed in conveying his message. In
-the best of his etchings he _does_ succeed admirably. _Souvenir of
-Italy_ and _Environs of Rome_ of 1865 (Corot was then nearly seventy
-years of age) are among the most interesting prints of the period. In
-these plates, and others like them, Corot has given free rein to his
-poetic and imaginative powers and has drawn upon his memory of the
-Italy of his youth. In method, in their disregard of line, form
-and texture, they are shining examples of what etching should _not_
-be. In decorative quality, poetic suggestion, and sentiment they are
-altogether delightful.
-
-  [Illustration: CAMILLE COROT. SOUVENIR OF ITALY
-  Size of the original etching, 11⅝ × 8⅝ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: JEAN-FRANÇOIS MILLET. THE GLEANERS
-  Size of the original etching, 7½ × 10 inches
-  In the Museum of Fine Arts, Boston]
-
-In MILLET’S etchings the landscape and the figures are so inter-related
-as to make any separate study of them unavailing. They are models of
-significant draughtsmanship and profound feeling, in which nothing
-is introduced that does not bear directly upon the main theme.
-_Shepherdess Knitting_, _Peasants Going to Work_, _Two Men Digging_,
-and above all the _Gleaners_, have each their perfect setting. The
-wide-stretching plain, slightly undulating, shimmers in the hot summer
-sunshine, which bathes in a golden glow the three women gleaning, the
-harvesters gathering in the rich fruits of their toil, and the little
-village, snuggling amid its trees in the far distance to the right.
-
-Etchers, like poets, are “born, not made.” But, as also in the case
-of poets, natural gifts will avail little if they are not reinforced
-by that capacity for taking infinite pains, through which alone a man
-may so master his medium as to shape it readily to his artistic needs.
-The etched work of SEYMOUR HADEN is no chance happening. It is the
-fruit of close and analytical study, by a man of forceful character
-and scientific attainments, of the best model of style, the etchings
-of Rembrandt; supplemented by a familiarity with the work of his
-contemporaries in France, the land of clear and logical thinking; and
-in no art is clarity and brevity of speech more essential than in
-etching. From the beginning, Seymour Haden was in possession of all
-his powers, both in etching and in dry-point. There is no uncertainty
-in that which he wishes to say, no fumbling in his manner of saying
-it. The reticences and half-hesitations of Daubigny are not for him;
-there is no place for Corot’s scribbled poetry. He will give us a
-strong man’s interpretation of the lovely English landscape, in which
-he takes a pride, as in any other personal possession--God’s visible
-and abounding bounty to a superior people. It is “the bones of things”
-(his own phrase) that he wishes, above all else, to give. At his best
-he succeeds magnificently, but in much of his work, structurally fine
-though it be, it is the frame rather than the spirit that he portrays.
-
-  [Illustration: SEYMOUR HADEN. CARDIGAN BRIDGE
-  Size of the original etching, 4½ × 5⅞ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: SEYMOUR HADEN. BY-ROAD IN TIPPERARY
-  Size of the original etching, 7½ × 11¼ inches]
-
-  [Illustration: SEYMOUR HADEN. SUNSET IN IRELAND
-  Size of the original dry-point, 5⅜ × 8½ inches
-  In the Museum of Fine Arts, Boston]
-
-  [Illustration: SEYMOUR HADEN. SAWLEY ABBEY
-  Size of the original etching, 10 × 14⅞ inches
-  In the Collection of the Author]
-
-_A Water Meadow_ (incidentally, a plate which the artist himself liked)
-is a fine transcript of a sudden shower in the Hampshire lowlands. It
-is bold and painter-like, admirable from every point of view, though
-some may prefer _On the Test_, with its truly noble sky, etched later
-in the day from a somewhat different point of view. _Cardigan Bridge_
-is a model of what a sketch should be, free, suggestive, spontaneous,
-yet full of knowledge. It is one of five similar plates, etched
-in a single day, August 17, 1864, a “good day” indeed, such as rarely
-comes to etchers or to painters! The more one sees of modern etching,
-the more one is inclined to value work of this order. It is so easy,
-so fatally easy, to make wriggles in the water and scribbles in the
-sky; but to suggest, by these seeming careless loops and latchets, the
-flow of the river, the movement of clouds, the splendor of the setting
-sun--_that_ indeed is another matter! Yet all this, and more, Seymour
-Haden has done in a magisterial manner.
-
-_By-road in Tipperary_ is the largest and most highly prized of his
-woodland plates and well deserves the reputation it so long has
-enjoyed. Structurally the trees are very fine, both as to branch and
-stem drawing; and, as in the two plates of _Kensington Gardens_, the
-suggestion of foliage with the light filtering through the leaves is
-quite beautiful. _Sunset in Ireland_ is a plate which the artist,
-the collector, and the general public all unite in praising. “_That_
-is the plate,” said Seymour Haden, shortly before his death, “which,
-in years to come, will fetch the enormous prices!” And his prophecy
-has come true. Both in its earlier states, less rich in burr, with a
-luminous evening effect, and in the later and darker impressions, it is
-“a thing of beauty”--one of the most remarkable landscape plates of
-modern times, wherein the artist has captured, for once, all the poetry
-and melancholy sentiment of the twilight hour. _Sawley Abbey_, on the
-River Ribble in Lancashire, has, to some of us, however, a “swing” and
-pattern, which make of it a better and more manly plate. It must be
-seen in an early state to be adequately judged. For some inexplicable
-reason the artist saw fit later to “clean up” the sky and all the
-foreground to the right, leaving the plate cold, empty, and almost
-meaningless.
-
-_Nine Barrow Down_, a dry-point, is in Haden’s happiest vein. It is
-instinct with that priceless quality, the “art which conceals art,” and
-is so seeming simple that one may readily forget that its “simplicity”
-is the result of a most rigid selection of the essential lines, guided
-by the knowledge of a lifetime.
-
-There is a growing tendency among the younger and more “advanced”
-collectors to belittle Seymour Haden and his work. Unquestionably there
-are many etchings which fall far short of his best; but _at his best_,
-in the dozen or two plates of which he himself approved, he towers far
-above any of his contemporaries, and there seems little likelihood of
-his supremacy in landscape being seriously threatened.
-
-  [Illustration: J. A. McN. WHISTLER. ZAANDAM (First State)
-  Size of the original etching, 5⅛ × 8⅝ inches
-  In the Collection of Howard Mansfield, Esq.]
-
-  [Illustration: REMBRANDT. VIEW OF AMSTERDAM FROM THE EAST
-  Size of the original etching, 4⅛ × 5⅞ inches
-  In the Museum of Fine Arts, Boston]
-
-WHISTLER, “the greatest etcher and the most accomplished
-lithographer who ever lived” (according to Mr. Joseph Pennell),
-seems to have interested himself in landscape hardly at all. Not even
-his most ardent disciples would assert that the master’s few purely
-landscape plates contribute greatly to the pyramid of his fame. But
-even here one must tread softly. _Whistlerium tremens_ is still a
-highly contagious disease; and has not his official biographer written
-“All his work is alike perfect”? How then may a modest lecturer presume
-to praise or compare? Let Mr. Pennell speak: “Look at Rembrandt’s
-prints made, I do not know whether with Amsterdam or Zaandam in the
-background, and then at Whistler’s of the same subjects. Rembrandt drew
-and bit and printed these little plates as no one had up to his time.
-But Whistler is as much in advance of Rembrandt as that great artist
-was of his predecessors. In these little distant views of absolutely
-the same subject, Whistler has triumphed. It is not necessary to
-explain how: you have only to see the prints to know it.... The older
-master is conservative and mannered; the modern master, respecting all
-the great art of the past, is gracious and sensitive, and perfectly
-free.”
-
-“You have only to see the prints to know it.” Well, let us look at
-two of them: Rembrandt’s _View of Amsterdam_, of 1640, and Whistler’s
-_Zaandam_. “Why drag in Velasquez?” the master of the gentle art of
-making enemies is reported to have said, upon one historic occasion.
-This time, so far as landscape etching is concerned, may it not be
-Rembrandt’s turn to say, “Why drag in Whistler?”
-
-
-LANDSCAPE ETCHING
-
-BIBLIOGRAPHY
-
- FINE PRINTS. _By Frederick Wedmore._ 15 illustrations. Edinburgh: John
- Grant. 1905.
-
- THE GREAT PAINTER-ETCHERS FROM REMBRANDT TO WHISTLER. _By Malcolm C.
- Salaman. Edited by Charles Holme._ 191 illustrations. London, Paris,
- New York: The Studio. 1914.
-
- FOUR MASTERS OF ETCHING. [Haden, Jacquemart, Whistler, Legros.] _By
- Frederick Wedmore._ Original etchings by Haden, Jacquemart, Whistler,
- and Legros. London: Fine Art Society. 1883.
-
- DUTCH ETCHERS OF THE SEVENTEENTH CENTURY. _By Laurence Binyon._ 4
- reproductions and 29 text illustrations. London: Seeley & Co. 1895.
- (Portfolio Artistic Monographs. No. 21.)
-
-
- ALTDORFER, ALBRECHT (c. 1480-1538)
-
- ALBRECHT ALTDORFER. _By T. Sturge Moore. Edited by Laurence Binyon._
- 25 illustrations. New York: Longmans, Green & Co.; London: The Unicorn
- Press. 1901.
-
- ALBRECHT ALTDORFERS LANDSCHAFTS RADIERUNGEN. _Edited by Max J.
- Friedländer._ 9 reproductions and 1 text illustration. Berlin: Bruno
- Cassirer. 1906. (Graphische Gesellschaft. Publication 3.)
-
- ALBRECHT ALTDORFER AND WOLF HUBER. _By Hermann Voss._ 160
- reproductions on 63 plates. Leipzig: Klinkhardt & Biermann. 1910.
- (Meister der Graphik. Vol. 3.)
-
-
- GELLÉE, CLAUDE, called LORRAIN (1600-1682)
-
- CLAUDE LORRAIN; PAINTER AND ETCHER. _By George Graham._ 4
- reproductions and 23 text illustrations. London: Seeley & Co. 1895.
- (The Portfolio Artistic Monographs.)
-
-
- REMBRANDT HARMENSZ VAN RIJN (See also Bibliography under “Some Masters
- of Portraiture,” p. 224.)
-
- REMBRANDT’S LANDSCAPE ETCHINGS. _By Laurence Binyon._ 8 illustrations.
- The Print-Collector’s Quarterly, Vol. 2, No. 4, pp. 407-432. Boston.
- 1912.
-
-
- JACQUE, CHARLES ÉMILE (1813-1894)
-
- L’OEUVRE DE CH. JACQUE; CATALOGUE DE SES EAUX-FORTES ET POINTES
- SÈCHES. _By Jules Marie Joseph Guiffrey._ With an original etching.
- Paris: Mlle. Lemaire. 1866.
-
- ----. NOUVELLES EAUX-FORTES ET POINTES SÈCHES. Supplement au
- catalogue. Paris: Jouaust & Sigaux. 1884.
-
- CHARLES JACQUE. _By Robert J. Wickenden._ 18 illustrations. The
- Print-Collector’s Quarterly, Vol. 2, No. 1, pp. 74-101. Boston. 1912.
-
- ---- ----. Reprinted. Boston: Houghton Mifflin Co. 1914.
- (Print-Collectors’ Booklets.)
-
-
- DAUBIGNY, CHARLES FRANCOIS (1817-1878)
-
- C. DAUBIGNY ET SON OEUVRE GRAVÉ. _By Frédéric Henriet._ 5 original
- etchings and 4 reproductions. Paris: A. Levy. 1875.
-
- DAUBIGNY. _By Jean Laran._ 48 reproductions. Paris: Librairie centrale
- des Beaux-Arts. n. d. (L’Art de Notre Temps.)
-
- CHARLES-FRANÇOIS DAUBIGNY; PAINTER AND ETCHER. _By Robert J.
- Wickenden._ 15 illustrations. The Print-Collector’s Quarterly, Vol. 3,
- No. 2, pp. 177-206. Boston. 1913.
-
- ---- ----. Reprinted. Boston: Houghton Mifflin Co. 1914.
- (Print-Collectors’ Booklets.)
-
-
- COROT, JEAN BAPTISTE CAMILLE (1796-1875)
-
- COROT. _By Loys Delteil._ An original etching and 102 reproductions.
- Paris: L’auteur. 1910. (Le peintre-graveur illustré, XIXᵉ et XXᵉ
- siècles. Vol. 5.)
-
- COROT AND MILLET. _With critical essays by Gustave Geffroy and Arsène
- Alexandre. Edited by Charles Holme._ 120 illustrations. London, Paris,
- New York: John Lane. 1902. (The Studio.)
-
- “LE PÈRE COROT.” _By Robert J. Wickenden._ 9 illustrations. The
- Print-Collector’s Quarterly, Vol. 2, No. 3, pp. 365-386. Boston. 1912.
-
- ---- ----. Reprinted. Boston: Houghton Mifflin Co. 1914.
- (Print-Collectors’ Booklets.)
-
-
- MILLET, JEAN-FRANÇOIS (1814-1875)
-
- JEAN-FRANÇOIS MILLET. _By Arsène Alexandre._ THE ETCHINGS OF J. F.
- MILLET. _By Frederick Keppel._ 85 illustrations. London and New York:
- John Lane. 1903. (The Studio.)
-
- JEAN-FRANÇOIS MILLET. _By Loys Delteil._ Illustrated. Paris: L’auteur.
- 1906. (Le peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. I.)
-
- ALFRED LEBRUN’S CATALOGUE OF THE ETCHINGS, HELIOGRAPHS, LITHOGRAPHS
- AND WOODCUTS DONE BY JEAN-FRANÇOIS MILLET. _Translated from the French
- by Frederick Keppel._ With additional notes and a sketch of the
- artist’s life. 7 reproductions. New York: Frederick Keppel & Co. 1887.
-
- JEAN-FRANÇOIS MILLET; PAINTER-ETCHER. _By Mrs. Schuyler Van
- Rensselaer._ With a biographical sketch of Millet by Frederick Keppel.
- 11 illustrations. New York: Frederick Keppel & Co. 1901. (The Keppel
- Booklets. 1st series.)
-
- THE ART AND ETCHINGS OF JEAN-FRANÇOIS MILLET. _By Robert J.
- Wickenden._ 14 illustrations. The Print-Collector’s Quarterly, Vol. 2,
- No. 2, pp. 225-250. Boston. 1912.
-
- ---- ----. Reprinted. Boston: Houghton Mifflin Company. 1914.
- (Print-Collectors’ Booklets.)
-
- MILLET’S DRAWINGS IN THE MUSEUM OF FINE ARTS, BOSTON. _By Robert J.
- Wickenden._ 11 illustrations. The Print-Collector’s Quarterly, Vol. 4,
- No. 1, pp. 3-30. Boston. 1914.
-
-
- HADEN, FRANCIS SEYMOUR (1818-1910)
-
- A DESCRIPTIVE CATALOGUE OF THE ETCHED WORK OF FRANCIS SEYMOUR HADEN.
- _By Sir William Richard Drake._ London: Macmillan & Co. 1880.
-
- THE ENGRAVED WORK OF SIR FRANCIS SEYMOUR HADEN, P. R. E. _By H. Nazeby
- Harrington._ 250 reproductions on 109 plates. Liverpool: Henry Young &
- Sons. 1910.
-
- THE WATER-COLORS AND DRAWINGS OF SIR SEYMOUR HADEN, P. R. E. _By H.
- Nazeby Harrington._ 8 illustrations. The Print-Collector’s Quarterly,
- Vol. 1, No. 4, pp. 405-419. Boston. 1911.
-
- SIR SEYMOUR HADEN, PAINTER-ETCHER. _By Frederick Keppel._ 5
- illustrations. New York: Frederick Keppel & Co. 1901. (The Keppel
- Booklets. 1st series.)
-
- PERSONAL CHARACTERISTICS OF SIR SEYMOUR HADEN, P. R. E. _By Frederick
- Keppel._ 27 illustrations. The Print-Collector’s Quarterly. 2 parts.
- Part I. Vol. 1, No. 3, pp. 291-316. Part II. Vol 1, No. 4, pp.
- 421-442. Boston. 1911.
-
-
- WHISTLER, JAMES ABBOTT McNEILL
-
- THE ETCHED WORK OF WHISTLER. ILLUSTRATED BY REPRODUCTIONS IN
- COLLOTYPE OF THE DIFFERENT STATES OF THE PLATES. _Compiled, arranged,
- and described by Edward G. Kennedy. With an introduction by Royal
- Cortissoz._ 1002 reproductions. New York: The Grolier Club. 1910.
-
- A DESCRIPTIVE CATALOGUE OF THE ETCHINGS AND DRYPOINTS OF JAMES ABBOTT
- McNEILL WHISTLER. _By Howard Mansfield._ 1 portrait. Chicago: Caxton
- Club. 1909.
-
- WHISTLER AS A CRITIC OF HIS OWN PRINTS. _By Howard Mansfield._ 12
- illustrations. The Print-Collector’s Quarterly, Vol. 3, No. 4, pp.
- 367-393. Boston. 1913.
-
- THE LIFE OF JAMES McNEILL WHISTLER. _By Elizabeth Robins Pennell and
- Joseph Pennell._ 97 illustrations. 5th edition. Philadelphia: J. B.
- Lippincott Company. 1911.
-
- MR. WHISTLER’S LITHOGRAPHS; THE CATALOGUE. _By Thomas R. Way._ 1
- lithograph. London: George Bell & Sons. 1896.
-
- WHISTLER’S LITHOGRAPHS. _By Thomas R. Way._ 18 illustrations. The
- Print-Collector’s Quarterly, Vol. 3, No. 3, pp. 279-309. Boston. 1913.
-
- THE LITHOGRAPHS BY WHISTLER, ILLUSTRATED BY REPRODUCTIONS IN
- PHOTOGRAVURE AND LITHOGRAPHY, ARRANGED ACCORDING TO THE CATALOGUE
- BY THOMAS R. WAY, WITH ADDITIONAL SUBJECTS NOT BEFORE RECORDED. 166
- reproductions. New York: Kennedy & Co. 1914.
-
- THE ART OF JAMES McNEILL WHISTLER. _By T. R. Way and G. R. Dennis._ 11
- portraits and 41 plates. London: George Bell & Sons. 1904.
-
- WHISTLER’S ETCHINGS; A STUDY AND A CATALOGUE. _By Frederick Wedmore._
- London: A. W. Thibaudeau. 1886.
-
- ----. Same. 2nd edition. London: P. & D. Colnaghi & Co. 1899.
-
- THE GENTLE ART OF MAKING ENEMIES. _By J. A. McN. Whistler._ London:
- William Heinemann. 1890.
-
- ----. Same. 2nd edition. 1892.
-
- ----. Same. 3rd edition. 1904.
-
- THE GENTLE ART OF MAKING ENEMIES. _Edited by Sheridan Ford._ Paris:
- Delabrosse & Compagnie. 1890.
-
-
- CAMERON, DAVID YOUNG (1865- )
-
- D. Y. CAMERON; AN ILLUSTRATED CATALOGUE OF HIS ETCHED WORK; WITH AN
- INTRODUCTORY ESSAY AND DESCRIPTIVE NOTES ON EACH PLATE. _By Frank
- Rinder._ 444 reproductions. Glasgow: J. MacLehose & Sons. 1912.
-
- CAMERON’S ETCHINGS; A STUDY AND A CATALOGUE. _By Frederick Wedmore._
- London: R. Gutekunst. 1903.
-
-
- BONE, MUIRHEAD (1876- )
-
- ETCHINGS AND DRYPOINTS BY MUIRHEAD BONE. _By Campbell Dodgson._
- Portrait. London: Obach & Co. 1909.
-
-
-
-
-                         Transcriber’s Notes:
-
-  Italics are shown thus: _sloping_.
-
-  Small capitals have been capitalised.
-
-  Variations in spelling and hyphenation are retained.
-
-  Punctuation has been retained as published.
-
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-<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Engravers and Etchers, by Fitzroy Carrington</p>
-<div style='display:block; margin:1em 0'>
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-are not located in the United States, you will have to check the laws of the
-country where you are located before using this eBook.
-</div>
-
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Engravers and Etchers</p>
-<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>Six Lectures Delivered on the Scammon Foundation at the Art Institute of Chicago, March 1916</p>
-  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Fitzroy Carrington</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Release Date: November 30, 2021 [eBook #66848]</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>
-  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Charlene Taylor, Alan 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.)</p>
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK ENGRAVERS AND ETCHERS ***</div>
-
-<div class="figcenter">
-<img src="images/cover.jpg" alt="" />
-</div>
-
-
-<h1>ENGRAVERS AND ETCHERS</h1>
-
-<div class="figcentera" id="f1">
-<img src="images/fig1.jpg" alt="" />
-<p class="caption">MASTER OF THE AMSTERDAM CABINET. TWO LOVERS</p>
-<p class="c">Size of the original engraving, 6½ × 4⅛ inches<br />
-In the Ducal Collection, Coburg</p>
-</div>
-
-
-
-
-
-
-<p class="c xxxlarge gesperrt">
-ENGRAVERS</p>
-
-<p class="c">AND</p>
-
-<p class="c xxxlarge gesperrt">ETCHERS</p>
-
-
-
-<p class="c little p4">
-SIX LECTURES DELIVERED ON THE SCAMMON FOUNDATION<br /><br />
-AT THE ART INSTITUTE OF CHICAGO, MARCH 1916</p>
-
-<p class="c little p4">
-BY</p>
-
-<p class="c xlarge">
-FITZROY CARRINGTON, M. A.</p>
-
-<p class="c more">
-CURATOR OF PRINTS AT THE MUSEUM OF FINE ARTS,<br />
-BOSTON; LECTURER ON THE HISTORY AND PRINCIPLES<br />
-OF ENGRAVING AT HARVARD UNIVERSITY; EDITOR OF<br />
-“THE PRINT-COLLECTOR’S QUARTERLY”</p>
-
-<p class="c p4">
-WITH 133 ILLUSTRATIONS</p>
-
-<div class="figcenterb">
-<img src="images/fig2.jpg" alt="" />
-</div>
-
-<p class="c">
-THE ART INSTITUTE OF CHICAGO<br />
-1917
-</p>
-
-
-<p class="c more p4">
-COPYRIGHT 1917</p>
-
-<p class="c">
-THOMSEN-BRYAN-ELLIS COMPANY</p>
-
-<p class="c more p4">
-DESIGNED AND PUBLISHED BY</p>
-
-<p class="c">
-THOMSEN-BRYAN-ELLIS COMPANY</p>
-
-<p class="c">
-WASHINGTON     <span class="pad">BALTIMORE</span></p>
-
-<p class="c little">
-NEW YORK       <span class="pad2">PHILADELPHIA</span></p>
-
-<p class="c more p4">
-TO THOSE<br />
-WHO HELPED ME MAKE THIS BOOK<br />
-IN GRATEFUL RECOGNITION
-</p>
-
-
-<hr class="full x-ebookmaker-drop" />
-
-<div class="blockquota">
-
-<p class="c"><i>NOTE</i></p>
-
-
-
-<p><i>The lectures presented in this volume comprise
-the twelfth series delivered at the Art Institute
-of Chicago on the Scammon Foundation.
-The Scammon Lectureship is established on
-an ample basis by bequest of Mrs. Maria
-Sheldon Scammon, who died in 1901. The
-will prescribes that these lectures shall be upon
-the history, theory, and practice of the Fine
-Arts (meaning thereby the graphic and plastic
-arts), by persons of distinction or authority
-on the subject on which they lecture, such
-lectures to be primarily for the benefit of the
-students of the Art Institute, and secondarily
-for members and other persons. The lectures
-are known as “The Scammon Lectures.”</i></p>
-</div>
-
-<hr class="full x-ebookmaker-drop" />
-
-<div class="chapter">
-<p class="ph2">CONTENTS</p>
-</div>
-
-<table>
-
-<tr><td class="tdl"></td>
-    <td class="tdr"><span class="more">PAGE</span></td></tr>
-
-<tr><td class="tdc"><i>LECTURE I</i></td></tr>
-
-<tr><td class="tdl"><span class="smcap">German Engraving: From the Beginnings<br />
-                     to Martin Schongauer</span></td>
-    <td class="tdrb"><a href="#l1">13</a></td></tr>
-
-<tr><td class="tdc"><i>LECTURE II</i></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Italian Engraving: The Florentines</span></td>
-    <td class="tdr"><a href="#l2">51</a></td></tr>
-
-<tr><td class="tdc"><i>LECTURE III</i></td></tr>
-
-<tr><td class="tdl"><span class="smcap">German Engraving: The Master of the<br />
-                     Amsterdam Cabinet and Albrecht<br />
-                     Dürer</span></td>
-    <td class="tdrb"><a href="#l3">95</a></td></tr>
-
-<tr><td class="tdc"><i>LECTURE IV</i></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Italian Engraving: Mantegna to Marcantonio<br />
-                     Raimondi</span></td>
-    <td class="tdrb"><a href="#l4">139</a></td></tr>
-
-<tr><td class="tdc"><i>LECTURE V</i></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Some Masters of Portraiture</span></td>
-    <td class="tdr"><a href="#l5">181</a></td></tr>
-
-<tr><td class="tdc"><i>LECTURE VI</i></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Landscape Etching</span></td>
-    <td class="tdr"><a href="#l6">227</a></td></tr>
-
-</table>
-
-
-<hr class="full x-ebookmaker-drop" />
-
-<div class="chapter">
-<p class="ph2">LIST OF ILLUSTRATIONS</p>
-</div>
-
-<table>
-
-<tr><td class="tdl"></td>
-    <td class="tdr"><span class="more">PAGE</span></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Master of the Amsterdam Cabinet.</span> Two Lovers</td>
-    <td class="tdr"><a href="#f1">&nbsp;<i>Frontispiece</i></a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Master of the Playing Cards.</span> St. George</td>
-    <td class="tdr"><a href="#f3">15</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Man of Sorrows</span></td>
-    <td class="tdr"><a href="#f4">16</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Master of the Year 1446.</span> Christ Nailed to the Cross</td>
-    <td class="tdr"><a href="#f5">19</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Master of St. John the Baptist.</span> St. John the
-     Baptist</td>
-    <td class="tdr"><a href="#f6">20</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Master E. S. of 1466.</span> Madonna and Child with Saints<br />
-     Marguerite and Catherine</td>
-    <td class="tdrb"><a href="#f7">23</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Ecstasy of St. Mary Magdalen</span></td>
-    <td class="tdr"><a href="#f8">24</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Design for a Paten</span></td>
-    <td class="tdr"><a href="#f9">27</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">St. John on the Island of Patmos</span></td>
-    <td class="tdr"><a href="#f10">28</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Martin Schongauer.</span> Virgin with a Parrot</td>
-    <td class="tdr"><a href="#f11">31</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Temptation of St. Anthony</span></td>
-    <td class="tdr"><a href="#f12">32</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Death of the Virgin</span></td>
-    <td class="tdr"><a href="#f13">33</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Pilate Washing His Hands</span></td>
-    <td class="tdr"><a href="#f14">34</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">St. John on the Island of Patmos</span></td>
-    <td class="tdr"><a href="#f15">37</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Christ Appearing to the Magdalen</span></td>
-    <td class="tdr"><a href="#f16">38</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Virgin Seated in a Courtyard</span></td>
-    <td class="tdr"><a href="#f17">39</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Angel of the Annunciation</span></td>
-    <td class="tdr"><a href="#f18">40</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">The Miller</span></td>
-    <td class="tdr"><a href="#f19">43</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Censer</span></td>
-    <td class="tdr"><a href="#f20">44</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Master L Cz.</span> Christ Tempted</td>
-    <td class="tdr"><a href="#f21">47</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Christ Entering Jerusalem</span></td>
-    <td class="tdr"><a href="#f22">48</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Anonymous Florentine, XV Century.</span> Profile Portrait<br />
-     <span class="pad3">of a Lady</span></td>
-    <td class="tdrb"><a href="#f23">53</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Wild Animals Hunting and Fighting</span></td>
-    <td class="tdr"><a href="#f24">54</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Triumphal Procession of Bacchus and Ariadne</span></td>
-    <td class="tdr"><a href="#f25">57</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Jupiter</span></td>
-    <td class="tdr"><a href="#f26">58</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Mercury</span></td>
-    <td class="tdr"><a href="#f27">63</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Lady with a Unicorn</span></td>
-    <td class="tdr"><a href="#f28">64</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">The Christian’s Ascent to the Glory of Paradise.</span><br />
-     <span class="pad3">From “Il Monte Sancto di Dio,” Florence, 1477</span></td>
-    <td class="tdrb"><a href="#f29">67</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Dante and Virgil with the Vision of Beatrice.</span><br />
-     <span class="pad3">From the “Divina Commedia,” Florence, 1481</span></td>
-    <td class="tdrb"><a href="#f30">68</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Assumption of the Virgin (After Botticelli)</span></td>
-    <td class="tdr"><a href="#f31">71</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Triumph of Love. From the Triumphs of Petrarch</span></td>
-    <td class="tdr"><a href="#f32">72</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Triumph of Chastity. From the Triumphs of Petrarch</span></td>
-    <td class="tdr"><a href="#f33">75</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Libyan Sibyl</span></td>
-    <td class="tdr"><a href="#f34">76</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Anonymous North Italian, XV Century.</span> The<br />
-<span class="pad3">Gentleman. From the Tarocchi Prints (E Series)</span></td>
-    <td class="tdrb"><a href="#f35">79</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Clio. From the Tarocchi Prints (S Series)</span></td>
-    <td class="tdr"><a href="#f36">80</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">The Sun. From the Tarocchi Prints (E Series)</span></td>
-    <td class="tdr"><a href="#f37">83</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Angel of the Eighth Sphere. From the Tarocchi</span><br />
-<span class="pad3">Prints (E Series)</span></td>
-    <td class="tdrb"><a href="#f38">84</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Cristofano Robetta.</span> Adoration of the Magi</td>
-    <td class="tdr"><a href="#f39">87</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Antonio Pollaiuolo.</span> Battle of Naked Men</td>
-    <td class="tdr"><a href="#f40">88</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Master of the Amsterdam Cabinet.</span> Ecstasy of St.<br />
-<span class="pad3">Mary Magdalen</span></td>
-    <td class="tdrb"><a href="#f41">97</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Crucifixion</span></td>
-    <td class="tdr"><a href="#f42">98</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Stag Hunt</span></td>
-    <td class="tdr"><a href="#f43">101</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">St. George</span></td>
-    <td class="tdr"><a href="#f44">102</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Albrecht Dürer.</span> Virgin and Child with the Monkey</td>
-    <td class="tdr"><a href="#f45">107</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Four Naked Women</span></td>
-    <td class="tdr"><a href="#f46">108</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Hercules</span></td>
-    <td class="tdr"><a href="#f47">111</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Anonymous North Italian, XV Century.</span> Death of<br />
-<span class="pad3">Orpheus</span></td>
-    <td class="tdrb"><a href="#f48">112</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Albrecht Dürer.</span> Death of Orpheus</td>
-    <td class="tdr"><a href="#f49">113</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Battle of the Sea-Gods (After Mantegna)</span></td>
-    <td class="tdr"><a href="#f50">114</a></td></tr>
-
-<tr><td class="tdl2">Adam and Eve</td>
-    <td class="tdr"><a href="#f51">117</a></td></tr>
-
-<tr><td class="tdl2">Apollo and Diana</td>
-    <td class="tdr"><a href="#f52">118</a></td></tr>
-
-<tr><td class="tdl2">St. Jerome by the Willow Tree (First State)</td>
-    <td class="tdr"><a href="#f53">121</a></td></tr>
-
-<tr><td class="tdl2">Holy Family</td>
-    <td class="tdr"><a href="#f54">122</a></td></tr>
-
-<tr><td class="tdl2">Knight, Death and the Devil</td>
-    <td class="tdr"><a href="#f55">125</a></td></tr>
-
-<tr><td class="tdl2">Melancholia</td>
-    <td class="tdr"><a href="#f56">126</a></td></tr>
-
-<tr><td class="tdl2">St. Jerome in His Cell</td>
-    <td class="tdr"><a href="#f57">129</a></td></tr>
-
-<tr><td class="tdl2">Virgin Seated Beside a Wall</td>
-    <td class="tdr"><a href="#f58">130</a></td></tr>
-
-<tr><td class="tdl2">Christ in the Garden</td>
-    <td class="tdr"><a href="#f59">133</a></td></tr>
-
-<tr><td class="tdl2">Erasmus of Rotterdam</td>
-    <td class="tdr"><a href="#f60">134</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Andrea Mantegna.</span> Virgin and Child</td>
-    <td class="tdr"><a href="#f61">141</a></td></tr>
-
-<tr><td class="tdl2">Battle of the Sea-Gods</td>
-    <td class="tdr"><a href="#f62">142</a></td></tr>
-
-<tr><td class="tdl2">The Risen Christ Between Saints Andrew and<br />
-              <span class="pad1">Longinus</span></td>
-    <td class="tdrb"><a href="#f63">147</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">School of Andrea Mantegna.</span> Adoration of the Magi</td>
-    <td class="tdr"><a href="#f64">148</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Zoan Andrea</span> (?). Four Women Dancing</td>
-    <td class="tdr"><a href="#f65">151</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Giovanni Antonio da Brescia.</span> Holy Family with<br />
-              <span class="pad3">Saints Elizabeth and John</span></td>
-    <td class="tdrb"><a href="#f66">152</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">School of Leonardo da Vinci.</span> Profile Bust of a Young<br />
-              <span class="pad3">Woman</span></td>
-    <td class="tdr"><a href="#f67">155</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Nicoletto Rosex da Modena.</span> Orpheus</td>
-    <td class="tdr"><a href="#f68">156</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Jacopo de’ Barbari.</span> Apollo and Diana</td>
-    <td class="tdr"><a href="#f69">159</a></td></tr>
-
-<tr><td class="tdl2">St. Catherine</td>
-    <td class="tdr"><a href="#f70">160</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Giulio Campagnola.</span> Christ and the Woman of<br />
-                    <span class="pad3">Samaria</span></td>
-    <td class="tdrb"><a href="#f71">163</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Ganymede (First State)</span></td>
-    <td class="tdr"><a href="#f72">164</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">St. John the Baptist</span></td>
-    <td class="tdr"><a href="#f73">167</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Giulio and Domenico Campagnola.</span> Shepherds in a<br />
-                    <span class="pad3">Landscape</span></td>
-    <td class="tdrb"><a href="#f74">168</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Marcantonio Raimondi.</span> St. George and the Dragon</td>
-    <td class="tdr"><a href="#f75">171</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Bathers</span></td>
-    <td class="tdr"><a href="#f76">172</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">St. Cecelia</span></td>
-    <td class="tdr"><a href="#f77">173</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Death of Lucretia</span></td>
-    <td class="tdr"><a href="#f78">174</a></td></tr>
-
-<tr><td class="tdl"><span class="pad2">Philotheo Achillini (“The Guitar Player”)</span></td>
-    <td class="tdr"><a href="#f79">177</a></td></tr>
-
-<tr><td class="tdl2">Pietro Aretino</td>
-    <td class="tdr"><a href="#f80">178</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Master</span> <img src="images/fig81.jpg" alt="" />. Head of a Young Woman</td>
-    <td class="tdr"><a href="#f82">183</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Albrecht Dürer.</span> Albert of Brandenburg</td>
-    <td class="tdr"><a href="#f83">184</a></td></tr>
-
-<tr><td class="tdl2">Philip Melanchthon</td>
-    <td class="tdr"><a href="#f84">187</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Anthony Van Dyck.</span> Portrait of Himself (First State)</td>
-    <td class="tdr"><a href="#f85">188</a></td></tr>
-
-<tr><td class="tdl2">Frans Snyders (First State)</td>
-    <td class="tdr"><a href="#f86">191</a></td></tr>
-
-<tr><td class="tdl2">Lucas Vorsterman (First State)</td>
-    <td class="tdr"><a href="#f87">192</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Rembrandt.</span> Jan Cornelis Sylvius</td>
-    <td class="tdr"><a href="#f88">195</a></td></tr>
-
-<tr><td class="tdl2">Rembrandt Leaning on a Stone Sill</td>
-    <td class="tdr"><a href="#f89">196</a></td></tr>
-
-<tr><td class="tdl2">Clement de Jonghe (First State)</td>
-    <td class="tdr"><a href="#f90">197</a></td></tr>
-
-<tr><td class="tdl2">Jan Lutma (First State)</td>
-    <td class="tdr"><a href="#f91">198</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Claude Mellan.</span> Virginia da Vezzo</td>
-    <td class="tdr"><a href="#f92">201</a></td></tr>
-
-<tr><td class="tdl2">Fabri de Peiresc</td>
-    <td class="tdr"><a href="#f93">202</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Jean Morin.</span> Cardinal Guido Bentivoglio</td>
-    <td class="tdr"><a href="#f94">205</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Robert Nanteuil.</span> Pompone de Bellièvre</td>
-    <td class="tdr"><a href="#f95">206</a></td></tr>
-
-<tr><td class="tdl2">Basile Fouquet</td>
-    <td class="tdr"><a href="#f96">211</a></td></tr>
-
-<tr><td class="tdl2">Jean Loret</td>
-    <td class="tdr"><a href="#f97">212</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">J. A. McN. Whistler.</span> Annie Haden</td>
-    <td class="tdr"><a href="#f98">215</a></td></tr>
-
-<tr><td class="tdl2">Riault, the Engraver</td>
-    <td class="tdr"><a href="#f99">216</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Anders Zorn.</span> Ernest Renan</td>
-    <td class="tdr"><a href="#f100">219</a></td></tr>
-
-<tr><td class="tdl2">The Toast</td>
-    <td class="tdr"><a href="#f101">220</a></td></tr>
-
-<tr><td class="tdl2">Madame Simon</td>
-    <td class="tdr"><a href="#f102">221</a></td></tr>
-
-<tr><td class="tdl2">Miss Emma Rassmussen</td>
-    <td class="tdr"><a href="#f103">222</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Albrecht Dürer.</span> The Cannon</td>
-    <td class="tdr"><a href="#f104">229</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Augustin Hirschvogel.</span> Landscape</td>
-    <td class="tdr"><a href="#f105">230</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Rembrandt.</span> The Windmill</td>
-    <td class="tdr"><a href="#f106">233</a></td></tr>
-
-<tr><td class="tdl2">Three Trees</td>
-    <td class="tdr"><a href="#f107">234</a></td></tr>
-
-<tr><td class="tdl2">Six’s Bridge</td>
-    <td class="tdr"><a href="#f108">237</a></td></tr>
-
-<tr><td class="tdl2">Landscape with a Ruined Tower and Clear Foreground</td>
-    <td class="tdr"><a href="#f109">238</a></td></tr>
-
-<tr><td class="tdl2">Landscape with a Haybarn and a Flock of Sheep</td>
-    <td class="tdr"><a href="#f110">239</a></td></tr>
-
-<tr><td class="tdl2">Three Cottages</td>
-    <td class="tdr"><a href="#f111">240</a></td></tr>
-
-<tr><td class="tdl2">Goldweigher’s Field</td>
-    <td class="tdr"><a href="#f112">243</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Jacob Ruysdael.</span> Wheat Field</td>
-    <td class="tdr"><a href="#f113">244</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Claude Lorrain.</span> Le Bouvier</td>
-    <td class="tdr"><a href="#f114">249</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Charles Jacque.</span> Troupeau de Porcs</td>
-    <td class="tdr"><a href="#f115">250</a></td></tr>
-
-<tr><td class="tdl2">Storm&mdash;Landscape with a White Horse</td>
-    <td class="tdr"><a href="#f116">253</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Charles-François Daubigny.</span> Deer in a Wood</td>
-    <td class="tdr"><a href="#f117">254</a></td></tr>
-
-<tr><td class="tdl2">Deer Coming Down to Drink</td>
-    <td class="tdr"><a href="#f118">257</a></td></tr>
-
-<tr><td class="tdl2">Moonlight on the Banks of the Oise</td>
-    <td class="tdr"><a href="#f119">258</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Camille Corot.</span> Souvenir of Italy</td>
-    <td class="tdr"><a href="#f120">261</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Jean-François Millet.</span> The Gleaners</td>
-    <td class="tdr"><a href="#f121">262</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Seymour Haden.</span> Cardigan Bridge</td>
-    <td class="tdr"><a href="#f122">265</a></td></tr>
-
-<tr><td class="tdl2">By-Road in Tipperary</td>
-    <td class="tdr"><a href="#f123">266</a></td></tr>
-
-<tr><td class="tdl2">Sunset in Ireland</td>
-    <td class="tdr"><a href="#f124">267</a></td></tr>
-
-<tr><td class="tdl2">Sawley Abbey</td>
-    <td class="tdr"><a href="#f125">268</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">J. A. McN. Whistler.</span> Zaandam (First State)</td>
-    <td class="tdr"><a href="#f126">271</a></td></tr>
-
-<tr><td class="tdl"><span class="smcap">Rembrandt.</span> View of Amsterdam from the East</td>
-    <td class="tdr"><a href="#f127">272</a></td></tr>
-
-</table>
-
-
-<hr class="full x-ebookmaker-drop" />
-
-<div class="chapter">
-<h2>TO THE READER</h2>
-</div>
-
-
-<p>When that most sensitive of American print-lovers,
-the late Francis Bullard, learned that I was
-to deliver at Harvard, each year, a course of lectures
-on the History and Principles of Engraving,
-he wrote me one of those characteristic letters
-which endeared him to his friends, concluding his
-wise counsels with these words: “<i>Nothing original&mdash;get
-it all out of the books</i>.”</p>
-
-<p>In these six lectures I have endeavored to profit
-by his suggestion. In them there is little original:
-most of it <i>is</i> out of the books. Books, however, like
-Nature, are a storehouse from which we draw whatever
-is best suited to our immediate needs; and if
-in choosing that which might interest an audience,
-to the majority of whom engravings and etchings
-were an unexplored country, I have preferred the
-obvious to the profound, I trust that the true-blue
-Print Expert will forgive me. These simple lectures
-make no pretense of being a History of Engraving,
-or a manual of How to Appreciate Prints. My sole
-aim has been to share with my audience the stimulation
-and pleasure which certain prints by the
-great engravers and etchers have given me. If I
-have succeeded, even a little, I shall be happy.
-I would add that the lectures are printed in substantially
-the same form as they were delivered.
-Consequently they must be read in connection with
-the illustrations which accompany them.</p>
-
-<p>The Bibliographies which follow each chapter
-have been prepared by Mr. Adam E. M. Paff,
-Assistant in the Department of Prints at the
-Museum of Fine Arts, Boston.</p>
-
-<p class="rightbit">
-<span class="smcap">FitzRoy Carrington</span></p>
-
-<p class="more">
-<i>Museum of Fine Arts, Boston</i><br />
-<span class="l"><i>June 26, 1916</i></span>
-</p>
-<hr class="full x-ebookmaker-drop" />
-
-
-<p><span class="pagenum" id="Page_13">[Pg 13]</span></p>
-
-<p class="ph3">ENGRAVERS AND ETCHERS</p>
-
-<hr class="r15 x-ebookmaker-drop" />
-
-<div class="chapter">
-<h2 class="nobreak" id="l1">GERMAN ENGRAVING: FROM THE BEGINNINGS<br />
-TO MARTIN SCHONGAUER</h2>
-</div>
-
-
-<p class="drop-cap">WHERE were the beginnings? When were the
-beginnings? Germany, the Netherlands,
-and Italy have each claimed priority. Max Lehrs
-has settled these rival claims, so far as they can be
-settled at the present time, by locating the cradle
-of engraving neither in Germany, in the Netherlands,
-nor in Italy, but in a neutral country&mdash;Switzerland,
-in the vicinity of Basle&mdash;naming the
-<span class="smcap">Master of the Playing Cards</span> as probably the
-earliest engraver whose works have come down to
-us. Undoubtedly this artist was not the first to
-engrave upon metal plates, but of his predecessors
-nothing is known, nor has any example of their
-work survived.</p>
-
-<p>The technical method of the Master of the Playing
-Cards is that of a painter rather than of a goldsmith.
-There is practically no cross-hatching, and
-the effect is produced by a series of delicate lines,
-mostly vertical, laid close together. His plates are
-unsigned and undated, so that we can only approximate
-the period of his activity. That he preceded,
-by at least ten years, the earliest dated engraving,<span class="pagenum" id="Page_14">[Pg 14]</span>
-the <i>Flagellation</i>, by the Master of 1446, may safely
-be assumed, since in the manuscript copy of Conrad
-von Würzburg’s “The Trojan War,” transcribed in
-1441 by Heinrich von Steinfurt (an ecclesiastic of
-Osnabrück), there are pen drawings of figures wearing
-costumes which correspond exactly with those
-in prints by the Master of the Playing Cards in his
-middle period. The Master of the Playing Cards is,
-therefore, the first bright morning star of engraving.
-From him there flows a stream of influence
-affecting substantially all of the German masters
-until the time of Martin Schongauer, some of whose
-earlier plates show unmistakable traces of an acquaintanceship
-with his work.</p>
-
-<div class="figcentera" id="f3">
-<img src="images/fig3.jpg" alt="" />
-<p class="caption">MASTER OF THE PLAYING CARDS. ST. GEORGE</p>
-<p class="c">Size of the original engraving, 5⅞ × 5¼ inches<br />
-In the Royal Print Room, Dresden</p>
-</div>
-
-<div class="figcenter" id="f4">
-<img src="images/fig4.jpg" alt="" />
-<p class="caption">MASTER OF THE PLAYING CARDS. MAN OF SORROWS</p>
-<p class="c">Size of the original engraving, 7¾ × 5⅛ inches<br />
-In the British Museum</p>
-</div>
-
-
-<p><i>St. George and the Dragon</i> is in his early manner.
-Here are plainly to be seen the characteristics of
-this first period&mdash;the broken, stratified rocks, the
-isolated and conventionalized plants, and the peculiar
-drawing of the horse, especially its slanting
-and half-human eyes. <i>The Playing Cards</i>, from
-which he takes his name, may safely be assigned to
-his middle period. The suits are made up of <i>Flowers</i>
-(roses and cyclamen), <i>Wild Men</i>, <i>Birds</i>, and <i>Deer</i>,
-with a fifth, or alternative suit of <i>Lions</i> and <i>Bears</i>.
-Like all the early German designers of playing
-cards, he has given free rein to his fancy and inventiveness.
-The position of the different emblems is
-varied for each numeral card; and each flower, wild
-<span class="pagenum" id="Page_17">[Pg 17]</span>man, bird, or beast, has an attitude and character
-of its own, no two being identical. No engraver
-has surpassed him in truthfulness and subtlety of
-observation and in the delineation of birds few
-artists have equalled him. His rendering of the
-growth and form of flowers would have delighted
-John Ruskin. In the <i>King of Cyclamen</i> and the
-<i>Queen of Cyclamen</i> the faces have an almost portrait-like
-individuality. The hands are well drawn
-and do not yet display that attenuation which is
-characteristic of nearly all fifteenth century German
-masters and is a noticeable feature in engravings
-by Martin Schongauer himself. The clothing
-falls in natural folds, and in the <i>King of Cyclamen</i>
-the representation of fur could hardly be bettered.</p>
-
-<p>To his latest and most mature period must be
-assigned the <i>Man of Sorrows</i>&mdash;in some ways his
-finest, and certainly his most moving, plate. Not
-only has he differentiated between the textures of
-the linen loin-cloth and the coarser material of the
-cloak; but the column, the cross with its beautiful
-and truthful indication of the grain of the wood,
-and the ground itself, all are treated with a knowledge
-and a sensitiveness that is surprising. The
-engraver’s greatest triumph, however, is in the
-figure of Christ. There is a feeling for form and
-structure, sadly lacking in the work of his successors,
-and his suggestion of the strained and<span class="pagenum" id="Page_18">[Pg 18]</span>
-pulsing veins, which throb through the Redeemer’s
-tortured limbs, is of a compelling truth.</p>
-
-<p>Chief among the engravers who show most clearly
-the influence of the Master of the Playing Cards is
-the <span class="smcap">Master of the Year 1446</span>, so named from the
-date which appears in the <i>Flagellation</i>. His prints
-present a more or less primitive appearance, and
-were it not for this date, one might be tempted, on
-internal evidence, to assign them to an earlier
-period. In the <i>Passion</i> series, in particular, many
-of the figures are more gnome-like than human.
-Such creatures as the man blowing a horn, in <i>Christ
-Nailed to the Cross</i>, and the man pulling upon a
-rope, in the same print, recall to our minds, by an
-association of ideas, the old German fairy tales.</p>
-
-<p>Contemporary with the Master of 1446, and belonging
-to the Burgundian-Netherlands group, to
-which also belong the two anonymous engravers
-known as the <span class="smcap">Master of the Mount of Calvary</span>
-and the <span class="smcap">Master of the Death of Mary</span>, is the
-<span class="smcap">Master of the Gardens of Love</span>. His figures are
-crude in drawing and stiff in their movements. His
-knowledge of tree forms is rudimentary; but his
-animals and birds show real observation and seem
-to have been studied from life.</p>
-
-<div class="figcentera" id="f5">
-<img src="images/fig5.jpg" alt="" />
-<p class="caption">MASTER OF THE YEAR 1446. CHRIST NAILED TO THE CROSS</p>
-<p class="c">Size of the original engraving, 4⅛ × 3¼ inches<br />
-In the Royal Print Room, Berlin</p>
-</div>
-
-<div class="figcenter" id="f6">
-<img src="images/fig6.jpg" alt="" />
-<p class="caption">MASTER OF ST. JOHN THE BAPTIST. ST. JOHN THE
-BAPTIST</p>
-<p class="c">Size of the original engraving, 8½ × 5⅞ inches<br />
-In the Albertina, Vienna</p>
-</div>
-
-<p>In the larger of the two engravings from which
-he takes his name, we see reflected the pleasure-loving
-court of the Dukes of Burgundy. On
-<span class="pagenum" id="Page_21">[Pg 21]</span>the right, a lady leads her lover to a table spread
-with tempting viands. She stretches forth her right
-hand to take the fruit. It is a fig, the sign of fertility.
-To their right, drinking from a stream, is a
-unicorn, the sign of chastity. The artist seemingly
-wishes the lady’s message to read that she is still
-unwedded, and that, were she wedded, she would
-be a good mother. Observe, likewise, the way in
-which the engraver has placed the wild hogs, deer,
-and bears emerging from the woods, while, in the
-sky, numerous birds wing their flight. In the immediate
-foreground a lady and a cavalier are reading
-poetry to each other. Another lady plays to a
-gallant who, in a most uncomfortable attitude,
-holds a sheet of music. In the right-hand corner is
-a fourth pair, the lady busily twining a wreath for
-her lover’s hat, which lies on her lap. We have here
-a compendium of the courtly life of the time, which
-is about 1448.</p>
-
-<p><span class="smcap">The Master of St. John the Baptist</span> may fittingly
-be called the first <i>realist</i> in engraving. His
-plates do not display that extraordinary delicacy
-in cutting which is characteristic of the Master of
-the Playing Cards. Like that earlier engraver, he
-makes little use of cross-hatching, and his strokes
-are freely disposed&mdash;more in the manner of a painter
-than a goldsmith-engraver. His birds and flowers
-are closely observed and admirably rendered.</p>
-
-<p><span class="pagenum" id="Page_22">[Pg 22]</span></p>
-
-<p>The mullein, the columbine, and the iris in <i>St.
-John the Baptist</i> are each given their individual
-character; the tree trunks to the right no longer
-resemble twisted columns, as in earlier work, but
-have real bark with knot holes and branches organically
-joined, though the foliage is still conventionally
-treated. One cannot but remark, also, the
-skilful way in which the engraver has differentiated
-between the furry undergarment and the cloak
-which St. John the Baptist wears.</p>
-
-<p>In <i>St. Christopher</i> we have probably one of his
-latest works. His representation of the waves, of
-the sky and clouds, is noteworthy, while, on the
-beach, the sea-shells give mute testimony to his
-love for little things.</p>
-
-<p>Of the predecessors of Martin Schongauer, none
-exerted a greater influence than the <span class="smcap">Master E. S.
-of 1466</span>. On the technical side he was the actual
-creator of engraving as practised in modern times,
-and was a determining factor in the progress of
-the art. Even the Italian engravers were unable to
-withstand it; their Prophets and Sibyls are partly
-derived from his Evangelists and Apostles, the easy
-disposition of his draperies furnishing them with
-models. Over three hundred engravings by the
-Master E. S. have come down to us, and over a
-hundred more can be traced through copies by
-other hands, or as having formed component parts
-<span class="pagenum" id="Page_25">[Pg 25]</span>of his two sets of playing cards&mdash;the smaller set
-made up of <i>Wild Animals</i>, <i>Helmets</i>, <i>Escutcheons</i>,
-and <i>Flowers</i>, while the larger set comprises <i>Men</i>,
-<i>Dogs</i>, <i>Birds</i>, and <i>Escutcheons</i>.</p>
-
-<div class="figcentera" id="f7">
-<img src="images/fig7.jpg" alt="" />
-<p class="caption">MASTER E. S. OF 1466. MADONNA AND CHILD WITH SAINTS<br />
-MARGUERITE AND CATHERINE</p>
-<p class="c">Size of the original engraving, 8⅝ × 6⅜ inches<br />
-In the Royal Print Room, Dresden</p>
-</div>
-
-<div class="figcenter" id="f8">
-<img src="images/fig8.jpg" alt="" />
-<p class="caption">MASTER E. S. OF 1466. ECSTASY OF ST. MARY
-MAGDALEN</p>
-<p class="c">Size of the original engraving, 6½ × 5 inches<br />
-In the Royal Print Room, Dresden</p>
-</div>
-
-<p>His work shows unmistakably the influence of
-the Master of the Playing Cards, and we may
-safely place him in the region of the upper Rhine,
-probably in the vicinity of Freiburg or Breisach.
-In the <i>Madonna and Child with Saints Marguerite
-and Catherine</i> his peculiar qualities and limitations
-may clearly be seen. The plants and flowers, with
-which the ground is thickly carpeted, are engraved
-in firm, clear-cut lines, betokening the trained hand
-of the goldsmith. The figures and drapery are rendered
-with delicate single strokes; but in the shaded
-portions of the wall, back of the Madonna, cross-hatching
-is skilfully employed. As is the case in
-nearly all the works of the early German engravers,
-the laws of perspective are imperfectly understood,
-but none the less the composition has a charm all
-its own.</p>
-
-<p>The <i>Ecstasy of St. Mary Magdalen</i> is of interest,
-not only technically and artistically, but because of
-its influence upon the Master of the Amsterdam
-Cabinet, who has twice treated the subject, and
-upon Albrecht Dürer, by whom we have a woodcut
-seemingly copied from this engraving. Martin
-Schongauer, likewise, may have profited by the<span class="pagenum" id="Page_26">[Pg 26]</span>
-feathered forms of the angels which reappear, somewhat
-modified, in his engraving of the <i>Nativity</i>.
-The birds and the isolated plants in the foreground
-still show the influence of the Master of the Playing
-Cards.</p>
-
-<p><i>St. Matthew</i> (whom we shall meet again in our
-consideration of Florentine engraving, transformed
-into the <i>Tiburtine Sibyl</i>, engraved in the Fine Manner
-of the Finiguerra School) and <i>St. Paul</i> (who
-likewise reappears as <i>Amos</i> in the series of <i>Prophets
-and Sibyls</i>) show an increasing command of technical
-resources. The draperies are beautifully disposed;
-and, in <i>St. Paul</i>, the system of cross-hatching
-upon the back of the chair, in the shaded portions
-beneath, and upon the mantle of the saint, is
-fully developed.</p>
-
-<p>The <i>Madonna of Einsiedeln</i>, dated 1466, is
-usually accounted the engraver’s masterpiece.
-Beautiful though it is in composition and in execution,
-it suggests a translation, into black and white,
-of a painting, and on technical grounds, as well as
-for the beauty of its component parts, one may
-prefer the <i>Design for a Paten</i>, dating from the same
-year [1466]. Here the central scene, representing
-St. John the Baptist, owes not a little, both in composition
-and in technique, to the Master of St. John
-the Baptist. The four Evangelists, arranged in
-alternation with their appropriate symbols, around
-<span class="pagenum" id="Page_29">[Pg 29]</span>the central picture, are little masterpieces of characterization
-and of engraving, and there can be
-nothing but unmixed admiration for the way in
-which plant and bird forms are woven into a perfectly
-harmonious pattern.</p>
-
-<div class="figcentera" id="f9">
-<img src="images/fig9.jpg" alt="" />
-<p class="caption">MASTER E. S. OF 1466. DESIGN FOR A PATEN</p>
-<p class="c">Size of the original engraving, 7⅛ inches in diameter<br />
-In the Royal Print Room, Berlin</p>
-</div>
-
-<div class="figcenter" id="f10">
-<img src="images/fig10.jpg" alt="" />
-<p class="caption">MASTER E. S. OF 1466. ST. JOHN ON THE ISLAND OF PATMOS</p>
-<p class="c">Size of the original engraving, 8⅛ × 5½ inches<br />
-In the Hofbibliotek, Vienna</p>
-</div>
-
-<p><i>St. John on the Island of Patmos</i> likewise shows
-unmistakably the influence of the Master of St.
-John the Baptist and is doubly interesting inasmuch
-as, in its turn, it had a shaping influence
-upon the engraving of the same subject by Martin
-Schongauer. It is dated 1467, the latest date found
-upon any plate by the Master E. S., and it is assumed
-that in this year his activity came to an end.</p>
-
-<p><span class="smcap">Martin Schongauer</span>, who was born in Colmar
-about 1445 and is known to have died in 1491, is
-not only the most eminent painter and engraver
-in the latter third of the fifteenth century, he is
-one of the very greatest masters of the graphic arts.
-His plates number one hundred and fifteen, and,
-as in the case of Albrecht Dürer, it is upon his engraved
-work, rather than upon his all too few
-paintings, that his immortality must rest.</p>
-
-<p>Schongauer’s prints can be arranged in something
-approximating chronological order. In the earliest
-twelve engravings the shanks of the letter M, in
-his monogram, are drawn vertically, whereas in all
-his later prints they slant outward. This apparently
-minor point is really of great significance in a study<span class="pagenum" id="Page_30">[Pg 30]</span>
-of his development, since it enables us to place
-correctly certain plates which, until recently, were
-assigned to his latest period, such as the <i>Death of
-the Virgin</i>, the <i>Adoration of the Magi</i>, and the
-<i>Flight Into Egypt</i>.</p>
-
-<p>One of the richest toned plates in this first group
-is the <i>Virgin with a Parrot</i>, an engraving which,
-incidentally, exists in two states. In the second
-state, the cushion upon which the Christ Child is
-seated, instead of being plain, has an elaborate
-pattern upon the upper side, and the flowing tresses
-of the Virgin are extended more to the left, thereby
-greatly improving the composition as a whole.</p>
-
-<p>For Martin Schongauer, as for nearly all the
-earlier German masters, the grotesque had a
-strange fascination. His power of welding together
-parts of various animals into living fantastic
-creatures is nowhere better seen than in the
-<i>Temptation of St. Anthony</i>. Vasari tells how the
-young Michelangelo, meeting with an impression
-of this engraving in Florence, was impelled to copy
-it with a pen “in such a manner as had never before
-been seen. He painted it in colors also, and the
-better to imitate the strange forms among these
-devils, he bought fish which had scales somewhat
-resembling those of the demon. In this pen copy
-also he displayed so much ability that his credit
-and reputation were greatly enhanced thereby.”
-<span class="pagenum" id="Page_35">[Pg 35]</span>It would appear to be one of Schongauer’s early
-plates, not only from the form of the monogram,
-but also from the treatment of the upper portion of
-the sky, shaded with many horizontal graver strokes,
-growing stronger as the upper edge of the plate is
-reached&mdash;a treatment which does not occur in any
-other print by him.</p>
-
-<div class="figcentera" id="f11">
-<img src="images/fig11.jpg" alt="" />
-<p class="caption">MARTIN SCHONGAUER. VIRGIN WITH A PARROT</p>
-<p class="c">Size of the original engraving, 6¼ × 4¼ inches<br />
-In the Public Art Collections, Basle</p>
-</div>
-
-<div class="figcentera" id="f12">
-<img src="images/fig12.jpg" alt="" />
-<p class="caption">MARTIN SCHONGAUER. TEMPTATION OF ST. ANTHONY</p>
-<p class="c">Size of the original engraving, 12⅜ × 9⅛ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcentera" id="f13">
-<img src="images/fig13.jpg" alt="" />
-<p class="caption">MARTIN SCHONGAUER. DEATH OF THE VIRGIN</p>
-<p class="c">Size of the original engraving, 10⅛ × 6⅝ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f14">
-<img src="images/fig14.jpg" alt="" />
-<p class="caption">MARTIN SCHONGAUER. PILATE WASHING HIS HANDS</p>
-<p class="c">Size of the original engraving, 6⅜ × 4½ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p>Among the myriad renderings of the <i>Death of
-the Virgin</i>, by painters and engravers, it is doubtful
-if any version is superior, so far as dramatic intensity
-is concerned, to Schongauer’s. As a composition,
-Dürer’s woodcut from the <i>Life of the Virgin</i>,
-is simpler and more “telling,” in that certain non-essentials
-have been eliminated; but could we well
-spare so beautiful a design as that of the candelabrum
-which, in Schongauer’s engraving, stands at
-the foot of the bed?</p>
-
-<p>From the twelve plates of the <i>Passion</i>, each of
-which repays study, it is not easy to select one for
-reproduction. The <i>Crucifixion</i>, a subject which
-Schongauer engraved no less than six times, has a
-poignant charm; and for sheer beauty the <i>Resurrection</i>
-is among the most significant of the series.
-<i>Pilate Washing His Hands</i> has, however, a double
-interest. The faces of Christ’s tormentors and of
-the figures standing beside and to the left of
-Pilate’s throne, are strongly characterized, portrait-like
-heads, in marked contrast with the gentleness<span class="pagenum" id="Page_36">[Pg 36]</span>
-of Christ, and the weak and vacillating
-Pilate. The enthroned Pilate later reappears as
-the <i>Prophet Daniel</i> in the series of <i>Prophets and
-Sibyls</i>, Florentine engravings in the Fine Manner.</p>
-
-<p>We have already referred to <i>St. John on the
-Island of Patmos</i> by the Master E. S. A more
-significant contrast between the work of the earlier
-engraver and that of Schongauer could hardly be
-found. The Master E. S. gives a multiplicity of
-objects, animate and inanimate, charming and
-interesting in themselves, but distracting from the
-main purpose of the composition&mdash;witness the <i>St.
-Christopher</i> crossing the river in the middle distance,
-the lion and the terrified horse in the wood
-to the right, the swan in the stream to the left,
-and the life-like birds perched upon the castle-crowned
-cliff. Schongauer eliminates all these
-accessories. One vessel and two small boats alone
-break the calm expanse of the unruffled sea. Save
-for the two plants in the foreground (which betray
-the influence of the Master of the Playing Cards)
-the ground is simply treated and offers little to
-distract our attention from the seated figure of St.
-John, who faces to the left and gazes upwards at
-the Madonna and Child in glory. The eagle bears
-a strong family likeness to the same bird in the
-<i>Design for a Paten</i> by the Master E. S. Schongauer
-has here drawn a tree, not bare, as is his wont,
-<span class="pagenum" id="Page_41">[Pg 41]</span>but adorned with foliage beautifully disposed and
-artistically treated, in marked contrast to the conventional
-and decorative manner of the Master
-E. S. and his predecessors.</p>
-
-<div class="figcentera" id="f15">
-<img src="images/fig15.jpg" alt="" />
-<p class="caption">MARTIN SCHONGAUER. ST. JOHN ON THE ISLAND OF PATMOS</p>
-<p class="c">Size of the original engraving, 6½ × 4⅝ inches<br />
-In the Kunsthalle, Hamburg</p>
-</div>
-
-<div class="figcentera" id="f16">
-<img src="images/fig16.jpg" alt="" />
-<p class="caption">MARTIN SCHONGAUER. CHRIST APPEARING TO THE<br />
-MAGDALEN</p>
-<p class="c">Size of the original engraving, 6¼ × 6⅛ inches<br />
-In the Kunsthalle, Hamburg</p>
-</div>
-
-<div class="figcentera" id="f17">
-<img src="images/fig17.jpg" alt="" />
-<p class="caption">MARTIN SCHONGAUER. VIRGIN SEATED IN A<br />
-COURTYARD</p>
-<p class="c">Size of the original engraving, 6¾ × 4⅞ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f18">
-<img src="images/fig18.jpg" alt="" />
-<p class="caption">MARTIN SCHONGAUER. ANGEL OF THE ANNUNCIATION</p>
-<p class="c">Size of the original engraving, 6⅝ × 4½ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-
-<p>The type of the Redeemer, which Schongauer
-has made so peculiarly his own, is nowhere seen to
-better advantage than in the two beautiful plates
-of the <i>Baptism of Christ</i> and <i>Christ Appearing to
-the Magdalen</i>. Max Geisberg acclaims the last-named
-as Schongauer’s most beautiful engraving.
-“Here, the contents of the composition have received
-an embodiment, the fervor, depth, and delicacy
-of which have never been surpassed in art.”<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a>
-It can, however, share this high praise with the
-<i>Virgin Seated in a Courtyard</i> and the <i>Angel of the Annunciation</i>.
-For sheer beauty, these plates remain
-to this day not only unsurpassed, but unequalled.
-What quietude and restraint there is in the
-<i>Virgin Seated in a Courtyard</i>, the wall back of her
-discreetly bare, the grass indicated by a few small
-but significant strokes, while the branches of one
-little, leafless tree form an exquisite pattern against
-the untouched sky! By contrast one of Dürer’s
-technical masterpieces&mdash;the <i>Virgin Seated by a City
-Wall</i>&mdash;seems overworked and overloaded with
-needless accessories.</p>
-
-<div class="footnote">
-
-<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> Martin Schongauer. By Dr. Max Geisberg. The Print-Collector’s
-Quarterly. Vol. IV. April, 1914. p. 128.</p>
-
-</div>
-
-<p><span class="pagenum" id="Page_42">[Pg 42]</span></p>
-
-<p>The <i>Angel of the Annunciation</i> marks the culmination
-of Schongauer’s art and belongs to his
-most mature period. Everything not absolutely
-necessary for a clear presentation has been eliminated.
-A slight shadow upon the ground gives
-solidity to the figure. All else is blank. The art of
-simplification can hardly go further, and were one
-to be restricted to the choice of a single print by
-any of Dürer’s predecessors, one might wisely
-select the <i>Angel of the Annunciation</i>.</p>
-
-<p>That Schongauer was equally interested in things
-mundane is convincingly proved by <i>Peasants Going
-to Market</i>, <i>Goldsmith’s Apprentices Fighting</i>, or <i>The
-Miller</i>. How well he has differentiated between the
-mother-ass, filled with maternal solicitude, and the
-woolly, stocky, and somewhat foolish little donkey
-which follows, while the miller with upraised staff
-urges her onward.</p>
-
-<p>The <i>Crozier</i> and the <i>Censer</i> furnish unmistakable
-proof, were such needed, that as a goldsmith-designer,
-no less than as an engraver, Schongauer
-is entitled to the loftiest place in German art.
-They are masterpieces, alike in invention and in
-execution. His influence was not confined to his
-contemporaries, but can be traced in many ways,
-and in many media, long after his death. His
-School, however, produced no engraver worthy,
-for a moment, of comparison with him.</p>
-
-<p><span class="pagenum" id="Page_43">[Pg 43]</span></p>
-
-<div class="figcentera" id="f19">
-<img src="images/fig19.jpg" alt="" />
-<p class="caption">MARTIN SCHONGAUER. THE MILLER</p>
-<p class="c">Size of the original engraving, 3½ × 4⅞ inches<br />
-In the Albertina, Vienna</p>
-</div>
-
-
-
-<p><span class="pagenum" id="Page_44">[Pg 44]</span></p>
-
-<div class="figcenter" id="f20">
-<img src="images/fig20.jpg" alt="" />
-<p class="caption">MARTIN SCHONGAUER. CENSER</p>
-<p class="c">Size of the original engraving, 11½ × 8¼ inches<br />
-</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_45">[Pg 45]</span></p>
-
-<p>The <span class="smcap">Master</span> L Cz alone seems to have caught
-something of Schongauer’s spirit while, at the same
-time, preserving his own individuality. The face of
-the Redeemer in <i>Christ Entering Jerusalem</i> is reminiscent
-of the earlier engraver; and, among the
-Apostles to the left, two, at least, are taken, with
-slight modifications, from Schongauer’s <i>Death of the
-Virgin</i>.</p>
-
-<p><i>Christ Tempted</i> has a singular charm. The figure
-of Satan, realistically treated, is an interesting
-example of that passion for the grotesque from
-which even the greatest artists in the North seemed
-unable to shake themselves wholly free. The wood
-in the middle distance, to the left of Christ, evinces
-a close study of natural forms, while the landscape
-takes its place admirably in the composition. The
-excessive rarity of engravings by L Cz alone has
-prevented them from being appreciated at their
-true worth. They are original in composition, full
-of fantasy and charm. Even so universal an artist
-as Albrecht Dürer did not disdain to borrow, from
-<i>Christ Tempted</i>, the motive of the mountain goat
-gazing downward, which reappears, slightly modified,
-in <i>Adam and Eve</i>, his masterpiece of the
-year 1504.</p>
-
-<p><span class="pagenum" id="Page_46">[Pg 46]</span></p>
-
-
-<p class="c larger p2">ENGRAVERS AND ETCHERS</p>
-
-<p class="c">GERMAN ENGRAVING: FROM THE BEGINNINGS<br />
-TO MARTIN SCHONGAUER</p>
-
-<p class="c little">BIBLIOGRAPHY</p>
-
-<div class="blockquot">
-
-<p><span class="smcap">Le Peintre Graveur.</span> <i>By Adam Bartsch.</i> 21 volumes. Vienna: 1803-1821.
-Volumes 6 and 10, Early German Engravers.</p>
-
-<p><span class="smcap">Les deux cents Incunables xylographiques du Département des
-Estampes.</span> <i>By Henri Bouchot.</i> Volume 1, Text. Volume 2, Atlas (191 reproductions).
-Paris: Librairie Centrale des Beaux-Arts. 1903.</p>
-
-<p><span class="smcap">Geschichte und kritischer Katalog des deutschen, niederländischen
-und französischen Kupferstichs im XV. Jahrhundert.</span> <i>By Max Lehrs.</i>
-Vienna: Gesellschaft für vervielfältigende Kunst. Volume 1. The Primitives.
-With portfolio of 114 reproductions on 43 plates. 1908. Volume 2. Master
-E. S. With portfolio of 237 reproductions on 92 plates. 1910.</p>
-
-<p><span class="smcap">Die ältesten deutschen Spielkarten des königlichen Kupferstich-cabinets
-zu Dresden.</span> <i>By Max Lehrs.</i> 97 reproductions on 29 plates.
-Dresden: W. Hoffmann. 1885.</p>
-
-<p><span class="smcap">Katalog der im germanischen Museum befindlichen deutschen Kupferstiche
-des XV. Jahrhunderts.</span> <i>By Max Lehrs.</i> 1 original engraving
-and 9 reproductions. Nürnberg. 1887.</p>
-
-<p><span class="smcap">Le Peintre-Graveur.</span> <i>By J. D. Passavant.</i> 6 volumes. Leipzig: Rudolph
-Weigel. 1860-1864. Volumes 1 and 2, Early German Engravers.</p>
-
-<p><span class="smcap">Histoire de l’origine et des progrès de la gravure dans les Pays-Bas
-et en Allemagne, jusqu’à la fin du quinzième siècle.</span> <i>By Jules
-Renouvier.</i> Brussels: M. Hayez. 1860.</p>
-
-<p><span class="smcap">Die Inkunabeln des Kupferstichs im Kgl. Kabinet zu München.</span> <i>By
-Wilhelm Schmidt.</i> 32 reproductions. Munich. 1887.</p>
-
-<p><span class="smcap">Manuel de l’amateur de la gravure sur bois et sur métal au XV</span>ᵉ
-<span class="allsmcap">SIÈCLE</span>. <i>By Wilhelm Ludwig Schreiber.</i> Volumes 1-4, Text. Volumes 6-8,
-Reproductions. Berlin: Albert Cohn, 1891-1900. (Vol. 4 in Leipzig: O. Harrassowitz.)</p>
-
-<p><span class="smcap">A Descriptive Catalogue of Early Prints in the British Museum.</span> <i>By
-William Hughes Willshire.</i> 2 volumes. 22 reproductions. London: The
-Trustees. 1879-1883.</p>
-
-
-<p class="xlarge"><span class="smcap">Master of the Playing Cards</span> (flourished 1440-1450)</p>
-
-<p><span class="smcap">Das älteste gestochene deutsche Kartenspiel vom Meister der
-Spielkarten (vor 1446).</span> <i>By Max Geisberg.</i> 68 reproductions on 33 plates.
-Strassburg: J. H. Ed. Heitz (Heitz &amp; Mündel). 1905. (Studien zur deutschen
-Kunstgeschichte. Part 66.)</p>
-
-
-<p class="xlarge"><span class="smcap">Master of the Gardens of Love</span> (flourished 1445-1450)</p>
-
-<p><span class="smcap">Der Meister der Liebesgärten; ein Beitrag zur Geschichte des
-ältesten Kupferstichs in den Niederlanden.</span> <i>By Max Lehrs.</i> 28 reproductions
-on 10 plates. Dresden: Bruno Schulze. 1893.</p>
-
-<span class="pagenum" id="Page_49">[Pg 49]</span>
-
-<p class="xlarge"><span class="smcap">Master E. S.</span> (flourished 1450-1470)</p>
-
-<p><span class="smcap">Der Meister E. S.; sein Name, seine Heimat, und sein Ende.</span> <i>By Peter
-P. Albert.</i> 20 reproductions on 16 plates. Strassburg: J. H. Ed-Heitz (Heitz
-&amp; Mündel). 1911. (Studien zur deutschen Kunstgeschichte. Part 137.)</p>
-
-<p><span class="smcap">The Master E. S. and the “Ars Moriendi”; A Chapter in the History
-of Engraving During the Fifteenth Century.</span> <i>By Lionel Cust.</i> 46 reproductions.
-Oxford: Clarendon Press. 1898.</p>
-
-<p><span class="smcap">Die Anfänge des deutschen Kupferstiches und der Meister E. S.</span>
-<i>By Max Geisberg.</i> 121 reproductions on 71 plates. Leipzig: Klinkhardt &amp;
-Biermann. 1909. (Meister der Graphik. Vol. 2.)</p>
-
-<p><span class="smcap">Geschichte und kritischer Katalog des deutschen, niederländischen
-und französischen Kupferstichs im XV. Jahrhundert.</span> <i>By Max Lehrs.</i>
-Vienna: Gesellschaft für vervielfältigende Kunst. 1908-1910. Volume 2.
-Master E. S. With portfolio of 237 reproductions on 92 plates.</p>
-
-<p><span class="smcap">The Playing Cards of the Master E. S. of 1466.</span> <i>Edited by Max Lehrs.</i>
-45 reproductions. London: Asher &amp; Co. 1892. (International Chalcographical
-Society. Extraordinary Publication. Vol. 1.)</p>
-
-
-<p class="xlarge"><span class="smcap">Schongauer, Martin</span> (1445(?)-1491)</p>
-
-<p><span class="smcap">Zwei datierte Zeichnungen Martin Schongauers.</span> <i>By Sidney Calvin.</i>
-2 illustrations. Jahrbuch der königlichen preussischen Kunstsammlungen,
-Vol. 6, pp. 69-74. Berlin. 1885.</p>
-
-<p><span class="smcap">Martin Schongauer’s Kupferstiche.</span> <i>By Max G. Friedländer.</i> 5 illustrations.
-Zeitschrift für bildende Kunst, Vol. 26, pp. 105-112. Leipzig. 1915.</p>
-
-<p><span class="smcap">Martin Schongauer.</span> <i>By Max Geisberg.</i> 14 illustrations. The Print-Collector’s
-Quarterly, Vol. 4, No. 2, pp. 102-129. Boston. 1914.</p>
-
-<p><span class="smcap">Martin Schongauer; Nachbildungen seiner Kupferstiche.</span> <i>Edited by
-Max Lehrs.</i> 115 reproductions on 72 plates. Berlin: Bruno Cassirer. 1914.
-(Graphische Gesellschaft. Extraordinary Publication 5.)</p>
-
-<p><span class="smcap">Schongauerstudien.</span> <i>By Wilhelm Lübke.</i> 3 illustrations. Zeitschrift für
-bildende Kunst, Vol. 16, pp. 74-86. Leipzig. 1881.</p>
-
-<p><span class="smcap">Schongauer und der Meister des Bartholomäus.</span> <i>By L. Scheibler.</i>
-Repertorium für Kunstwissenschaft, Vol. 7, pp. 31-68. Berlin and Stuttgart.
-1884.</p>
-
-<p><span class="smcap">Martin Schongauer als Kupferstecher.</span> <i>By Woldemar von Seidlitz.</i>
-Repertorium für Kunstwissenschaft, Vol. 7, pp. 169-182. Berlin and Stuttgart.
-1884.</p>
-
-<p><span class="smcap">Martin Schongauer als Kupferstecher.</span> <i>By Hans Wendland.</i> 32 reproductions.
-Berlin: Edmund Meyer. 1907.</p>
-
-<p><span class="smcap">Martin Schongauer. Eine kritische Untersuchung seines Lebens
-und seiner Werke nebst einem chronologischen Verzeichnisse seiner
-Kupferstiche.</span> <i>By Alfred von Wurzbach.</i> Vienna: Manz’sche K. K. Hofverlags
-und Universitäts Buchhandlung. 1880.</p>
-
-<p><span class="pagenum" id="Page_50">[Pg 50]</span></p>
-
-
-<p class="xlarge"><span class="smcap">Master of the Banderoles</span> (flourished c. 1464)</p>
-
-<p><span class="smcap">Der Meister mit den Bandrollen; ein Beitrag zur Geschichte des
-ältesten Kupferstichs in Deutschland.</span> <i>By Max Lehrs.</i> 19 reproductions
-on 7 plates. Dresden: W. Hoffmann. 1886.</p>
-
-
-<p class="xlarge"><span class="smcap">Meckenem, Israhel van</span> (c. 1440-1503)</p>
-
-<p><span class="smcap">Der Meister der Berliner Passion und Israhel van Meckenem.</span> <i>By
-Max Geisberg.</i> 6 reproductions. Strassburg: J. H. Ed. Heitz (Heitz &amp;
-Mündel). 1903. (Studien zur deutschen Kunstgeschichte. Part 42.)</p>
-
-<p><span class="smcap">Verzeichnis der Kupferstiche Israhels van Meckenem.</span> <i>By Max Geisberg.</i>
-11 reproductions on 9 plates. Strassburg: J. H. Ed. Heitz (Heitz &amp;
-Mündel). 1905. (Studien zur deutschen Kunstgeschichte. Part 58.)</p>
-
-
-<p class="xlarge"><span class="smcap">Master</span> <img src="images/fig128.jpg" alt="" /> (flourished c. 1470)</p>
-
-<p><span class="smcap">Der Meister</span> <img src="images/fig129.jpg" alt="" />; <span class="smcap">ein Kupferstecher der Zeit Karls des Kühnen.</span>
-<i>By Max Lehrs.</i> 77 reproductions on 31 plates. Dresden: W. Hoffmann.
-1895.</p>
-
-
-<p><span class="smcap">Stoss, Veit</span> (c. 1450-c. 1533)</p>
-
-<p><span class="smcap">Veit Stoss; Nachbildungen seiner Kupferstiche.</span> <i>Edited by Engelbert
-Baumeister.</i> 13 reproductions. Berlin: Bruno Cassirer. 1913. (Graphische
-Gesellschaft. Publication 17.)</p>
-
-
-<p><span class="smcap">Olmütz, Wenzel von</span> (flourished 1480-1500)</p>
-
-<p><span class="smcap">Wenzel von Olmütz.</span> <i>By Max Lehrs.</i> 22 reproductions on 11 plates.
-Dresden: W. Hoffmann. 1889 (In German.)</p>
-</div>
-<p><span class="pagenum" id="Page_51">[Pg 51]</span></p>
-
-<div class="figcentera" id="f21">
-<img src="images/fig21.jpg" alt="" />
-<p class="caption">MASTER L Cz. CHRIST TEMPTED</p>
-<p class="c">Size of the original engraving 8¾ × 6⅝ inches<br />
-</p>
-</div>
-
-<div class="figcenter" id="f22">
-<img src="images/fig22.jpg" alt="" />
-<p class="caption">MASTER L Cz. CHRIST ENTERING JERUSALEM</p>
-<p class="c">Size of the original engraving, 8⅞ × 7 inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<hr class="full x-ebookmaker-drop" />
-
-<div class="chapter">
-<h2 class="nobreak" id="l2">ITALIAN ENGRAVING:<br />
-THE FLORENTINES</h2>
-</div>
-
-
-<p class="drop-cap">ENGRAVING in Italy differs, in many essentials,
-from the art as practised in Germany.
-Germany may claim priority in point of time, but
-it is doubtful whether the Florentines&mdash;for in
-Florence, and among the goldsmiths, the art took
-its rise in Italy&mdash;in the beginning were influenced
-by, or even acquainted with, the work of their
-northern contemporaries. In Germany the designer
-and the engraver were one, and some of the greatest
-masters embodied their finest conceptions in their
-prints. We may truly say that the world-wide
-reputation which Dürer and Schongauer have enjoyed
-for four centuries and more, rests almost
-entirely upon their engraved, rather than upon
-their painted, work.</p>
-
-<p>In Italy it was otherwise. There, with a few signal
-exceptions, engraving was used merely as a convenient
-method of multiplying an existing design.
-It may be that we owe to this fact both the color of
-the ink used in these early Florentine prints, and the
-method of taking impressions. This would seem, in
-many cases, to be by rubbing rather than by the<span class="pagenum" id="Page_52">[Pg 52]</span>
-use of the roller press, which appears to have been
-known and used in the North substantially from
-the very beginning. The Florentine, aiming to
-duplicate a drawing in silver-point or wash, would
-naturally endeavor to approximate the color of his
-original. Consequently we do not find the lustrous
-black impressions, strongly printed, which
-are the prize of the collector of early German engravings.</p>
-
-<p>Vasari’s story of the invention of engraving by
-<span class="smcap">Maso Finiguerra</span> (1426-1464) was long ago disproved,
-and for a time it seemed as though Finiguerra
-and his work were likely to be consigned to
-that limbo of the legendary from which Baldini&mdash;at
-one time accredited with many prints&mdash;is only just
-now emerging. Yet Finiguerra, although not the
-“inventor” of the art, is, beyond peradventure, the
-most important influence in early Italian engraving,
-not only on account of his own work on copper,
-but still more through the Picture-Chronicle, which
-served as an inspiration to the artists working in
-his School and continuing his tradition after his
-death. So that Vasari’s tale, though not accurate
-in the matter of fact, was veracious in the larger
-sense.</p>
-
-<div class="figcentera" id="f23">
-<img src="images/fig23.jpg" alt="" />
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. PROFILE<br />
-PORTRAIT OF A LADY</p>
-<p class="c">Size of the original engraving, 8⅞ × 5⅝ inches<br />
-In the Royal Print Room, Berlin</p>
-</div>
-
-<div class="figcenter" id="f24">
-<img src="images/fig24.jpg" alt="" />
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. WILD ANIMALS HUNTING<br />
-AND FIGHTING</p>
-<p class="c">Size of the original engraving, 10⅛ × 14¾ inches<br />
-In the British Museum</p>
-</div>
-
-
-<p>The Picture-Chronicle is a book of drawings
-illustrating the History of the World, and evidently
-proceeds from the hand and workshop of a Florentine
-<span class="pagenum" id="Page_55">[Pg 55]</span>goldsmith-engraver of about 1460. It was
-acquired by the British Museum from Mr. Ruskin
-in 1888. The drawings are in pen and ink and wash,
-often reinforced with open pen-shading like that
-imitated later by the Broad Manner engravers.
-At its best the work has the true early Renaissance
-combination of archaic strength with attractive
-naiveté&mdash;the ornamental detail carried out with a
-masterly power of pen, and with the patient delight
-of one who is by instinct and training above all
-things a jeweler.</p>
-
-<p>Finiguerra’s fame as the leading worker in niello
-was firmly established by 1450; and although we
-cannot assign certainly any engraving by him to a
-date earlier than 1460, there is a group of Florentine
-primitives which may be placed between the years
-1450 and 1460, thus antedating Finiguerra’s first
-plate by about ten years. The most beautiful of
-these early prints in conception, and the purest in
-execution, is the <i>Profile Portrait of a Lady</i>, a single
-impression of which has come down to us and is
-now in Berlin. In style it recalls the paintings of
-Piero della Francesca, Verrocchio, Uccello, or Pollaiuolo,
-and although it would be unwise to attribute
-it to any known master, there is a sensitive
-quality in the drawing, and a restraint, which differentiates
-it from any other print of this period.</p>
-
-<p>Among the engravings which may be by Finiguerra
-<span class="pagenum" id="Page_56">[Pg 56]</span>himself, one of the most interesting is the
-plate of <i>Wild Animals Hunting and Fighting</i>, wherein
-we see a number of motives taken directly from
-the Picture-Chronicle&mdash;motives which reappear
-again and again in works undoubtedly by other
-hands. This print, as also the <i>Encounter of a Hunting
-Party with a Family of Wild Folk</i>, is unique. In
-the last-named we see a number of motives repeated
-from the <i>Wild Animals Hunting and Fighting</i>:
-such as the boar being pulled down by two
-hounds, the hound chasing a hare, in the upper
-right corner; and the dog, slightly to the left, devouring
-the entrails of yet another hare.</p>
-
-<p>The <i>Road to Calvary and the Crucifixion</i> is a far
-more elaborate and important composition, and in
-this engraving we see that which is especially noteworthy
-in the <i>Judgment Hall of Pilate</i>&mdash;the largest
-and most important of all the Fine Manner prints&mdash;the
-goldsmith’s love of ornament. In the <i>Judgment
-Hall of Pilate</i> the head-dresses, and especially
-the armor, are highly elaborate, while the architecture
-itself is overlaid with ornate decoration directly
-drawn from the Picture-Chronicle. In the
-only known impression the plate seems to have
-been re-worked, in the Broad Manner, by a later
-hand.</p>
-
-<div class="figcentera">
-<a id="f25" href="images/fig25big.jpg">
-<img src="images/fig25.jpg" alt="" />
-</a>
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. TRIUMPHAL PROCESSION OF BACCHUS<br />
-AND ARIADNE</p>
-<p class="c">Size of the original engraving, 8⅛ × 22 inches<br />
-In the British Museum<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter" id="f26">
-<img src="images/fig26.jpg" alt="" />
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. JUPITER</p>
-<p class="c">Size of the original engraving, 12⅝ × 8½ inches<br />
-In the British Museum</p>
-</div>
-
-
-
-<p>Somewhat later in date, by an engraver of the
-Finiguerra School, is the <i>Triumphal Procession of</i>
-<span class="pagenum" id="Page_59">[Pg 59]</span><i>Bacchus and Ariadne</i>, the most joyous of all Florentine
-engravings. The original design was attributed
-at one time to Botticelli; and although, as
-Herbert P. Horne has shown, it cannot be by
-this master, it is similar in style to his compositions.
-Whatever the immediate original, it shows marked
-traces of classical influences, and its motive is
-directly derived from antique sculpture&mdash;a sarcophagus
-in all probability. “The splendid design
-has suffered not only from the feebleness of the
-engraving, but also from the florid manner in which
-the engraver has exaggerated some of the decorative
-details and added others.... In spite of
-the feebleness of its execution it remains an incomparably
-greater work of art than any other print
-in the Fine Manner.”<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a></p>
-
-<div class="footnote">
-
-<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> Sandro Botticelli. By Herbert P. Horne. London: George Bell &amp;
-Sons. 1908. p. 84.</p>
-
-</div>
-
-<p>The Fine Manner, in which all of the engravings
-hitherto mentioned are executed, owes its name to
-the method employed. The engraver has incised
-his outlines upon the plate&mdash;probably unbeaten
-copper or some even softer metal&mdash;and for his
-shading has employed a system of delicate strokes,
-laid close to one another and overlaid with two,
-and, at times, three, sets of cross-hatching. Such
-engravings, when printed, as is usually the case, in
-a greenish or grayish ink, give a result similar to a<span class="pagenum" id="Page_60">[Pg 60]</span>
-wash drawing. In the Broad Manner the style of
-engraving is based upon that of pen drawing, with
-open, diagonal shade strokes and without cross-hatching.
-The Broad Manner was finally developed
-by Pollaiuolo and Mantegna, who modified it by a
-series of delicate lines laid at an acute angle to the
-heavier shadings, blending the main lines into a
-harmonious whole.</p>
-
-<p>“None of the sciences that descended from antiquity,”
-writes Arthur M. Hind,<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a> “possessed a
-firmer hold on the popular imagination of the
-Middle Ages than that of Astrology. That science
-took as its foundation the ancient conception of
-the universe, with the earth as the centre round
-which all the heavenly bodies revolved in the space
-of a day and a night. Encircling the earth were
-the successive spheres of water, air, fire, the seven
-planets (Moon, Mercury, Venus, Sun, Mars, Jupiter,
-Saturn), the firmament with the constellations
-(the <i>cœlum crystallinum</i>), and the Primum
-Mobile. To each of the planets were ascribed attributes
-according to the traditional character of
-the deity whose name it bore, and these attributes
-were regarded as transmissible under certain conditions
-to mankind. The influence of the planets
-depended on their position in the heavens in respect<span class="pagenum" id="Page_61">[Pg 61]</span>
-of the various constellations, with which each
-had different relations. Each planet had what was
-called its ‘house’ in one of the constellations, and
-according to its position relative to these was said
-to be in the ‘ascendant’ or ‘descendant’. In regard
-to individual human beings the date of birth was
-the decisive point, and the degree of influence
-transmitted from the planets depended on the respective
-degree of ‘ascendance’ or ‘descendance’ at
-the particular epoch.”</p>
-
-<div class="footnote">
-
-<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> Catalogue of Early Italian Engravings ... in the British Museum.
-By Arthur Mayger Hind. London. 1910. pp. 49-50.</p>
-
-</div>
-
-<p>The planets and their influences afforded subject
-matter for many artists of the fifteenth and
-sixteenth centuries, and the finest and most important
-series is that engraved in the Fine Manner
-by an artist of the Finiguerra School, who has, as
-usual, drawn directly upon the Picture-Chronicle
-for his ornamental accessories. We can reproduce
-two only from the set of seven&mdash;<i>Jupiter</i> and <i>Mercury</i>.
-The inscription beneath <i>Jupiter</i> reads, in
-part, as follows: “Jupiter is a male planet in the
-sixth sphere, warm and moist, temperate by nature,
-and of gentle disposition; he is sanguine, cheerful,
-liberal, eloquent; he loves fine clothes, is handsome
-and ruddy of aspect, and looks toward the Earth.
-Tin is his metal; his days are Sunday and Thursday,
-with the first, eighth, fifteenth and twenty-fourth
-hours; his night is that of Wednesday; he
-is friendly to the Moon, hostile to Mars....”<span class="pagenum" id="Page_62">[Pg 62]</span>
-In the landscape we again meet with several of
-the stock Finiguerra motives, the muzzled hounds,
-the dog chasing the hare, etc. Of especial interest
-is the group at the right&mdash;“wing-bearing Dante who
-flew through Hell, through the starry Heavens and
-o’er the intermediate hill of Purgatory beneath the
-beauteous brows of Beatrice; and Petrarch too,
-who tells again the tale of Cupid’s triumph; and
-the man who, in ten days, portrays a hundred
-stories (Boccaccio).”</p>
-
-<p><i>Mercury</i>&mdash;“eloquent and inventive ... slender
-of figure, tall and well grown, with delicate lips.
-Quicksilver is his metal”&mdash;sets forth various applications
-of the arts and sciences. Especially interesting
-is the goldsmith’s shop at the left, where we
-see an engraver actually at work upon a plate.
-The goldsmith is seated, his apprentice behind him,
-as a prospective purchaser examines a richly ornamented
-vessel. In the foreground a sculptor is
-chiseling his statue, while, standing above, on a
-scaffolding, a fresco painter is actively at work&mdash;a
-record of the Florence of 1460 or thereabouts,
-full of interest for us.</p>
-
-<div class="figcentera" id="f27">
-<img src="images/fig27.jpg" alt="" />
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. MERCURY</p>
-<p class="c">Size of the original engraving, 12¾ × 8½ inches<br />
-In the British Museum</p>
-</div>
-
-<div class="figcenter" id="f28">
-<img src="images/fig28.jpg" alt="" />
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. LADY<br />
-WITH A UNICORN</p>
-<p class="c">Size of the original engraving, 6¼ inches in diameter<br />
-In the British Museum</p>
-</div>
-
-
-
-<p>To a slightly later date, 1465-1470, belong the
-group of Fine Manner prints, known as the <span class="smcap">Otto
-Prints</span>, also emanating from the Finiguerra workshop.
-They are not a series, in any true sense, and
-owe their name&mdash;also their fortunate preservation&mdash;to
-the accidental circumstance<span class="pagenum" id="Page_65">[Pg 65]</span> of their having
-belonged at one time to Peter Ernst Otto, a merchant
-and collector of Leipzig. The purpose served
-by these prints&mdash;twenty-four in all&mdash;was the decoration
-of box lids, either as patterns to be copied,
-in the case of metal caskets, or to be colored and
-pasted on the lids of wooden boxes. The escutcheons
-are usually left blank, to be filled in by hand
-with the device of the donor or the recipient, or
-with some appropriate sentiment.</p>
-
-<p>In the print entitled <i>Two Heads in Medallions
-and Two Hunting Scenes</i> we again meet with the
-animal motives taken from the Picture-Chronicle.
-One of the most charming is the <i>Lady with a
-Unicorn</i> (Chastity), in its arrangement suggestive
-of the beautiful drawing by Leonardo da Vinci
-in the British Museum; and its symbolic meaning
-is doubtless the same. “The unicorn,” writes Leonardo
-in his “Bestiarius,” “is distinguished for lack
-of moderation and self-control. His passionate love
-of young women makes him entirely forget his
-shyness and ferocity. Oblivious of all dangers, he
-comes straight to the seated maiden and falling
-asleep in her lap is then caught by the hunter.”
-The ermine, likewise a sign of chastity, is to be
-seen at the right, gazing upward into Marietta’s
-face.</p>
-
-<p>Still later than the Otto prints, and greatly inferior<span class="pagenum" id="Page_66">[Pg 66]</span>
-to them in execution, are the three illustrations
-for <i>Il Monte Sancto di Dio</i>, of 1477; and the
-nineteen engravings for Dante’s <i>Divina Commedia</i>,
-with Landino’s Commentary, of 1481. <i>Il Monte
-Sancto di Dio</i> is the first book in Italy or in Germany
-in which there appear illustrations from engraved
-plates printed on the text page. This entailed
-much additional labor, and was soon discontinued
-in favor of the wood-block, which could be
-printed simultaneously with the letterpress, and
-was not taken up again until nearly the end of the
-sixteenth century.</p>
-
-<p>Alike by tradition and internal evidence, Botticelli
-is unquestionably the author of the Dante
-designs; but no artist has been suggested as the
-probable designer of the three illustrations for
-<i>Il Monte Sancto di Dio</i>. In the first illustration the
-costume and general attitude of the young gallant
-to the left are strongly reminiscent of the Otto
-prints. The lower portion of the plate shows all the
-characteristics of the Fine Manner, but the angel
-heads are treated in a simpler and more open linear
-method. <i>The Christian’s Ascent to the Glory of Paradise</i>
-is allegorically represented by a ladder placed
-firmly in the ground of widespread Knowledge and
-Humility, and reaching up to the triple mountain
-of Faith, Hope, and Charity, on the summit of
-which stands the Saviour. This ladder is called Perseverance,<span class="pagenum" id="Page_69">[Pg 69]</span>
-one of its sides being Prayer, the other
-Sacrament. It has eleven steps: Prudence, Temperance,
-Fortitude, Justice, etc.</p>
-
-<div class="figcentera">
-<a id="f29" href="images/fig29big.jpg">
-<img src="images/fig29.jpg" alt="" />
-</a>
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. THE CHRISTIAN’S ASCENT TO<br />
-THE GLORY OF PARADISE. FROM “IL MONTE SANCTO DI DIO,”<br />
-FLORENCE, 1477</p>
-<p class="c">Size of the original engraving, 9⅞ × 7 inches<br />
-In the Fogg Art Museum, Harvard University<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter" id="f30">
-<img src="images/fig30.jpg" alt="" />
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. DANTE AND VIRGIL WITH THE VISION<br />
-OF BEATRICE. FROM THE “DIVINA COMMEDIA,” FLORENCE, 1481</p>
-<p class="c">Size of the original engraving, 3½ × 6⅞ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-
-<p>The second illustration depicts the glory of Paradise;
-the third the punishment of Hell, the main
-motives of the last-named being adapted from the
-fresco attributed to Orcagna, in the Campo Santo
-at Pisa.</p>
-
-<p>In the illustrations to the <i>Divina Commedia</i>, of
-1481, there is little left of the beauty which the
-original designs must have possessed. They are,
-indeed, “disguised into puerility by the feebleness
-of the engraver”; but, none the less, they remain,
-with the exception of Botticelli’s superb series of
-drawings on vellum, in Berlin and in the Vatican,
-unquestionably the best, one might say the <i>only</i>,
-satisfactory illustrations of Dante’s text. No known
-copy contains more than the first three engravings
-printed directly upon the page itself. In every
-other case, where a greater number of illustrations
-appear, they are printed separately and pasted in
-place, indicating the difficulty experienced by the
-Renaissance printer in making his plates register
-with the letterpress.</p>
-
-<p>The first print of the series shows Dante lost in
-the wood, emerging therefrom, and his meeting
-with Virgil&mdash;three subjects on a single plate. The
-second represents <i>Dante and Virgil with the Vision</i><span class="pagenum" id="Page_70">[Pg 70]</span>
-<i>of Beatrice</i>. Dante and Virgil are seen twice&mdash;first
-to the left, where Dante doubts whether to follow
-the guidance of Virgil further, and again on the
-slope of the hill to the right, where Virgil relates
-how the vision of Beatrice appeared to him. Near
-the summit of the rocky mountain is seen the
-entrance to Hell.</p>
-
-<p>“Of the extant engravings in the Broad Manner,
-unquestionably the most remarkable is the large
-print on two sheets of the <i>Assumption of the Virgin</i>,
-after Botticelli. The original design [no longer
-known to exist], whether drawing or painting, from
-which this engraving was taken, must have been
-among the grandest and most vigorous works of
-the last period of Botticelli’s art. The large and
-rugged treatment of the figures of the apostles,
-their strange mane-like hair and beards, their fervent
-and agitated gestures and attitudes, lend to
-this part of the design a forcible and primitive
-character, which recalls, though largely, perhaps,
-in an accidental fashion, the grand and impressive
-art of Andrea del Castagno. Not less vigorous in
-conception, but of greater beauty of form and
-movement, is the figure of the Virgin, and the
-motive and arrangement of the angels who form a
-‘mandorla’ around her are among the most lovely
-and imaginative of the many inventions of the kind<span class="pagenum" id="Page_73">[Pg 73]</span>
-which Botticelli has left us.”<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a> In the distant valley
-is a view of Rome showing the Pantheon, the Column
-of Trajan, the Colosseum, and other buildings.</p>
-
-<div class="footnote">
-
-<p><a id="Footnote_4" href="#FNanchor_4" class="label">[4]</a> Sandro Botticelli. By Herbert P. Horne. London: George Bell &amp;
-Sons. 1908. p. 289.</p>
-
-</div>
-
-<div class="figcentera" id="f31">
-<img src="images/fig31.jpg" alt="" />
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. ASSUMPTION<br />
-OF THE VIRGIN (After Botticelli)</p>
-<p class="c">Size of the original engraving, 32⅝ × 22¼ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f32">
-<img src="images/fig32.jpg" alt="" />
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. TRIUMPH OF<br />
-LOVE. FROM THE TRIUMPHS OF PETRARCH.</p>
-<p class="c">Size of the original engraving, 10⅜ × 6¾ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p>If the <i>Assumption of the Virgin</i> is the noblest
-print in the Broad Manner, the <i>Triumphs of Petrarch</i>&mdash;a
-set of six prints&mdash;may be said to possess
-the greatest charm, not less by its subject than by
-its treatment. Petrarch first saw Laura on April 6,
-1327, in the Church of Santa Clara at Avignon, and
-“in the same city, on the same 6th day of the same
-month of April, in the year 1348, the bright light
-of her life was taken away from the light of this
-earth.” The poet’s aim in composing these <i>Trionfi</i>
-is the same which he proposed to himself in the
-<i>Canzoniere</i>: namely, “to return in thought, from
-time to time, now to the beginning, now to the
-progress, and now to the end of his passion, taking
-by the way frequent opportunities of rendering
-praise and honor to the single and exalted object of
-his love. To reach this aim he devised a description
-of man in his various conditions of life, wherein
-he might naturally find occasion to speak of himself
-and of his Laura.</p>
-
-<p>“Man in his first stage of youth is the slave of
-appetites, which may all be included under the
-generic name of <span class="smcap">Love</span>, or Self-Love. But as he<span class="pagenum" id="Page_74">[Pg 74]</span>
-gains understanding, he sees the impropriety of
-such a condition, so that he strives advisedly against
-those appetites and overcomes them by means of
-<span class="smcap">Chastity</span>, that is, by denying himself the opportunity
-of satisfying them. Amid these struggles and
-victories <span class="smcap">Death</span> overtakes him and makes victors
-and vanquished equal by taking them all out of the
-world. Nevertheless, it has no power to destroy the
-memory of a man, who by illustrious and honorable
-deeds seeks to survive his own death. Such a man
-truly lives through a long course of ages by means
-of his <span class="smcap">Fame</span>. But <span class="smcap">Time</span> at length obliterates all
-memory of him, and he finds, in the last resort, that
-his only sure hope of living forever is by joy in
-God and by partaking with God in his blessed
-<span class="smcap">Eternity</span>.</p>
-
-<p>“Thus <span class="smcap">Love</span> triumphs over man, <span class="smcap">Chastity</span> over
-<span class="smcap">Love</span>, and <span class="smcap">Death</span> over both alike; <span class="smcap">Fame</span> triumphs
-over <span class="smcap">Death</span>, <span class="smcap">Time</span> over <span class="smcap">Fame</span>, and <span class="smcap">Eternity</span> over
-<span class="smcap">Time</span>.”<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a></p>
-
-<div class="footnote">
-
-<p><a id="Footnote_5" href="#FNanchor_5" class="label">[5]</a> Le Rime di Francesco Petrarca con l’interpretazione di Giacomo
-Leopardi ... e gli argomenti di A. Marsand. Florence. 1839. p. 866.
-Translation in, Petrarch: His Life and Times. By H. C. Hollway-Calthrop.
-London. 1907. pp. 41-42.</p>
-
-</div>
-
-<p>With the exception of the first plate, <i>The Triumph
-of Love</i>, none of these engravings illustrates,
-in any strict sense of the word, the text of Petrarch’s
-poem. It is the spirit which the engraver
-has interpreted. Who may have been the designer
-<span class="pagenum" id="Page_77">[Pg 77]</span>we know not, but they show certain affinities to the
-work of Pesellino and Baldovinetti.</p>
-
-<div class="figcentera" id="f33">
-<img src="images/fig33.jpg" alt="" />
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. TRIUMPH OF<br />
-CHASTITY. FROM THE TRIUMPHS OF PETRARCH</p>
-<p class="c">Size of the original engraving, 10 × 6⅜ inches<br />
-In the Fogg Art Museum, Harvard University</p>
-</div>
-
-<div class="figcenter" id="f34">
-<img src="images/fig34.jpg" alt="" />
-<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. LIBYAN SIBYL</p>
-<p class="c">Size of the original engraving, 7 × 4¼ inches<br />
-In the British Museum</p>
-</div>
-
-
-<p>In the first plate, Cupid, the blind archer, with
-flame-tipped arrow, is poised upon a ball rising
-from a flaming vase, the base of which, in its turn,
-rests upon flame. Jupiter(?), chained, is seated in
-the front of the car, while Samson, bearing a
-column, walks upon the further side. Four prancing
-steeds draw the car; behind, Love’s victims
-follow in endless procession. In the second plate,
-<i>Chastity</i> stands upon an urn; in front of her kneels
-Cupid, still blindfolded, with his broken arrow beside
-him. Two unicorns, symbols of chastity, draw
-the car, while upon the banner borne by the maiden
-at the extreme right there appears the symbolic
-ermine. Then follow in order the Triumphs of
-<i>Death</i>, of <i>Fame</i>, of <i>Time</i>, and of <i>Eternity</i>.</p>
-
-<p>This series of illustrations reappears, somewhat
-modified and simplified, in the form of woodcuts,
-in the editions of the <i>Trionfi</i> published in Venice
-in 1488, 1490, 1492, and in Florence in 1499.</p>
-
-<p>We have already referred to the <i>Evangelists and
-Apostles</i> engraved by the German, Master E. S. of
-1466. It is from him that the anonymous Florentine
-engraver borrowed his figures, in many cases
-leaving the form of the drapery unchanged but
-enriching it with elaborate designs in the manner
-of Finiguerra. The Prophet <i>Ezekiel</i> is thus compounded<span class="pagenum" id="Page_78">[Pg 78]</span>
-of <i>St. John</i> and <i>St. Peter</i>, while <i>Amos</i> is
-copied in reverse from <i>St. Paul</i>. The seated figure
-of <i>Daniel</i>, in its turn, is derived from Martin
-Schongauer’s engraving, <i>Christ Before Pilate</i>, but
-the throne upon which he is seated is strongly
-reminiscent of the Picture-Chronicle, and likewise
-recalls Botticelli’s early painting of <i>Fortitude</i>.
-The <i>Tiburtine Sibyl</i> is derived from <i>St. Matthew</i>,
-who, in changing his position, has likewise changed
-his sex. The precedent thus established has been
-followed by <i>St. John</i>, transformed into the <i>Libyan
-Sibyl</i> in the Fine Manner, with the addition of a
-flying veil, to the right, copied from the <i>Woman
-with the Escutcheon</i>, also by the Master E. S. In the
-Broad Manner print the figure of this Sibyl gains
-in dignity by the elimination of much superfluous
-ornament upon her outer garment, and from the
-fact that she now sits in a more upright posture,
-the Fine Manner print still suggesting the crouching
-attitude of its Northern prototype. It is to the
-influence, if not to the hand, of Botticelli that such
-improvement is most likely due.</p>
-
-<p>The twenty-four <i>Prophets</i> and the twelve <i>Sibyls</i>,
-engraved both in the Fine and in the Broad Manner
-of the Finiguerra School, are individually and collectively
-among the most delightful productions of
-Italian art. It was doubtless as illustrations of
-mystery plays or pageants in Florence that this<span class="pagenum" id="Page_81">[Pg 81]</span>
-series of engravings was designed, and we are able
-to reconstruct from the <i>Triumphs of Petrarch</i>, and
-from these prints, a Florentine street pageant at
-its loveliest.</p>
-
-<div class="figcentera" id="f35">
-<img src="images/fig35.jpg" alt="" />
-<p class="caption">ANONYMOUS NORTH ITALIAN, XV CENTURY. THE<br />
-GENTLEMAN. FROM THE TAROCCHI PRINTS<br />
-(E Series)</p>
-<p class="c">Size of the original engraving, 7⅛ × 4 inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f36">
-<img src="images/fig36.jpg" alt="" />
-<p class="caption">ANONYMOUS NORTH ITALIAN, XV CENTURY. CLIO.<br />
-FROM THE TAROCCHI PRINTS (S Series)</p>
-<p class="c">Size of the original engraving, 7⅛ × 4 inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p>However great their beauty and however strong
-the fascination which they exert, they have a rival
-in the series of fifty instructive prints, which, for
-many years, were miscalled the <i>Tarocchi Cards of
-Mantegna</i>. Tarocchi cards they are not, and of
-Mantegna’s influence, direct or indirect, there
-would seem to be no trace whatsoever. They are
-of North Italian origin and are the work, in all
-probability, of some anonymous Venetian engraver,
-working from Venetian or Ferrarese originals,
-about 1465&mdash;contemporary, therefore, with
-the Florentine engravings of the <i>Prophets and Sibyls</i>.
-Forming, apparently, a pictorial cyclopædia of the
-mediæval universe, with its systematic classification
-of the various powers of Heaven and Earth,
-they divide themselves into five groups of ten cards
-each. First we have the ranks and conditions of
-men from Beggar to Pope; next Apollo and the nine
-Muses; then the Liberal Arts, with the addition
-of Poetry, Philosophy, and Theology, in order to
-make up the ten; next the Seven Virtues, the set
-being brought up to the required number by the
-addition of <i>Chronico</i>, the genius of Time, <i>Cosmico</i>,
-the genius of the Universe, and <i>Iliaco</i>, the genius<span class="pagenum" id="Page_82">[Pg 82]</span>
-of the Sun. The fifth group is based on the Seven
-Planets, together with the Sphere of the Fixed
-Stars and the Primum Mobile, which imparts its
-own revolving motion to all the spheres within it;
-and enfolding all the Empyrean Sphere, the abode
-of Heavenly Wisdom.</p>
-
-<p>Much wisdom and many words have been expended
-upon the still unsolved riddle as to which
-of the two sets, known respectively as the E series
-and the S series (from the letters which appear in
-the lower left-hand corners of the ten cards of the
-<i>Sorts and Conditions of Men</i>) may claim priority of
-date. Both series are in the Fine Manner, the outlines
-clearly defined, the shadings and modelling
-indicated with delicate burin strokes, crossed and
-re-crossed so as to give a tonal effect. These delicate
-strokes soon wore out in printing, and the structural
-lines of the figures then emerge in all their
-beauty. It may seem absurd that one should admire
-impressions from plates obviously worn, but
-the critic would do well to suspend his condemnation,
-since the Tarocchi Prints present many and
-manifold forms of beauty&mdash;in the early impressions
-a delicate and bloom-like quality; in certain somewhat
-later proofs, a charm of line which recalls the
-art of the Far East.</p>
-
-<div class="figcentera" id="f37">
-<img src="images/fig37.jpg" alt="" />
-<p class="caption">ANONYMOUS NORTH ITALIAN, XV CENTURY. THE SUN.<br />
-FROM THE TAROCCHI PRINTS (E Series)</p>
-<p class="c">Size of the original engraving, 7⅛ × 4 inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f38">
-<img src="images/fig38.jpg" alt="" />
-<p class="caption">ANONYMOUS NORTH ITALIAN, XV CENTURY. ANGEL OF<br />
-THE EIGHTH SPHERE. FROM THE TAROCCHI PRINTS<br />
-(E Series)</p>
-<p class="c">Size of the original engraving, 7⅛ × 4 inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><i>The Gentleman</i> is the fifth in order in the first
-group of the <i>Sorts and Conditions of Men</i>, and is<span class="pagenum" id="Page_85">[Pg 85]</span>
-from the so-called E series (claimed by Sir Sidney
-Colvin and Mr. Arthur M. Hind, of the British
-Museum, to be the earlier of the two sets). The
-sequence runs: (1) The Beggar, (2) The Servant,
-(3) The Artisan, (4) The Merchant, (5) The Gentleman,
-(6) The Knight, (7) The Doge, (8) The
-King, (9) The Emperor, (10) The Pope.</p>
-
-<p><i>Clio</i> is the ninth of the Muses and is from the
-S series (placed first in point of time, by Kristeller,
-and about ten years later than the E series, by the
-British Museum authorities).</p>
-
-<p><i>The Sun</i> naturally finds his place in the group of
-<i>Planets</i> and <i>Spheres</i>. There is a delightful and
-childish touch in the way in which <i>Phæton</i> is pictured
-as a little boy falling headlong into the river
-Po, which conveniently flows immediately beneath
-him. To this group belongs likewise the <i>Angel of the
-Eighth Sphere</i>, the Sphere of the Fixed Stars, one
-of the loveliest prints in the entire set, both in
-arrangement and in execution.</p>
-
-<p>Nothing could be in greater contrast to the gracefulness
-of such a print as the above than the <i>Battle
-of Naked Men</i> by <span class="smcap">Antonio Pollaiuolo</span>, “the stupendous
-Florentine”&mdash;if one may borrow Dante’s
-title; but, for the moment, we will hold Pollaiuolo
-and his one engraving in reserve while we glance at
-the work of <span class="smcap">Christofano Robetta</span>, who, born in
-Florence in 1462, was consequently the junior of<span class="pagenum" id="Page_86">[Pg 86]</span>
-Pollaiuolo by thirty years. As an engraver, Robetta
-is inferior to the anonymous master to whom we
-owe the E series of the Tarocchi prints. His style
-is somewhat dry, and the individual lines are lacking
-in beauty; but his plates have that indefinable
-and indescribable fascination and charm which is
-the peculiar possession of Italian engraving and of
-the Florentine masters in particular. The shaping
-influences which determined his choice and treatment
-of subject are Botticelli, and, in a much
-larger measure, Filippino Lippi, though only in a
-few cases can he be shown to have worked directly
-from that painter’s designs. The <i>Adoration of the
-Magi</i> is obviously inspired by Filippino Lippi’s
-painting in the Uffizi, though whether Robetta
-actually worked from the painting itself, or, as
-seems more probable, translated one of Filippino’s
-drawings, is an interesting question. The fact that
-the engraving is in reverse of the painting proves
-nothing; but there are so many points of difference
-between them&mdash;notably the introduction of the
-charming group of three angels above the Virgin
-and Child&mdash;that one can hardly think Robetta
-would have needlessly made so many and important
-modifications of the painting itself, if a drawing
-had been available. It is interesting, though of
-minor importance, that the hat of the King to
-the right, which lies on the ground, is copied in<span class="pagenum" id="Page_89">[Pg 89]</span>
-reverse from Schongauer’s <i>Adoration</i>, and that the
-<i>Allegory of the Power of Love</i>, one of Robetta’s most
-charming subjects, is engraved upon the reverse
-side of the plate of the <i>Adoration of the Magi</i>, the
-copper-plate itself being now in the Print Room
-of the British Museum. Whether the <i>Allegory of
-Abundance</i> is entirely Robetta’s, or whether the
-design was suggested by another master’s painting
-or drawing, can be only a matter of conjecture. It
-shows, however, so many of the characteristics
-which we associate with his work that we may give
-him the benefit of the doubt and consider him as
-its “onlie begetter.”</p>
-
-<div class="figcentera" id="f39">
-<img src="images/fig39.jpg" alt="" />
-<p class="caption">CRISTOFANO ROBETTA. ADORATION OF THE MAGI</p>
-<p class="c">Size of the original engraving, 11⅝ × 11 inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter">
-<a id="f40" href="images/fig40big.jpg">
-<img src="images/fig40.jpg" alt="" />
-</a>
-<p class="caption">ANTONIO POLLAIUOLO. BATTLE OF NAKED MEN</p>
-<p class="c">Size of the original engraving, 15¾ × 23½ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p><i>Hercules and the Hydra</i> and <i>Hercules and Antæus</i>
-show so markedly the influence of Pollaiuolo that
-we may conclude them to have been taken from
-the two small panels in the Uffizi; though, in the
-case of the first named, Pollaiuolo’s original sketch,
-now in the British Museum, may also have served
-Robetta.</p>
-
-<p>Whether <span class="smcap">Pollaiuolo</span> based his technical method
-upon that of Mantegna and his School, or whether
-Mantegna’s own engravings were inspired by his
-Florentine contemporary, is an interesting, but
-thus far unanswered, question. Pollaiuolo’s one
-print, the <i>Battle of Naked Men</i>, is engraved in the
-Broad Manner, somewhat modified by the use of a
-light stroke laid at an acute angle between the<span class="pagenum" id="Page_90">[Pg 90]</span>
-parallels. The outlines of the figures are strongly
-incised; while the treatment of the background
-lends color to the supposition that, in his youth,
-Pollaiuolo engraved in niello, as well as furnished
-designs to be executed by Finiguerra and his
-School. In this masterpiece the artist has summed
-up his knowledge of the human form, and has expressed,
-in a more convincing and vigorous measure
-than has any other engraver in the history of
-the art, the strain and stress of violent motion and
-the fury of combat.</p>
-
-<p>“What is it,” asks Bernhard Berenson, “that
-makes us return to this sheet with ever-renewed,
-ever-increased pleasure? Surely it is not the
-hideous faces of most of the figures and their
-scarcely less hideous bodies. Nor is it the pattern
-as decorative design, which is of great beauty indeed,
-but not at all in proportion to the spell exerted
-upon us. Least of all is it&mdash;for most of us&mdash;an
-interest in the technique or history of engraving.
-No, the pleasure we take in these savagely battling
-forms arises from their power to directly communicate
-life, to immensely heighten our sense of vitality.
-Look at the combatant prostrate on the
-ground and his assailant, bending over, each intent
-on stabbing the other. See how the prostrate man
-plants his foot on the thigh of his enemy and note
-the tremendous energy he exerts to keep off the<span class="pagenum" id="Page_91">[Pg 91]</span>
-foe, who, turning as upon a pivot, with his grip on
-the other’s head, exerts no less force to keep the
-advantage gained. The significance of all these
-muscular strains and pressures is so rendered that
-we cannot help realizing them; we imagine ourselves
-imitating all the movements and exerting
-the force required for them&mdash;and all without the
-least effort on our side. If all this without moving
-a muscle, what should we feel if we too had exerted
-ourselves? And thus while under the spell of
-this illusion&mdash;this hyperæsthesia not bought with
-drugs and not paid for with cheques drawn on our
-vitality&mdash;we feel as if the elixir of life, not our own
-sluggish blood, were coursing through our veins.”<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a></p>
-
-<div class="footnote">
-
-<p><a id="Footnote_6" href="#FNanchor_6" class="label">[6]</a> Florentine Painters of the Renaissance. By Bernhard Berenson.
-New York: Putnam’s Sons. 1899. pp. 54-55.</p>
-
-</div>
-
-<p>Pollaiuolo is the one great original engraver
-Florence produced, and with him we bring to a
-close our all too brief study of Florentine engraving.</p>
-
-<p><span class="pagenum" id="Page_92">[Pg 92]</span></p>
-
-
-<p class="c p2">ITALIAN ENGRAVING: THE FLORENTINES</p>
-
-<p class="c little">BIBLIOGRAPHY</p>
-
-<div class="blockquot">
-
-<p><span class="smcap">Le Peintre Graveur.</span> <i>By Adam Bartsch.</i> 21 volumes. Vienna: 1803-1821.
-Volume 13, Early Italian Engravers.</p>
-
-<p><span class="smcap">The Drawings of the Florentine Painters.</span> <i>By Bernhard Berenson.</i>
-2 volumes. 180 illustrations. New York: E. P. Dutton &amp; Company. 1903.</p>
-
-<p><span class="smcap">Catalogue of Early Italian Engravings Preserved in the Department
-of Prints and Drawings in the British Museum.</span> <i>By Arthur Mayger Hind.
-Edited by Sidney Colvin.</i> 20 illustrations. London: The Trustees. 1910.</p>
-
-<p>&mdash;&mdash;&mdash;. Illustrations to the Catalogue ... 198 plates. London:
-The Trustees. 1909.</p>
-
-<p><span class="smcap">Some Early Italian Engravers Before the Time of Marcantonio.</span> <i>By
-Arthur Mayger Hind.</i> 22 illustrations. The Print-Collector’s Quarterly, Vol.
-2, No. 3, pp. 253-289. Boston. 1912.</p>
-
-<p><span class="smcap">Sulle origini dell’incisione in rame in Italia.</span> <i>By Paul Kristeller.</i> 4
-illustrations. Archivio Storico dell’Arte, Vol. 6, p. 391-400. Rome. 1893.</p>
-
-<p><span class="smcap">Le Peintre-Graveur.</span> <i>By J. D. Passavant.</i> 6 volumes. Leipzig: Rudolph
-Weigel. 1860-1864. Volumes 1 and 5, Early Italian Engravers.</p>
-
-<p><span class="smcap">Des Types et des manières des maitres graveurs ... en Italie,
-en Allemagne, dans les Pays-Bas et en France.</span> <i>By Jules Renouvier.</i>
-2 volumes. Montpellier: Boehm, 1853-1855. Volume 1, Engravers of the
-Fifteenth Century.</p>
-
-<p><span class="smcap">Lives of the Most Eminent Painters, Sculptors, and Architects.</span>
-<i>By Giorgio Vasari.</i> Translated by Mrs. Jonathan Foster. With commentary
-by J. P. Richter. 6 volumes. London: George Bell &amp; Sons. 1890-1892.</p>
-
-
-<p class="xlarge"><span class="smcap">Finiguerra, Maso</span> (1426-1464)</p>
-
-<p><span class="smcap">A Florentine Picture-Chronicle; being a Series of Ninety-nine
-Drawings Representing Scenes and Personages of Ancient History,
-Sacred and Profane; reproduced from the Originals in the British
-Museum.</span> <i>Edited by Sidney Colvin.</i> 99 reproductions and 117 text illustrations.
-London: B. Quaritch. 1898.</p>
-
-<p><span class="smcap">Sandro Botticelli.</span> <i>By Herbert P. Horne.</i> 43 plates. London: George Bell
-&amp; Sons. 1905. pp. 77-86.</p>
-
-
-<p class="xlarge"><span class="smcap">The Planets</span> (c. 1460)</p>
-
-<p><span class="smcap">The Seven Planets.</span> <i>By Friedrich Lippmann. Translated by Florence Simmonds.</i>
-43 reproductions. London. 1895. (International Chalcographical
-Society. 1895.)</p>
-
-
-<p class="xlarge"><span class="smcap">The Otto Prints</span> (c. 1465-1470)</p>
-
-<p><span class="smcap">Florentinische Zierstücke aus dem XV. Jahrhundert.</span> <i>Edited by Paul
-Kristeller.</i> 25 reproductions. Berlin: Bruno Cassirer. 1909. (Graphische
-Gesellschaft. Publication 10.)</p>
-
-<p><span class="pagenum" id="Page_93">[Pg 93]</span></p>
-
-<p><span class="smcap">Delle ‘Imprese amorose’ nelle più antiche incisione fiorentine.</span> <i>By
-A. Warburg.</i> Rivista d’Arte, Vol. 3 (July-August). Florence. 1905.</p>
-
-
-<p class="xlarge"><span class="smcap">Engravings in Books</span> (1477-1481)</p>
-
-<p><span class="smcap">Works of the Italian Engravers in the Fifteenth Century; Reproduced
-... with an Introduction.</span> <i>By George William Reid.</i> 20
-reproductions on 19 plates. First Series: Il Libro del Monte Sancto di Dio,
-1477; La Divina Commedia of Dante; and the Triumphs of Petrarch.</p>
-
-
-<p class="xlarge"><span class="smcap">Illustrations of the Divina Commedia, Florence</span>, 1481</p>
-
-<p><span class="smcap">Sandro Botticelli.</span> <i>By Herbert P. Horne.</i> 43 plates. London: George Bell
-&amp; Sons. 1908. pp. 75-77, 190-255.</p>
-
-<p><span class="smcap">Zeichnungen von Sandro Botticelli zu Dante’s Goettlicher Komoedie
-nach den Originalen im K. Kupferstichkabinet zu Berlin.</span> <i>Edited
-by Friedrich Lippmann.</i> 20 reproductions of engravings bound with text.
-With portfolio of 84 reproductions of the drawings.</p>
-
-<p>Supplemented by&mdash;<span class="smcap">Die acht Handzeichnungen des Sandro Botticelli
-zu Dantes Göttlicher Komödie im Vatikan.</span> <i>Edited by Josef
-Strzygowski.</i> With portfolio of 8 reproductions.</p>
-
-
-<p class="xlarge"><span class="smcap">Triumphs of Petrarch</span> (c. 1470-1480)</p>
-
-<p><span class="smcap">Pétrarque; ses études d’art, son influence sur les artistes, ses
-portraits and ceux de Laure, l’illustration de ses écrits.</span> <i>By Victor
-Masséna</i>, <i>Prince d’Essling</i>, and <i>Eugène Muntz</i>. 21 plates and 191 text illustrations.
-Paris: Gazette des Beaux-Arts. 1902.</p>
-
-<p><span class="smcap">Études sur les Triomphes de Pétrarque.</span> <i>By Victor Masséna, Prince
-d’Essling.</i> 6 illustrations. Gazette des Beaux-Arts. 2 parts. Part I. Vol. 35
-(second period). pp. 311-321. Part II. Vol. 36 (second period). pp. 25-34.
-Paris. 1887.</p>
-
-<p><span class="smcap">Petrarch; His Life and Times.</span> <i>By H. C. Hollway-Calthrop.</i> 24 illustrations.
-London: Methuen &amp; Co. 1907.</p>
-
-
-<p class="xlarge"><span class="smcap">Broad Manner Plates</span> (c. 1470-1480)</p>
-
-<p><span class="smcap">Sandro Botticelli.</span> <i>By Herbert P. Horne.</i> 43 plates. London: George Bell
-&amp; Sons. 1908. pp. 288-291.</p>
-
-
-<p class="xlarge"><span class="smcap">The Tarocchi Prints</span> (c. 1467)</p>
-
-<p><span class="smcap">Die Tarocchi; zwei italienische Kupferstichfolgen aus dem XV.
-Jahrhundert.</span> <i>Edited by Paul Kristeller.</i> 100 reproductions on 50 plates.
-Berlin: Bruno Cassirer. 1910. (Graphische Gesellschaft. Extraordinary
-Publication 2.)</p>
-
-<p><span class="smcap">Der venezianische Kupferstich im XV. Jahrhundert.</span> <i>By Paul Kristeller.</i>
-6 illustrations. Mitteilungen der Gesellschaft für vervielfältigende
-Kunst, Vol. 30, No. 1. Vienna. 1907.</p>
-
-<p><span class="smcap">Origine des cartes à jouer.</span> <i>By R. Merlin.</i> About 600 reproductions.
-Paris: L’auteur. 1869.</p>
-
-<p><span class="pagenum" id="Page_94">[Pg 94]</span></p>
-
-<p><span class="smcap">The Tarocchi Prints.</span> <i>By Emil H. Richter.</i> 13 illustrations. The Print-Collector’s
-Quarterly, Vol. 6, No. 1, pp. 37-89. Boston. 1916.</p>
-
-<p><span class="smcap">Catalogue of Playing and Other Cards in the British Museum.</span> <i>By
-William Hughes Willshire.</i> 78 reproductions on 24 plates. London: The
-Trustees. 1876.</p>
-
-
-<p class="xlarge"><span class="smcap">Pollaiuolo, Antonio</span> (1432-1498)</p>
-
-<p><span class="smcap">Florentine Painters of the Renaissance.</span> <i>By Bernhard Berenson.</i> New
-York: Putnam’s Sons. 1899. pp. 47-57.</p>
-
-<p><span class="smcap">Antonio Pollaiuolo.</span> <i>By Maud Cruttwell.</i> 51 illustrations. London: Duckworth
-and Company. 1907.</p>
-
-<p><span class="smcap">Note su Mantegna e Pollaiuolo.</span> <i>By Arthur Mayger Hind.</i> 2 illustrations.
-L’Arte, Vol. 9, pp. 303-305. Rome. 1906.</p>
-</div>
-<hr class="full x-ebookmaker-drop" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_95">[Pg 95]</span></p>
-
-<h2 class="nobreak" id="l3">GERMAN ENGRAVING: THE MASTER OF<br />
-THE AMSTERDAM CABINET AND<br />
-ALBRECHT DÜRER</h2>
-</div>
-
-
-<p class="drop-cap">WITH the exception of Martin Schongauer,
-none of Dürer’s immediate predecessors better
-repays a thorough study, or exerts a more potent
-fascination, than the <span class="smcap">Master of the Amsterdam
-Cabinet</span>. The earlier writers, from Duchesne to
-Dutuit, were united in their opinion that this engraver
-was a Netherlander; but Max Lehrs, following
-the track opened up by Harzen, has proved
-conclusively that the Master of the Amsterdam
-Cabinet (so called because the largest collection of
-his engravings&mdash;eighty subjects out of the eighty-nine
-which are known&mdash;is preserved in the Royal
-Print Rooms in Amsterdam) was not a Netherlander
-but a South German, a native of Rhenish
-Suabia&mdash;the very artist, in fact, who designed the
-illustrations of the Planets and their influences and
-the various arts and occupations of men, for the
-so-called “Medieval House Book” in the collection
-of Prince von Waldburg-Wolfegg.</p>
-
-<p>In subject-matter he owes little to his predecessors,
-and in technique he is an isolated phenomenon.<span class="pagenum" id="Page_96">[Pg 96]</span>
-<i>St. Martin and the Beggar</i> and <i>St. Michael and
-the Dragon</i> show that he was acquainted with the
-work of Martin Schongauer; the <i>Ecstasy of St.
-Mary Magdalen</i> is obviously based upon a similar
-engraving by the Master E. S. of 1466; but for the
-most part he stands alone. He seems to have
-worked entirely in dry-point upon some soft metal&mdash;lead
-or pewter, perhaps&mdash;and the ink which he
-used, of a soft grayish tint, combines with the
-breadth and softness of the lines to impart to his
-prints much of the character of drawings in silver-point.</p>
-
-<p>The Master of the Amsterdam Cabinet has
-treated a wide range of subjects, his preference
-being for scenes of everyday life. His prints show
-appreciation of the beauties of landscape, his skill
-in the treatment of wide spaces is masterly, and
-there is a beauty and sweetness in the expression of
-his faces which makes him a worthy rival of
-Martin Schongauer himself. He has left us no
-purely ornamental designs, such as might serve in
-the decoration of vessels used in the church, and
-we may infer, from the character of his engravings,
-that he was a painter, who used the dry-point as
-a diversion, rather than a professional engraver,
-pursuing his craft as a means of livelihood. In
-power of composition he can hardly rank with
-Martin Schongauer, and in range of intellect he
-<span class="pagenum" id="Page_99">[Pg 99]</span>falls short of the heights reached by Albrecht
-Dürer; but his very limitations, perhaps, render
-him a more companionable personage, and his
-modernity makes an immediate appeal to us all.</p>
-
-<div class="figcentera" id="f41">
-<img src="images/fig41.jpg" alt="" />
-<p class="caption">MASTER OF THE AMSTERDAM CABINET. ECSTASY<br />
-OF ST. MARY MAGDALEN</p>
-<p class="c">Size of the original engraving, 7⅝ × 5¼ inches<br />
-In the Royal Print Room, Amsterdam</p>
-</div>
-
-<div class="figcenter" id="f42">
-<img src="images/fig42.jpg" alt="" />
-<p class="caption">MASTER OF THE AMSTERDAM CABINET. CRUCIFIXION</p>
-<p class="c">Size of the original engraving, 6 × 5¼ inches<br />
-In the Royal Print Room, Amsterdam</p>
-</div>
-
-
-<p>The <i>Ecstasy of St. Mary Magdalen</i> is one of his
-earliest plates and is a free translation of the same
-subject by the Master E. S. It would seem as
-though his dry-point was the immediate original
-of Dürer’s woodcut. The position of the Magdalen’s
-hands is the same in both compositions, but Dürer
-has added a landscape which, admirable though it
-be, detracts from the main interest of his print.</p>
-
-<p>The Master of the Amsterdam Cabinet, in a
-second rendering, herewith reproduced, has eliminated
-all superfluous or distracting details and
-imparted a surprising degree of grace and purity
-to the lovely design. Anything like a chronological
-arrangement of the master’s work would
-be difficult, but one may safely assume that this
-beautiful engraving belongs to the latest and most
-mature period of his art, to which period we also
-may assign the <i>Two Lovers</i>.</p>
-
-<p>As a rule, his least successful engravings are those
-dealing with religious themes. At times, however,
-as in the <i>Crucifixion</i>, he rises to heights of dramatic
-intensity, and Dürer may be indebted more
-than we realize to this rendering of the divine
-tragedy. <i>Aristotle and Phyllis</i> and <i>Solomon’s Idolatry</i>
-<span class="pagenum" id="Page_100">[Pg 100]</span>are satirical illustrations of the follies of sages
-in love. Both plates are illumined by a truly
-modern sense of humor, while the arrangement of
-the figures within the spaces to be filled is admirable.</p>
-
-<p>Such subjects as <i>The Three Living and the Three
-Dead Kings</i> and <i>Young Man and Death</i> are variations
-upon a theme which was uppermost in the
-minds of many men at this time, when the <i>Ars
-Moriendi</i> and the <i>Dance of Death</i> were constant
-reminders of man’s mortality. In agreeable contrast
-is the dry-point of <i>Two Lovers</i>&mdash;a little masterpiece&mdash;one
-of his most charming designs. “The
-sweet shyness of the maiden, the tender glances of
-the lover and the soft pressure of their hands are
-rendered with an inimitable grace, and the work
-is altogether of such exceptional quality that we
-may count this delightful picture as one of the
-rarest gems of German engraving in the fifteenth
-century.”<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a></p>
-
-<div class="footnote">
-
-<p><a id="Footnote_7" href="#FNanchor_7" class="label">[7]</a> The Master of the Amsterdam Cabinet. By Max Lehrs. International
-Chalcographical Society, 1893 and 1894. p. 7.</p>
-
-</div>
-
-<p>The <i>Stag Hunt</i> is filled with the spirit of outdoor
-life, the exhilaration of the chase, and the
-joy of the hounds in pursuing their quarry. No
-other engraver of the fifteenth century has left us
-any such truthful rendering of a hunting scene, and
-the life-enhancing quality of this little dry-point
-<span class="pagenum" id="Page_103">[Pg 103]</span>makes even Dürer’s rendering of animal forms
-seem cold and relatively lifeless.</p>
-
-<div class="figcentera">
-<a id="f43" href="images/fig43big.jpg">
-<img src="images/fig43.jpg" alt="" />
-</a>
-<p class="caption">MASTER OF THE AMSTERDAM CABINET. STAG HUNT</p>
-<p class="c">Size of the original engraving, 3⅝ × 6¾ inches<br />
-In the Royal Print Room, Amsterdam<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter" id="f44">
-<img src="images/fig44.jpg" alt="" />
-<p class="caption">MASTER OF THE AMSTERDAM CABINET. ST. GEORGE</p>
-<p class="c">Size of the original engraving, 5⅝ × 4⅛ inches<br />
-In the British Museum</p>
-</div>
-
-
-
-<p>The master’s knowledge of the anatomy of the
-horse, and his treatment of that noble beast, unfortunately
-fall far short of his rendering of the dogs
-and stags in the <i>Stag Hunt</i>. The figure of <i>St. George</i>
-is sufficiently graceful and convincing, but the horse
-(seemingly of the rocking-horse variety) can hardly
-be proclaimed a complete success. In spite of this
-obvious defect it is one of the artist’s finest plates,
-remarkable for its exceptional force and animation.
-The unique proof, of which the British Museum is
-the fortunate possessor, is in splendid condition
-and rich in burr.</p>
-
-<p>And now, with some trepidation of spirit, we approach
-<span class="smcap">Albrecht Dürer</span> and his engraved work.
-His many-sidedness foredooms to failure any attempt
-at an adequate and comprehensive treatment.
-His compositions, as Max Allihn justly says,
-may fittingly be likened to the Sphinx of the old
-legend; for “they attack everyone who, either as
-critic, historian or harmless wanderer, ventures in
-the realm of art, and propose to him their unsolvable
-riddles.”</p>
-
-<p>Of his own work Dürer says: “What beauty may
-be I know not. Art is hidden in nature and whosoever
-can tear it out has it,” and his life-long quest
-of knowledge, his truly German reverence for fact,<span class="pagenum" id="Page_104">[Pg 104]</span>
-hangs like a millstone around his neck. “Of a
-truth,” writes Raphael, “this man would have surpassed
-us all if he had had the masterpieces of art
-constantly before him,” Raphael himself&mdash;“Raphael
-the Divine”&mdash;hardly paralyzed æsthetic criticism
-for a longer period than has Dürer, and in
-studying his engravings, if the student would see
-them for what they are, as works of art, and not
-through the enchanted, oftentimes stupefying, maze
-of metaphysics, he must be prepared for the gibes
-and verbal brick-bats of his contemporaries, who
-hold in reverence all that has the sanction of long-continued
-repetition by authority after authority.</p>
-
-<p>“If you see it in a book it’s true; if you see it in
-a German book it’s very true,” applies with only
-too telling a force to a considerable share of Dürer
-speculation. For better or worse I cannot but think
-that Dürer’s prime intention in his engravings was
-an artistic one, though obviously this intention was
-often overlaid with a desire to supply an existing
-demand and to introduce, into otherwise simple
-compositions, traditional moralistic motives which
-should render his engravings more marketable at
-the fairs, where mostly they were sold. So many
-and so fascinating are the facets of Dürer’s personality,
-so interesting is he as a man in whose mind
-meet, and sometimes blend, the ideas of the
-Middle Ages with those almost of our own time,<span class="pagenum" id="Page_105">[Pg 105]</span>
-that if we are to study, even in the briefest and
-most cursory fashion, his engraved work, we must
-perforce confine ourselves strictly to the artistic
-content of his plates and not be seduced into the
-by-ways of speculation which lead anywhere&mdash;or,
-more often, nowhere.</p>
-
-<p>Earliest of his authenticated engravings, without
-monogram and without date, crude in handling,
-possibly suggested by the work of some earlier
-master, and in all probability executed before his
-first journey to Venice (that is to say, before or in
-the year 1490) is the <i>Ravisher</i>, susceptible of as
-many and as varied interpretations as there are
-authorities; from a man using violence, to the
-struggle for existence. It has even been connected
-in some way with a belief in witchcraft! The <i>Holy
-Family with the Dragonfly</i>, to which Koehler gives
-second place in his chronological arrangement of
-Dürer’s engravings, shows an astonishing advance
-in technique and in composition. It is undated, but
-the monogram is in its early form. The galley and
-the two gondolas, in the distant water to the right,
-would seem to indicate that it was engraved in or
-about the year 1494, upon Dürer’s return from
-Venice, and it is probably his first plate after his
-return to Nuremberg. There is a sweetness and an
-attractiveness in the face of the Virgin which points
-to an acquaintance with Schongauer’s engraving,<span class="pagenum" id="Page_106">[Pg 106]</span>
-the <i>Virgin with a Parrot</i>. The poise of the head and
-the flowing hair lend color to this supposition.</p>
-
-<p>To how great an extent not only the engravings,
-but the theories, of Jacopo de’ Barbari may have
-influenced Dürer in such plates as <i>St. Jerome in
-Penitence</i>, the <i>Carrying Off of Amymone</i>, <i>Hercules</i>,
-or the <i>Four Naked Women</i>, is difficult to determine.
-It may have been considerable, though, at times,
-one cannot help wondering whether the theory of
-proportion of the human body, of which Jacopo
-spoke to Dürer, but concerning which he refused
-(or was unable) to give him further detailed particulars,
-may not have been more or less of a “bluff,”
-since there is no record of Jacopo having committed
-the results of his studies to writing, and in
-his engravings there is little evidence of any logical
-theory of proportion. That a potent influence was
-at work shaping Dürer’s development is clear, and
-the figure of <i>St. Jerome</i> undoubtedly owes a good
-deal to Jacopo. The landscape is all Dürer’s own,
-the first of a long series finely conceived and admirably
-executed. The long, sweeping lines in the foreground
-recall the manner of Jacopo de’ Barbari,
-but otherwise the engraving owes little technically
-to that artist.</p>
-
-<div class="figcentera" id="f45">
-<img src="images/fig45.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. VIRGIN AND CHILD WITH THE<br />
-MONKEY</p>
-<p class="c">Size of the original engraving, 7½ × 4¾ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f46">
-<img src="images/fig46.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. FOUR NAKED WOMEN</p>
-<p class="c">Size of the original engraving, 7½ × 5¼ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><i>The Virgin and Child with the Monkey</i> is the most
-brilliant of Dürer’s engravings in his earlier period.
-In the opinion of many students it is, likewise, the
-<span class="pagenum" id="Page_109">[Pg 109]</span>most beautiful and dignified, not only in the figures
-of the Virgin and Child, but also in the breadth and
-richness of the landscape. The loveliness of the background
-was early recognized, and several Italian
-engravers, including Giulio Campagnola, availed
-themselves of it. When Dürer’s drawings and water-colors
-are more generally known, he will be acclaimed
-one of the masters of landscape. There is a
-freshness, a breeziness, an “out-of-doors” quality
-in his water-color of the <i>Weierhaus</i> which will surprise
-those who hitherto have known him only
-through his engraved work, wherein the landscape
-undergoes a certain formalizing process.</p>
-
-<p>The <i>Virgin and Child with the Monkey</i> is so
-beautiful in simplicity of handling, so delightful in
-arrangement of black and white, that it is hard to
-reconcile oneself to the comparatively coarse line
-work, the insensitiveness to beauty of form, the
-disregard of anatomy, shown in <i>Four Naked Women</i>
-of 1497&mdash;Dürer’s first dated plate&mdash;especially the
-woman standing to the left, who combines the
-slackness of Jacopo de’ Barbari at his worst with
-the heaviness and puffiness possible only to a
-Northerner unacquainted with the classic ideals
-of the Italian Renaissance.</p>
-
-<p>Speculation is again rife as to the meaning, if
-it has a meaning, of the skull and bone on the
-ground, and the devil emerging from the flames at<span class="pagenum" id="Page_110">[Pg 110]</span>
-the left. The engraving seems to be a straightforward,
-naturalistic study of the nude, with these
-accessories thrown in to give the subject a moralizing
-air which would make it palatable to the
-artist’s contemporaries. There could hardly be a
-greater contrast to this frankly hideous treatment
-of the human form than <i>Hercules</i> (called also the
-<i>Effects of Jealousy</i>, the <i>Great Satyr</i>, etc.). In this
-plate we are able, as in few others&mdash;the one notable
-exception being the <i>Adam and Eve</i> of 1504&mdash;to
-follow out, step by step, Dürer’s upbuilding of the
-composition. The figures are, in this case, idealized
-according to the canons of classical beauty, rather
-than realistically rendered. Incidentally, the landscape
-is quite the most beautiful which appears in
-any of Dürer’s engravings. Its spaciousness instantly
-commands our admiration, and the gradation
-from light to dark, to indicate differing planes
-in the trees, is managed in a masterly manner.</p>
-
-<div class="figcentera" id="f47">
-<img src="images/fig47.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. HERCULES</p>
-<p class="c">Size of the original engraving, 13¾ × 8¾ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcentera">
-<a id="f48" href="images/fig48big.jpg">
-<img src="images/fig48.jpg" alt="" />
-</a>
-<p class="caption">ANONYMOUS NORTH ITALIAN, XV CENTURY. DEATH OF<br />
-ORPHEUS</p>
-<p class="c">Size of the original engraving, 5¾ × 8⅜ inches<br />
-In the Kunsthalle, Hamburg<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcentera" id="f49">
-<img src="images/fig49.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. DEATH OF ORPHEUS</p>
-<p class="c">Size of the original drawing, 11⅜ × 8⅞ inches<br />
-In the Kunsthalle, Hamburg</p>
-</div>
-
-<div class="figcenter">
-<a id="f50" href="images/fig50big.jpg">
-<img src="images/fig50.jpg" alt="" />
-</a>
-<p class="caption">ALBRECHT DÜRER. BATTLE OF THE SEA-GODS. (After Mantegna)</p>
-<p class="c">Size of the original drawing, 11½ × 15¼ inches<br />
-In the Albertina, Vienna<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p>Beginning with the <i>Death of Orpheus</i>, engraved
-by some anonymous North Italian master working
-in the Fine Manner of the Tarocchi Cards, the next
-step is Dürer’s pen drawing, dated 1494. The figures
-of Orpheus and of the two Thracian Mænads
-remain unchanged, as does also the little child running
-towards the left. Dürer has, however, changed
-the lute into a lyre, as being more suited to Orpheus,
-and has added the beautiful group of trees
-<span class="pagenum" id="Page_115">[Pg 115]</span>which reappears, little changed, in his engraving of
-<i>Hercules</i>. There is a drawing of the Mantegna
-School which Dürer may, or may not, have seen;
-but the face of Orpheus in his drawing shows certain
-unmistakable Mantegna characteristics, far
-removed from the North Italian Fine Manner
-print. From Mantegna’s engraving, the <i>Battle of
-the Sea-Gods</i> (right-hand portion), Dürer has borrowed
-the figure of the reclining woman to the left
-and the Satyr. That he was acquainted with this
-engraving by Mantegna is attested by a drawing
-of 1494. The man standing to the right, with legs
-spread wide apart, wearing a fantastic helmet in
-the shape of a cock, recalls the work of Pollaiuolo, by
-whom there exists a similar drawing, now in Berlin.
-From these various elements Dürer builds up his composition.
-Its full meaning he alone knew. It has remained
-an unsolved riddle from his time to our own.</p>
-
-<p>The <i>Carrying Off of Amymone</i> belongs to this same
-period. Here Dürer has again used the motive
-taken from Mantegna’s engraving, the <i>Battle of the
-Sea Gods</i>; but in this instance he follows his original
-much more closely. Dürer alludes to this print in
-the diary of his journey to the Netherlands as <i>The
-Sea Wonder</i> (<i>Das Meerwunder</i>); and although the
-interpretations given to it are many and various,
-its true meaning, as in the case of the Hercules,
-remains a matter of conjecture.</p>
-
-<p><span class="pagenum" id="Page_116">[Pg 116]</span></p>
-
-<p>By 1503, the year to which belongs the <i>Coat-of-Arms
-with the Skull</i>, and also, in all probability, the
-magnificent <i>Coat-of-Arms with the Cock</i>, Dürer
-seems to have overcome successfully all technical
-difficulties and is absolute master of his medium.
-From this time onwards, although his manner
-undergoes certain modifications in the direction of
-fuller color and of a more accurate rendering of
-texture, his language is adequate for anything he
-may wish to say, and he is free to address himself
-to the solution of scientific problems, such as are
-involved in the elucidation of his canon of human
-proportion, or the still deeper questions which
-stirred so profoundly the speculative minds of his
-time.</p>
-
-<p>With the exception of <i>Hercules</i>, <i>Adam and Eve</i> is
-the only engraving by Dürer of which trial proofs,
-properly so-called, exist, whereby we can study
-Dürer’s method. First the outlines were lightly
-laid in; then the background was carried forward
-and substantially completed. In the first trial proof
-Adam’s right leg alone is finished; but in the second
-trial proof he is completed to the waist. This
-method of procedure is significant, in view of the
-endless controversies, based upon an incomplete
-study of Dürer’s technique, regarding the use of
-preliminary etching in many plates of his middle
-and later period.</p>
-
-<p><span class="pagenum" id="Page_117">[Pg 117]</span></p>
-
-<div class="figcentera" id="f51">
-<img src="images/fig51.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. ADAM AND EVE</p>
-<p class="c">Size of the original engraving, 9¾ x 8⅝ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_118">[Pg 118]</span></p>
-
-<div class="figcenter" id="f52">
-<img src="images/fig52.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. APOLLO AND DIANA</p>
-<p class="c">Size of the original engraving, 4½ × 2¾ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-
-<p><span class="pagenum" id="Page_119">[Pg 119]</span></p>
-
-<p>In <i>Adam and Eve</i> Dürer has summed up the
-knowledge obtained by actual observation and by
-a series of drawings and studies extending over a
-number of years, and combined with it his theoretical
-working out of the proportions of the human
-figure, male and female. In no other plate has he
-lavished such loving care upon the representation
-of the human form. The flesh is, so to speak,
-caressed with the burin, as though, once and for all,
-the artist wished to prove to his contemporaries
-that the graver sufficed for the rendering of the
-most beautiful, the most subtle and scientific
-problems. That Dürer himself was satisfied with
-the result of his labors at this time is made manifest
-by the detailed inscription, <span class="allsmcap">ALBERTUS DURER
-NORICUS FACIEBAT</span>, on the tablet, followed by his
-monogram and the date 1504. This plate proclaimed
-him indisputably the greatest master of the
-burin of his time; and along the lines which he laid
-down for himself it remains unsurpassed until our
-own day.</p>
-
-<p><i>Adam and Eve</i> is followed by a group of prints
-which, though interesting in treatment and charming
-in subject, such as the <i>Nativity</i>, <i>Apollo and
-Diana</i>, and the first four plates of the <i>Small Passion</i>,
-reveal nothing new in Dürer’s development as an
-artist or a man. In the year 1510, however, is made
-his first experiment in dry-point. Of the very small<span class="pagenum" id="Page_120">[Pg 120]</span>
-plate of <i>St. Veronica with the Sudarium</i> two impressions
-only have come down to us, neither of them
-showing much burr. The <i>Man of Sorrows</i>, dated
-1512, likewise must have been very delicately
-scratched upon the copper, all existing impressions
-being pale and delicate in tone. Whether
-Dürer’s desire was to produce engravings which
-should entail less labor and be more quickly
-executed than was possible by the slower and more
-laborious method of the burin, or whether, as seems
-much more likely, he was influenced by an acquaintanceship
-with the dry-point work of the
-Master of the Amsterdam Cabinet, cannot be asserted
-with any degree of assurance. Dürer’s third
-dry-point, the <i>St. Jerome by the Willow Tree</i> (like
-the <i>Man of Sorrows</i> dated 1512), is treated in so
-much bolder and more painter-like a manner, is
-so rich in burr and so satisfying as a composition,
-that one can hardly account for such remarkable
-development unaided by any outside influence or
-stimulation. The British Museum’s impression of
-the first state, before the monogram,&mdash;the richest
-impression known&mdash;yields nothing in color effect
-even to Rembrandt. Thausing is inclined to think
-that Rembrandt must have been inspired by this
-plate to himself take up the dry-point&mdash;an interesting
-speculation and one which would do honor
-to both of these great masters.</p>
-
-<p><span class="pagenum" id="Page_121">[Pg 121]</span></p>
-
-<div class="figcentera" id="f53">
-<img src="images/fig53.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. ST. JEROME BY THE WILLOW TREE<br />
-<span class="little">(First State)</span></p>
-<p class="c">Size of the original dry-point 8⅛ × 7 inches<br />
-In the British Museum</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_122">[Pg 122]</span></p>
-
-<div class="figcenter" id="f54">
-<img src="images/fig54.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. HOLY FAMILY</p>
-<p class="c">Size of the original dry-point, 8¼ × 7¼ inches
-</p>
-</div>
-
-
-
-<p><span class="pagenum" id="Page_123">[Pg 123]</span></p>
-
-<p>The <i>Holy Family</i>, though without monogram and
-undated, belongs so unmistakably, from internal
-evidence, to this period, that we may safely assign
-it to the year 1512. The background and landscape
-to the left are indicated in outline only. Did Dürer
-intend to carry the plate further? We can never
-know. It is his fourth and, unfortunately, his last
-dry-point. There is a beauty in <i>St. Jerome by the
-Willow Tree</i> and in this Holy Family which leads
-us to read in these two masterpieces certain Italian
-influences. There is the largeness of conception of
-the Venetian School, and both <i>St. Jerome</i> and
-<i>St. Joseph</i> show strong traces of such a master as
-Giovanni Bellini.</p>
-
-<p>With the brief space at our disposal, what shall
-we say of the crowning works of those two wonderful
-years, 1513-1514&mdash;<i>Knight, Death and the Devil</i>,
-<i>Melancholia</i>, and <i>St. Jerome in his Study</i>? Are they
-three of a proposed series of the four temperaments?
-Should they be considered as parts of a group&mdash;or
-is each masterpiece complete in itself? One thing
-at least they have in common: they are truly
-“Stimmungsbilder”&mdash;that is, the lighting is so arranged,
-in each composition, as directly to affect
-the mind and the mood of the beholder, and “the
-sombre gloom of the <i>Knight, Death and the Devil</i>,
-the weird, unearthly glitter of the <i>Melancholia</i>,
-with its uncertain, glinting lights, the soft, tranquil<span class="pagenum" id="Page_124">[Pg 124]</span>
-sunshine of the <i>St. Jerome</i>, are all in accordance
-with their several subjects. These, whether or not
-originally intended to represent ‘classes of men’ or
-‘moods,’ certainly call up the latter in the mind of
-the beholder&mdash;the steady courage of the valiant
-fighter for the right, undismayed by darkness and
-dangers; the brooding, leading well-nigh to despair,
-over the vain efforts of human science to lift the
-veil of the eternal secret; and the calm content of the
-mind at peace with itself and the world around it.”<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a></p>
-
-<div class="footnote">
-
-<p><a id="Footnote_8" href="#FNanchor_8" class="label">[8]</a> A Chronological Catalogue of the Engravings, Dry-Points and Etchings
-of Albert Dürer, as exhibited at the Grolier Club. By Sylvester
-R. Koehler. New York; The Grolier Club. 1897. p. 65.</p>
-
-</div>
-
-<p>Dürer, unfortunately, sheds no light upon the
-inner and deeper meaning of the <i>Knight, Death and
-the Devil</i>. He speaks of it simply as “A Horseman.”
-The many and various titles invented for it since
-his time carry us very little further forward than
-where we began. The letter S, which precedes the
-date, the dog which trots upon the further side of
-the horse, even the blades of grass under the hoof
-of the right hind leg of the horse, have all been
-matters of speculation and controversy, and we
-choose the part of wisdom if, disregarding the
-swirling currents of metaphysical interpretation,
-we enjoy this masterpiece of engraving for its
-æsthetic content primarily, and for its potential
-meanings afterwards.</p>
-
-<p><span class="pagenum" id="Page_125">[Pg 125]</span></p>
-
-<div class="figcentera" id="f55">
-<img src="images/fig55.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. KNIGHT, DEATH AND THE DEVIL</p>
-<p class="c">Size of the original engraving, 9⅝ × 7⅜ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_126">[Pg 126]</span></p>
-
-<div class="figcenter" id="f56">
-<img src="images/fig56.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. MELANCHOLIA</p>
-<p class="c">Size of the original engraving, 9⅛ × 7¼ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-
-<p><span class="pagenum" id="Page_127">[Pg 127]</span></p>
-
-<p><i>Melancholia</i> favors an even wider range of speculation
-than the <i>Knight, Death and the Devil</i>. This
-woman, who wears a laurel wreath and who, seated
-in gloomy meditation, supports her cheek in her
-left hand, while all the materials for human labor,
-for art, and for science lie scattered about her&mdash;does
-she symbolize human Reason in despair at the
-limits imposed upon her power? Or does the plate
-have a more personal and intimate meaning, reflecting
-Dürer’s deep grief at the death of his
-mother&mdash;the mother to whom he so often refers in
-his letters, always with heartfelt affection?</p>
-
-<p>The so-called “magic square” lends color to the
-latter interpretation. Dürer’s mother died on May
-17, 1514. The figures in the diagonally opposite
-corners of the square can be read as follows, 16 +
-1 and 13 + 4, making 17, the day of the month;
-as do the figures in the center read crosswise, 10
-+ 7 and 11 + 6, and also the middle figures at
-the sides read across, 5 + 12 and 8 + 9. The two
-middle figures in the top line, 3 + 2, give 5, the
-month in question, and the two middle figures in
-the bottom line give the year, 1514.</p>
-
-<p>Artistically the plate suffers from the multiplicity
-of objects introduced, and the loving care which
-Dürer has lavished upon them. He has wished to
-tell his story&mdash;whatever it may be&mdash;with absolute
-completeness in every particular, and in so doing<span class="pagenum" id="Page_128">[Pg 128]</span>
-he has weakened and confused the effect of his
-plate. It were idle to speculate upon what might
-have happened had so sensitive a master as Martin
-Schongauer possessed adequate technical skill for
-the interpretation of such a subject. What a masterpiece
-of masterpieces might have resulted if he
-had subjected it to that process of simplification
-and elimination of which he was so splendid an
-exponent! However this may be, <i>Melancholia</i> has
-been, and probably will continue to be, one of the
-signal triumphs in the history of engraving. We
-may never solve the riddles which she propounds;
-but is she less fascinating for being only partially
-understood?</p>
-
-<p><i>St. Jerome in his Cell</i>, all things considered, may
-be accounted Dürer’s high-water mark. There is a
-unity and harmony about this plate which is lacking
-in <i>Melancholia</i>. Nothing could be finer than the
-lighting; and, judged merely as a “picture,” it is
-altogether satisfying from every point of view.
-The accessories, even the animals in the foreground,
-take their just places in the composition. It is
-surprising that, although the plate is “finished”
-with minute and loving care, there is not the faintest
-evidence of labor apparent anywhere about it;
-but this is only one of its many and superlative
-merits. The light streaming in through the window
-at the left and bathing in its soft effulgence the
-<span class="pagenum" id="Page_131">[Pg 131]</span>Saint, intent upon his task, and the entire room in
-which he sits, has been for centuries the admiration
-of every art lover.</p>
-
-<div class="figcentera" id="f57">
-<img src="images/fig57.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. ST. JEROME IN HIS CELL</p>
-<p class="c">Size of the original engraving, 9½ × 7¼ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f58">
-<img src="images/fig58.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. VIRGIN SEATED BESIDE A WALL</p>
-<p class="c">Size of the original engraving, 5¾ × 3⅞ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p>To this year, 1514, also belongs the <i>Virgin
-Seated Beside a Wall</i>, a plate in which the variety
-of texture has been carried further than in any
-other engraving by Dürer. The flesh is simply
-treated, in line for the most part; but the undergarment,
-the fur-trimmed wrapper, and the scarf
-which covers the head of the Virgin, hanging down
-the back and thrown over the knee, are all carefully
-differentiated. Again, the various planes in
-the landscape leading up to the fortified city are
-beautifully handled, as is also the wall to the right.
-It is hard to say what technical problems remained
-for Dürer to solve after such a little masterpiece as
-this.</p>
-
-<p>His growing fame meanwhile had attracted the
-attention of the Emperor Maximilian, “the last of
-the Knights,” who in February, 1512, visited
-Nuremberg. Dürer is commissioned to design the
-<i>Triumphal Arch</i>, the <i>Triumphal Car</i>, and similar
-monumental records of the Emperor’s prowess; not
-to speak of such orders as the decoration of the
-Emperor’s Prayer-Book, etc. Such distraction absorbed
-the greater part of the artist’s time and
-energies, and there was left little opportunity for
-the development of his work along the lines he had<span class="pagenum" id="Page_132">[Pg 132]</span>
-hitherto followed. It may be that we owe to this
-fact, and to the quick mode of producing a print
-such a process offers, the six etchings on iron which
-bear dates from 1515 to 1518. But, whatever the
-reason, we are glad that he etched these plates.
-Discarding, for the moment, the elaborate and detailed
-method of line work of his engravings on
-copper, he adopts a more open system, such as
-would “come well” in the biting&mdash;closer work than
-in his woodcuts, but perfectly adapted to that
-which he wished to say.</p>
-
-<p>There is a tense and passionate quality in <i>Christ
-in the Garden</i> which places this etched plate
-among the noteworthy works even of Dürer,
-while the wind-torn tree to the left of Christ gives
-the needed touch of the supernatural to the composition.
-The <i>Carrying Off of Proserpine</i>&mdash;the spirited
-drawing for which is now in the J. Pierpont
-Morgan collection&mdash;is the working out, with allegorical
-accessories, of a study of a warrior carrying
-off a woman. The last of his plates, the <i>Cannon</i>,
-of 1518, with its charming landscape, was doubtless
-executed to supply, promptly, a popular demand.
-It represents a large field piece bearing the Arms of
-Nuremberg, and the five strangely costumed men
-to the right, gazing upon the “Nuremberg Field
-Serpent,” obviously have some relation to the fear
-of the Turk, then strong in Germany.</p>
-
-<p><span class="pagenum" id="Page_133">[Pg 133]</span></p>
-
-<div class="figcentera" id="f59">
-<img src="images/fig59.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. CHRIST IN THE GARDEN</p>
-<p class="c">Size of the original etching, 8¾ × 6⅛ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_134">[Pg 134]</span></p>
-
-<div class="figcenter" id="f60">
-<img src="images/fig60.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. ERASMUS OF ROTTERDAM</p>
-<p class="c">Size of the original engraving, 9⅞ × 7⅝ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_135">[Pg 135]</span></p>
-
-<p>In 1519 we have the first of Dürer’s engraved
-portraits&mdash;<i>Albert of Brandenburg, “The Little Cardinal”</i>
-to distinguish it from the larger plate of 1523.
-Opinions as to Dürer’s importance as a portrait
-engraver vary considerably. Some students feel
-that in these later works the engraver has become
-so engrossed in the delight of his craft that he has
-failed to concentrate his attention upon the countenance
-and character of the sitter, bestowing excessive
-care upon the accessories and the minor
-accidents of surface textures&mdash;wrinkles and similar
-unimportant matters. On the other hand, such an
-authority as Koehler maintains that the <i>Albert of
-Brandenburg</i>, preeminent for delicacy and noble
-simplicity among these portrait engravings by
-Dürer, “will always be ranked among the best
-portraits engraved anywhere and at any time.”</p>
-
-<p><i>Frederic the Wise, Elector of Saxony</i>, was one
-of the earliest patrons of Dürer, founder of the
-University of Wittenberg and a supporter of the
-Reformation, although he never openly embraced
-the doctrines of Martin Luther. Dürer’s drawing
-in silver-point gives a straightforward and characterful
-presentation of the man, and, in this instance,
-translation into the terms of engraving has nowise
-lessened the directness of appeal.</p>
-
-<p><i>Erasmus of Rotterdam</i> bears the latest date (1526)
-which we find upon any engraving by Dürer, and it<span class="pagenum" id="Page_136">[Pg 136]</span>
-well may be his last plate. Here the elaboration
-and finish bestowed upon the accessories certainly
-detract from the portrait interest. Erasmus was
-polite enough, when he saw this engraving, to excuse
-its unlikeness to himself by remarking that
-doubtless he had changed much during the five
-years which had intervened between Dürer’s
-drawing of 1521 and the completion of the plate.
-Technically, however, it is a masterpiece, a worthy
-close to the career of undoubtedly the greatest
-engraver Germany has produced.</p>
-
-<p><span class="pagenum" id="Page_137">[Pg 137]</span></p>
-
-
-<p class="c p2">GERMAN ENGRAVING: THE MASTER OF THE AMSTERDAM<br />
-CABINET AND ALBRECHT DÜRER</p>
-
-<p class="c little">BIBLIOGRAPHY</p>
-
-<div class="blockquot">
-
-<p class="xlarge"><span class="smcap">Master of the Amsterdam Cabinet</span> (flourished c. 1467-c.
-1500)</p>
-
-<p><span class="smcap">Zur Zeitbestimmung der Stiche des Hausbuch-meisters.</span> <i>By Curt
-Glaser.</i> Monatshefte für Kunstwissenschaft, Vol. 3, pp. 145-156. Leipzig.
-1910.</p>
-
-<p><span class="smcap">The Master of the Amsterdam Cabinet.</span> <i>By Max Lehrs.</i> 89 reproductions.
-London. 1894. (International Chalcographical Society. 1893 and
-1894.)</p>
-
-<p><span class="smcap">Bilder und Zeichnungen Vom Meister des Hausbuchs.</span> <i>By Max Lehrs.</i>
-5 illustrations. Jahrbuch der königlichen preussischen Kunstsammlungen,
-Vol. 20, pp. 173-182. Berlin. 1899.</p>
-
-<p><span class="smcap">The Master of the Amsterdam Cabinet and Two New Works by His
-Hand.</span> <i>By Willy F. Storck.</i> 6 illustrations. The Burlington Magazine.
-Vol. 18, pp. 184-192. London. 1910.</p>
-
-
-<p class="xlarge"><span class="smcap">Dürer, Albrecht</span> (1471-1528)</p>
-
-<p><span class="smcap">Le Peintre-Graveur.</span> <i>By Adam Bartsch.</i> Volume 7, pp. 5-197. Albert
-Durer, Vienna. 1803-1821.</p>
-
-<p><span class="smcap">Literary Remains of Albrecht Dürer.</span> <i>By William Martin Conway.</i> 14
-illustrations. Cambridge: University Press. 1889.</p>
-
-<p><span class="smcap">The Engravings of Albrecht Dürer.</span> <i>By Lionel Cust.</i> 4 reproductions
-and 25 text illustrations. London: Seeley &amp; Co. 1906. (The Portfolio Artistic
-Monographs. No. 11.)</p>
-
-<p><span class="smcap">Albrecht Dürer; His Engravings and Woodcuts.</span> <i>Edited by Arthur
-Mayger Hind.</i> 65 reproductions. London and New York: Frederick A.
-Stokes Company, n. d. (Great Engravers.)</p>
-
-<p><span class="smcap">Dürer.</span> <i>By H. Knackfuss. Translated by Campbell Dodgson.</i> 134 illustrations.
-Bielefeld and Leipzig: Velhagen &amp; Klasing. 1900. (Monographs on
-Artists.)</p>
-
-<p><span class="smcap">Exhibition of Albert Dürer’s Engravings, Etchings and Dry-Points,
-and of Most of the Woodcuts Executed from his Designs.</span> (Museum
-of Fine Arts, Boston. November 15, 1888-January 15, 1889.) <i>By Sylvester R.
-Koehler.</i> Boston: Museum of Fine Arts. 1888.</p>
-
-<p><span class="smcap">Chronological Catalogue of the Engravings, Dry-Points and Etchings
-Of Albert Dürer, as Exhibited at the Grolier Club.</span> <i>By Sylvester
-R. Koehler.</i> 9 reproductions on 7 plates. New York: The Grolier Club. 1897.</p>
-
-<p><span class="smcap">Dürer; des Meisters Gemälde, Kupferstiche und Holzschnitte.</span> <i>Edited
-by Valentin Scherer.</i> 473 reproductions. Stuttgart and Leipzig: Deutsche
-Verlags-Anstalt. (Klassiker der Kunst. Vol. 4.)</p>
-
-<p><span class="pagenum" id="Page_138">[Pg 138]</span></p>
-
-<p><span class="smcap">Albert Dürer; His Life and Works.</span> <i>By William B. Scott.</i> Illustrated.
-London: Longmans, Green &amp; Co. 1869.</p>
-
-<p><span class="smcap">Albrecht Dürer; Kupferstiche in getreuen Nachbildungen.</span> <i>Edited
-by Jaro Springer.</i> 70 plates. Munich: Holbein-Verlag. 1914.</p>
-
-<p><span class="smcap">Albert Dürer; His Life and Works.</span> <i>By Moritz Thausing. Translated
-from the German. Edited by Frederick A. Eaton.</i> 2 volumes. 58 illustrations.
-London: John Murray. 1882.</p>
-
-<p><span class="smcap">Dürer Society. [Portfolios] With Introductory Notes by Campbell
-Dodgson and Others.</span> Series 1-10 (1898-1908). 311 reproductions. Index
-of Series 1-10. London. 1898-1908.</p>
-
-<p>&mdash;&mdash;&mdash;. Publication No. 12. 24 reproductions. London. 1911.</p>
-</div>
-<hr class="full x-ebookmaker-drop" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_139">[Pg 139]</span></p>
-
-<h2 class="nobreak" id="l4">ITALIAN ENGRAVING: MANTEGNA TO<br />
-MARCANTONIO RAIMONDI</h2>
-</div>
-
-
-<p class="drop-cap">ANDREA MANTEGNA is, both by his art and his
-influence, the most significant figure in early
-Italian engraving. His method or viewpoint is a
-determining feature in much of the best work
-which was produced during the last quarter of the
-fifteenth century, until the influence of Raphael,
-transmitted through Marcantonio, with a technical
-mode based upon the manner of Albrecht Dürer,
-completely changed the current of Italian engraving,
-seducing it from what might have developed
-into an original creative art, and condemned it to
-perpetual servitude as the handmaid of painting.</p>
-
-<p>Andrea Mantegna, born in 1431, at Vicenza, and
-consequently Pollaiuolo’s senior by one year, was
-adopted, at the age of ten, by Squarcione, in Padua.
-Squarcione appears to have been less a painter
-than a contractor, undertaking commissions to be
-executed by artists in his employ. He was likewise
-a dealer in antiquities, and in his shop the young
-Mantegna must have met many of the leading
-humanists who had made Padua famous as a seat
-of classical learning. From them he drew in and<span class="pagenum" id="Page_140">[Pg 140]</span>
-absorbed that passion for imperial Rome which
-was to color his life and his art. His dream was of
-forms more beautiful than those of everyday life,
-built of some substance finer and less perishable
-than the flesh of frail humanity; and as years went
-by his work takes on, in increasing measure, a
-grander and more majestic aspect. Fortunate for
-us is it that in his mature period, when his style
-was fully formed, he himself was impelled, by influences
-of which later we shall speak, to take up
-the graving tool and with it produce the seven imperishable
-masterpieces which, beyond peradventure,
-we may claim as his authentic work.</p>
-
-<p>The <i>Virgin and Child</i>, the earliest of his engravings,
-can hardly have been executed before
-1475, and maybe not until after 1480, when Mantegna
-had reached his fiftieth year. Mr. Hind
-points out that there is a simplicity and directness
-about it which recalls quite early work, similarly
-conceived, such as the <i>Adoration of the Kings</i> of
-1454; but the reasons which he advances are of
-equal weight in assigning it to a later date, and I
-am convinced that the intensity of mother-love expressed
-in the poise and face of the Virgin betokens
-a deeper feeling, a broader humanity, than one
-normally would expect in a youth of twenty-three,
-even though he be illumined with that flame of
-genius which burned so brightly in Mantegna.</p>
-
-<p><span class="pagenum" id="Page_141">[Pg 141]</span></p>
-
-<div class="figcentera" id="f61">
-<img src="images/fig61.jpg" alt="" />
-<p class="caption">ANDREA MANTEGNA. VIRGIN AND CHILD</p>
-<p class="c">Size of the original engraving, 9¾ × 8⅛ inches<br />
-In the British Museum</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_142">[Pg 142]</span></p>
-
-<div class="figcenter">
-<a id="f62" href="images/fig62big.jpg">
-<img src="images/fig62.jpg" alt="" />
-</a>
-<p class="caption">ANDREA MANTEGNA. BATTLE OF THE SEA-GODS</p>
-<p class="c">Size of the original engraving, 11⅝ × 17 inches.<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p><span class="pagenum" id="Page_143">[Pg 143]</span></p>
-
-<p>Technically, the plate plainly shows the hand of
-an engraver not yet master of his medium. It is
-marked with all the characteristics which we associate
-with Mantegna’s work: the strong outline,
-ploughed with repeated strokes of a rather blunt
-instrument into a plate of unbeaten copper or some
-yet softer metal; the diagonal shade lines widely
-spaced; and the light strokes blending all into a
-harmonious whole. In an impression of the first
-state, in the British Museum, there is a tone, similar
-to sulphur-tint, over portions of the plate,
-noticeably in the faces of the mother and child.
-How it was produced is still a matter of conjecture,
-but that it adds much to the beauty of the print is
-beyond question.</p>
-
-<p>The <i>Bacchanalian Group with Silenus</i> and the
-<i>Bacchanalian Group with a Wine-Press</i> (which,
-like the <i>Battle of the Sea-Gods</i>, may be joined together
-so as to form one long, horizontal composition)
-show greater skill on the part of the engraver.
-Mantegna’s increasing passion for the antique is
-reflected in the standing figure to the left, who with
-his left hand reaches up towards the wreath with
-which he is about to be crowned, while resting his
-right hand upon a horn of plenty. This figure is
-obviously inspired by the Apollo Belvedere, while
-the standing faun, at the extreme right, filled with
-the sheer delight of mere animal existence, is a<span class="pagenum" id="Page_144">[Pg 144]</span>
-delightful creation in Mantegna’s happiest mood.</p>
-
-<p>The two plates of the <i>Battle of the Sea-Gods</i> may
-be assigned, on technical grounds, to about the same
-period as the two Bacchanals. The drawing which
-Durer made of the right-hand portion, as also of the
-<i>Bacchanalian Group with Silenus</i>, both dated 1494,
-conclusively prove that these engravings antedate
-the completion of the <i>Triumph of Cæsar</i>. Though
-Mantegna borrowed his material from the antique,
-he has so shaped it to his ends, so stamped upon it
-the impress of his own personality, as to make of it
-not an echo of classic art, but an original creation
-of compelling force and charm. “These are not the
-mighty gods of Olympus but the inferior deities of
-Nature, of the Earth and the Sea, who acknowledge
-none of the higher obligations and who display
-unchecked their wanton elemental nature,
-giving a loose rein to all the exuberance of their
-joy in living.... These creatures of the sea
-frolic about in the water, turbulent and wanton as
-the waves.... The combat with those harmless-looking
-weapons is probably not meant to be
-in earnest; a vent for their superfluous energy is
-all they seek.”<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">[9]</a></p>
-
-<div class="footnote">
-
-<p><a id="Footnote_9" href="#FNanchor_9" class="label">[9]</a> Andrea Mantegna. By Paul Kristeller. London; Longman’s Green
-&amp; Co. 1901. p. 395.</p>
-
-</div>
-
-<p>To a somewhat later period belongs the <i>Entombment</i>.
-There is nothing of the meek spirit of the<span class="pagenum" id="Page_145">[Pg 145]</span>
-Redeemer in this passionate plate. The hard, lapidary
-landscape is in accord with the figures, which
-might, not unfittingly, find a place upon some triumphal
-arch. Three crosses crown the distant hill.
-At the right stands St. John, a magnificent figure,
-giving utterance to his unspeakable grief, while the
-Virgin, sinking in a swoon, is supported by one of
-the holy women.</p>
-
-<p>Here is none of that tenderness which we associate
-with the divine tragedy, none of that grace
-and beauty which inheres in the work of many of
-the Italian painters of the Renaissance. All is stark
-and harsh. It is not food for babes, but it is superb.</p>
-
-<p><i>The Risen Christ Between Saints Andrew and
-Longinus</i> is Mantegna’s last engraving. Christ
-towers above the two subsidiary figures, with a
-form and bearing which would better befit a Roman
-Emperor returning in triumph. In this plate, above
-all others, Mantegna’s technique shines forth as
-not only adequate, but as beyond question the
-best&mdash;perhaps the only one&mdash;to convey his message.
-Translated into another mode, one feels
-that it would lose much of its appeal. It has been
-suggested that the engraving was made as a project
-for a group of statuary&mdash;perhaps for the high altar
-of S. Andrea, in Mantua, raised above the most
-precious relic possessed by the city, the Blood of
-Christ, brought to Mantua by Longinus&mdash;a supposition<span class="pagenum" id="Page_146">[Pg 146]</span>
-borne out by the statuesque impressiveness
-of the group and by the fact that Christ gazes
-downwards, as though from a height.</p>
-
-<p>Although 1480 is the earliest date to which we
-can assign the first of Mantegna’s original engravings,
-there were in existence, at least five years
-before that time, engravings by other hands after
-designs by the master, and it may have been either
-to protect himself from unauthorized and fraudulent
-copyists, or as an artistic protest against the
-incapacity of his translators, that Mantegna was
-compelled to take up the graver. There has come
-down to us a letter, dated September 15, 1475, addressed
-by Simone di Ardizone, of Reggio, to the
-Marquis Lodovico, of Mantua, complaining to the
-prince of Mantegna’s behavior towards him. His
-story was that “Mantegna, upon his arrival in
-Mantua, made him splendid offers, and treated
-him with great friendliness. Actuated by feelings
-of compassion, however, towards his old friend,
-Zoan Andrea, a painter in Mantua, from whom
-prints (<i>stampe</i>), drawings, and medals had been
-stolen, and wishing to help in the restoration of the
-plates, he had worked with his friend for four
-months. As soon as this came to Mantegna’s knowledge
-he proceeded to threats, and one evening
-Ardizone and Zoan Andrea had been assaulted by ten
-or more armed men and left for dead in the square.”</p>
-
-<p><span class="pagenum" id="Page_147">[Pg 147]</span></p>
-
-<div class="figcentera" id="f63">
-<img src="images/fig63.jpg" alt="" />
-<p class="caption">ANDREA MANTEGNA. THE RISEN CHRIST BETWEEN<br />
-SAINTS ANDREW AND LONGINUS</p>
-<p class="c">Size of the original engraving, 15½ × 12¾ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_148">[Pg 148]</span></p>
-
-<div class="figcenter" id="f64">
-<img src="images/fig64.jpg" alt="" />
-<p class="caption">SCHOOL OF ANDREA MANTEGNA. ADORATION OF THE MAGI</p>
-<p class="c">Size of the original engraving, 15⅛ × 10¾ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_149">[Pg 149]</span></p>
-
-<p>The letter is “proof that, in Mantua, in the year
-1475, two professional engravers, one of whom
-clearly designates himself as such, were at work....
-It is clear that Mantegna had a very special
-interest in the engravings and drawings which
-had been stolen from Zoan Andrea, and which
-Ardizone, ‘out of compassion,’ helped to restore,
-since he sought by force to impede the engraver’s
-work. His anger can also be explained by the supposition
-that Zoan Andrea’s engravings were facsimiles
-of his own drawings which the former had
-succeeded in obtaining possession of and had used
-as designs for his engravings; and that being unable
-to win Ardizone’s assistance in his work
-Mantegna thought himself obliged to protest, by
-violent means, against this infringement of his
-artistic rights.”<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">[10]</a></p>
-
-<div class="footnote">
-
-<p><a id="Footnote_10" href="#FNanchor_10" class="label">[10]</a> Andrea Mantegna By Paul Kristeller. London. 1901. pp. 381-384.</p>
-
-</div>
-
-<p>It is probable that to this drastic and effectual
-method of protecting against piracy his own artistic
-property we owe the two renderings, both incomplete,
-of the <i>Triumph of Cæsar</i>. One may well be
-the series upon which Zoan Andrea and Ardizone
-were working when Mantegna brought their labors
-to an untimely close; whereas the second series,
-although authorized by Mantegna himself, may
-have seemed to him, not without just cause, so to<span class="pagenum" id="Page_150">[Pg 150]</span>
-misinterpret his original drawings as to impel him
-to abandon the project and, in future, engrave his
-own designs. The <i>Triumph</i> series naturally remained
-incomplete, since, like every great artist,
-Mantegna would hardly feel disposed to repeat, in
-another medium, a subject which he had already
-treated. Of the <i>Triumph</i> plates, the <i>Elephants</i> approximates
-most closely Mantegna’s undoubted
-work; but the drawing lacks distinction, and there
-is a feeling of “tightness” throughout the whole
-plate, which makes it impossible to attribute the
-engraving to Mantegna’s own hand. The plate
-which immediately follows&mdash;<i>Soldiers Carrying Trophies</i>&mdash;was
-left unfinished. The subject is repeated
-in the reverse sense and with the addition of a pilaster
-to the right. This pilaster is probably Mantegna’s
-original design for the upright members
-dividing the nine portions of the painted <i>Triumphs</i>,
-since the procession is supposed to pass upon the
-further side of a row of columns, the figures and
-animals being so arranged as to extend over one
-picture to the next, with a sufficient space between
-them for the introduction of the pilaster.</p>
-
-<div class="figcentera">
-<a id="f65" href="images/fig65big.jpg">
-<img src="images/fig65.jpg" alt="" />
-</a>
-<p class="caption">ZOAN ANDREA (?). FOUR WOMEN DANCING</p>
-<p class="c">Size of the original engraving, 8⅞ × 13 inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter" id="f66">
-<img src="images/fig66.jpg" alt="" />
-<p class="caption">GIOVANNI ANTONIO DA BRESCIA. HOLY FAMILY WITH<br />
-SAINTS ELIZABETH AND JOHN</p>
-<p class="c">Size of original engraving, 11⅞ × 10⅛ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p>The <i>Adoration of the Magi</i>, which for some reason
-likewise remained unfinished, is taken directly from
-the central portion of the triptych in the Uffizi.
-The engraving, aside from its intrinsic beauty, is
-of especial interest as affording an example of the<span class="pagenum" id="Page_153">[Pg 153]</span>
-method adopted by Mantegna and his School. The
-structural lines are deeply incised, in many cases by
-repeated strokes of the graver. The diagonal shading
-is then added and the plate carried forward and
-completed, bit by bit. This engraving, at one time
-accounted an original work by the master himself,
-has received of recent years more than its merited
-share of harsh criticism. It obviously falls far
-short, in beauty, of Mantegna’s painting; but, for
-all that, it preserves many of the essential qualities
-of its immediate original, and one cannot but admire
-the manner in which an engraver, certainly
-not of the first rank, has captured the spirit of
-humility and adoration, eloquent in every line of
-the king at the left, humbly bending to receive the
-benediction of the Christ Child.</p>
-
-<p>By an engraver of the Mantegna School, perhaps
-<span class="smcap">Zoan Andrea</span>, working in Mantegna’s manner and
-after his design for the <i>Parnassus</i> in the Louvre, is
-<i>Four Women Dancing</i>&mdash;one of the most charming
-and graceful prints of the period. It differs in many
-particulars from the painting (assigned to the year
-1497) and almost certainly translates Mantegna’s
-drawing, rather than the painting itself.</p>
-
-<p>To <span class="smcap">Giovanni Antonio da Brescia</span>, of whose life,
-apart from what we may learn from a study of his
-work, we know substantially nothing, may be attributed
-the <i>Holy Family with Saints Elizabeth and</i><span class="pagenum" id="Page_154">[Pg 154]</span>
-<i>John</i>, based upon a design by Mantegna, of about
-1500, and probably engraved at a date prior to
-Mantegna’s death, September 13, 1506. At a later
-period, Giovanni came under the influence of
-Marcantonio Raimondi, whose style he imperfectly
-assimilated.</p>
-
-<p>In the British Museum there is a unique impression
-of a <i>Profile Bust of a Young Woman</i>, which
-has been ascribed, with some show of reason, to
-<span class="smcap">Leonardo da Vinci</span>. Its intrinsic beauty might
-lend some color to this attribution, were it not that,
-even in its re-worked condition, the texture and flow
-of the young woman’s abundant tresses, the treatment
-of the flowing ribbons, and the delicate shading
-in the face and upon the garment, betray the
-hand of the trained engraver.</p>
-
-<p><span class="smcap">Nicoletto Rosex da Modena</span> was working from
-about 1490 to 1515. He engraved almost a hundred
-plates, the majority of them being presumably
-from his own designs, though in the <i>Adoration of
-the Shepherds</i> the influence of Schongauer is markedly
-apparent, and in <i>Fortune</i> and <i>St. Sebastian</i> the
-inspiration of Mantegna is clearly to be seen.</p>
-
-<div class="figcentera" id="f67">
-<img src="images/fig67.jpg" alt="" />
-<p class="caption">SCHOOL OF LEONARDO DA VINCI. PROFILE BUST OF A<br />
-YOUNG WOMAN</p>
-<p class="c">Size of the original engraving, 4⅛ × 3 inches<br />
-In the British Museum</p>
-</div>
-
-<div class="figcenter" id="f68">
-<img src="images/fig68.jpg" alt="" />
-<p class="caption">NICOLETTO ROSEX DA MODENA. ORPHEUS</p>
-<p class="c">Size of the original engraving, 9⅞ × 6¾ inches<br />
-In the British Museum</p>
-</div>
-
-
-<p>The group of trees in the <i>Fate of the Evil Tongue</i>
-is borrowed from Dürer’s print of <i>Hercules</i>, while
-the <i>Turkish Family</i> and the <i>Four Naked Women</i>&mdash;the
-last-named being dated 1500&mdash;are copies of
-Dürer’s engravings. Vedriani, writing of Nicoletto
-<span class="pagenum" id="Page_157">[Pg 157]</span>as a painter, speaks of him as “chiefly distinguished
-in perspective,” and among the most charming of
-his plates in which this quality is seen is <i>Orpheus</i>.
-The bare tree is suggestive of Martin Schongauer,
-while the birds and beasts, including a dog, a peacock,
-a weasel, a monkey playing with a tortoise,
-a squirrel, a snake, a piping bird, two rabbits, a
-fox, and a stag, not to speak of the ducks and
-swans in the water, though not copied from northern
-originals, have all the charm and life-like quality
-which we find in the work of German engravers
-such as The Master of St. John the Baptist and
-The Master E. S. of 1466.</p>
-
-<p>Concerning <span class="smcap">Jacopo de’ Barbari</span> there is a wealth
-of biographical material, in contrast with the meagerness
-of our knowledge concerning the earlier
-Italian engravers. Born at Venice, between 1440
-and 1450, he is known to have worked between
-1500 and 1508 for the Emperor and various other
-princes in different towns of Germany. He was at
-Nuremberg in 1505, and in 1510 he was in the
-service of the Archduchess Margaret, Regent of the
-Netherlands, while, in the inventory of the Regent’s
-pictures of 1515-1516, he is referred to as dead.</p>
-
-<p>Not one of the thirty engravings by Jacopo is
-signed with his name, initials, or any form of monogram,
-nor does any of them bear a date. His emblem
-is the caduceus, which appears on the greater<span class="pagenum" id="Page_158">[Pg 158]</span>
-number of his prints; and those upon which it is
-lacking can readily be identified by his individual
-style. This style undergoes certain modifications
-with the passing years. In the early period, the
-shading, for the most part, is in parallel lines, which
-follow the contour of the figure, the figure itself
-being long and sinuous. In his middle and later
-period he indulged more freely in cross-hatching,
-and the faces are modelled with greater delicacy.</p>
-
-<p>Stress has been laid upon the influence exerted
-by Jacopo upon Dürer’s engraving; but with the
-exception of the <i>Apollo and Diana</i> this influence is
-theoretical rather than artistic. Dürer, in one of
-the manuscript sketches, dated 1523, for his book
-<i>The Theory of Human Proportions</i>, writes: “Howbeit,
-I can find none such who hath written aught
-about how to form a canon of human proportion,
-save one man&mdash;Jacopo by name, born at Venice,
-and a charming painter. He showed me the figures
-of a man and a woman, which he had drawn according
-to a canon of proportions, so that, at that
-time, I would rather have seen what he meant than
-be shown a new kingdom.... Then, however,
-I was still young and had not heard of such
-things before. Howbeit, I was very fond of art, so
-I set myself to discover how such a canon might be
-wrought out.” Dürer undoubtedly refers to the
-period of his first visit to Venice, and it is, accordingly,
-<span class="pagenum" id="Page_161">[Pg 161]</span>in Dürer’s earliest plates that we see most
-clearly the influence of the older master on his
-technical method. Dürer soon outstripped Jacopo
-in everything that pertains to the technical side of
-engraving and worked out for himself a method
-which, for his purpose, was substantially perfect.</p>
-
-<div class="figcentera" id="f69">
-<img src="images/fig69.jpg" alt="" />
-<p class="caption">JACOPO DE’ BARBARI. APOLLO AND DIANA</p>
-<p class="c">Size of the original engraving, 5¾ × 3⅞ inches.<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f70">
-<img src="images/fig70.jpg" alt="" />
-<p class="caption">JACOPO DE’ BARBARI. ST. CATHERINE</p>
-<p class="c">Size of the original engraving, 7⅛ × 4⅝ inches<br />
-In the British Museum</p>
-</div>
-
-
-<p>In such plates as <i>Judith</i> and <i>St. Catherine</i>, Jacopo’s
-love for long, flowing lines finds its fullest
-expression. There is a grace about these single
-figures which is not without appealing charm,
-though obviously they leave something to be desired
-on the score of solidity and structure.</p>
-
-<p><span class="smcap">Girolamo Mocetto</span>, born in Murano before
-1458, was living at Venice in 1514, where he died
-after 1531. According to Vasari, Mocetto was, at
-some time, an assistant to Giovanni Bellini, whose
-influence may be traced in his work. His engravings
-are unpleasing in style and often clumsy in draughtsmanship.
-He owes such merit as he may possess
-to the originals which he interpreted. There is a
-compelling power in <i>Judith</i>, after Mantegna’s design,
-which atones for even so shapeless a member
-as Judith’s right hand. The grandeur of the plate
-is, however, derived from Mantegna. Mocetto has
-done little more than traduce it; but, even so, the
-engraving is noteworthy, inasmuch as it preserves
-for us a noble composition, of which otherwise we
-might remain in ignorance. The <i>Baptism of Christ</i><span class="pagenum" id="Page_162">[Pg 162]</span>
-is adapted, with some modifications, from Giovanni
-Bellini’s painting executed between 1500 and 1510.
-In the engraving, the landscape, which differs radically
-from that in Bellini’s painting, may possibly
-be original with Mocetto, though it recalls the work
-of Cima, whose <i>Baptism</i>, in S. Giovanni in Bragora,
-Venice, was painted in 1494.</p>
-
-<p><span class="smcap">Benedetto Montagna</span> was, like Mocetto,
-painter as well as engraver. His earliest engravings
-are executed in a large, open manner, which can be
-seen to advantage in the <i>Sacrifice of Abraham</i>. The
-outline is strongly defined and the shading chiefly
-in parallel lines. Where cross-hatching is used, it is
-laid generally at right angles. Later, Montagna
-modifies his style and adopts the finer system of
-cross-hatching perfected by Dürer, whose influence,
-especially in the backgrounds, is clearly to be
-traced, and whose <i>Nativity</i>, of the year 1504, Montagna
-copied in reverse. <i>St. Jerome Beneath an
-Arch of Rock</i> belongs to this later period, and the
-plate is probably based upon a painting by Bartolommeo
-Montagna, the engraver’s father.</p>
-
-<p><span class="smcap">Giulio Campagnola</span>, born at Padua about 1482,
-is known to have been working in Venice in 1507
-and is assumed to have died shortly after 1514.
-According to contemporary accounts, he was a
-youth of marvellously precocious and varied gifts
-and promise. To his musical and literary accomplishments,
-<span class="pagenum" id="Page_165">[Pg 165]</span>he added those of painter, miniaturist,
-engraver, and sculptor.</p>
-
-<div class="figcentera">
-<a id="f71" href="images/fig71big.jpg">
-<img src="images/fig71.jpg" alt="" />
-</a>
-<p class="caption">GIULIO CAMPAGNOLA. CHRIST AND THE WOMAN OF SAMARIA</p>
-<p class="c">Size of the original engraving, 5⅛ × 7¼ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter" id="f72">
-<img src="images/fig72.jpg" alt="" />
-<p class="caption">GIULIO CAMPAGNOLA. GANYMEDE (First State)</p>
-<p class="c">Size of the original engraving, 6⅜ × 4⅞ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p>His engravings betray markedly the influence of
-Giorgione, and his manner of engraving may have
-been an attempt to imitate the rich softness of that
-master’s painting. He worked out and perfected a
-technical system all his own. In his earliest
-manner he works in pure line, as in his copies of
-Dürer’s engravings and in such plates as the <i>Old
-Shepherd</i> and <i>St. Jerome</i>.</p>
-
-<p>In the <i>Young Shepherd</i>, the <i>Astrologer</i>, and
-<i>Christ and the Woman of Samaria</i>, the composition
-is first engraved in simple, open lines, with little
-cross-hatching. The plate is then carried forward
-and completed by a system of delicate flicks, so
-disposed as to produce a harmonious result, obliterating
-substantially all trace of the preliminary
-line work. In the third group, to which two prints
-belong&mdash;<i>Naked Woman Reclining</i> and <i>The Stag</i>&mdash;no
-lines at all are used, and the plate is carried out,
-from first to last, in flick work.</p>
-
-<p>Only one of Campagnola’s plates is dated&mdash;the
-<i>Astrologer</i>, of 1509. In this he shows himself ripe,
-both as artist and as craftsman. To an earlier
-period would seem to belong the <i>Ganymede</i>, in
-which the landscape is a faithful copy of Dürer’s
-engraving of the <i>Virgin and Child with a Monkey</i>.
-The place which, in the original engraving, was<span class="pagenum" id="Page_166">[Pg 166]</span>
-occupied by the Virgin, is now filled by a clump of
-trees.</p>
-
-<p><i>St. John the Baptist</i> is, all things considered,
-Campagnola’s masterpiece. The figure is unquestionably
-based upon a drawing by Mantegna, and
-has all the largeness and grandeur of style which
-characterizes the work of that master. The landscape
-background may be original with the engraver
-but it clearly shows the influence of Giorgione.
-In this superb plate Campagnola’s method
-of combining line work with delicate flick work can
-be studied at its best. The <i>Young Shepherd</i>, known
-in two states&mdash;the first in pure line, the second
-completed with flick work&mdash;is as charming and
-graceful as <i>St. John the Baptist</i> is monumental. It
-justly deserves the reputation and popularity which
-it enjoys among print lovers.</p>
-
-<p><i>Christ and the Woman of Samaria</i> is treated in a
-more open manner than either of the two preceding
-engravings. The beautiful landscape, as also the hill
-to the left, is entirely in line, while the flick work
-upon the figures and garments and, even more noticeably,
-in the foreground to the right, is of a more
-open character than that which appears in the
-<i>Young Shepherd</i>. It may belong to the latter part
-of Campagnola’s career as an engraver. There is an
-amplitude in the design of the seated woman which
-suggests Giorgione and Palma, though one cannot
-<span class="pagenum" id="Page_169">[Pg 169]</span>definitely name any painting by either of these
-masters from which Campagnola has borrowed his
-figure.</p>
-
-<div class="figcentera" id="f73">
-<img src="images/fig73.jpg" alt="" />
-<p class="caption">GIULIO CAMPAGNOLA. ST. JOHN THE BAPTIST</p>
-<p class="c">Size of the original engraving, 13⅝ × 9½ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter">
-<a id="f74" href="images/fig74big.jpg">
-<img src="images/fig74.jpg" alt="" />
-</a>
-<p class="caption">GIULIO AND DOMENICO CAMPAGNOLA. SHEPHERDS IN A LANDSCAPE</p>
-<p class="c">Size of the original engraving, 5¼ × 10⅛ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p>The last of Campagnola’s plates, left unfinished
-at his death and completed by <span class="smcap">Domenico Campagnola</span>,
-is <i>Shepherds in a Landscape</i> or, as it is sometimes
-called, the <i>Musical Shepherds</i>. The original
-drawing, in reverse, for the right-hand half of this
-print is in the Louvre. It is unquestionably by
-Giulio Campagnola; but, equally without question,
-the left-hand portion of the engraving itself is by
-Domenico. Whether Domenico was a close relative
-or merely a pupil of Giulio’s has not been determined;
-but the <i>Shepherds in a Landscape</i> conclusively
-proves that he was at least the artistic heir
-of the older master. Domenico’s style is in marked
-contrast to that of Giulio. Flick work is almost
-absent from his engravings, which are executed in
-rather open lines, more in the mode of an etcher
-than of an engraver working according to established
-tradition. The skies, in particular, have a
-romantic quality which is all their own, and which
-can be seen to advantage in the <i>Shepherd and the
-Old Warrior</i>, dated 1517.</p>
-
-<p><span class="smcap">Marcantonio Raimondi</span>, born in Bologna about
-1480, for over three centuries enjoyed a reputation
-eclipsing that of any other Italian master. Of recent
-years, however, upon insufficient grounds, he<span class="pagenum" id="Page_170">[Pg 170]</span>
-has been somewhat pushed aside and belittled as a
-“reproductive engraver,” his critics wilfully forgetting
-the fact that, with the exception of Pollaiuolo
-and Mantegna, the Italian School is, in the
-main, derivative, and cannot boast of any original
-engravers of world-wide fame, such as Schongauer
-or Dürer. But Marcantonio was far from being a
-mere translator of alien works. “He is like some
-great composer who borrows another’s theme only
-to make it his own by the originality of his setting.”<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">[11]</a></p>
-
-<div class="footnote">
-
-<p><a id="Footnote_11" href="#FNanchor_11" class="label">[11]</a> Marcantonio Raimondi. By Arthur M. Hind. The Print-Collector’s
-Quarterly, Vol. 3, No. 3. p. 276.</p>
-
-</div>
-
-<p>The earliest influence which we may trace in
-Marcantonio’s work is that of the famous goldsmith
-and painter, Francesco Francia, with whom Marcantonio
-served his apprenticeship. Certain nielli,
-among them <i>Pyramus and Thisbe</i> and <i>Arion on the
-Dolphin</i>, have been assigned to the young Marcantonio
-and attributed to this period of his life.</p>
-
-<p><i>St. George and the Dragon</i> is strongly reminiscent
-of the niello technique, with its dark shadows,
-against which the figures stand out in relief. The
-landscape is clearly borrowed or adapted from engravings
-in Dürer’s earlier period, the trees at the
-left, in particular, recalling the <i>Hercules</i>.</p>
-
-<div class="figcentera">
-<a id="f75" href="images/fig75big.jpg">
-<img src="images/fig75.jpg" alt="" />
-</a>
-<p class="caption">MARCANTONIO RAIMONDI. ST. GEORGE AND THE DRAGON</p>
-<p class="c">Size of the original engraving, 11⅞ × 8¾ inches<br />
-In the British Museum<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcentera" id="f76">
-<img src="images/fig76.jpg" alt="" />
-<p class="caption">MARCANTONIO RAIMONDI. BATHERS</p>
-<p class="c">Size of the original engraving, 11¼ × 9 inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcentera" id="f77">
-<img src="images/fig77.jpg" alt="" />
-<p class="caption">MARCANTONIO RAIMONDI. ST. CECILIA</p>
-<p class="c">Size of the original engraving, 10¼ × 6⅛ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f78">
-<img src="images/fig78.jpg" alt="" />
-<p class="caption">MARCANTONIO RAIMONDI. DEATH OF LUCRETIA</p>
-<p class="c">Size of the original engraving, 8½ × 5¼ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p>To this early period likewise belongs <i>Pyramus
-and Thisbe</i>, which bears the earliest date&mdash;1505&mdash;which
-we find upon any of his engravings. It may
-<span class="pagenum" id="Page_175">[Pg 175]</span>well have been executed during his residence in
-Venice, between 1505 and 1509.</p>
-
-<p>The <i>Bathers</i>, of 1510, is an artistic record of
-Marcantonio’s visit to Florence, on his way to
-Rome. The figures are taken from Michelangelo’s
-cartoon of the <i>Battle of Pisa</i>; but the landscape,
-including the thatched barn to the right, is a faithful
-copy, in reverse, of Lucas van Leyden’s plate of
-<i>Mahomet and the Monk Sergius</i>; for Marcantonio,
-like all great artists, freely borrowed his material
-wherever he found it, shaping it to his own ends.</p>
-
-<p>According to Vasari, it was the <i>Death of Lucretia</i>,
-engraved shortly after Marcantonio’s arrival in
-Rome, about 1510, after a drawing by Raphael,
-which attracted the attention of that master and
-showed him how much he might benefit by the
-reproduction of his work. One would be inclined
-to think that the <i>Death of Dido</i> rather than the
-<i>Death of Lucretia</i> might have been the means of
-bringing about this artistic collaboration; for, if
-Vasari is correct, the immediate result of Raphael’s
-personal influence upon Marcantonio was harmful
-rather than helpful, the <i>Lucretia</i> by general consent
-being the finer plate of the two.</p>
-
-<p>It is significant that none of Marcantonio’s
-engravings interprets any existing painting by
-Raphael. We may infer that the engraver worked
-entirely after drawings supplied to him by Raphael&mdash;either
-drawings made for the purpose of being<span class="pagenum" id="Page_176">[Pg 176]</span>
-interpreted in terms of engraving, or the original
-studies for paintings, which, in their elaboration,
-were subjected to many modifications and changes.</p>
-
-<p>Among his most interesting engravings are
-<i>Saint Cecilia</i>, which may be compared, or rather
-contrasted, with the famous painting in Bologna;
-the <i>Virgin and Child in the Clouds</i>, which later appears
-as the <i>Madonna di Foligno</i>; and <i>Poetry</i>, based
-on a study by Raphael for the fresco in the Camera
-della Segnatura, in the Vatican.</p>
-
-<p>The <i>Massacre of the Innocents</i>, usually accounted
-the engraver’s masterpiece, is one of several subjects
-of which two plates exist. Authorities disagree
-as to which is the “original,” but some familiarity
-with both versions leads one to think that Marcantonio
-may well have been his own interpreter. At
-least one cannot name certainly any other engraver
-capable of producing either of the two
-versions of the <i>Massacre of the Innocents</i>, in point
-of drawing or of technique.</p>
-
-<p>Among Marcantonio’s portrait plates one of the
-most attractive is that of <i>Philotheo Achillini</i> (“The
-Guitar Player”), which is in his early manner and
-probably dates from his Bolognese period. It may
-be based upon a drawing by Francia, but the trees
-and distant landscape all show markedly the influence
-of Dürer.</p>
-
-<p><span class="pagenum" id="Page_177">[Pg 177]</span></p>
-
-<div class="figcentera" id="f79">
-<img src="images/fig79.jpg" alt="" />
-<p class="caption">MARCANTONIO RAIMONDI. PHILOTHEO ACHILLINI<br />
-<span class="little">(“The Guitar Player”)</span></p>
-<p class="c">Size of the original engraving, 7¼ × 5¼ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_178">[Pg 178]</span></p>
-
-<div class="figcenter" id="f80">
-<img src="images/fig80.jpg" alt="" />
-<p class="caption">MARCANTONIO RAIMONDI. PIETRO ARETINO</p>
-<p class="c">Size of the original engraving, 7⅜ × 5⅞ inches<br />
-In the British Museum</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_179">[Pg 179]</span></p>
-
-<p>To a much later period, and engraved in Marcantonio’s
-most mature manner, belongs the portrait
-of <i>Pietro Aretino</i>. Vasari refers to this plate as
-“engraved from life,” but its richness and color
-would seem to point to an original by Titian or
-Sebastiano del Piombo.</p>
-
-<p>After the death of Raphael, in 1520, Marcantonio’s
-engraving undergoes a change&mdash;a change for
-the worse, as might be expected, since a number of
-his plates are interpretations of designs by Giulio
-Romano. There is less care in the drawing, less
-delicacy in the management of the burin, and,
-although we may pity him for the loss of all that
-he possessed at the sack of Rome, in 1527, we cannot
-greatly regret that, as an engraver, Marcantonio’s
-active life terminates with that date.</p>
-
-<p><span class="pagenum" id="Page_180">[Pg 180]</span></p>
-
-
-<p class="c p2">ITALIAN ENGRAVING: MANTEGNA TO<br />
-MARCANTONIO RAIMONDI</p>
-
-<p class="c little">BIBLIOGRAPHY</p>
-
-<div class="blockquot">
-
-<p class="xlarge"><span class="smcap">Mantegna, Andrea</span> (1431-1506)</p>
-
-<p><span class="smcap">Dürer and Mantegna.</span> <i>By Sidney Colvin.</i> 5 illustrations. The Portfolio,
-Vol. 8, pp. 54-63. London. 1877.</p>
-
-<p><span class="smcap">Andrea Mantegna and the Italian Pre-Raphaelite Engravers.</span> <i>Edited
-by Arthur Mayger Hind.</i> 75 reproductions. London and New York: Frederick
-A. Stokes Company, n. d. (Great Engravers.)</p>
-
-<p><span class="smcap">Andrea Mantegna.</span> <i>By Paul Kristeller.</i> 26 plates and 162 text illustrations.
-London: Longmans, Green &amp; Co. 1901. Chapter XI, Mantegna as Engraver.</p>
-
-<p><span class="smcap">Mantegna.</span> <i>By H. Thode.</i> 105 illustrations. Bielefeld and Leipzig: Velhagen
-&amp; Klasing. 1897. (Künstler Monographien. 27.)</p>
-
-
-<p class="xlarge"><span class="smcap">Barbari, Jacopo de’</span> (c. 1440-c. 1515)</p>
-
-<p><span class="smcap">Engravings and Woodcuts by Jacopo de’ Barbari.</span> <i>Edited by Paul Kristeller.</i>
-33 reproductions and 2 text illustrations. London. 1896. (International
-Chalcographical Society, 1896.)</p>
-
-<p><span class="smcap">Lorenzo Lotto.</span> <i>By Bernhard Berenson.</i> 30 plates. New York: Putnam’s
-Sons. 1895. pp. 34-50.</p>
-
-
-<p class="xlarge"><span class="smcap">Campagnola, Giulio</span> (c. 1482-c. 1514)</p>
-
-<p><span class="smcap">Giulio Campagnola; Kupferstiche und Zeichnungen.</span> <i>Edited by Paul
-Kristeller.</i> 27 reproductions. Berlin: Bruno Cassirer. 1907. (Graphische
-Gesellschaft. Publication 5.)</p>
-
-
-<p class="xlarge"><span class="smcap">Marcantonio Raimondi</span> (c. 1480-c. 1530)</p>
-
-<p><span class="smcap">Marc-Antoine Raimondi; étude historique et critique suivie d’un
-catalogue raisonné des oeuvres du maitre.</span> <i>By Henri Delaborde.</i> 63 illustrations.
-Paris: Librairie de l’art. 1888.</p>
-
-<p><span class="smcap">Marcantonio Raimondi.</span> <i>By Arthur Mayger Hind.</i> 22 illustrations. The
-Print-Collector’s Quarterly, Vol. 3, No. 3, pp. 243-276. Boston. 1913.</p>
-
-<p><span class="smcap">Marcantonio and Italian Engravers and Etchers of the Sixteenth
-Century.</span> <i>Edited by Arthur Mayger Hind.</i> 65 reproductions. London and
-New York: Frederick A. Stokes Company. n. d. (Great Engravers.)</p>
-</div>
-<hr class="full x-ebookmaker-drop" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_181">[Pg 181]</span></p>
-
-<h2 class="nobreak" id="l5">SOME MASTERS OF PORTRAITURE</h2>
-</div>
-
-
-<p class="drop-cap">YOU will all remember how John Evelyn, writing
-to Samuel Pepys, advised him to collect
-engraved portraits&mdash;since, in his own words, “Some
-are so well done to the life, that they may stand
-comparison with the best paintings.” He then adds:
-“This were a cheaper, and so much a more useful,
-curiosity, as they seldom are without their names,
-ages and eulogies of the persons whose portraits
-they represent. I say you will be exceedingly
-pleased to contemplate the effigies of those who
-have made such a noise and bustle in the world;
-either by their madness and folly; or a more conspicuous
-figure, by their wit and learning. They
-will greatly refresh you in your study and by your
-fireside, when you are many years returned.” We
-know by his “Diary” that Pepys became an enthusiastic
-collector and that he went over to Paris
-to buy many of Robert Nanteuil’s engraved portraits&mdash;at
-a later date commissioning his wife to
-secure for him many more, which he strongly
-desired.</p>
-
-<p>From the time of Evelyn and Pepys in England,
-and that prince of print-collectors in France, the<span class="pagenum" id="Page_182">[Pg 182]</span>
-Abbé de Marolles&mdash;who in 1666 could boast of
-possessing over 123,000 prints, “and all the portraits
-extant”&mdash;portraits have had, for the student,
-a peculiar fascination, and it may be interesting to
-consider briefly the work of some six or eight of the
-acknowledged masters of the art.</p>
-
-<p>Aside from two unimportant plates by the Master
-of the Amsterdam Cabinet, which may, or may
-not, be portraits, the earliest engraver to address
-himself to portraiture, pure and simple, is the
-anonymous German master with the monogram
-<img src="images/fig81.jpg" alt="" />. So far as we know, he executed four
-plates only (c. 1480-1485). In them the characterization
-is strong, the drawing clear and vigorous.
-The artist’s technique may have owed something to
-Martin Schongauer, but it is singularly lacking in
-the refinement and balance which mark the work
-of that engraver.</p>
-
-<p><span class="smcap">Daniel Hopfer</span>, who, in 1493, was already working
-in Augsburg, has left us an etching, which certainly
-cannot be later than 1504, and may have
-been executed five, or even ten, years earlier. It
-is a portrait of <i>Kunz von der Rosen</i>, the Jester-Adviser
-of the Emperor Maximilian I. The etching
-is upon iron, and the quality of the line is well
-adapted to the rugged character of the personage.
-This plate was copied, in reverse, with some modifications,
-by an anonymous North Italian engraver
-<span class="pagenum" id="Page_185">[Pg 185]</span>and reappears as <i>Gonsalvo of Cordova</i>, who was in
-Italy, in command of the army of Ferdinand V
-of Castile, between 1494 and 1504, when Ferdinand’s
-jealousy caused him to be superseded in
-the Vice Royalty of Naples.</p>
-
-<div class="figcentera" id="f82">
-<img src="images/fig82.jpg" alt="" />
-<p class="caption">MASTER <img src="images/fig81.jpg" alt="" />. HEAD OF A YOUNG WOMAN</p>
-<p class="c">Size of the original engraving, 4¾ × 3⅜ inches<br />
-In the Royal Print Room, Berlin</p>
-</div>
-
-<div class="figcenter" id="f83">
-<img src="images/fig83.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. ALBERT OF BRANDENBURG</p>
-<p class="c">Size of the original engraving, 5¾ × 3⅞ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p>The earliest in date of <span class="smcap">Dürer’s</span> engraved portraits
-is likewise the best. <i>Albert of Brandenburg</i>
-was twenty-nine years of age, in 1519, when Dürer
-engraved this plate. There is a concentration upon
-the purely portrait element lacking in some of the
-later prints. The burin work is singularly delicate
-and beautiful. Indeed, nothing better, from a technical
-standpoint, has ever been done on copper than
-Dürer’s six portrait plates; and if he at times succumbs
-to the temptation of rendering each minor
-detail with the same loving care which he bestows
-upon the face itself, he remains, notwithstanding,
-one of the greatest masters of the burin the world
-has seen.</p>
-
-<p>Dürer engraved a second plate of <i>Albert of Brandenburg</i>,
-in 1523. The intervening four years had
-left their mark upon the Cardinal, and neither as
-a portrait nor as an engraving is it as pleasing as
-the earlier one. In the following year, 1524, there
-are two portraits&mdash;<i>Frederic the Wise, Elector of
-Saxony</i> and <i>Wilibald Pirkheimer</i>. The former was
-one of the earliest patrons of Dürer and likewise
-one of the most liberal-minded princes of his time.<span class="pagenum" id="Page_186">[Pg 186]</span>
-The plate is executed in Dürer’s painstaking and
-careful manner, nor does it lack, as a portrait,
-the directness and immediacy of appeal of the
-silver-point drawing, which may have served as
-its original. Wilibald Pirkheimer, the celebrated
-patrician and humanist, was Dürer’s life-long
-and most intimate friend, and it is to him that
-Dürer’s letters from Venice were addressed.</p>
-
-<p><i>Philip Melanchthon</i> is the simplest in treatment
-and the most satisfying, in its elimination of unnecessary
-detail, of Dürer’s portrait engravings,
-and is the best likeness of the mild reformer. The
-inscription reads: “Dürer could depict the features
-of the living Philip, but the skilled hand could not
-depict his mind.” Here Dürer does himself less
-than justice, for it is the portrait-like character
-which makes this engraving still noteworthy after
-the lapse of four centuries.</p>
-
-<p>To the same year, 1526, belongs <i>Erasmus of
-Rotterdam</i>. It is a technical masterpiece. Dürer
-has lavished all his skill upon this plate. It is
-magnificent; but from a purely portrait standpoint,
-it is a magnificent failure.</p>
-
-<div class="figcentera" id="f84">
-<img src="images/fig84.jpg" alt="" />
-<p class="caption">ALBRECHT DÜRER. PHILIP MELANCHTHON</p>
-<p class="c">Size of the original engraving, 6⅞ × 5 inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f85">
-<img src="images/fig85.jpg" alt="" />
-<p class="caption">ANTHONY VAN DYCK. PORTRAIT OF HIMSELF (First State)</p>
-<p class="c">Size of the original etching, 9½ × 6⅛ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p>For a full hundred years we have no portraits of
-note; then there enters upon the scene one of the
-great princes of the art&mdash;<span class="smcap">Van Dyck</span>&mdash;whose etched
-portraits vie with those of Rembrandt in vitality,
-and surpass them in immediacy of appeal. Van
-<span class="pagenum" id="Page_189">[Pg 189]</span>Dyck had not that deep humanity, that profound
-reading of human character, which raises Rembrandt
-above all rivals; but upon the purely technical
-side, working within the truest traditions of
-etching, with due regard to its possibilities and its
-limitations, Van Dyck may claim precedence. His
-fifteen original portrait etchings (together with
-<i>Erasmus of Rotterdam</i>, after Holbein) undoubtedly
-belong to the period between his return from Italy
-to Antwerp, in 1626, and his settlement in London,
-in 1632. From the very first, Van Dyck seems to
-have been in possession of all his powers. His etchings
-show various modes of treatment, according to
-the character of the sitter, and it would be difficult
-to speak of the <i>development</i> of his art, since, by the
-grace of God, he seems to have been a born etcher.</p>
-
-<p>Van Dyck’s <i>Portrait of Himself</i> naturally interests
-us most, on account of its subject. So far as
-Van Dyck has seen fit to carry it, it is a perfect
-work of art, not the least remarkable feature being
-the splendid placing of the head upon the plate.
-Unfortunately, the first state is of such excessive
-rarity that the majority of print students can know
-this superb portrait only through reproductions (in
-which much of its delicacy is necessarily lost) or,
-in the later state, where the plate is finished with
-the graver by Jacob Neefs&mdash;a distressing piece of
-work, strangely enough, countenanced by Van<span class="pagenum" id="Page_190">[Pg 190]</span>
-Dyck himself; since in the British Museum there
-is a touched counter-proof of the first state, which
-proves that Van Dyck directed the elaboration of
-the plate, no doubt with the intention of using it
-as a title page to the <i>Iconography</i>, a series of a
-hundred engraved portraits of his friends and contemporaries.</p>
-
-<p>Of even subtler beauty is <i>Snyders</i>, unfortunately&mdash;like
-the portrait of Van Dyck himself&mdash;of the
-greatest rarity and also, like that plate, finished
-with the graver by Jacob Neefs. It is perfectly
-satisfying from every point of view, combining, as
-it does, the greatest freedom with absolute certainty
-of hand. The treatment of the face shows a
-thorough knowledge of all the technical resources
-of the art, the high lights having been “stopped
-out” exactly where needed, the etched dots and
-lines melting into a perfect harmony.</p>
-
-<p>In marked contrast to the delicacy of <i>Snyders</i>
-is the bolder and more rugged treatment of <i>Jan
-Snellinx</i>. Fortunately, the plate has remained, until
-our own day, in essentially the same condition
-as when it left Van Dyck’s hands, and we can better
-realize what an artistic treasure-house the <i>Iconography</i>
-might have been, had the public possessed
-the intelligence to appreciate, at their true worth,
-these fine flowerings of Van Dyck’s genius, instead
-of demanding, as they did, that a plate be absolutely
-<span class="pagenum" id="Page_193">[Pg 193]</span>“finished” to the four corners by the professional
-engraver.</p>
-
-<div class="figcentera" id="f86">
-<img src="images/fig86.jpg" alt="" />
-<p class="caption">ANTHONY VAN DYCK. FRANS SNYDERS (First State)</p>
-<p class="c">Size of the original etching, 9⅛ × 6⅛ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f87">
-<img src="images/fig87.jpg" alt="" />
-<p class="caption">ANTHONY VAN DYCK. LUCAS VORSTERMAN (First State)</p>
-<p class="c">Size of the original engraving, 9⅝ × 6⅛ inches<br />
-In the Collection of Charles C. Walker, Esq.</p>
-</div>
-
-
-<p><i>Lucas Vorsterman</i> is, in some ways, the most
-purely pictorial of Van Dyck’s portrait etchings.
-Even the taste of the time demanded no further
-elaboration than an engraved background, which,
-judiciously added, left undisturbed Van Dyck’s
-original work.</p>
-
-<p>It would be interesting to know whether <span class="smcap">Rembrandt</span>
-was acquainted with the etched work of
-Van Dyck. If so, it is all the more astounding that
-his work should betray no trace of any outside influence.</p>
-
-<p>Rembrandt’s earliest dated etching is also, seemingly,
-his first etching&mdash;a <i>Portrait of His Mother</i>, of
-the year 1628&mdash;an unsurpassed little masterpiece.
-In its own mode of simple, direct, open, linear
-treatment, there is nothing finer, even in the work
-of Rembrandt himself. <i>Saskia with Pearls in Her
-Hair</i>, of 1634, as also the <i>Young Man in a Velvet
-Cap with Books Beside Him</i>, which belongs to the
-year 1637, are in Rembrandt’s best manner, but
-the crowning triumph of this period is unquestionably
-<i>Rembrandt Leaning on a Stone Sill</i>, bearing the
-date 1639 and showing Rembrandt at the happiest
-period of his life&mdash;successful, prosperous, and perfect
-master of his medium.</p>
-
-<p>The portrait of an <i>Old Man in a Divided Fur</i><span class="pagenum" id="Page_194">[Pg 194]</span>
-<i>Cap</i>, of the following year, is likewise admirable&mdash;not
-a line too much and every line full of significance.
-<i>Jan Cornelis Sylvius</i>, of 1646, shows in a
-marked degree Rembrandt’s sympathy with, and
-appreciation of the beauty of old age. The face is
-treated in a delicate and sensitive manner, and,
-with the fewest possible strokes, Rembrandt has
-indicated the texture and growth of the sparse
-beard of his aged sitter. Sulphur-tint has been used
-to give additional modelling to the face, while the
-background and costume are finished in a way
-which would have won the admiration of Dürer
-himself. <i>Ephraim Bonus</i>, <i>Jan Asselyn</i>, and <i>Jan Six</i>
-are Rembrandt’s three portrait etchings for the
-year 1647. <i>Jan Six</i> is Rembrandt’s masterpiece, so
-far as elaborate finish is concerned. He has availed
-himself of all the resources of etching, dry-point,
-and of the burin&mdash;used freely as an etcher may use
-it&mdash;to carry forward this plate. The center of the
-room is bathed in subdued light, which melts into
-rich and mysterious shadows in the corners.</p>
-
-<div class="figcentera" id="f88">
-<img src="images/fig88.jpg" alt="" />
-<p class="caption">REMBRANDT. JAN CORNELIS SYLVIUS</p>
-<p class="c">Size of the original etching, 10⅞ × 7½ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcentera" id="f89">
-<img src="images/fig89.jpg" alt="" />
-<p class="caption">REMBRANDT. REMBRANDT LEANING ON A STONE SILL</p>
-<p class="c">Size of the original etching, 8⅛ × 6½ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcentera" id="f90">
-<img src="images/fig90.jpg" alt="" />
-<p class="caption">REMBRANDT. CLEMENT DE JONGHE (First State)</p>
-<p class="c">Size of the original etching, 8⅛ × 6⅜ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f91">
-<img src="images/fig91.jpg" alt="" />
-<p class="caption">REMBRANDT. JAN LUTMA (First State)</p>
-<p class="c">Size of the original etching, 7⅞ × 5⅞ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><i>Rembrandt Drawing at a Window</i> is one of the
-most characterful of his portraits. It shows him at
-the age of forty-two. Years of sorrow have left
-their mark upon his countenance, but what a
-strong, resolute face it is! <i>Clement de Jonghe</i> (which
-should be seen in the first state before the expression
-of the face was entirely changed) is executed
-<span class="pagenum" id="Page_199">[Pg 199]</span>in Rembrandt’s open, linear manner, without
-strong contrasts of light and dark. For beauty of
-drawing and subtlety of observation, it is one of
-his finest plates. <i>Old Haaring</i>, of 1655, is a magnificent
-dry-point, in which Rembrandt has built up,
-with many lines, a completely harmonious picture;
-but for grip of character and straightforward presentation
-of the personality of his sitter, it must
-yield precedence to the unsurpassed <i>Jan Lutma</i>, of
-the following year. This portrait, in the first state,
-before the introduction of the window in the background,
-is one of Rembrandt’s most mature works,
-in that the method is perfectly adapted to the result
-desired.</p>
-
-<p>In France there is little of significance in portrait
-engraving during the sixteenth century. <span class="smcap">Thomas
-de Leu</span> and <span class="smcap">Léonard Gaultier</span> based their style
-upon the miniature portrait engravers of the Northern
-School, such as the <span class="smcap">Wierix</span>. Although their
-graver work is often quite beautiful, it lacks originality,
-and when, as frequently happened, they
-endeavored to interpret the wonderful drawings of
-the Clouets or Dumonstier, they signally failed in
-capturing the charm of their originals.</p>
-
-<p><span class="smcap">Claude Mellan</span>, who was born at Abbeville in
-1598, is, in a sense, the fountain-head of French
-portrait engraving. His work is characteristically
-French, in that it is the result of a system carefully<span class="pagenum" id="Page_200">[Pg 200]</span>
-worked out to its logical conclusion. In his desire
-to keep strictly within the limits of what he considered
-to be the proper province of engraving, he
-carried his insistence upon line to a point which
-borders on mannerism and which, for over two
-centuries, has militated against his full recognition.</p>
-
-<p>Mellan’s earliest engravings recall the work of
-Léonard Gaultier, but his first teacher is not known.
-Dissatisfied with his instruction in Paris, in 1624
-he went to Rome where, while studying engraving
-under Villamena, he came under the influence of
-the French painter, Simon Vouet, who not only
-provided his protégé with drawings to engrave, but
-persuaded him to base all his training upon a
-thorough ground-work of drawing. It is this severe
-training as a draughtsman which lies at the foundation
-of Mellan’s style. His original drawings
-were executed in pencil, silver-point, or chalk, and
-in his engravings he preserves all the delicate and
-elusive charm of his originals.</p>
-
-<div class="figcentera" id="f92">
-<img src="images/fig92.jpg" alt="" />
-<p class="caption">CLAUDE MELLAN. VIRGINIA DA VEZZO</p>
-<p class="c">Size of the original engraving, 4½ × 3 inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f93">
-<img src="images/fig93.jpg" alt="" />
-<p class="caption">CLAUDE MELLAN. FABRI DE PEIRESC</p>
-<p class="c">Size of the original engraving, 8⅜ × 5⅝ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p>His manner of engraving is peculiar to himself.
-The inventor of a mode, he so uses it as to exhaust
-its possibilities and leaves nothing for his successors
-to do along similar lines. Consequently, although
-his influence on French portrait engraving
-was great and far-reaching, he cannot, in any true
-sense, be considered as the founder of a “school.”
-Even in his early portrait plates (incidentally,
-<span class="pagenum" id="Page_203">[Pg 203]</span>among the most charming and perfect), such as
-<i>Virginia de Vezzo</i>, the wife of Simon Vouet, engraved
-in Rome in 1626, we find his style fully
-developed. Save for four little spots of deepest
-shadow, the entire portrait is executed in single,
-uncrossed lines, indicating, by their direction, the
-contour of the face, which is delicately modelled,
-while the flow of the hair is realistically and beautifully
-expressed. From this simple, linear method,
-adopted thus early, Mellan, with few unimportant
-exceptions, never departed; and although he lived
-and worked until 1688, surviving Morin by twenty-two
-years and Robert Nanteuil by ten, he held
-to his own self-appointed course, his work showing
-no trace whatever of the influence of his two
-most distinguished contemporaries.</p>
-
-<p>Among his many portraits choice is difficult, but,
-by general consent, his style is seen at its very best
-in <i>Fabri de Peiresc</i>, which excels in point of drawing,
-grip of character, and straightforwardness of presentation.
-It is dated 1637 and was engraved on his
-way from Rome to Paris, in which city he settled,
-enjoying for many years a reputation and success
-second to none. Of his other portraits mention
-must be made of <i>Henriette-Marie de Buade Frontenac</i>,
-of a delightful silvery quality, and of her
-husband, <i>Henri-Louis Habert de Montmor</i>, the richest
-toned of all his works. <i>Nicolas Fouquet</i> likewise<span class="pagenum" id="Page_204">[Pg 204]</span>
-is of peculiar interest, inasmuch as in this plate
-Mellan has departed for once from his invariable
-method of pure line work and has modelled the
-face with an elaborate system of dots, in the
-manner of Morin.</p>
-
-<p><span class="smcap">Jean Morin</span> was Mellan’s junior by two years.
-His style is in the greatest contrast to that of the
-older master, not only technically, but in that he
-was always a <i>reproductive</i> engraver, never designing
-his own portraits, the majority of his plates being
-after the paintings of Philippe de Champaigne. His
-plates are executed almost entirely in pure etching,
-with just sufficient burin work to give crispness and
-decision. The heads are elaborately modelled, with
-many minute dots, recalling somewhat Van Dyck’s
-manner in such a portrait as <i>Snyders</i>.</p>
-
-<p><i>Antoine Vitré</i>, the famous printer, shows Morin’s
-method at its richest; its brilliancy and color place
-it in the forefront of French portraits, though for
-charm it may not rank with <i>Anne of Austria</i> or
-<i>Cardinal Richelieu</i>, both after paintings by Philippe
-de Champaigne.</p>
-
-<p><i>Cardinal Guido Bentivoglio</i>, after Van Dyck, well
-deserves the reputation which it has so long enjoyed.
-It is, furthermore, significant as an example
-of Morin’s power of concentrating all the attention
-upon the countenance of his sitter. He was primarily
-a <i>portrait</i> engraver and never allowed himself
-<span class="pagenum" id="Page_207">[Pg 207]</span>to be seduced, as were such eighteenth century
-masters as the Drevets, into lavishing his skill upon
-the purely ornamental accessories, to the detriment
-of the portrait itself. Fine though Van Dyck’s full-length
-painting is, Morin is more than justified in
-taking from it the head and bust only, since thereby
-he gives to his plate a vivid and compelling quality
-which otherwise would be lacking.</p>
-
-<div class="figcentera" id="f94">
-<img src="images/fig94.jpg" alt="" />
-<p class="caption">JEAN MORIN. CARDINAL GUIDO BENTIVOGLIO</p>
-<p class="c">Size of the original engraving, 11½ × 9¼ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f95">
-<img src="images/fig95.jpg" alt="" />
-<p class="caption">ROBERT NANTEUIL. POMPONE DE BELLIÈVRE</p>
-<p class="c">Size of the original engraving, 12⅞ × 9⅞ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><span class="smcap">Robert Nanteuil</span> is not only the greatest of
-French portrait engravers; he is one of the greatest
-portraitists in the history of French art. In his work
-the clarity and logic of the French temperament is
-enriched by a study of the engravers of the Flemish
-and Dutch schools, though in Nanteuil’s plates
-color is never sought at the expense of balance. His
-technique is a fusion of the best elements of Mellan
-and of Morin. From Mellan he derived his carefully
-balanced system of open line work, while
-Morin doubtless suggested to him the use of graver
-flicks in modelling the face.</p>
-
-<p>The date of Nanteuil’s birth is variously given
-as 1623, 1625, and 1630, the last-named date, which
-is accepted by Robert-Dumesnil, corresponding
-best with what we know regarding the development
-of his work.</p>
-
-<p>His first portrait plates were done in 1648, the
-year in which he came to Paris, and from that time
-onwards he devoted himself almost exclusively to<span class="pagenum" id="Page_208">[Pg 208]</span>
-portraiture, until his death in 1678. His engravings
-form a gallery illustrating the reign of Louis XIV,
-from the King himself, whom he engraved no fewer
-than eleven times, to the Norman peasant and
-poet, Loret (incidentally, one of Nanteuil’s finest
-portrait plates), whose “Gazette” satirized each
-day “the intriguing nobles who were not afraid of
-bullets, but who were in deadly fear of winter mud.”</p>
-
-<p>An interesting story is told of Nanteuil’s début
-in Paris. It is said that he received his first order
-by following some divinity students to a wine-shop,
-where they were wont to take their meals. There,
-having chosen one of the portrait drawings he had
-brought from Rheims, he pretended to look for a
-sitter whose name and address he had forgotten. It
-is superfluous to add that the picture was not
-recognized, but it was passed from hand to hand,
-the price was asked, the artist was modest in his
-demands, and before the end of the repast his
-career had begun.</p>
-
-<p>One of the most interesting portraits, in his early
-manner, is that of <i>Cardinal de Retz</i>, engraved in
-1650. Morin has likewise left us a portrait of this
-personage, and it is instructive to compare the two
-engravings. In Nanteuil’s the background is still
-somewhat stiff, but the costume is treated simply
-and directly, while the face shows a judicious
-blending of line and dot work.</p>
-
-<p><span class="pagenum" id="Page_209">[Pg 209]</span></p>
-
-<p>Nothing could be finer and more reticent than
-<i>Marie de Bragelogne</i> of 1656. The pale, elderly, and
-somewhat sad face of this old love of Cardinal
-Richelieu is treated with the greatest sympathy.
-For the most part, it is modelled with delicate
-flick work, and where lines are employed, they are
-so used as to blend perfectly into a harmonious
-whole. In contrast to the face, the collar is rendered
-in long, flowing lines, without cross-hatching,
-entirely in the manner of Claude Mellan. It is
-from Nanteuil’s own drawing from life and is
-perhaps the most beautiful of the eight engraved
-portraits of women we have from his hand.</p>
-
-<p><i>Pompone de Bellièvre</i>, of 1657, after Le Brun’s
-painting, has enjoyed among collectors the reputation
-of being the most beautiful of all engraved
-portraits. Fine it undoubtedly is; but it lacks that
-grip of character which is so conspicuously present
-in Nanteuil’s engravings from life, and for compelling
-portrait quality it falls short of <i>Pierre Seguier</i>,
-engraved in the same year, likewise after Le Brun’s
-painting. <i>Jean Loret</i> certainly does not owe its fame
-to the beauty of the personage portrayed. It is one
-of Nanteuil’s most convincing and vital plates.
-The modelling of the face and the means employed
-are absolutely adequate. This engraving alone
-would explain why, in his day, Nanteuil’s greatest
-fame rested upon the surprisingly life-like quality<span class="pagenum" id="Page_210">[Pg 210]</span>
-of his work, whether it be pastel, drawing, or engraving.</p>
-
-<p>To the year 1658 also belongs <i>Basile Fouquet</i>,
-brother of Nicolas Fouquet, the famous Superintendent
-of Finance. Not less beautiful than <i>Pompone
-de Bellièvre</i>, there is a vitality about the
-<i>Basile Fouquet</i> lacking in the better-known plate.</p>
-
-<p>Three years later, in 1661, Nanteuil engraved the
-portrait of <i>Nicolas Fouquet</i>&mdash;one of his masterpieces
-of characterization. Nothing could be finer
-than the way in which he has portrayed the great
-finance minister, whose ambition it was to succeed
-Mazarin as virtual ruler of the kingdom. It is a
-historical document of prime importance, of the
-greatest beauty, and preserves for all time the
-features of the then most powerful man in France,
-gazing out upon the world with a half quizzical
-expression, totally unaware of the sensational reversal
-of Fortune already drawing near.</p>
-
-<p>A plate not less admirable in its way&mdash;a little
-masterpiece&mdash;is <i>François de la Mothe le Vayer</i>, who
-was regarded as the Plutarch of his time for his
-boundless erudition and his mode of reasoning.
-Nanteuil’s engraving shows him at the age of
-seventy-five, in full possession of all his intellectual
-powers and in the enjoyment of that good health
-which lasted until his death, eleven years later, at
-the ripe age of eighty-six.</p>
-<p><span class="pagenum" id="Page_211">[Pg 211]</span></p>
-
-<div class="figcentera" id="f96">
-<img src="images/fig96.jpg" alt="" />
-<p class="caption">ROBERT NANTEUIL. BASILE FOUQUET</p>
-<p class="c">Size of the original engraving, 12⅞ × 9⅞ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_212">[Pg 212]</span></p>
-
-<div class="figcenter" id="f97">
-<img src="images/fig97.jpg" alt="" />
-<p class="caption">ROBERT NANTEUIL. JEAN LORET</p>
-<p class="c">Size of the original engraving, 10⅛ × 7⅛ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_213">[Pg 213]</span></p>
-
-<p>The masterly portrait of <i>Turenne</i>, engraved in
-1663, after a painting by Philippe de Champaigne,
-is one of the engraver’s most vigorous plates, of a
-size somewhat larger than had hitherto been his
-wont. From this period date the life-size portraits,
-thirty-six of which were completed before he died
-in 1678, the last four years of his life being devoted
-entirely to these large plates&mdash;seven of them of the
-King himself. They were obviously intended to be
-framed and hung above the high wainscots used
-in those times, and although they do not show
-Nanteuil at his best, and&mdash;in the majority of cases&mdash;are,
-in part, the work of assistants, they are a
-remarkable performance.</p>
-
-<p>Nanteuil established the tradition of portrait
-engraving in France once and for all, and although
-his successors, profiting by his example, have left
-us many superbly engraved plates, none of them
-were able to combine the qualities of great engraver
-with great portraitist, which make Nanteuil supreme
-in the history of portrait engraving.</p>
-
-<p>The nineteenth century has produced three master
-portrait etchers. Of what previous century can
-we say as much? Other portraits may possess more
-charm, but none have a greater measure of dignity
-than those by <span class="smcap">Alphonse Legros</span>. He has been
-called a “belated old master,” and in his portrait
-plates are combined the qualities which prove him<span class="pagenum" id="Page_214">[Pg 214]</span>
-to be a master indeed&mdash;not old, in the sense of out of
-touch with his time, but displaying the same qualities
-which make the portraits of Rembrandt or Van
-Dyck so compelling and of such continuing interest.</p>
-
-<p><i>Cardinal Manning</i>&mdash;the triumph of spirit over
-flesh&mdash;simple, austere; <i>G. F. Watts</i>, in which the
-gravity and beauty of old age is portrayed as no one
-since Rembrandt has portrayed it, are plates which
-will assure his artistic immortality.</p>
-
-<p><span class="smcap">Mr. Whistler</span>, when asked which of his etchings
-he considered the best, is reported to have answered,
-“All.” Fortunately for us, in the case of
-his portraits he has indicated his preference. “<i>One
-of my very best</i>” is written beneath a proof of <i>Annie
-Haden</i>, now in the Lenox Library; and Whistler,
-in the course of conversation with Mr. E. G. Kennedy,
-told him that if he had to make a decision as
-to which plate was his best, he would rest his reputation
-upon <i>Annie Haden</i>. It is the culmination
-of that wonderful series to which belong such
-masterpieces as <i>Becquet</i>, <i>Drouet</i>, <i>Finette</i>, <i>Arthur
-Haden</i>, <i>Mr. Mann</i> and <i>Riault, the Engraver</i>. Whistler
-himself never surpassed this portrait, which for
-perfect balance, certainty of hand, and sheer charm,
-is not only one of the most delightful portrait plates
-in the history of the art, but one of the few successful
-representations of the elusive charm of young
-girlhood.</p>
-
-<p><span class="pagenum" id="Page_215">[Pg 215]</span></p>
-
-<div class="figcentera" id="f98">
-<img src="images/fig98.jpg" alt="" />
-<p class="caption">J. A. McN. WHISTLER. ANNIE HADEN</p>
-<p class="c">Size of the original dry-point, 13⅞ × 8⅜ inches<br />
-In the Collection of Howard Mansfield, Esq.</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_216">[Pg 216]</span></p>
-
-<div class="figcenter" id="f99">
-<img src="images/fig99.jpg" alt="" />
-<p class="caption">J. A. McN. WHISTLER. RIAULT, THE ENGRAVER</p>
-<p class="c">Size of the original dry-point, 8⅞ × 5⅞ inches<br />
-In the Collection of Howard Mansfield, Esq.</p>
-</div>
-
-
-<p><span class="pagenum" id="Page_217">[Pg 217]</span></p>
-
-<p>Hardly less beautiful are the portraits of <i>Florence
-Leyland</i>, standing, holding her hoop in her right
-hand, every line of the slender figure rhythmic and
-beautiful; or of <i>Fanny Leyland</i>, seated, the soft
-flounces of her white muslin dress indicated with
-the fewest and most delicate lines; or <i>Weary</i>, lying
-back in her chair, with hair outspread. <i>Weary</i> suggests
-the <i>Jenny</i> of Rossetti’s poem, but it is a
-portrait of “Jo”&mdash;Joanna Heffernan&mdash;whom
-Whistler painted as <i>The White Girl</i> and <i>La Belle
-Irlandaise</i>, and of whom, in 1861, two years previously,
-he had made a superb dry-point.</p>
-
-<p>Of Whistler’s portraits of men, <i>Riault</i> is assuredly
-one of the finest, both in execution and in
-portrayal of character. The concentration of the
-wood-engraver on his task is expressed with convincing
-power, and those who mistakenly attribute
-to Whistler grace at the expense of strength could
-hardly do better than study this dry-point.</p>
-
-<p>Could there be a greater contrast than the work
-of Whistler and <span class="smcap">Zorn</span>? Could anything better
-illustrate the infinite possibilities of the art, the
-pliability of the medium to serve the needs of
-etchers as dissimilar in method as in point of
-attack? With the fewest possible lines (<i>slashed</i>,
-one might almost say, into the copper) Zorn
-evolves a portrait of compelling power, vibrant with
-life. Mere speed counts for little, and it is of small<span class="pagenum" id="Page_218">[Pg 218]</span>
-significance that a masterpiece such as <i>Ernest Renan</i>
-is the result of a single sitting of one hour only. It
-was done in Renan’s studio in Paris, in April, 1892.
-“His friends,” the artist relates, “came and asked
-me to make an etching of him. He arranged for a
-sitting. He was very ill, but I sat studying him for
-a little while, then took the plate and drew him. I
-asked him if it was a characteristic pose and he
-replied, ‘No, I very seldom sit like this.’ But his
-wife came in and said, ‘You have caught him to
-perfection, it is himself. When he is not watched
-he is always like that.’ She was really touched by
-it.” What is significant in the portrait of <i>Renan</i>,
-astounding, one might say, is that with lines so
-few Zorn has given us not only the outer man,
-but a character study of profound insight. Renan,
-sunk in his chair, the bulky body topped by the
-massive head, the hair suggested with a mere
-handful of lines, was like a bomb-shell to such
-print-collectors as previously were unacquainted
-with Zorn’s work. It was, however, only one of a
-group of masterpieces with which the artist made
-his début in America, in 1892: <i>Zorn and His Wife</i>,
-<i>Faure</i>, <i>The Waltz</i>, <i>The Omnibus</i>, <i>Olga Bratt</i>, with
-its elusive charm, and the piquant <i>Girl with the
-Cigarette</i>, and <i>Madame Simon</i>, which still remains
-one of his most powerful portraits.</p>
-
-<div class="figcentera">
-<a id="f100" href="images/fig100big.jpg">
-<img src="images/fig100.jpg" alt="" />
-</a>
-<p class="caption">ANDERS ZORN. ERNEST RENAN</p>
-<p class="c">Size of the original etching, 9¼ × 13⅜ inches<br />
-In the Collection of the Author<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcentera" id="f101">
-<img src="images/fig101.jpg" alt="" />
-<p class="caption">ANDERS ZORN. THE TOAST</p>
-<p class="c">Size of the original etching, 12⅝ × 10½ inches<br />
-In the Collection of Albert W. Scholle, Esq.</p>
-</div>
-
-<div class="figcentera" id="f102">
-<img src="images/fig102.jpg" alt="" />
-<p class="caption">ANDERS ZORN. MADAME SIMON</p>
-<p class="c">Size of the original etching, 9⅜ × 6¼ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter" id="f103">
-<img src="images/fig103.jpg" alt="" />
-<p class="caption">ANDERS ZORN. MISS EMMA RASSMUSSEN</p>
-<p class="c">Size of the original etching, 7⅞ × 5⅞ inches<br />
-In the Collection of the Author</p>
-</div>
-
-
-<p><i>The Toast</i> is etched from Zorn’s picture painted
-<span class="pagenum" id="Page_223">[Pg 223]</span>by him to celebrate the thirtieth anniversary of the
-Society of the Idun, a scientific and artistic society
-in Stockholm. Wieselgren, the President of the
-Society, a Viking-like figure, is about to propose a
-toast; beyond him, characterized with the fewest
-lines, are seen Nordenskjöld, the Arctic explorer;
-Hildebrand, the archæologist; Axel Key, professor
-of medicine; and Woern, the Minister of Finance.
-The plate has all the freshness, all the spontaneity,
-of an etching done directly from life and at a white
-heat.</p>
-
-<p>Among his many portraits of women, it is difficult
-to make a selection. <i>Miss Anna Burnett,
-seated at the Piano</i>, is charming. <i>Annie</i>, <i>Mrs. Granberg</i>,
-and <i>Kesti</i>&mdash;each, in its own way, fascinates
-us; but if one were to express a personal preference,
-it would be for <i>Miss Emma Rassmussen</i>. The blond
-beauty of her hair, the fair, tender flesh, sparkling
-eyes, and lips slightly open, showing the firm, small,
-even teeth, are in perfect harmony. The line is
-more delicate than is the artist’s wont, and both
-as a portrait and as an etching it is a lasting delight.</p>
-
-<p><span class="pagenum" id="Page_224">[Pg 224]</span></p>
-
-
-<p class="c p2">SOME MASTERS OF PORTRAITURE</p>
-
-<p class="c little">BIBLIOGRAPHY</p>
-
-<div class="blockquot">
-
-<p><span class="smcap">Prints and Their Makers.</span> <i>Edited by FitzRoy Carrington.</i> 200 illustrations.
-New York: Century Co. 1912.</p>
-
-<p><span class="smcap">Etching and Etchers.</span> <i>By Philip Gilbert Hamerton.</i> 35 original etchings.
-London: Macmillan &amp; Co. 1868.</p>
-
-<p>&mdash;&mdash;. Same. 6th edition. Boston: Roberts Brothers. 1892.</p>
-
-<p><span class="smcap">The Golden Age of Engraving.</span> <i>By Frederick Keppel.</i> 161 illustrations.
-New York: The Baker and Taylor Company. 1910.</p>
-
-<p><span class="smcap">The Best Portraits in Engraving.</span> <i>By Charles Sumner.</i> New York:
-Frederick Keppel. 1875.</p>
-
-
-<p class="xlarge"><span class="smcap">Dürer, Albrecht</span> (see Bibliography under “The Master of
-the Amsterdam Cabinet and Albrecht Dürer,” page 137).</p>
-
-
-<p class="xlarge"><span class="smcap">Van Dyck, Anthony</span> (1599-1641)</p>
-
-<p><span class="smcap">Eaux-fortes de Antoine van Dyck; reproduites et publiées par Amand-Durand.</span>
-<i>Edited by Georges Duplessis.</i> 21 reproductions. Paris: Amand-Durand.
-1874.</p>
-
-<p><span class="smcap">Van Dyck; His Original Etchings and His Iconography.</span> <i>By Arthur
-Mayger Hind.</i> 38 illustrations. The Print-Collector’s Quarterly, 2 parts.
-Part I. Vol. 5, No. 1, pp. 3-37. Part II. Vol. 5, No. 2, pp. 220-253. Boston.
-1915.</p>
-
-<p>&mdash;&mdash;&mdash;. Reprinted in revised form. 36 illustrations. Boston: Houghton
-Mifflin Company. 1915.</p>
-
-<p><span class="smcap">Van Dyck and Portrait Engraving and Etching in the Seventeenth
-Century.</span> <i>Edited by Arthur Mayger Hind.</i> 65 reproductions. London and
-New York: Frederick A. Stokes Company, n. d. (Great Engravers.)</p>
-
-<p><span class="smcap">Van Dyck.</span> <i>By H. Knackfuss. Translated by Campbell Dodgson.</i> 55 illustrations.
-Bielefeld and Leipzig: Velhagen &amp; Klasing. 1899. (Monographs
-on Artists.)</p>
-
-<p><span class="smcap">Etchings of Van Dyck.</span> <i>Edited by Frank Newbolt.</i> 34 reproductions.
-London: George Newnes. n. d.</p>
-
-<p><span class="smcap">Etchings by Van Dyck</span>. <i>By Walter H. Sparrow. With an introduction by H.
-Singer.</i> 23 reproductions of the first states. London: Hodder &amp; Stoughton.
-1905.</p>
-
-<p><span class="smcap">L’Iconographie d’Antoine van Dyck, d’après les recherches de H.
-Weber.</span> <i>By Friedrich Wibiral.</i> 1 reproduction and 6 plates of watermarks.
-Leipzig: A. Danz. 1877.</p>
-
-
-<p class="xlarge"><span class="smcap">Rembrandt Harmensz van Rijn</span> (1606-1669)</p>
-
-<p><span class="smcap">The Etched Work of Rembrandt; a Monograph (Written as Introduction
-to the Burlington Club Exhibition, 1877) with an Appendix</span></p>
-<span class="pagenum" id="Page_225">[Pg 225]</span>
-<p><span class="smcap">Respecting Appropriation of the Foregoing in Middleton’s Descriptive
-Catalogue.</span> <i>By Francis Seymour Haden.</i> London: Macmillan &amp; Co.
-1879.</p>
-
-<p><span class="smcap">The Etchings of Rembrandt.</span> <i>By Philip Gilbert Hamerton.</i> 4 reproductions
-and 36 text illustrations. London: Seeley &amp; Co. 1902. (Portfolio Monographs.)</p>
-
-<p><span class="smcap">Rembrandt’s Etchings; an Essay and a Catalogue, with Some Notes
-on the Drawings.</span> <i>By Arthur Mayger Hind.</i> London: Methuen &amp; Co. 1912.
-Volume 1, Text (with 34 plates illustrating the drawings). Volume 2,
-Illustrations (330 reproductions).</p>
-
-<p><span class="smcap">Etchings of Rembrandt.</span> <i>Edited by Arthur Mayger Hind.</i> 62 reproductions.
-London and New York: Frederick A. Stokes Company. 1907. (Great Engravers.)</p>
-
-<p><span class="smcap">Rembrandt.</span> <i>By H. Knackfuss. Translated by Campbell Dodgson.</i> 159
-illustrations. Bielefeld and Leipzig: Velhagen &amp; Klasing. 1899. (Monographs
-on Artists.)</p>
-
-<p><span class="smcap">Rembrandt’s Amsterdam.</span> <i>By Frits Lugt.</i> 27 illustrations and map. The
-Print-Collector’s Quarterly, Vol. 5, No. 2, pp. 111-169. Boston. 1915.</p>
-
-<p><span class="smcap">Rembrandt; His Life, His Work, and His Time.</span> <i>By Emile Michel. Translated
-by Florence Simmonds. Edited by Frederick Wedmore.</i> 2 volumes. 317
-illustrations. London: William Heinemann. 1895.</p>
-
-<p><span class="smcap">L’oeuvre gravé de Rembrandt; Reproductions des planches dans
-tout leurs états successifs, avec un catalogue raisonné.</span> <i>By Dmitri
-Rovinski.</i> 1000 reproductions. St. Petersburg: L’Académie Impériale des
-Sciences. 1890. Volume 1, Text. Volumes 2-4, Reproductions.</p>
-
-<p>&mdash;&mdash;&mdash; &mdash;&mdash;&mdash;. Supplement. <i>Collected by D. Rovinski. Arranged and described
-by N. Tchétchouline.</i> 94 reproductions. St. Petersburg: S. N. Kotoff,
-and Leipzig: Karl W. Hiersemann. 1914.</p>
-
-<p><span class="smcap">Kritisches Verzeichnis der Radierungen Rembrandts, zugleich eine
-Anleitung zu deren Studium.</span> <i>By Woldemar von Seidlitz.</i> Leipzig: E. A.
-Seemann. 1895.</p>
-
-<p><span class="smcap">Rembrandt; des Meisters Radierungen in 402 Abbildungen.</span> <i>Edited by
-Hans Wolfgang Singer.</i> Stuttgart and Leipzig: Deutsche Verlags-Anstalt.
-1906. (Klassiker der Kunst. Vol. 8.)</p>
-
-
-<p class="xlarge"><span class="smcap">Portrait Engraving in France</span></p>
-
-<p><span class="smcap">De la gravure du portrait en France.</span> <i>By Georges Duplessis.</i> Paris:
-Rapilly. 1875.</p>
-
-<p><span class="smcap">Le peintre-graveur français; un catalogue raisonné d’estampes
-gravées par les peintres et les dessinateurs de l’école française,
-ouvrage faisant suite au Peintre-graveur de M. Bartsch.</span> <i>By A. P. F.
-Robert-Dumesnil.</i> 11 volumes. (Vol. 11. Supplement by Georges Duplessis.)
-Paris: Mme. Huzard. 1835-71.</p>
-
-<p><span class="smcap">Le Peintre-graveur français continué ... ouvrage faisant
-suite au Peintre-Graveur Français de Robert-Dumesnil.</span> <i>By Prosper
-de Baudicour.</i> Paris: Mme. Bouchard-Huzard. 1859-1861. 2 volumes.</p>
-
-<p><span class="pagenum" id="Page_226">[Pg 226]</span></p>
-
-<p><span class="smcap">French Portrait Engraving of the Seventeenth and Eighteenth
-Centuries.</span> <i>By T. H. Thomas.</i> 39 illustrations. London: George Bell &amp;
-Sons. 1910.</p>
-
-
-<p class="xlarge"><span class="smcap">Mellan, Claude</span> (1598-1688)</p>
-
-<p><span class="smcap">Claude Mellan.</span> <i>By Louis R. Metcalfe.</i> 13 illustrations. The Print-Collector’s
-Quarterly, Vol. 5, No. 3, pp. 258-292. Boston. 1915.</p>
-
-<p><span class="smcap">Catalogue raisonné de l’oeuvre de Claude Mellan d’Abbeville.</span> <i>By
-Anatole de Montaiglon. Biography by P. J. Mariette.</i> Abbeville: P. Briez.
-1856.</p>
-
-
-<p class="xlarge"><span class="smcap">Morin, Jean</span> (before 1590(?)-1650)</p>
-
-<p><span class="smcap">Jean Morin.</span> <i>By Louis R. Metcalfe.</i> 11 illustrations. The Print-Collector’s
-Quarterly, Vol. 2, No. 1, pp. 1-30. Boston. 1912.</p>
-
-
-<p class="xlarge"><span class="smcap">Nanteuil, Robert</span> (1623(25?)-1678)</p>
-
-<p><span class="smcap">Robert Nanteuil.</span> By Louis R. Metcalfe. 12 illustrations. The Print-Collector’s
-Quarterly, Vol. 1, No. 5, pp. 525-561. Boston. 1911.</p>
-
-<p><span class="smcap">Nanteuil; sa vie et son oeuvre.</span> <i>By Abbé Porrée.</i> Rouen: Cagniard.
-1890.</p>
-
-<p><span class="smcap">The Drawings and Pastels of Nanteuil.</span> <i>By T. H. Thomas.</i> 15 illustrations.
-The Print-Collector’s Quarterly, Vol. 4, No. 4, pp. 327-361.
-Boston. 1914.</p>
-
-
-<p class="xlarge"><span class="smcap">Legros, Alphonse</span> (1837-1911)</p>
-
-<p><span class="smcap">Alphonse Legros.</span> <i>By Elisabeth Luther Cary.</i> 10 illustrations. The Print-Collector’s
-Quarterly, Vol. 2, No. 4, pp. 439-457. Boston. 1912.</p>
-
-<p><span class="smcap">Catalogue raisonné de l’œuvre gravé et lithographié de M. Alphonse
-Legros, 1855-77.</span> <i>By Paul Auguste Poulet-Malassis and A. W. Thibaudeau.</i>
-3 plates. Paris: J. Baur. 1877.</p>
-
-
-<p class="xlarge"><span class="smcap">Whistler, James Abbott McNeill</span> (1834-1903) (see
-Bibliography under “Landscape Etching,” p. 277).</p>
-
-
-<p class="xlarge"><span class="smcap">Zorn, Anders</span> (1860- )</p>
-
-<p><span class="smcap">Das radierte Werk des Anders Zorn.</span> <i>By Fortunat von Schubert-Soldern.</i>
-Illustrated. Dresden: Ernst Arnold. 1905.</p>
-
-<p><span class="smcap">Anders Zorn.</span> <i>By Loys Delteil.</i> 328 reproductions. Paris: L’auteur. 1909.
-(Le Peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. 4.)</p>
-
-<p><span class="smcap">Anders Zorn.</span> <i>By Mrs. Schuyler Van Rensselaer.</i> 5 illustrations. The
-Century, Vol. 24, p. 582 (New Series). New York. 1893.</p>
-
-<p><span class="smcap">Anders Zorn: Painter-Etcher.</span> <i>By J. Nilsen Laurvik.</i> 18 illustrations.
-The Print-Collector’s Quarterly, Vol. 1, No. 5, pp. 611-637. Boston. 1911.</p>
-</div>
-<hr class="full x-ebookmaker-drop" />
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_227">[Pg 227]</span></p>
-
-<h2 class="nobreak" id="l6">LANDSCAPE ETCHING</h2>
-</div>
-
-
-<p class="drop-cap">IN <span class="smcap">landscape</span>, as in portraiture, we are greeted
-on the threshold by <span class="smcap">Albrecht Dürer</span>. From
-his many drawings, water-colors, and the beautifully
-engraved backgrounds in a number of his
-plates, we know him to have been a profound
-student of natural forms and of atmospheric effects,
-sensitive to the character of the country he portrays;
-and it is a matter of regret that <i>The Cannon</i>
-is the only plate in which the landscape element
-outweighs in interest the figures. <i>The Cannon</i>,
-which is dated 1518, is etched upon an iron plate,
-not necessarily because Dürer was unacquainted
-with a suitable mordant for copper, but rather,
-one is inclined to believe, because, etching having
-been used in the decoration of arms and armor,
-iron would naturally suggest itself as the most
-appropriate metal for the purpose. Although the
-cannon (“The Nuremberg Field Serpent”), to the
-left, and the five Turks, to the right, are the
-main motives of the composition, they are drawn
-and bitten with lines of exactly the same weight
-and character as the landscape itself, and we
-can, if we will, consider them as accessory figures,
-concentrating our attention upon the altogether
-<span class="pagenum" id="Page_228">[Pg 228]</span>delightful village, its church spire pointing
-heavenwards, while in the distance wooded hills
-rise towards the sombre sky, and to the left a seaport
-is indicated. Dürer either ignored or was unaware
-of the effects to be obtained by repeated
-rebitings, and consequently the plate is of a uniform
-tone. Within his self-imposed limits he has
-thoroughly understood the possibilities of the medium
-and has availed himself of them, adopting an
-open, linear technique, in marked contrast to his
-highly elaborate engravings on copper of this period.</p>
-
-<p><span class="smcap">Albrecht Altdorfer</span>, who was born in Regensburg
-about 1480 and died in February, 1538, is
-notable as one of the earliest interpreters of landscape
-for its own sake. He has left us ten landscape
-etchings. None of them is dated, but they
-clearly belong to his last period. In them he has
-merely transferred to metal his mode of pen drawing,
-an excellent style in a way, since it is linear
-and suggestive, but lacking distinction and that
-passionate, dramatic quality which is so impressive
-in the painting, <i>St. George</i>, in the Munich Gallery,
-the engraving of the <i>Crucifixion</i>; or the <i>Agony in
-the Garden</i>, a drawing in the Berlin Print Room.</p>
-
-<div class="figcentera">
-<a id="f104" href="images/fig104big.jpg">
-<img src="images/fig104.jpg" alt="" />
-</a>
-<p class="caption">ALBRECHT DÜRER. THE CANNON</p>
-<p class="c">Size of the original etching, 8⅝ × 12⅞ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter">
-<a id="f105" href="images/fig105big.jpg">
-<img src="images/fig105.jpg" alt="" />
-</a>
-<p class="caption">AUGUSTIN HIRSCHVOGEL. LANDSCAPE</p>
-<p class="c">Size of the original etching, 5⅝ × 8½ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p>The etchings of <span class="smcap">Augustin Hirschvogel</span> are
-even simpler in treatment than those by Altdorfer.
-They bear dates from 1545 to 1549. The more one
-studies his landscape plates, breathing the spirit of
-<span class="pagenum" id="Page_231">[Pg 231]</span>the true nature lover, the more fascinating do they
-become. He has eliminated all non-essentials, concentrating
-his attention upon what were to him the
-most significant features, and in this respect he may
-have influenced the work of more than one nineteenth
-century master.</p>
-
-<p><span class="smcap">Hans Sebald Lautensack</span>, who was some
-twenty years Hirschvogel’s junior, was born in
-Nuremberg about 1524. The greater number of
-his landscape plates fall within the years 1551 and
-1555. He is neither so simple nor so direct as
-Hirschvogel, and his plates suffer from over-elaboration.
-In an attempt to give a complete
-representation of the scene the value of the line is
-lost, and, in the majority of cases, the composition
-is lacking in repose.</p>
-
-<p>For almost a century we have no landscape etchings
-of prime importance. Then, in 1640, <i>Rembrandt</i>
-appears on the scene with his <i>View of Amsterdam</i>,
-the first of a series of twenty-seven masterpieces
-which, beginning with this plate, comes to
-an end with <i>A Clump of Trees with a Vista</i> (1652).
-The <i>View of Amsterdam</i> is, among Rembrandt’s
-landscapes, comparable to the portrait of himself
-leaning on a stone sill, inasmuch as it is, in its own
-simple linear mode, a model of what etching can
-be at its best.</p>
-
-<p>As in the case of all these etchings, with the exception<span class="pagenum" id="Page_232">[Pg 232]</span>
-of the <i>Three Trees</i> and the <i>Landscape with
-a Ruined Tower and Clear Foreground</i>, the sky is
-left perfectly blank, and our imagination must
-supply the quiet sunshine of a cloudless day or that
-delicate grayness which makes Holland a perpetual
-delight to the painter.</p>
-
-<p>The <i>Windmill</i> (1641) is Rembrandt’s first <i>dated</i>
-etching. It is truly a portrait of a place, not only
-in its outer aspect, but in that inner spirit which,
-if it be present, moves us so profoundly, as in the
-case of Meryon’s etchings of Paris and Piranesi’s
-plates of ancient Roman edifices; or, if it be absent,
-leaves us disappointed and cold. In the <i>Windmill</i>,
-“we feel the stains of weather, the touch of time,
-on the structure; we feel the air about it and the
-quiet light that rests on the far horizon as the eye
-travels over dike and meadow; we are admitted to
-the subtlety and sensitiveness of a sight transcending
-our own; and even by some intangible
-means beyond analysis we partake of something
-of Rembrandt’s actual mind and feeling, his sense
-of what the old mill meant, not merely as a picturesque
-object to be drawn, but as a human element
-in the landscape, implying the daily work of
-human hands and the association of man and
-earth.”<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">[12]</a></p>
-
-<div class="footnote">
-
-<p><a id="Footnote_12" href="#FNanchor_12" class="label">[12]</a> Rembrandt’s Landscape Etchings. By Laurence Binyon. The Print-Collector’s
-Quarterly. Vol. 2, No. 4, p. 414.</p>
-
-</div>
-<p><span class="pagenum" id="Page_233">[Pg 233]</span></p>
-
-<div class="figcentera">
-<a id="f106" href="images/fig106big.jpg">
-<img src="images/fig106.jpg" alt="" />
-</a>
-<p class="caption">REMBRANDT. THE WINDMILL</p>
-<p class="c">Size of the original etching, 5¾ × 8¼ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p><span class="pagenum" id="Page_234">[Pg 234]</span></p>
-
-<div class="figcenter">
-<a id="f107" href="images/fig107big.jpg">
-<img src="images/fig107.jpg" alt="" />
-</a>
-<p class="caption">REMBRANDT. THREE TREES</p>
-<p class="c">Size of the original etching, 8½ × 11 inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p><span class="pagenum" id="Page_235">[Pg 235]</span></p>
-
-<p>To the same year belong the <i>Landscape with a Cottage
-and Haybarn</i> and <i>Landscape with a Cottage and
-a Large Tree</i>, two delightfully spacious plates. There
-is one etching in 1642, the <i>Cottage with a White
-Paling</i>, in which dry-point is judiciously used to
-give richness to the shadows.</p>
-
-<p>To the following year, 1643, belongs the <i>Three
-Trees</i>, the most famous of Rembrandt’s landscape
-etchings. Note how Rembrandt has suggested the
-passing of a summer thunder-storm, the rain-charged
-clouds rolling away to the left, while from
-the right the returning sunshine bathes the composition
-in glory, making each freshly washed leaf
-and blade of grass sparkle in its beams. Even the
-hard, slanting lines of rain in the upper left portion
-of the plate have their purpose, affording a needed
-contrast to the swiftly changing clouds, which the
-freshening breeze drives before it over the peopled
-plain and the far-reaching sea in the distance.</p>
-
-<p>In 1645 there are five landscape etchings. If
-the <i>Three Trees</i> is Rembrandt’s most elaborate
-plate, <i>Six’s Bridge</i> is, in some ways, his most
-learned performance. According to tradition, it was
-etched “against time,” for a wager, at the country
-house of Rembrandt’s friend, Jan Six, while the
-servant was fetching the mustard, that had been
-forgotten, from a neighboring village. There is,
-however, nothing hasty or incomplete about it. It<span class="pagenum" id="Page_236">[Pg 236]</span>
-is, to use Whistler’s words, “finished from the beginning,”
-beautifully balanced, not a line wasted,
-of its kind a perfect work of art.</p>
-
-<p>There are no more landscapes until 1650, a good
-year, since it gives us eight plates, every one worthy
-of the most serious consideration. Rembrandt by
-this time apparently had become dissatisfied with
-the relatively limited range of light and dark obtainable
-by the pure etched line, and from now
-onwards he relies more and more upon dry-point
-to obtain his effects, at times executing his plates
-entirely in that medium.</p>
-
-<p>The <i>Landscape with a Haybarn and a Flock of
-Sheep</i> is one of the loveliest plates of this period.
-There is a brilliancy in the first state, a quiet harmony
-in the elaborated second state, which makes
-a choice difficult. Each, in its way, is of compelling
-beauty.</p>
-
-<p>Hardly less delightful is the <i>Landscape with a
-Milkman</i>, with a view of the sea to the right, while
-at the left the cottages snuggle beneath their protecting
-trees.</p>
-
-<div class="figcentera">
-<a id="f108" href="images/fig108big.jpg">
-<img src="images/fig108.jpg" alt="" />
-</a>
-<p class="caption">REMBRANDT. SIX’S BRIDGE</p>
-<p class="c">Size of the original etching, 5⅛ × 8¾ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcentera">
-<a id="f109" href="images/fig109big.jpg">
-<img src="images/fig109.jpg" alt="" />
-</a>
-<p class="caption">REMBRANDT. LANDSCAPE WITH A RUINED TOWER AND CLEAR FOREGROUND</p>
-<p class="c">Size of the original etching, 4⅞ × 12⅝ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcentera">
-<a id="f110" href="images/fig110big.jpg">
-<img src="images/fig110.jpg" alt="" />
-</a>
-<p class="caption">REMBRANDT. LANDSCAPE WITH A HAYBARN AND A FLOCK OF SHEEP</p>
-<p class="c">Size of the original etching, 3¼ × 7 inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter">
-<a id="f111" href="images/fig111big.jpg">
-<img src="images/fig111.jpg" alt="" />
-</a>
-<p class="caption">REMBRANDT. THREE COTTAGES</p>
-<p class="c">Size of the original etching, 6¼ × 8 inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p>The <i>Landscape with a Ruined Tower and Clear
-Foreground</i> is, perhaps, of all these etchings the
-noblest and the most dramatic. In the sky to
-the left are piled thunder clouds. A faint breeze,
-the precursor of a coming storm, gently moves the
-upper branches of the trees. There is an expectant
-<span class="pagenum" id="Page_241">[Pg 241]</span>hush, a tenseness, and we are made to feel that in
-a few minutes the first heavy raindrops will be
-driving through the over-charged air. Otherwise
-all is still, the sky to the right being yet quiet and
-undisturbed. With the fewest etched lines Rembrandt
-has indicated the form and growth of the
-trees, adding, just where needed to give emphasis
-and enrichment, touches of dry-point, concentrating
-his richest blacks on the noble clump which
-shuts off the road leading toward the left. With
-such simple means, with black lines and white
-paper, he has given us by his art a more convincing
-record of one of Nature’s noblest spectacles than
-most painters, with a full palette at their command,
-could achieve in a lifetime of labor.</p>
-
-<p>In the <i>Three Cottages</i> dry-point is used with
-magnificent effect. Early impressions of this masterpiece
-have a richness, a bloom, which is unmatched
-among Rembrandt’s landscape plates. A
-fine impression of the third state, with the added
-shading on the gabled end of the first cottage,
-represents the plate admirably. To be seen at its
-best, however, it should not be too heavily charged
-with ink, since the tree forms thereby are confused.
-Work such as this is so seemingly simple that one
-may readily overlook the power of analysis and the
-superb draughtsmanship it displays. Everyone
-who loves Rembrandt’s landscapes&mdash;and who that<span class="pagenum" id="Page_242">[Pg 242]</span>
-knows them does not love them?&mdash;must bitterly
-regret that at about this time, in the very plenitude
-of his powers, he saw fit to bring his landscape
-work to a close.</p>
-
-<p>It is true that we have the <i>Goldweigher’s Field</i> of
-1651&mdash;an unsurpassed masterpiece&mdash;and in the following
-year the <i>Landscape with a Road Beside a
-Canal</i> and <i>A Clump of Trees with a Vista</i>; but had
-he treated a landscape motive with the passion
-which breathes from the <i>Three Crosses</i>, <i>Christ Presented
-to the People</i>, or the <i>Presentation in the Temple</i>,
-how much richer and fuller would landscape
-art have been!</p>
-
-<p>The <i>Goldweigher’s Field</i>, by tradition the country
-seat of the Receiver General, Uytenbogært, whose
-portrait Rembrandt had etched in 1639 (The <i>Goldweigher</i>),
-is, in point of suggestiveness, second to
-none of Rembrandt’s plates. The eye is gently led
-from field to fertile field, each with its own individual
-character and filled with interesting little
-details, and finally rests upon the quiet sea which
-stretches to the horizon.</p>
-
-<p>Contemporary with Rembrandt, treating scenes
-essentially the same, a whole school of etchers produced
-an enormous number of plates, many of
-them charming, but none to be classed with the
-permanently great work in the history of the art.</p>
-
-<div class="figcentera">
-<a id="f112" href="images/fig112big.jpg">
-<img src="images/fig112.jpg" alt="" />
-</a>
-<p class="caption">REMBRANDT. GOLDWEIGHER’S FIELD</p>
-<p class="c">Size of the original etching, 4¾ × 12⅝ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter">
-<a id="f113" href="images/fig113big.jpg">
-<img src="images/fig113.jpg" alt="" />
-</a>
-<p class="caption">JACOB RUYSDAEL. WHEAT FIELD</p>
-<p class="c">Size of the original etching, 4 × 6 inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p><span class="smcap">Hercules Seghers</span> is interesting because of his
-<span class="pagenum" id="Page_245">[Pg 245]</span>choice of wild, rugged mountains for his subject-matter
-and of his experiments in color printing,
-but as an etcher he is of historical importance only.</p>
-
-<p><span class="smcap">Jacob Ruysdael</span> displays a knowledge of tree
-forms and an appreciation of their beauty, rare at
-any time. His work at its best recalls that of the
-great nineteenth century master, Théodore Rousseau,
-though the latter’s few plates show a greater
-economy of means and an equal affection for Nature
-in her wilder moods. The <i>Wheat Field</i> is one
-of Ruysdael’s most satisfying plates. The sky, with
-its rolling clouds, is simply treated and shows a
-knowledge and reticence in the use of line denied
-to the greater number of his more laborious contemporaries,
-who, in the main, when they endeavored
-to “finish” a plate ended by leaving it
-fatigued and stiff.</p>
-
-<p><i>Claude Gellée</i>, called <i>Claude Lorrain</i>, is the
-one seventeenth century French landscape etcher.
-Born in the year 1600 in the Diocese of Toul and
-the Duchy of Lorraine (whence he derives the name
-by which he is best known), early orphaned, at the
-age of thirteen, after a varied and picturesque boyhood,
-journeyed to Rome, thence to Naples, and
-later to Venice. In 1627 he settled permanently in
-Rome, where he remained until his death in 1682.</p>
-
-<p>His etchings are the fruit of that indefatigable
-study of nature which he pursued almost until the<span class="pagenum" id="Page_246">[Pg 246]</span>
-day of his death. Heedless of fatigue, he would
-spend day after day, from sunrise until nightfall,
-noting every phase of dawn, the glory of sunrise,
-or the majesty of the sunset hours. For him the
-modest nook held no charm and exerted no fascination.
-He chose for his theme Nature in her more
-spacious aspects&mdash;wide-stretching horizons and
-deep overarching skies, with clumps of stately
-trees, between and beyond which are to be seen
-castle-crowned hills, or a half-ruined temple, the
-relic of Imperial Rome, a passionate love for which
-burned with a steady flame in Claude, more Roman
-than the Romans themselves in his worship of the
-Eternal City and all that could recall her vanished
-glory.</p>
-
-<p>Claude’s paintings are to be seen in nearly every
-European gallery of importance, but his etchings
-are seldom met with. Really fine impressions (by
-which alone they can be judged) are unfortunately
-very rare. His work would seem to divide itself
-into two periods: 1630 to 1637, and 1662 and
-1663. It is to the earlier period that his finest
-work belongs, the later plates being heavy and
-stiff in treatment. Claude’s etchings show none of
-that economy and suggestiveness of line which
-make of Rembrandt’s most summary sketch a
-continuous stimulus and delight. They are highly
-wrought pictures, as carefully and lovingly finished<span class="pagenum" id="Page_247">[Pg 247]</span>
-in all details as are the paintings themselves. Etching,
-dry-point, the burnisher, and a tone produced
-by roughening the surface of the plate with pumice-stone
-or some similar material, all are called into
-play to produce a harmonious result, and of their
-kind there is nothing finer.</p>
-
-<p>The <i>Dance Under the Trees</i> shows Claude in his
-most purely pastoral vein&mdash;classic pastoral&mdash;seen
-through Virgilian eyes and interpreted in the spirit
-of the Eclogues. It is carefully composed and
-beautifully drawn; and if, to our more modern
-taste, there seems a little too obvious an “arrangement,”
-with the two vistas balancing one another
-at the right and left of the central group of trees,
-we must remember that landscape, no less than
-literature or costume, has its fashions, and that,
-in Claude’s time, balance and proportion were esteemed
-of greater value than the freedom and
-spontaneity which we today, more insistent on the
-individual note, esteem the chief charm of etching.</p>
-
-<p><i>Le Bouvier</i>, etched in 1636, is accounted Claude’s
-masterpiece. “For technical quality of a certain
-delicate kind it is the finest landscape etching in
-the world. Its transparency and gradation have
-never been surpassed.”<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">[13]</a> It is the work of a
-real nature lover and true poet, and sums up in a
-<span class="pagenum" id="Page_248">[Pg 248]</span>few square inches all that is best of Claude’s art
-when it has shaken itself free from the “set scene”
-and theatricalities. Technically it is not less admirable.
-The copper has been caressed, so to speak,
-with the needle, until it responds by yielding all
-those elusive half lights and luminous shadows
-which play among the leaves of the noble trees to
-the left, while on the right the landscape fairly
-swims in light and air. For this same quality of
-sunlight Claude tries again and again in his etchings,
-in <i>Sunrise</i> with complete success. When he
-essays to interpret Nature in her sterner moods, as
-in the <i>Flock in Stormy Weather</i> (his one plate of the
-year 1651), he is far less happy. The clouds, which
-should be heavy with rain, are unconvincing,
-though the suggestion of movement in the trees is
-excellent, and in no other plate has he treated
-architecture with a firmer touch or in a more picturesque
-manner.</p>
-
-<div class="footnote">
-
-<p><a id="Footnote_13" href="#FNanchor_13" class="label">[13]</a> Etching and Etchers. By Philip Gilbert Hamerton. London; Macmillan
-&amp; Co. 1868. p. 178.</p>
-
-</div>
-
-<p>After the middle of the seventeenth century,
-etching, as an original, creative art, is increasingly
-neglected for almost two hundred years, though it
-grows in popularity as an easy and expeditious
-mode of “forwarding” a plate to be finished with
-the burin.</p>
-
-<div class="figcentera">
-<a id="f114" href="images/fig114big.jpg">
-<img src="images/fig114.jpg" alt="" />
-</a>
-<p class="caption">CLAUDE LORRAIN. LE BOUVIER</p>
-<p class="c">Size of the original etching, 5⅛ x 7¾ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter">
-<a id="f115" href="images/fig115big.jpg">
-<img src="images/fig115.jpg" alt="" />
-</a>
-<p class="caption">CHARLES JACQUE. TROUPEAU DE PORCS</p>
-<p class="c">Size of the original etching, 5⅛ × 8½ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p>To <span class="smcap">Charles Jacque</span>, in the early “forties,” belongs
-the honor of having restored etching to its
-proper and legitimate place as a suggestive and
-<span class="pagenum" id="Page_251">[Pg 251]</span>linear art. His method is based on a thorough
-understanding of its limitations and qualities as
-exemplified by Rembrandt and his lesser contemporaries
-in Holland; and both by his work (he has
-left between five and six hundred plates) and by his
-influence, he is the father of the nineteenth century
-revival of etching, not only in France, where its
-possibilities were appreciated at once by the Romantic
-group and the “Men of 1830,” but in England,
-through Seymour Haden and Whistler.</p>
-
-<p>Charles Jacque was born in Paris on May 23,
-1813, and to the last (he died at the ripe age of 81,
-in the year 1894) he retained, in country life, something
-of the city man’s point of view, the love of the
-“picturesque,” the anecdotic, in marked contrast
-to his greater contemporary, Jean-François Millet,
-whose few etchings form an epic of the soil even
-more powerful than his paintings. For all that,
-Jacque is a true etcher, working along the soundest
-lines and safest traditions. He is unequal: his work
-suffers at times from a hankering for “finish”; but
-at his best his little plates are delightfully suggestive,
-every line being there for a purpose, and not a
-line too much.</p>
-
-<p>Up to 1848 he had completed some three hundred
-etchings and dry-points, and it is among this group
-that many “masterpieces in little” are to be found.
-It would be hard to find a better model of style<span class="pagenum" id="Page_252">[Pg 252]</span>
-than the <i>Wheat Field</i>. The print is scarcely
-larger than a visiting card, but it conveys a sense
-of spaciousness and “out of doors” sadly lacking in
-many a painting in full color and of a hundred times
-its size. The <i>Truffle Gatherers</i> is likewise of modest
-size, but the landscape with its leafless trees is full
-of air, and the sense of life and movement, as well
-as the effective composition of the “rooters” accompanied
-by their herdsman, is, from many points
-of view, unexcelled.</p>
-
-<p>The <i>Storm&mdash;Landscape with a White Horse</i> is
-one of Jacque’s finest interpretations of wind and
-rough weather. This dry-point, unfortunately very
-rare, recalls the work of Rembrandt in his mature
-period. The sky, slashed with driving showers, the
-trees swayed this way and that by the gusty wind,
-the white horse with legs firmly braced, its mane
-and tail matted by the rain against its neck and
-flank, all combine to heighten and intensify the
-effect.</p>
-
-<p>Younger than Jacque by four years (he was
-born February 15, 1817), <span class="smcap">Charles-François Daubigny</span>
-differs from him in that it is the lyric, the
-spiritual aspect of nature, rather than the incidental
-and picturesque details of country life, which
-moved him.</p>
-
-<div class="figcentera">
-<a id="f116" href="images/fig116big.jpg">
-<img src="images/fig116.jpg" alt="" />
-</a>
-<p class="caption">CHARLES JACQUE. STORM&mdash;LANDSCAPE WITH A WHITE HORSE</p>
-<p class="c">Size of the original dry-point, 6⅜ × 8⅜ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter" id="f117">
-<img src="images/fig117.jpg" alt="" />
-<p class="caption">CHARLES-FRANÇOIS DAUBIGNY. DEER IN A WOOD</p>
-<p class="c">Size of the original etching, 6⅜ × 4⅜ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-
-<p>None of the other Barbizon men has so successfully
-interpreted the freshness of early morning,<span class="pagenum" id="Page_255">[Pg 255]</span>
-the sparkle of sunrise on tender young leaves or
-dew-bespangled grass, the tranquility of the quiet
-pool hidden in the depth of the forest. His first
-plate, etched in collaboration with his friend Meissonier,
-is dated 1838, and all through the “forties”
-Daubigny continued to etch either original motives
-or such as were commissioned by editors for the
-embellishment of various publications, in many
-cases poems and songs of a pastoral nature. It is,
-however, to the following decade that his finest
-work belongs&mdash;a series of little masterpieces which,
-in their way, remain unequalled. His plates, small
-in size, are as carefully worked out as those of
-Claude but with a truer feeling for the elusive
-charm of still, untroubled places. Later his style
-grows broader and bolder. Less is actually said,
-more is suggested. There is a freedom in his line
-work which these etchings of his middle period had
-hardly led us to expect but for which, in truth, they
-were the finest preparation. He has learned to
-eliminate the non-essential; and in etching the <i>art
-of omission</i> is the supreme virtue.</p>
-
-<p>One of the most suggestive plates of his middle
-period is <i>Deer in a Wood</i>. The treatment is perfectly
-simple and straightforward, truly linear, as all good
-etching should be, but the spirit of the scene is
-captured and portrayed in these few, seemingly
-careless, lines. <i>Deer Coming Down to Drink</i> is another<span class="pagenum" id="Page_256">[Pg 256]</span>
-altogether delightful plate in the same series.
-The early morning air is vibrant with the glory of
-sunrise, and the little leaves clap their hands in joy.</p>
-
-<p>“Has it not often occurred to you, in your explorations
-as a tourist, to see suddenly open before
-you a break in the landscape, a little valley, calm,
-in repose, full of elegant and tranquil forms, of
-discreet and harmonious colors, of softened shadows
-and lights, bordered by hillsides with rounded
-and retiring forms and where no step seems to have
-troubled the poetic silence? A pond, placed there
-like a mirror, reflects the picture, and bears on its
-cup-like edge sheaves of rushes, coltsfoot, arrow-heads,
-water-strawberries and the white and yellow
-flowers of the water lily, amid which swarm a buzzing
-world of insects and gnats.... As you
-approach, some heron, occupied in dressing its
-plumage, flies off, snapping its beak; the snipe runs
-away, piping its little cry; then everything falls
-again into silence, and the valley, welcoming you
-as its guest, takes up under your eyes its mysterious
-work.”<a id="FNanchor_14" href="#Footnote_14" class="fnanchor">[14]</a> All this and more Daubigny gives us by
-his art.</p>
-
-<div class="footnote">
-
-<p><a id="Footnote_14" href="#FNanchor_14" class="label">[14]</a> Count Clément de Ris. L’Artiste. June, 1853.</p>
-
-</div>
-
-<div class="figcentera">
-<a id="f118" href="images/fig118big.jpg">
-<img src="images/fig118.jpg" alt="" />
-</a>
-<p class="caption">CHARLES-FRANÇOIS DAUBIGNY. DEER COMING DOWN TO DRINK</p>
-<p class="c">Size of the original etching, 6⅛ × 4⅝ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter">
-<a id="f119" href="images/fig119big.jpg">
-<img src="images/fig119.jpg" alt="" />
-</a>
-<p class="caption">CHARLES-FRANÇOIS DAUBIGNY. MOONLIGHT ON THE BANKS OF THE OISE</p>
-<p class="c">Size of the original etching, 4⅜ × 6½ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p>Daubigny’s success as a painter, the constantly
-increasing demand for his work, left him little time,
-as years went by, for etching. “If only I could
-paint a picture that <i>wouldn’t</i> sell,” he once said in
-<span class="pagenum" id="Page_259">[Pg 259]</span>sheer desperation, and, momentarily, his superb
-renderings of the mystery of evening and night accomplished
-his object, though now they are jealously
-guarded in some of the world’s finest collections.
-But to <i>etch</i> night, to <i>suggest</i> moonlight&mdash;there
-was a problem indeed! Whistler in his “Nocturnes”
-paints, so to speak, on his plate with
-printer’s ink. Daubigny relies on lines alone, to
-produce his result. “<i>Night cannot be etched</i>” is the
-dictum of more than one authority. No, nor sunlight
-either, nor clouds! None of these things can
-be pictured so that blind eyes can see them. But
-to those who will meet the etcher half way, who
-are content with a suggestion and are capable of
-reconstructing from it the artist’s mood, these
-simple linear plates of Daubigny’s last period are
-a revelation and a delight. <i>Moonlight on the Banks
-of the Oise</i> measures scant four by six inches, yet
-what a feeling of space there is in it! Only a born
-etcher could have succeeded by means so simple,
-and seemingly inadequate, in capturing the very
-spirit of such a scene.</p>
-
-<p>Corot’s etched work comprises fourteen plates.
-It was not until 1845, when he was in his fiftieth
-year, that he made his first experiment. “Corot
-took a prepared copper-plate and drew in the outlines
-and masses of the well-known <i>Souvenir of
-Tuscany</i>, but did not proceed to the ‘biting in’<span class="pagenum" id="Page_260">[Pg 260]</span>
-process. Some years later Félix Bracquemond discovered
-the plate in a nail-box at Corot’s studio
-and begged the master to complete it, offering to
-take charge of the ‘biting in.’ Corot then took the
-plate and added the tones and details of the final
-state.... There was something in the use of
-mordants and acids that seemed to frighten Corot,
-and he always called in some good friend such as
-Bracquemond, Michelin or Delaunay to assist in
-this delicate process.”<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">[15]</a></p>
-
-<div class="footnote">
-
-<p><a id="Footnote_15" href="#FNanchor_15" class="label">[15]</a> Le Père Corot. By Robert J. Wickenden. The Print-Collector’s Quarterly.
-Vol. 2, No. 3. p. 382.</p>
-
-</div>
-
-<p>In etching his method is as personal as in his
-painting. He entirely disregards all the accepted
-canons of the art. Line, <i>as line</i>, hardly exists in his
-plates; it is scribble, scribble, everywhere. The tree
-trunks, the rocks, foreground and distance, often
-the foliage itself, all are as “wrong as wrong can be,”
-so far as accurate representation is concerned. Yet
-Corot, great artist and great nature poet, can transgress
-every rule and still succeed in conveying his
-message. In the best of his etchings he <i>does</i> succeed
-admirably. <i>Souvenir of Italy</i> and <i>Environs of Rome</i>
-of 1865 (Corot was then nearly seventy years of
-age) are among the most interesting prints of the
-period. In these plates, and others like them,
-Corot has given free rein to his poetic and imaginative
-powers and has drawn upon his memory of the
-<span class="pagenum" id="Page_263">[Pg 263]</span>Italy of his youth. In method, in their disregard
-of line, form and texture, they are shining examples
-of what etching should <i>not</i> be. In decorative quality,
-poetic suggestion, and sentiment they are altogether
-delightful.</p>
-
-<div class="figcentera" id="f120">
-<img src="images/fig120.jpg" alt="" />
-<p class="caption">CAMILLE COROT. SOUVENIR OF ITALY</p>
-<p class="c">Size of the original etching, 11⅝ × 8⅝ inches<br />
-In the Museum of Fine Arts, Boston</p>
-</div>
-
-<div class="figcenter">
-<a id="f121" href="images/fig121big.jpg">
-<img src="images/fig121.jpg" alt="" />
-</a>
-<p class="caption">JEAN-FRANÇOIS MILLET. THE GLEANERS</p>
-<p class="c">Size of the original etching, 7½ × 10 inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p>In <span class="smcap">Millet’s</span> etchings the landscape and the
-figures are so inter-related as to make any separate
-study of them unavailing. They are models of
-significant draughtsmanship and profound feeling,
-in which nothing is introduced that does not bear
-directly upon the main theme. <i>Shepherdess Knitting</i>,
-<i>Peasants Going to Work</i>, <i>Two Men Digging</i>,
-and above all the <i>Gleaners</i>, have each their perfect
-setting. The wide-stretching plain, slightly undulating,
-shimmers in the hot summer sunshine,
-which bathes in a golden glow the three women
-gleaning, the harvesters gathering in the rich
-fruits of their toil, and the little village, snuggling
-amid its trees in the far distance to the right.</p>
-
-<p>Etchers, like poets, are “born, not made.” But,
-as also in the case of poets, natural gifts will avail
-little if they are not reinforced by that capacity for
-taking infinite pains, through which alone a man
-may so master his medium as to shape it readily
-to his artistic needs. The etched work of <span class="smcap">Seymour
-Haden</span> is no chance happening. It is the fruit of
-close and analytical study, by a man of forceful
-character and scientific attainments, of the best<span class="pagenum" id="Page_264">[Pg 264]</span>
-model of style, the etchings of Rembrandt; supplemented
-by a familiarity with the work of his contemporaries
-in France, the land of clear and logical
-thinking; and in no art is clarity and brevity of
-speech more essential than in etching. From the
-beginning, Seymour Haden was in possession of
-all his powers, both in etching and in dry-point.
-There is no uncertainty in that which he wishes to
-say, no fumbling in his manner of saying it. The
-reticences and half-hesitations of Daubigny are not
-for him; there is no place for Corot’s scribbled poetry.
-He will give us a strong man’s interpretation
-of the lovely English landscape, in which he takes a
-pride, as in any other personal possession&mdash;God’s
-visible and abounding bounty to a superior people.
-It is “the bones of things” (his own phrase) that he
-wishes, above all else, to give. At his best he succeeds
-magnificently, but in much of his work,
-structurally fine though it be, it is the frame rather
-than the spirit that he portrays.</p>
-
-<div class="figcentera">
-<a id="f122" href="images/fig122big.jpg">
-<img src="images/fig122.jpg" alt="" />
-</a>
-<p class="caption">SEYMOUR HADEN. CARDIGAN BRIDGE</p>
-<p class="c">Size of the original etching, 4½ × 5⅞ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcentera">
-<a id="f123" href="images/fig123big.jpg">
-<img src="images/fig123.jpg" alt="" />
-</a>
-<p class="caption">SEYMOUR HADEN. BY-ROAD IN TIPPERARY</p>
-<p class="c">Size of the original etching, 7½ × 11¼ inches<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcentera">
-<a id="f124" href="images/fig124big.jpg">
-<img src="images/fig124.jpg" alt="" />
-</a>
-<p class="caption">SEYMOUR HADEN. SUNSET IN IRELAND</p>
-<p class="c">Size of the original dry-point, 5⅜ × 8½ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter">
-<a id="f125" href="images/fig125big.jpg">
-<img src="images/fig125.jpg" alt="" />
-</a>
-<p class="caption">SEYMOUR HADEN. SAWLEY ABBEY</p>
-<p class="c">Size of the original etching, 10 × 14⅞ inches<br />
-In the Collection of the Author<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p><i>A Water Meadow</i> (incidentally, a plate which the
-artist himself liked) is a fine transcript of a sudden
-shower in the Hampshire lowlands. It is bold and
-painter-like, admirable from every point of view,
-though some may prefer <i>On the Test</i>, with its truly
-noble sky, etched later in the day from a somewhat
-different point of view. <i>Cardigan Bridge</i> is a model
-of what a sketch should be, free, suggestive, spontaneous,
-<span class="pagenum" id="Page_269">[Pg 269]</span>yet full of knowledge. It is one of five
-similar plates, etched in a single day, August 17,
-1864, a “good day” indeed, such as rarely comes to
-etchers or to painters! The more one sees of modern
-etching, the more one is inclined to value work of
-this order. It is so easy, so fatally easy, to make
-wriggles in the water and scribbles in the sky; but
-to suggest, by these seeming careless loops and
-latchets, the flow of the river, the movement of
-clouds, the splendor of the setting sun&mdash;<i>that</i> indeed
-is another matter! Yet all this, and more, Seymour
-Haden has done in a magisterial manner.</p>
-
-<p><i>By-road in Tipperary</i> is the largest and most
-highly prized of his woodland plates and well deserves
-the reputation it so long has enjoyed. Structurally
-the trees are very fine, both as to branch
-and stem drawing; and, as in the two plates of
-<i>Kensington Gardens</i>, the suggestion of foliage with
-the light filtering through the leaves is quite beautiful.
-<i>Sunset in Ireland</i> is a plate which the artist,
-the collector, and the general public all unite in
-praising. “<i>That</i> is the plate,” said Seymour Haden,
-shortly before his death, “which, in years to come,
-will fetch the enormous prices!” And his prophecy
-has come true. Both in its earlier states, less rich
-in burr, with a luminous evening effect, and in the
-later and darker impressions, it is “a thing of
-beauty”&mdash;one of the most remarkable landscape<span class="pagenum" id="Page_270">[Pg 270]</span>
-plates of modern times, wherein the artist has
-captured, for once, all the poetry and melancholy
-sentiment of the twilight hour. <i>Sawley Abbey</i>, on
-the River Ribble in Lancashire, has, to some of us,
-however, a “swing” and pattern, which make of it
-a better and more manly plate. It must be seen in
-an early state to be adequately judged. For some
-inexplicable reason the artist saw fit later to “clean
-up” the sky and all the foreground to the right,
-leaving the plate cold, empty, and almost meaningless.</p>
-
-<p><i>Nine Barrow Down</i>, a dry-point, is in Haden’s
-happiest vein. It is instinct with that priceless
-quality, the “art which conceals art,” and is so
-seeming simple that one may readily forget that its
-“simplicity” is the result of a most rigid selection
-of the essential lines, guided by the knowledge of a
-lifetime.</p>
-
-<p>There is a growing tendency among the younger
-and more “advanced” collectors to belittle Seymour
-Haden and his work. Unquestionably there
-are many etchings which fall far short of his best;
-but <i>at his best</i>, in the dozen or two plates of which
-he himself approved, he towers far above any of
-his contemporaries, and there seems little likelihood
-of his supremacy in landscape being seriously
-threatened.</p>
-
-<div class="figcentera">
-<a id="f126" href="images/fig126big.jpg">
-<img src="images/fig126.jpg" alt="" />
-</a>
-<p class="caption">J. A. McN. WHISTLER. ZAANDAM (First State)</p>
-<p class="c">Size of the original etching, 5⅛ × 8⅝ inches<br />
-In the Collection of Howard Mansfield, Esq.<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-<div class="figcenter">
-<a id="f127" href="images/fig127big.jpg">
-<img src="images/fig127.jpg" alt="" />
-</a>
-<p class="caption">REMBRANDT. VIEW OF AMSTERDAM FROM THE EAST</p>
-<p class="c">Size of the original etching, 4⅛ × 5⅞ inches<br />
-In the Museum of Fine Arts, Boston<br />
-<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p>
-</div>
-
-
-<p><span class="smcap">Whistler</span>, “the greatest etcher and the most accomplished
-<span class="pagenum" id="Page_273">[Pg 273]</span>lithographer who ever lived” (according
-to Mr. Joseph Pennell), seems to have interested
-himself in landscape hardly at all. Not even
-his most ardent disciples would assert that the
-master’s few purely landscape plates contribute
-greatly to the pyramid of his fame. But even here
-one must tread softly. <i>Whistlerium tremens</i> is still
-a highly contagious disease; and has not his official
-biographer written “All his work is alike perfect”?
-How then may a modest lecturer presume to praise
-or compare? Let Mr. Pennell speak: “Look at
-Rembrandt’s prints made, I do not know whether
-with Amsterdam or Zaandam in the background,
-and then at Whistler’s of the same subjects. Rembrandt
-drew and bit and printed these little plates
-as no one had up to his time. But Whistler is as
-much in advance of Rembrandt as that great artist
-was of his predecessors. In these little distant views
-of absolutely the same subject, Whistler has triumphed.
-It is not necessary to explain how: you
-have only to see the prints to know it.... The
-older master is conservative and mannered; the
-modern master, respecting all the great art of the
-past, is gracious and sensitive, and perfectly free.”</p>
-
-<p>“You have only to see the prints to know it.”
-Well, let us look at two of them: Rembrandt’s
-<i>View of Amsterdam</i>, of 1640, and Whistler’s
-<i>Zaandam</i>. “Why drag in Velasquez?” the master of<span class="pagenum" id="Page_274">[Pg 274]</span>
-the gentle art of making enemies is reported to
-have said, upon one historic occasion. This time,
-so far as landscape etching is concerned, may it
-not be Rembrandt’s turn to say, “Why drag in
-Whistler?”</p>
-
-<p><span class="pagenum" id="Page_275">[Pg 275]</span></p>
-
-
-<p class="c p2">LANDSCAPE ETCHING</p>
-
-<p class="c little">BIBLIOGRAPHY</p>
-
-<div class="blockquot">
-
-<p><span class="smcap">Fine Prints.</span> <i>By Frederick Wedmore.</i> 15 illustrations. Edinburgh: John
-Grant. 1905.</p>
-
-<p><span class="smcap">The Great Painter-Etchers from Rembrandt to Whistler.</span> <i>By Malcolm
-C. Salaman. Edited by Charles Holme.</i> 191 illustrations. London, Paris,
-New York: The Studio. 1914.</p>
-
-<p><span class="smcap">Four Masters of Etching.</span> [Haden, Jacquemart, Whistler, Legros.] <i>By
-Frederick Wedmore.</i> Original etchings by Haden, Jacquemart, Whistler, and
-Legros. London: Fine Art Society. 1883.</p>
-
-<p><span class="smcap">Dutch Etchers of the Seventeenth Century.</span> <i>By Laurence Binyon.</i> 4
-reproductions and 29 text illustrations. London: Seeley &amp; Co. 1895.
-(Portfolio Artistic Monographs. No. 21.)</p>
-
-
-<p class="xlarge"><span class="smcap">Altdorfer, Albrecht</span> (c. 1480-1538)</p>
-
-<p><span class="smcap">Albrecht Altdorfer.</span> <i>By T. Sturge Moore. Edited by Laurence Binyon.</i>
-25 illustrations. New York: Longmans, Green &amp; Co.; London: The Unicorn
-Press. 1901.</p>
-
-<p><span class="smcap">Albrecht Altdorfers Landschafts Radierungen.</span> <i>Edited by Max J.
-Friedländer.</i> 9 reproductions and 1 text illustration. Berlin: Bruno Cassirer.
-1906. (Graphische Gesellschaft. Publication 3.)</p>
-
-<p><span class="smcap">Albrecht Altdorfer and Wolf Huber.</span> <i>By Hermann Voss.</i> 160 reproductions
-on 63 plates. Leipzig: Klinkhardt &amp; Biermann. 1910. (Meister
-der Graphik. Vol. 3.)</p>
-
-
-<p class="xlarge"><span class="smcap">Gellée, Claude</span>, called <span class="smcap">Lorrain</span> (1600-1682)</p>
-
-<p><span class="smcap">Claude Lorrain; Painter and Etcher.</span> <i>By George Graham.</i> 4 reproductions
-and 23 text illustrations. London: Seeley &amp; Co. 1895. (The Portfolio
-Artistic Monographs.)</p>
-
-
-<p class="xlarge"><span class="smcap">Rembrandt Harmensz van Rijn</span> (See also Bibliography
-under “Some Masters of Portraiture,” p. 224.)</p>
-
-<p><span class="smcap">Rembrandt’s Landscape Etchings.</span> <i>By Laurence Binyon.</i> 8 illustrations.
-The Print-Collector’s Quarterly, Vol. 2, No. 4, pp. 407-432. Boston. 1912.</p>
-
-
-<p class="xlarge"><span class="smcap">Jacque, Charles Émile</span> (1813-1894)</p>
-
-<p><span class="smcap">L’oeuvre de Ch. Jacque; catalogue de ses eaux-fortes et pointes
-sèches.</span> <i>By Jules Marie Joseph Guiffrey.</i> With an original etching. Paris:
-Mlle. Lemaire. 1866.</p>
-
-<p>&mdash;&mdash;&mdash;. <span class="smcap">Nouvelles eaux-fortes et pointes sèches.</span> Supplement au
-catalogue. Paris: Jouaust &amp; Sigaux. 1884.</p>
-
-<p><span class="smcap">Charles Jacque.</span> <i>By Robert J. Wickenden.</i> 18 illustrations. The Print-Collector’s
-Quarterly, Vol. 2, No. 1, pp. 74-101. Boston. 1912.</p>
-
-<p><span class="pagenum" id="Page_276">[Pg 276]</span></p>
-
-<p>&mdash;&mdash;&mdash; &mdash;&mdash;&mdash;. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’
-Booklets.)</p>
-
-
-<p class="xlarge"><span class="smcap">Daubigny, Charles Francois</span> (1817-1878)</p>
-
-<p><span class="smcap">C. Daubigny et son oeuvre gravé.</span> <i>By Frédéric Henriet.</i> 5 original etchings
-and 4 reproductions. Paris: A. Levy. 1875.</p>
-
-<p><span class="smcap">Daubigny.</span> <i>By Jean Laran.</i> 48 reproductions. Paris: Librairie centrale des
-Beaux-Arts. n. d. (L’Art de Notre Temps.)</p>
-
-<p><span class="smcap">Charles-François Daubigny; Painter and Etcher.</span> <i>By Robert J. Wickenden.</i>
-15 illustrations. The Print-Collector’s Quarterly, Vol. 3, No. 2, pp.
-177-206. Boston. 1913.</p>
-
-<p>&mdash;&mdash;&mdash; &mdash;&mdash;&mdash;. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’
-Booklets.)</p>
-
-
-<p class="xlarge"><span class="smcap">Corot, Jean Baptiste Camille</span> (1796-1875)</p>
-
-<p><span class="smcap">Corot.</span> <i>By Loys Delteil.</i> An original etching and 102 reproductions. Paris:
-L’auteur. 1910. (Le peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. 5.)</p>
-
-<p><span class="smcap">Corot and Millet.</span> <i>With critical essays by Gustave Geffroy and Arsène
-Alexandre. Edited by Charles Holme.</i> 120 illustrations. London, Paris, New
-York: John Lane. 1902. (The Studio.)</p>
-
-<p>“<span class="smcap">Le Père Corot.</span>” <i>By Robert J. Wickenden.</i> 9 illustrations. The Print-Collector’s
-Quarterly, Vol. 2, No. 3, pp. 365-386. Boston. 1912.</p>
-
-<p>&mdash;&mdash;&mdash; &mdash;&mdash;&mdash;. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’
-Booklets.)</p>
-
-
-<p class="xlarge"><span class="smcap">Millet, Jean-François</span> (1814-1875)</p>
-
-<p><span class="smcap">Jean-François Millet.</span> <i>By Arsène Alexandre.</i> <span class="smcap">The Etchings of J. F.
-Millet.</span> <i>By Frederick Keppel.</i> 85 illustrations. London and New York:
-John Lane. 1903. (The Studio.)</p>
-
-<p><span class="smcap">Jean-François Millet.</span> <i>By Loys Delteil.</i> Illustrated. Paris: L’auteur.
-1906. (Le peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. I.)</p>
-
-<p><span class="smcap">Alfred Lebrun’s Catalogue of the Etchings, Heliographs, Lithographs
-and Woodcuts Done by Jean-François Millet.</span> <i>Translated from
-the French by Frederick Keppel.</i> With additional notes and a sketch of the
-artist’s life. 7 reproductions. New York: Frederick Keppel &amp; Co. 1887.</p>
-
-<p><span class="smcap">Jean-François Millet; Painter-Etcher.</span> <i>By Mrs. Schuyler Van Rensselaer.</i>
-With a biographical sketch of Millet by Frederick Keppel. 11 illustrations.
-New York: Frederick Keppel &amp; Co. 1901. (The Keppel Booklets.
-1st series.)</p>
-
-<p><span class="smcap">The Art and Etchings of Jean-François Millet.</span> <i>By Robert J.
-Wickenden.</i> 14 illustrations. The Print-Collector’s Quarterly, Vol. 2, No. 2,
-pp. 225-250. Boston. 1912.</p>
-
-<p>&mdash;&mdash;&mdash; &mdash;&mdash;&mdash;. Reprinted. Boston: Houghton Mifflin Company. 1914.
-(Print-Collectors’ Booklets.)</p>
-
-<p><span class="pagenum" id="Page_277">[Pg 277]</span></p>
-
-<p><span class="smcap">Millet’s Drawings in the Museum of Fine Arts, Boston.</span> <i>By Robert J.
-Wickenden.</i> 11 illustrations. The Print-Collector’s Quarterly, Vol. 4, No. 1,
-pp. 3-30. Boston. 1914.</p>
-
-
-<p class="xlarge"><span class="smcap">Haden, Francis Seymour</span> (1818-1910)</p>
-
-<p><span class="smcap">A Descriptive Catalogue of the Etched Work of Francis Seymour
-Haden.</span> <i>By Sir William Richard Drake.</i> London: Macmillan &amp; Co. 1880.</p>
-
-<p><span class="smcap">The Engraved Work of Sir Francis Seymour Haden, P. R. E.</span> <i>By H.
-Nazeby Harrington.</i> 250 reproductions on 109 plates. Liverpool: Henry
-Young &amp; Sons. 1910.</p>
-
-<p><span class="smcap">The Water-Colors and Drawings of Sir Seymour Haden, P. R. E.</span> <i>By
-H. Nazeby Harrington.</i> 8 illustrations. The Print-Collector’s Quarterly,
-Vol. 1, No. 4, pp. 405-419. Boston. 1911.</p>
-
-<p><span class="smcap">Sir Seymour Haden, Painter-Etcher.</span> <i>By Frederick Keppel.</i> 5 illustrations.
-New York: Frederick Keppel &amp; Co. 1901. (The Keppel Booklets.
-1st series.)</p>
-
-<p><span class="smcap">Personal Characteristics of Sir Seymour Haden, P. R. E.</span> <i>By Frederick
-Keppel.</i> 27 illustrations. The Print-Collector’s Quarterly. 2 parts. Part I.
-Vol. 1, No. 3, pp. 291-316. Part II. Vol 1, No. 4, pp. 421-442. Boston. 1911.</p>
-
-
-<p class="xlarge"><span class="smcap">Whistler, James Abbott McNeill</span></p>
-
-<p><span class="smcap">The Etched Work of Whistler. Illustrated by Reproductions in
-Collotype of the Different States of the Plates.</span> <i>Compiled, arranged,
-and described by Edward G. Kennedy. With an introduction by Royal Cortissoz.</i>
-1002 reproductions. New York: The Grolier Club. 1910.</p>
-
-<p><span class="smcap">A Descriptive Catalogue of the Etchings and Drypoints of James
-Abbott McNeill Whistler.</span> <i>By Howard Mansfield.</i> 1 portrait. Chicago:
-Caxton Club. 1909.</p>
-
-<p><span class="smcap">Whistler as a Critic of His Own Prints.</span> <i>By Howard Mansfield.</i> 12 illustrations.
-The Print-Collector’s Quarterly, Vol. 3, No. 4, pp. 367-393.
-Boston. 1913.</p>
-
-<p><span class="smcap">The Life of James McNeill Whistler.</span> <i>By Elizabeth Robins Pennell and
-Joseph Pennell.</i> 97 illustrations. 5th edition. Philadelphia: J. B. Lippincott
-Company. 1911.</p>
-
-<p><span class="smcap">Mr. Whistler’s Lithographs; the Catalogue.</span> <i>By Thomas R. Way.</i> 1
-lithograph. London: George Bell &amp; Sons. 1896.</p>
-
-<p><span class="smcap">Whistler’s Lithographs.</span> <i>By Thomas R. Way.</i> 18 illustrations. The Print-Collector’s
-Quarterly, Vol. 3, No. 3, pp. 279-309. Boston. 1913.</p>
-
-<p><span class="smcap">The Lithographs by Whistler, Illustrated by Reproductions in
-Photogravure and Lithography, Arranged According to the Catalogue
-by Thomas R. Way, with Additional Subjects Not Before Recorded.</span>
-166 reproductions. New York: Kennedy &amp; Co. 1914.</p>
-
-<p><span class="smcap">The Art of James McNeill Whistler.</span> <i>By T. R. Way and G. R. Dennis.</i>
-11 portraits and 41 plates. London: George Bell &amp; Sons. 1904.</p>
-
-<p><span class="pagenum" id="Page_278">[Pg 278]</span></p>
-
-<p><span class="smcap">Whistler’s Etchings; a Study and a Catalogue.</span> <i>By Frederick Wedmore.</i>
-London: A. W. Thibaudeau. 1886.</p>
-
-<p>&mdash;&mdash;&mdash;. Same. 2nd edition. London: P. &amp; D. Colnaghi &amp; Co. 1899.</p>
-
-<p><span class="smcap">The Gentle Art of Making Enemies.</span> <i>By J. A. McN. Whistler.</i> London:
-William Heinemann. 1890.</p>
-
-<p>&mdash;&mdash;&mdash;. Same. 2nd edition. 1892.</p>
-
-<p>&mdash;&mdash;&mdash;. Same. 3rd edition. 1904.</p>
-
-<p><span class="smcap">The Gentle Art of Making Enemies.</span> <i>Edited by Sheridan Ford.</i> Paris:
-Delabrosse &amp; Compagnie. 1890.</p>
-
-
-<p class="xlarge"><span class="smcap">Cameron, David Young</span> (1865-    )</p>
-
-<p><span class="smcap">D. Y. Cameron; an Illustrated Catalogue of His Etched Work; with
-an Introductory Essay and Descriptive Notes on Each Plate.</span> <i>By
-Frank Rinder.</i> 444 reproductions. Glasgow: J. MacLehose &amp; Sons. 1912.</p>
-
-<p><span class="smcap">Cameron’s Etchings; a Study and a Catalogue.</span> <i>By Frederick Wedmore.</i>
-London: R. Gutekunst. 1903.</p>
-
-
-<p class="xlarge"><span class="smcap">Bone, Muirhead</span> (1876-    )</p>
-
-<p><span class="smcap">Etchings and Drypoints by Muirhead Bone.</span> <i>By Campbell Dodgson.</i>
-Portrait. London: Obach &amp; Co. 1909.</p>
-</div>
-
-<div class="transnote">
-
-<p class="c">Transcriber’s Notes:</p>
-
-<p>Variations in spelling and hyphenation are retained.</p>
-
-<p>Punctuation has been retained as published.</p>
-
-</div>
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