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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.
+
+*** END OF THE PROJECT GUTENBERG EBOOK ENGRAVERS AND ETCHERS ***
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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>
+<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK ENGRAVERS AND ETCHERS ***</div>
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