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diff --git a/old/66848-0.txt b/old/66848-0.txt deleted file mode 100644 index ccc6167..0000000 --- a/old/66848-0.txt +++ /dev/null @@ -1,4904 +0,0 @@ -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 *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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