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A.—A Project Gutenberg eBook - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2 { - text-align: center; /* all headings centered */ - clear: both; -} - -h1 {font-weight: normal;} -h2 {font-weight: normal;} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -.p2 {margin-top: 2em;} -.p4 {margin-top: 4em;} - - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.full {width: 95%; margin-left: 2.5%; margin-right: 2.5%;} - -hr.r15 {width: 15%; margin-top: 1em; margin-bottom: 1em; margin-left: 42.5%; margin-right: 42.5%;} - - -div.chapter {page-break-before: always;} -h2.nobreak {page-break-before: avoid;} - - -table { - margin-left: auto; - margin-right: auto; -} - - -.tdl {text-align: left;} -.tdl2 {text-align: left; - padding-left: 2em;} -.tdr {text-align: right;} -.tdc {text-align: center;} -.tdrb {text-align: right; vertical-align: bottom;} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; - font-style: normal; - font-weight: normal; - font-variant: normal; -} /* page numbers */ - - -.blockquot { - margin-left: 5%; - margin-right: 10%; - font-size: 90%; -} - -.blockquota { - margin-left: 10%; - margin-right: 10%; -} - - -p.drop-cap { - text-indent: -0.2em; -} - -p.drop-cap:first-letter -{ - float: left; - margin: 0.1em 0.1em 0em 0em; - font-size: 250%; - line-height:0.85em; -} - - -@media handheld -{ - p.drop-cap:first-letter - { - float: none; - margin: 0; - font-size: 100%; - } -} - -.xxxlarge {font-size: 350%; - margin-top: 0em; - margin-bottom: 0em;} -.xlarge {font-size: 140%;} -.larger {font-size: 125%;} -.little {font-size: 75%;} -.more {font-size: 70%;} - - -.c {text-align: center;} - -.pad {padding-left: 4em;} - -.pad1 {padding-left: 1em;} - -.pad2 {padding-left: 2em;} - -.pad3 {padding-left: 3em;} - -.ph2 {text-align: center; text-indent: 0em; - font-size: 160%; - margin-top: 1em; -} - -.ph3 {text-align: center; text-indent: 0em; - font-size: 200%; - margin-top: 1em; -} - -.greentext { color: green;} - -.rightbit {text-align: right; - margin-right: 2em;} - -.l {text-align: left; - margin-left: 3em;} - -.smcap {font-variant: small-caps;} - -.allsmcap {font-variant: small-caps; text-transform: lowercase;} - -.gesperrt -{ - letter-spacing: 0.2em; - margin-right: -0.2em; -} - -.caption {text-align: center;} - -/* Images */ - -img { - max-width: 100%; - height: auto; -} - - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - -.figcentera { - padding-bottom: 4em; - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - -.figcenterb { - padding-bottom: 6em; - padding-top: 4em; - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - - - - -/* Footnotes */ - -.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} - -.footnote .label {position: absolute; right: 84%; text-align: right;} - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: - none; -} - - -/* Transcriber's notes */ -.transnote {background-color: #E6E6FA; - color: black; - font-size:smaller; - padding:0.5em; - margin-bottom:5em; - font-family:sans-serif, serif; } - -@media handheld { - .pagenum {visibility: hidden; display: none;} -} - - - </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Engravers and Etchers, by Fitzroy Carrington</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Engravers and Etchers</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>Six Lectures Delivered on the Scammon Foundation at the Art Institute of Chicago, March 1916</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Fitzroy Carrington</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: November 30, 2021 [eBook #66848]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Charlene Taylor, Alan and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK ENGRAVERS AND ETCHERS ***</div> - -<div class="figcenter"> -<img src="images/cover.jpg" alt="" /> -</div> - - -<h1>ENGRAVERS AND ETCHERS</h1> - -<div class="figcentera" id="f1"> -<img src="images/fig1.jpg" alt="" /> -<p class="caption">MASTER OF THE AMSTERDAM CABINET. TWO LOVERS</p> -<p class="c">Size of the original engraving, 6½ × 4⅛ inches<br /> -In the Ducal Collection, Coburg</p> -</div> - - - - - - -<p class="c xxxlarge gesperrt"> -ENGRAVERS</p> - -<p class="c">AND</p> - -<p class="c xxxlarge gesperrt">ETCHERS</p> - - - -<p class="c little p4"> -SIX LECTURES DELIVERED ON THE SCAMMON FOUNDATION<br /><br /> -AT THE ART INSTITUTE OF CHICAGO, MARCH 1916</p> - -<p class="c little p4"> -BY</p> - -<p class="c xlarge"> -FITZROY CARRINGTON, M. A.</p> - -<p class="c more"> -CURATOR OF PRINTS AT THE MUSEUM OF FINE ARTS,<br /> -BOSTON; LECTURER ON THE HISTORY AND PRINCIPLES<br /> -OF ENGRAVING AT HARVARD UNIVERSITY; EDITOR OF<br /> -“THE PRINT-COLLECTOR’S QUARTERLY”</p> - -<p class="c p4"> -WITH 133 ILLUSTRATIONS</p> - -<div class="figcenterb"> -<img src="images/fig2.jpg" alt="" /> -</div> - -<p class="c"> -THE ART INSTITUTE OF CHICAGO<br /> -1917 -</p> - - -<p class="c more p4"> -COPYRIGHT 1917</p> - -<p class="c"> -THOMSEN-BRYAN-ELLIS COMPANY</p> - -<p class="c more p4"> -DESIGNED AND PUBLISHED BY</p> - -<p class="c"> -THOMSEN-BRYAN-ELLIS COMPANY</p> - -<p class="c"> -WASHINGTON <span class="pad">BALTIMORE</span></p> - -<p class="c little"> -NEW YORK <span class="pad2">PHILADELPHIA</span></p> - -<p class="c more p4"> -TO THOSE<br /> -WHO HELPED ME MAKE THIS BOOK<br /> -IN GRATEFUL RECOGNITION -</p> - - -<hr class="full x-ebookmaker-drop" /> - -<div class="blockquota"> - -<p class="c"><i>NOTE</i></p> - - - -<p><i>The lectures presented in this volume comprise -the twelfth series delivered at the Art Institute -of Chicago on the Scammon Foundation. -The Scammon Lectureship is established on -an ample basis by bequest of Mrs. Maria -Sheldon Scammon, who died in 1901. The -will prescribes that these lectures shall be upon -the history, theory, and practice of the Fine -Arts (meaning thereby the graphic and plastic -arts), by persons of distinction or authority -on the subject on which they lecture, such -lectures to be primarily for the benefit of the -students of the Art Institute, and secondarily -for members and other persons. The lectures -are known as “The Scammon Lectures.”</i></p> -</div> - -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p class="ph2">CONTENTS</p> -</div> - -<table> - -<tr><td class="tdl"></td> - <td class="tdr"><span class="more">PAGE</span></td></tr> - -<tr><td class="tdc"><i>LECTURE I</i></td></tr> - -<tr><td class="tdl"><span class="smcap">German Engraving: From the Beginnings<br /> - to Martin Schongauer</span></td> - <td class="tdrb"><a href="#l1">13</a></td></tr> - -<tr><td class="tdc"><i>LECTURE II</i></td></tr> - -<tr><td class="tdl"><span class="smcap">Italian Engraving: The Florentines</span></td> - <td class="tdr"><a href="#l2">51</a></td></tr> - -<tr><td class="tdc"><i>LECTURE III</i></td></tr> - -<tr><td class="tdl"><span class="smcap">German Engraving: The Master of the<br /> - Amsterdam Cabinet and Albrecht<br /> - Dürer</span></td> - <td class="tdrb"><a href="#l3">95</a></td></tr> - -<tr><td class="tdc"><i>LECTURE IV</i></td></tr> - -<tr><td class="tdl"><span class="smcap">Italian Engraving: Mantegna to Marcantonio<br /> - Raimondi</span></td> - <td class="tdrb"><a href="#l4">139</a></td></tr> - -<tr><td class="tdc"><i>LECTURE V</i></td></tr> - -<tr><td class="tdl"><span class="smcap">Some Masters of Portraiture</span></td> - <td class="tdr"><a href="#l5">181</a></td></tr> - -<tr><td class="tdc"><i>LECTURE VI</i></td></tr> - -<tr><td class="tdl"><span class="smcap">Landscape Etching</span></td> - <td class="tdr"><a href="#l6">227</a></td></tr> - -</table> - - -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p class="ph2">LIST OF ILLUSTRATIONS</p> -</div> - -<table> - -<tr><td class="tdl"></td> - <td class="tdr"><span class="more">PAGE</span></td></tr> - -<tr><td class="tdl"><span class="smcap">Master of the Amsterdam Cabinet.</span> Two Lovers</td> - <td class="tdr"><a href="#f1"> <i>Frontispiece</i></a></td></tr> - -<tr><td class="tdl"><span class="smcap">Master of the Playing Cards.</span> St. George</td> - <td class="tdr"><a href="#f3">15</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Man of Sorrows</span></td> - <td class="tdr"><a href="#f4">16</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Master of the Year 1446.</span> Christ Nailed to the Cross</td> - <td class="tdr"><a href="#f5">19</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Master of St. John the Baptist.</span> St. John the - Baptist</td> - <td class="tdr"><a href="#f6">20</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Master E. S. of 1466.</span> Madonna and Child with Saints<br /> - Marguerite and Catherine</td> - <td class="tdrb"><a href="#f7">23</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Ecstasy of St. Mary Magdalen</span></td> - <td class="tdr"><a href="#f8">24</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Design for a Paten</span></td> - <td class="tdr"><a href="#f9">27</a></td></tr> - -<tr><td class="tdl"><span class="pad2">St. John on the Island of Patmos</span></td> - <td class="tdr"><a href="#f10">28</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Martin Schongauer.</span> Virgin with a Parrot</td> - <td class="tdr"><a href="#f11">31</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Temptation of St. Anthony</span></td> - <td class="tdr"><a href="#f12">32</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Death of the Virgin</span></td> - <td class="tdr"><a href="#f13">33</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Pilate Washing His Hands</span></td> - <td class="tdr"><a href="#f14">34</a></td></tr> - -<tr><td class="tdl"><span class="pad2">St. John on the Island of Patmos</span></td> - <td class="tdr"><a href="#f15">37</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Christ Appearing to the Magdalen</span></td> - <td class="tdr"><a href="#f16">38</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Virgin Seated in a Courtyard</span></td> - <td class="tdr"><a href="#f17">39</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Angel of the Annunciation</span></td> - <td class="tdr"><a href="#f18">40</a></td></tr> - -<tr><td class="tdl"><span class="pad2">The Miller</span></td> - <td class="tdr"><a href="#f19">43</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Censer</span></td> - <td class="tdr"><a href="#f20">44</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Master L Cz.</span> Christ Tempted</td> - <td class="tdr"><a href="#f21">47</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Christ Entering Jerusalem</span></td> - <td class="tdr"><a href="#f22">48</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Anonymous Florentine, XV Century.</span> Profile Portrait<br /> - <span class="pad3">of a Lady</span></td> - <td class="tdrb"><a href="#f23">53</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Wild Animals Hunting and Fighting</span></td> - <td class="tdr"><a href="#f24">54</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Triumphal Procession of Bacchus and Ariadne</span></td> - <td class="tdr"><a href="#f25">57</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Jupiter</span></td> - <td class="tdr"><a href="#f26">58</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Mercury</span></td> - <td class="tdr"><a href="#f27">63</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Lady with a Unicorn</span></td> - <td class="tdr"><a href="#f28">64</a></td></tr> - -<tr><td class="tdl"><span class="pad2">The Christian’s Ascent to the Glory of Paradise.</span><br /> - <span class="pad3">From “Il Monte Sancto di Dio,” Florence, 1477</span></td> - <td class="tdrb"><a href="#f29">67</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Dante and Virgil with the Vision of Beatrice.</span><br /> - <span class="pad3">From the “Divina Commedia,” Florence, 1481</span></td> - <td class="tdrb"><a href="#f30">68</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Assumption of the Virgin (After Botticelli)</span></td> - <td class="tdr"><a href="#f31">71</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Triumph of Love. From the Triumphs of Petrarch</span></td> - <td class="tdr"><a href="#f32">72</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Triumph of Chastity. From the Triumphs of Petrarch</span></td> - <td class="tdr"><a href="#f33">75</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Libyan Sibyl</span></td> - <td class="tdr"><a href="#f34">76</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Anonymous North Italian, XV Century.</span> The<br /> -<span class="pad3">Gentleman. From the Tarocchi Prints (E Series)</span></td> - <td class="tdrb"><a href="#f35">79</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Clio. From the Tarocchi Prints (S Series)</span></td> - <td class="tdr"><a href="#f36">80</a></td></tr> - -<tr><td class="tdl"><span class="pad2">The Sun. From the Tarocchi Prints (E Series)</span></td> - <td class="tdr"><a href="#f37">83</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Angel of the Eighth Sphere. From the Tarocchi</span><br /> -<span class="pad3">Prints (E Series)</span></td> - <td class="tdrb"><a href="#f38">84</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Cristofano Robetta.</span> Adoration of the Magi</td> - <td class="tdr"><a href="#f39">87</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Antonio Pollaiuolo.</span> Battle of Naked Men</td> - <td class="tdr"><a href="#f40">88</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Master of the Amsterdam Cabinet.</span> Ecstasy of St.<br /> -<span class="pad3">Mary Magdalen</span></td> - <td class="tdrb"><a href="#f41">97</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Crucifixion</span></td> - <td class="tdr"><a href="#f42">98</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Stag Hunt</span></td> - <td class="tdr"><a href="#f43">101</a></td></tr> - -<tr><td class="tdl"><span class="pad2">St. George</span></td> - <td class="tdr"><a href="#f44">102</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Albrecht Dürer.</span> Virgin and Child with the Monkey</td> - <td class="tdr"><a href="#f45">107</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Four Naked Women</span></td> - <td class="tdr"><a href="#f46">108</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Hercules</span></td> - <td class="tdr"><a href="#f47">111</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Anonymous North Italian, XV Century.</span> Death of<br /> -<span class="pad3">Orpheus</span></td> - <td class="tdrb"><a href="#f48">112</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Albrecht Dürer.</span> Death of Orpheus</td> - <td class="tdr"><a href="#f49">113</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Battle of the Sea-Gods (After Mantegna)</span></td> - <td class="tdr"><a href="#f50">114</a></td></tr> - -<tr><td class="tdl2">Adam and Eve</td> - <td class="tdr"><a href="#f51">117</a></td></tr> - -<tr><td class="tdl2">Apollo and Diana</td> - <td class="tdr"><a href="#f52">118</a></td></tr> - -<tr><td class="tdl2">St. Jerome by the Willow Tree (First State)</td> - <td class="tdr"><a href="#f53">121</a></td></tr> - -<tr><td class="tdl2">Holy Family</td> - <td class="tdr"><a href="#f54">122</a></td></tr> - -<tr><td class="tdl2">Knight, Death and the Devil</td> - <td class="tdr"><a href="#f55">125</a></td></tr> - -<tr><td class="tdl2">Melancholia</td> - <td class="tdr"><a href="#f56">126</a></td></tr> - -<tr><td class="tdl2">St. Jerome in His Cell</td> - <td class="tdr"><a href="#f57">129</a></td></tr> - -<tr><td class="tdl2">Virgin Seated Beside a Wall</td> - <td class="tdr"><a href="#f58">130</a></td></tr> - -<tr><td class="tdl2">Christ in the Garden</td> - <td class="tdr"><a href="#f59">133</a></td></tr> - -<tr><td class="tdl2">Erasmus of Rotterdam</td> - <td class="tdr"><a href="#f60">134</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Andrea Mantegna.</span> Virgin and Child</td> - <td class="tdr"><a href="#f61">141</a></td></tr> - -<tr><td class="tdl2">Battle of the Sea-Gods</td> - <td class="tdr"><a href="#f62">142</a></td></tr> - -<tr><td class="tdl2">The Risen Christ Between Saints Andrew and<br /> - <span class="pad1">Longinus</span></td> - <td class="tdrb"><a href="#f63">147</a></td></tr> - -<tr><td class="tdl"><span class="smcap">School of Andrea Mantegna.</span> Adoration of the Magi</td> - <td class="tdr"><a href="#f64">148</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Zoan Andrea</span> (?). Four Women Dancing</td> - <td class="tdr"><a href="#f65">151</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Giovanni Antonio da Brescia.</span> Holy Family with<br /> - <span class="pad3">Saints Elizabeth and John</span></td> - <td class="tdrb"><a href="#f66">152</a></td></tr> - -<tr><td class="tdl"><span class="smcap">School of Leonardo da Vinci.</span> Profile Bust of a Young<br /> - <span class="pad3">Woman</span></td> - <td class="tdr"><a href="#f67">155</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Nicoletto Rosex da Modena.</span> Orpheus</td> - <td class="tdr"><a href="#f68">156</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Jacopo de’ Barbari.</span> Apollo and Diana</td> - <td class="tdr"><a href="#f69">159</a></td></tr> - -<tr><td class="tdl2">St. Catherine</td> - <td class="tdr"><a href="#f70">160</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Giulio Campagnola.</span> Christ and the Woman of<br /> - <span class="pad3">Samaria</span></td> - <td class="tdrb"><a href="#f71">163</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Ganymede (First State)</span></td> - <td class="tdr"><a href="#f72">164</a></td></tr> - -<tr><td class="tdl"><span class="pad2">St. John the Baptist</span></td> - <td class="tdr"><a href="#f73">167</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Giulio and Domenico Campagnola.</span> Shepherds in a<br /> - <span class="pad3">Landscape</span></td> - <td class="tdrb"><a href="#f74">168</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Marcantonio Raimondi.</span> St. George and the Dragon</td> - <td class="tdr"><a href="#f75">171</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Bathers</span></td> - <td class="tdr"><a href="#f76">172</a></td></tr> - -<tr><td class="tdl"><span class="pad2">St. Cecelia</span></td> - <td class="tdr"><a href="#f77">173</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Death of Lucretia</span></td> - <td class="tdr"><a href="#f78">174</a></td></tr> - -<tr><td class="tdl"><span class="pad2">Philotheo Achillini (“The Guitar Player”)</span></td> - <td class="tdr"><a href="#f79">177</a></td></tr> - -<tr><td class="tdl2">Pietro Aretino</td> - <td class="tdr"><a href="#f80">178</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Master</span> <img src="images/fig81.jpg" alt="" />. Head of a Young Woman</td> - <td class="tdr"><a href="#f82">183</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Albrecht Dürer.</span> Albert of Brandenburg</td> - <td class="tdr"><a href="#f83">184</a></td></tr> - -<tr><td class="tdl2">Philip Melanchthon</td> - <td class="tdr"><a href="#f84">187</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Anthony Van Dyck.</span> Portrait of Himself (First State)</td> - <td class="tdr"><a href="#f85">188</a></td></tr> - -<tr><td class="tdl2">Frans Snyders (First State)</td> - <td class="tdr"><a href="#f86">191</a></td></tr> - -<tr><td class="tdl2">Lucas Vorsterman (First State)</td> - <td class="tdr"><a href="#f87">192</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Rembrandt.</span> Jan Cornelis Sylvius</td> - <td class="tdr"><a href="#f88">195</a></td></tr> - -<tr><td class="tdl2">Rembrandt Leaning on a Stone Sill</td> - <td class="tdr"><a href="#f89">196</a></td></tr> - -<tr><td class="tdl2">Clement de Jonghe (First State)</td> - <td class="tdr"><a href="#f90">197</a></td></tr> - -<tr><td class="tdl2">Jan Lutma (First State)</td> - <td class="tdr"><a href="#f91">198</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Claude Mellan.</span> Virginia da Vezzo</td> - <td class="tdr"><a href="#f92">201</a></td></tr> - -<tr><td class="tdl2">Fabri de Peiresc</td> - <td class="tdr"><a href="#f93">202</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Jean Morin.</span> Cardinal Guido Bentivoglio</td> - <td class="tdr"><a href="#f94">205</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Robert Nanteuil.</span> Pompone de Bellièvre</td> - <td class="tdr"><a href="#f95">206</a></td></tr> - -<tr><td class="tdl2">Basile Fouquet</td> - <td class="tdr"><a href="#f96">211</a></td></tr> - -<tr><td class="tdl2">Jean Loret</td> - <td class="tdr"><a href="#f97">212</a></td></tr> - -<tr><td class="tdl"><span class="smcap">J. A. McN. Whistler.</span> Annie Haden</td> - <td class="tdr"><a href="#f98">215</a></td></tr> - -<tr><td class="tdl2">Riault, the Engraver</td> - <td class="tdr"><a href="#f99">216</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Anders Zorn.</span> Ernest Renan</td> - <td class="tdr"><a href="#f100">219</a></td></tr> - -<tr><td class="tdl2">The Toast</td> - <td class="tdr"><a href="#f101">220</a></td></tr> - -<tr><td class="tdl2">Madame Simon</td> - <td class="tdr"><a href="#f102">221</a></td></tr> - -<tr><td class="tdl2">Miss Emma Rassmussen</td> - <td class="tdr"><a href="#f103">222</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Albrecht Dürer.</span> The Cannon</td> - <td class="tdr"><a href="#f104">229</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Augustin Hirschvogel.</span> Landscape</td> - <td class="tdr"><a href="#f105">230</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Rembrandt.</span> The Windmill</td> - <td class="tdr"><a href="#f106">233</a></td></tr> - -<tr><td class="tdl2">Three Trees</td> - <td class="tdr"><a href="#f107">234</a></td></tr> - -<tr><td class="tdl2">Six’s Bridge</td> - <td class="tdr"><a href="#f108">237</a></td></tr> - -<tr><td class="tdl2">Landscape with a Ruined Tower and Clear Foreground</td> - <td class="tdr"><a href="#f109">238</a></td></tr> - -<tr><td class="tdl2">Landscape with a Haybarn and a Flock of Sheep</td> - <td class="tdr"><a href="#f110">239</a></td></tr> - -<tr><td class="tdl2">Three Cottages</td> - <td class="tdr"><a href="#f111">240</a></td></tr> - -<tr><td class="tdl2">Goldweigher’s Field</td> - <td class="tdr"><a href="#f112">243</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Jacob Ruysdael.</span> Wheat Field</td> - <td class="tdr"><a href="#f113">244</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Claude Lorrain.</span> Le Bouvier</td> - <td class="tdr"><a href="#f114">249</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Charles Jacque.</span> Troupeau de Porcs</td> - <td class="tdr"><a href="#f115">250</a></td></tr> - -<tr><td class="tdl2">Storm—Landscape with a White Horse</td> - <td class="tdr"><a href="#f116">253</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Charles-François Daubigny.</span> Deer in a Wood</td> - <td class="tdr"><a href="#f117">254</a></td></tr> - -<tr><td class="tdl2">Deer Coming Down to Drink</td> - <td class="tdr"><a href="#f118">257</a></td></tr> - -<tr><td class="tdl2">Moonlight on the Banks of the Oise</td> - <td class="tdr"><a href="#f119">258</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Camille Corot.</span> Souvenir of Italy</td> - <td class="tdr"><a href="#f120">261</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Jean-François Millet.</span> The Gleaners</td> - <td class="tdr"><a href="#f121">262</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Seymour Haden.</span> Cardigan Bridge</td> - <td class="tdr"><a href="#f122">265</a></td></tr> - -<tr><td class="tdl2">By-Road in Tipperary</td> - <td class="tdr"><a href="#f123">266</a></td></tr> - -<tr><td class="tdl2">Sunset in Ireland</td> - <td class="tdr"><a href="#f124">267</a></td></tr> - -<tr><td class="tdl2">Sawley Abbey</td> - <td class="tdr"><a href="#f125">268</a></td></tr> - -<tr><td class="tdl"><span class="smcap">J. A. McN. Whistler.</span> Zaandam (First State)</td> - <td class="tdr"><a href="#f126">271</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Rembrandt.</span> View of Amsterdam from the East</td> - <td class="tdr"><a href="#f127">272</a></td></tr> - -</table> - - -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<h2>TO THE READER</h2> -</div> - - -<p>When that most sensitive of American print-lovers, -the late Francis Bullard, learned that I was -to deliver at Harvard, each year, a course of lectures -on the History and Principles of Engraving, -he wrote me one of those characteristic letters -which endeared him to his friends, concluding his -wise counsels with these words: “<i>Nothing original—get -it all out of the books</i>.”</p> - -<p>In these six lectures I have endeavored to profit -by his suggestion. In them there is little original: -most of it <i>is</i> out of the books. Books, however, like -Nature, are a storehouse from which we draw whatever -is best suited to our immediate needs; and if -in choosing that which might interest an audience, -to the majority of whom engravings and etchings -were an unexplored country, I have preferred the -obvious to the profound, I trust that the true-blue -Print Expert will forgive me. These simple lectures -make no pretense of being a History of Engraving, -or a manual of How to Appreciate Prints. My sole -aim has been to share with my audience the stimulation -and pleasure which certain prints by the -great engravers and etchers have given me. If I -have succeeded, even a little, I shall be happy. -I would add that the lectures are printed in substantially -the same form as they were delivered. -Consequently they must be read in connection with -the illustrations which accompany them.</p> - -<p>The Bibliographies which follow each chapter -have been prepared by Mr. Adam E. M. Paff, -Assistant in the Department of Prints at the -Museum of Fine Arts, Boston.</p> - -<p class="rightbit"> -<span class="smcap">FitzRoy Carrington</span></p> - -<p class="more"> -<i>Museum of Fine Arts, Boston</i><br /> -<span class="l"><i>June 26, 1916</i></span> -</p> -<hr class="full x-ebookmaker-drop" /> - - -<p><span class="pagenum" id="Page_13">[Pg 13]</span></p> - -<p class="ph3">ENGRAVERS AND ETCHERS</p> - -<hr class="r15 x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="l1">GERMAN ENGRAVING: FROM THE BEGINNINGS<br /> -TO MARTIN SCHONGAUER</h2> -</div> - - -<p class="drop-cap">WHERE were the beginnings? When were the -beginnings? Germany, the Netherlands, -and Italy have each claimed priority. Max Lehrs -has settled these rival claims, so far as they can be -settled at the present time, by locating the cradle -of engraving neither in Germany, in the Netherlands, -nor in Italy, but in a neutral country—Switzerland, -in the vicinity of Basle—naming the -<span class="smcap">Master of the Playing Cards</span> as probably the -earliest engraver whose works have come down to -us. Undoubtedly this artist was not the first to -engrave upon metal plates, but of his predecessors -nothing is known, nor has any example of their -work survived.</p> - -<p>The technical method of the Master of the Playing -Cards is that of a painter rather than of a goldsmith. -There is practically no cross-hatching, and -the effect is produced by a series of delicate lines, -mostly vertical, laid close together. His plates are -unsigned and undated, so that we can only approximate -the period of his activity. That he preceded, -by at least ten years, the earliest dated engraving,<span class="pagenum" id="Page_14">[Pg 14]</span> -the <i>Flagellation</i>, by the Master of 1446, may safely -be assumed, since in the manuscript copy of Conrad -von Würzburg’s “The Trojan War,” transcribed in -1441 by Heinrich von Steinfurt (an ecclesiastic of -Osnabrück), there are pen drawings of figures wearing -costumes which correspond exactly with those -in prints by the Master of the Playing Cards in his -middle period. The Master of the Playing Cards is, -therefore, the first bright morning star of engraving. -From him there flows a stream of influence -affecting substantially all of the German masters -until the time of Martin Schongauer, some of whose -earlier plates show unmistakable traces of an acquaintanceship -with his work.</p> - -<div class="figcentera" id="f3"> -<img src="images/fig3.jpg" alt="" /> -<p class="caption">MASTER OF THE PLAYING CARDS. ST. GEORGE</p> -<p class="c">Size of the original engraving, 5⅞ × 5¼ inches<br /> -In the Royal Print Room, Dresden</p> -</div> - -<div class="figcenter" id="f4"> -<img src="images/fig4.jpg" alt="" /> -<p class="caption">MASTER OF THE PLAYING CARDS. MAN OF SORROWS</p> -<p class="c">Size of the original engraving, 7¾ × 5⅛ inches<br /> -In the British Museum</p> -</div> - - -<p><i>St. George and the Dragon</i> is in his early manner. -Here are plainly to be seen the characteristics of -this first period—the broken, stratified rocks, the -isolated and conventionalized plants, and the peculiar -drawing of the horse, especially its slanting -and half-human eyes. <i>The Playing Cards</i>, from -which he takes his name, may safely be assigned to -his middle period. The suits are made up of <i>Flowers</i> -(roses and cyclamen), <i>Wild Men</i>, <i>Birds</i>, and <i>Deer</i>, -with a fifth, or alternative suit of <i>Lions</i> and <i>Bears</i>. -Like all the early German designers of playing -cards, he has given free rein to his fancy and inventiveness. -The position of the different emblems is -varied for each numeral card; and each flower, wild -<span class="pagenum" id="Page_17">[Pg 17]</span>man, bird, or beast, has an attitude and character -of its own, no two being identical. No engraver -has surpassed him in truthfulness and subtlety of -observation and in the delineation of birds few -artists have equalled him. His rendering of the -growth and form of flowers would have delighted -John Ruskin. In the <i>King of Cyclamen</i> and the -<i>Queen of Cyclamen</i> the faces have an almost portrait-like -individuality. The hands are well drawn -and do not yet display that attenuation which is -characteristic of nearly all fifteenth century German -masters and is a noticeable feature in engravings -by Martin Schongauer himself. The clothing -falls in natural folds, and in the <i>King of Cyclamen</i> -the representation of fur could hardly be bettered.</p> - -<p>To his latest and most mature period must be -assigned the <i>Man of Sorrows</i>—in some ways his -finest, and certainly his most moving, plate. Not -only has he differentiated between the textures of -the linen loin-cloth and the coarser material of the -cloak; but the column, the cross with its beautiful -and truthful indication of the grain of the wood, -and the ground itself, all are treated with a knowledge -and a sensitiveness that is surprising. The -engraver’s greatest triumph, however, is in the -figure of Christ. There is a feeling for form and -structure, sadly lacking in the work of his successors, -and his suggestion of the strained and<span class="pagenum" id="Page_18">[Pg 18]</span> -pulsing veins, which throb through the Redeemer’s -tortured limbs, is of a compelling truth.</p> - -<p>Chief among the engravers who show most clearly -the influence of the Master of the Playing Cards is -the <span class="smcap">Master of the Year 1446</span>, so named from the -date which appears in the <i>Flagellation</i>. His prints -present a more or less primitive appearance, and -were it not for this date, one might be tempted, on -internal evidence, to assign them to an earlier -period. In the <i>Passion</i> series, in particular, many -of the figures are more gnome-like than human. -Such creatures as the man blowing a horn, in <i>Christ -Nailed to the Cross</i>, and the man pulling upon a -rope, in the same print, recall to our minds, by an -association of ideas, the old German fairy tales.</p> - -<p>Contemporary with the Master of 1446, and belonging -to the Burgundian-Netherlands group, to -which also belong the two anonymous engravers -known as the <span class="smcap">Master of the Mount of Calvary</span> -and the <span class="smcap">Master of the Death of Mary</span>, is the -<span class="smcap">Master of the Gardens of Love</span>. His figures are -crude in drawing and stiff in their movements. His -knowledge of tree forms is rudimentary; but his -animals and birds show real observation and seem -to have been studied from life.</p> - -<div class="figcentera" id="f5"> -<img src="images/fig5.jpg" alt="" /> -<p class="caption">MASTER OF THE YEAR 1446. CHRIST NAILED TO THE CROSS</p> -<p class="c">Size of the original engraving, 4⅛ × 3¼ inches<br /> -In the Royal Print Room, Berlin</p> -</div> - -<div class="figcenter" id="f6"> -<img src="images/fig6.jpg" alt="" /> -<p class="caption">MASTER OF ST. JOHN THE BAPTIST. ST. JOHN THE -BAPTIST</p> -<p class="c">Size of the original engraving, 8½ × 5⅞ inches<br /> -In the Albertina, Vienna</p> -</div> - -<p>In the larger of the two engravings from which -he takes his name, we see reflected the pleasure-loving -court of the Dukes of Burgundy. On -<span class="pagenum" id="Page_21">[Pg 21]</span>the right, a lady leads her lover to a table spread -with tempting viands. She stretches forth her right -hand to take the fruit. It is a fig, the sign of fertility. -To their right, drinking from a stream, is a -unicorn, the sign of chastity. The artist seemingly -wishes the lady’s message to read that she is still -unwedded, and that, were she wedded, she would -be a good mother. Observe, likewise, the way in -which the engraver has placed the wild hogs, deer, -and bears emerging from the woods, while, in the -sky, numerous birds wing their flight. In the immediate -foreground a lady and a cavalier are reading -poetry to each other. Another lady plays to a -gallant who, in a most uncomfortable attitude, -holds a sheet of music. In the right-hand corner is -a fourth pair, the lady busily twining a wreath for -her lover’s hat, which lies on her lap. We have here -a compendium of the courtly life of the time, which -is about 1448.</p> - -<p><span class="smcap">The Master of St. John the Baptist</span> may fittingly -be called the first <i>realist</i> in engraving. His -plates do not display that extraordinary delicacy -in cutting which is characteristic of the Master of -the Playing Cards. Like that earlier engraver, he -makes little use of cross-hatching, and his strokes -are freely disposed—more in the manner of a painter -than a goldsmith-engraver. His birds and flowers -are closely observed and admirably rendered.</p> - -<p><span class="pagenum" id="Page_22">[Pg 22]</span></p> - -<p>The mullein, the columbine, and the iris in <i>St. -John the Baptist</i> are each given their individual -character; the tree trunks to the right no longer -resemble twisted columns, as in earlier work, but -have real bark with knot holes and branches organically -joined, though the foliage is still conventionally -treated. One cannot but remark, also, the -skilful way in which the engraver has differentiated -between the furry undergarment and the cloak -which St. John the Baptist wears.</p> - -<p>In <i>St. Christopher</i> we have probably one of his -latest works. His representation of the waves, of -the sky and clouds, is noteworthy, while, on the -beach, the sea-shells give mute testimony to his -love for little things.</p> - -<p>Of the predecessors of Martin Schongauer, none -exerted a greater influence than the <span class="smcap">Master E. S. -of 1466</span>. On the technical side he was the actual -creator of engraving as practised in modern times, -and was a determining factor in the progress of -the art. Even the Italian engravers were unable to -withstand it; their Prophets and Sibyls are partly -derived from his Evangelists and Apostles, the easy -disposition of his draperies furnishing them with -models. Over three hundred engravings by the -Master E. S. have come down to us, and over a -hundred more can be traced through copies by -other hands, or as having formed component parts -<span class="pagenum" id="Page_25">[Pg 25]</span>of his two sets of playing cards—the smaller set -made up of <i>Wild Animals</i>, <i>Helmets</i>, <i>Escutcheons</i>, -and <i>Flowers</i>, while the larger set comprises <i>Men</i>, -<i>Dogs</i>, <i>Birds</i>, and <i>Escutcheons</i>.</p> - -<div class="figcentera" id="f7"> -<img src="images/fig7.jpg" alt="" /> -<p class="caption">MASTER E. S. OF 1466. MADONNA AND CHILD WITH SAINTS<br /> -MARGUERITE AND CATHERINE</p> -<p class="c">Size of the original engraving, 8⅝ × 6⅜ inches<br /> -In the Royal Print Room, Dresden</p> -</div> - -<div class="figcenter" id="f8"> -<img src="images/fig8.jpg" alt="" /> -<p class="caption">MASTER E. S. OF 1466. ECSTASY OF ST. MARY -MAGDALEN</p> -<p class="c">Size of the original engraving, 6½ × 5 inches<br /> -In the Royal Print Room, Dresden</p> -</div> - -<p>His work shows unmistakably the influence of -the Master of the Playing Cards, and we may -safely place him in the region of the upper Rhine, -probably in the vicinity of Freiburg or Breisach. -In the <i>Madonna and Child with Saints Marguerite -and Catherine</i> his peculiar qualities and limitations -may clearly be seen. The plants and flowers, with -which the ground is thickly carpeted, are engraved -in firm, clear-cut lines, betokening the trained hand -of the goldsmith. The figures and drapery are rendered -with delicate single strokes; but in the shaded -portions of the wall, back of the Madonna, cross-hatching -is skilfully employed. As is the case in -nearly all the works of the early German engravers, -the laws of perspective are imperfectly understood, -but none the less the composition has a charm all -its own.</p> - -<p>The <i>Ecstasy of St. Mary Magdalen</i> is of interest, -not only technically and artistically, but because of -its influence upon the Master of the Amsterdam -Cabinet, who has twice treated the subject, and -upon Albrecht Dürer, by whom we have a woodcut -seemingly copied from this engraving. Martin -Schongauer, likewise, may have profited by the<span class="pagenum" id="Page_26">[Pg 26]</span> -feathered forms of the angels which reappear, somewhat -modified, in his engraving of the <i>Nativity</i>. -The birds and the isolated plants in the foreground -still show the influence of the Master of the Playing -Cards.</p> - -<p><i>St. Matthew</i> (whom we shall meet again in our -consideration of Florentine engraving, transformed -into the <i>Tiburtine Sibyl</i>, engraved in the Fine Manner -of the Finiguerra School) and <i>St. Paul</i> (who -likewise reappears as <i>Amos</i> in the series of <i>Prophets -and Sibyls</i>) show an increasing command of technical -resources. The draperies are beautifully disposed; -and, in <i>St. Paul</i>, the system of cross-hatching -upon the back of the chair, in the shaded portions -beneath, and upon the mantle of the saint, is -fully developed.</p> - -<p>The <i>Madonna of Einsiedeln</i>, dated 1466, is -usually accounted the engraver’s masterpiece. -Beautiful though it is in composition and in execution, -it suggests a translation, into black and white, -of a painting, and on technical grounds, as well as -for the beauty of its component parts, one may -prefer the <i>Design for a Paten</i>, dating from the same -year [1466]. Here the central scene, representing -St. John the Baptist, owes not a little, both in composition -and in technique, to the Master of St. John -the Baptist. The four Evangelists, arranged in -alternation with their appropriate symbols, around -<span class="pagenum" id="Page_29">[Pg 29]</span>the central picture, are little masterpieces of characterization -and of engraving, and there can be -nothing but unmixed admiration for the way in -which plant and bird forms are woven into a perfectly -harmonious pattern.</p> - -<div class="figcentera" id="f9"> -<img src="images/fig9.jpg" alt="" /> -<p class="caption">MASTER E. S. OF 1466. DESIGN FOR A PATEN</p> -<p class="c">Size of the original engraving, 7⅛ inches in diameter<br /> -In the Royal Print Room, Berlin</p> -</div> - -<div class="figcenter" id="f10"> -<img src="images/fig10.jpg" alt="" /> -<p class="caption">MASTER E. S. OF 1466. ST. JOHN ON THE ISLAND OF PATMOS</p> -<p class="c">Size of the original engraving, 8⅛ × 5½ inches<br /> -In the Hofbibliotek, Vienna</p> -</div> - -<p><i>St. John on the Island of Patmos</i> likewise shows -unmistakably the influence of the Master of St. -John the Baptist and is doubly interesting inasmuch -as, in its turn, it had a shaping influence -upon the engraving of the same subject by Martin -Schongauer. It is dated 1467, the latest date found -upon any plate by the Master E. S., and it is assumed -that in this year his activity came to an end.</p> - -<p><span class="smcap">Martin Schongauer</span>, who was born in Colmar -about 1445 and is known to have died in 1491, is -not only the most eminent painter and engraver -in the latter third of the fifteenth century, he is -one of the very greatest masters of the graphic arts. -His plates number one hundred and fifteen, and, -as in the case of Albrecht Dürer, it is upon his engraved -work, rather than upon his all too few -paintings, that his immortality must rest.</p> - -<p>Schongauer’s prints can be arranged in something -approximating chronological order. In the earliest -twelve engravings the shanks of the letter M, in -his monogram, are drawn vertically, whereas in all -his later prints they slant outward. This apparently -minor point is really of great significance in a study<span class="pagenum" id="Page_30">[Pg 30]</span> -of his development, since it enables us to place -correctly certain plates which, until recently, were -assigned to his latest period, such as the <i>Death of -the Virgin</i>, the <i>Adoration of the Magi</i>, and the -<i>Flight Into Egypt</i>.</p> - -<p>One of the richest toned plates in this first group -is the <i>Virgin with a Parrot</i>, an engraving which, -incidentally, exists in two states. In the second -state, the cushion upon which the Christ Child is -seated, instead of being plain, has an elaborate -pattern upon the upper side, and the flowing tresses -of the Virgin are extended more to the left, thereby -greatly improving the composition as a whole.</p> - -<p>For Martin Schongauer, as for nearly all the -earlier German masters, the grotesque had a -strange fascination. His power of welding together -parts of various animals into living fantastic -creatures is nowhere better seen than in the -<i>Temptation of St. Anthony</i>. Vasari tells how the -young Michelangelo, meeting with an impression -of this engraving in Florence, was impelled to copy -it with a pen “in such a manner as had never before -been seen. He painted it in colors also, and the -better to imitate the strange forms among these -devils, he bought fish which had scales somewhat -resembling those of the demon. In this pen copy -also he displayed so much ability that his credit -and reputation were greatly enhanced thereby.” -<span class="pagenum" id="Page_35">[Pg 35]</span>It would appear to be one of Schongauer’s early -plates, not only from the form of the monogram, -but also from the treatment of the upper portion of -the sky, shaded with many horizontal graver strokes, -growing stronger as the upper edge of the plate is -reached—a treatment which does not occur in any -other print by him.</p> - -<div class="figcentera" id="f11"> -<img src="images/fig11.jpg" alt="" /> -<p class="caption">MARTIN SCHONGAUER. VIRGIN WITH A PARROT</p> -<p class="c">Size of the original engraving, 6¼ × 4¼ inches<br /> -In the Public Art Collections, Basle</p> -</div> - -<div class="figcentera" id="f12"> -<img src="images/fig12.jpg" alt="" /> -<p class="caption">MARTIN SCHONGAUER. TEMPTATION OF ST. ANTHONY</p> -<p class="c">Size of the original engraving, 12⅜ × 9⅛ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcentera" id="f13"> -<img src="images/fig13.jpg" alt="" /> -<p class="caption">MARTIN SCHONGAUER. DEATH OF THE VIRGIN</p> -<p class="c">Size of the original engraving, 10⅛ × 6⅝ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f14"> -<img src="images/fig14.jpg" alt="" /> -<p class="caption">MARTIN SCHONGAUER. PILATE WASHING HIS HANDS</p> -<p class="c">Size of the original engraving, 6⅜ × 4½ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p>Among the myriad renderings of the <i>Death of -the Virgin</i>, by painters and engravers, it is doubtful -if any version is superior, so far as dramatic intensity -is concerned, to Schongauer’s. As a composition, -Dürer’s woodcut from the <i>Life of the Virgin</i>, -is simpler and more “telling,” in that certain non-essentials -have been eliminated; but could we well -spare so beautiful a design as that of the candelabrum -which, in Schongauer’s engraving, stands at -the foot of the bed?</p> - -<p>From the twelve plates of the <i>Passion</i>, each of -which repays study, it is not easy to select one for -reproduction. The <i>Crucifixion</i>, a subject which -Schongauer engraved no less than six times, has a -poignant charm; and for sheer beauty the <i>Resurrection</i> -is among the most significant of the series. -<i>Pilate Washing His Hands</i> has, however, a double -interest. The faces of Christ’s tormentors and of -the figures standing beside and to the left of -Pilate’s throne, are strongly characterized, portrait-like -heads, in marked contrast with the gentleness<span class="pagenum" id="Page_36">[Pg 36]</span> -of Christ, and the weak and vacillating -Pilate. The enthroned Pilate later reappears as -the <i>Prophet Daniel</i> in the series of <i>Prophets and -Sibyls</i>, Florentine engravings in the Fine Manner.</p> - -<p>We have already referred to <i>St. John on the -Island of Patmos</i> by the Master E. S. A more -significant contrast between the work of the earlier -engraver and that of Schongauer could hardly be -found. The Master E. S. gives a multiplicity of -objects, animate and inanimate, charming and -interesting in themselves, but distracting from the -main purpose of the composition—witness the <i>St. -Christopher</i> crossing the river in the middle distance, -the lion and the terrified horse in the wood -to the right, the swan in the stream to the left, -and the life-like birds perched upon the castle-crowned -cliff. Schongauer eliminates all these -accessories. One vessel and two small boats alone -break the calm expanse of the unruffled sea. Save -for the two plants in the foreground (which betray -the influence of the Master of the Playing Cards) -the ground is simply treated and offers little to -distract our attention from the seated figure of St. -John, who faces to the left and gazes upwards at -the Madonna and Child in glory. The eagle bears -a strong family likeness to the same bird in the -<i>Design for a Paten</i> by the Master E. S. Schongauer -has here drawn a tree, not bare, as is his wont, -<span class="pagenum" id="Page_41">[Pg 41]</span>but adorned with foliage beautifully disposed and -artistically treated, in marked contrast to the conventional -and decorative manner of the Master -E. S. and his predecessors.</p> - -<div class="figcentera" id="f15"> -<img src="images/fig15.jpg" alt="" /> -<p class="caption">MARTIN SCHONGAUER. ST. JOHN ON THE ISLAND OF PATMOS</p> -<p class="c">Size of the original engraving, 6½ × 4⅝ inches<br /> -In the Kunsthalle, Hamburg</p> -</div> - -<div class="figcentera" id="f16"> -<img src="images/fig16.jpg" alt="" /> -<p class="caption">MARTIN SCHONGAUER. CHRIST APPEARING TO THE<br /> -MAGDALEN</p> -<p class="c">Size of the original engraving, 6¼ × 6⅛ inches<br /> -In the Kunsthalle, Hamburg</p> -</div> - -<div class="figcentera" id="f17"> -<img src="images/fig17.jpg" alt="" /> -<p class="caption">MARTIN SCHONGAUER. VIRGIN SEATED IN A<br /> -COURTYARD</p> -<p class="c">Size of the original engraving, 6¾ × 4⅞ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f18"> -<img src="images/fig18.jpg" alt="" /> -<p class="caption">MARTIN SCHONGAUER. ANGEL OF THE ANNUNCIATION</p> -<p class="c">Size of the original engraving, 6⅝ × 4½ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - - -<p>The type of the Redeemer, which Schongauer -has made so peculiarly his own, is nowhere seen to -better advantage than in the two beautiful plates -of the <i>Baptism of Christ</i> and <i>Christ Appearing to -the Magdalen</i>. Max Geisberg acclaims the last-named -as Schongauer’s most beautiful engraving. -“Here, the contents of the composition have received -an embodiment, the fervor, depth, and delicacy -of which have never been surpassed in art.”<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a> -It can, however, share this high praise with the -<i>Virgin Seated in a Courtyard</i> and the <i>Angel of the Annunciation</i>. -For sheer beauty, these plates remain -to this day not only unsurpassed, but unequalled. -What quietude and restraint there is in the -<i>Virgin Seated in a Courtyard</i>, the wall back of her -discreetly bare, the grass indicated by a few small -but significant strokes, while the branches of one -little, leafless tree form an exquisite pattern against -the untouched sky! By contrast one of Dürer’s -technical masterpieces—the <i>Virgin Seated by a City -Wall</i>—seems overworked and overloaded with -needless accessories.</p> - -<div class="footnote"> - -<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> Martin Schongauer. By Dr. Max Geisberg. The Print-Collector’s -Quarterly. Vol. IV. April, 1914. p. 128.</p> - -</div> - -<p><span class="pagenum" id="Page_42">[Pg 42]</span></p> - -<p>The <i>Angel of the Annunciation</i> marks the culmination -of Schongauer’s art and belongs to his -most mature period. Everything not absolutely -necessary for a clear presentation has been eliminated. -A slight shadow upon the ground gives -solidity to the figure. All else is blank. The art of -simplification can hardly go further, and were one -to be restricted to the choice of a single print by -any of Dürer’s predecessors, one might wisely -select the <i>Angel of the Annunciation</i>.</p> - -<p>That Schongauer was equally interested in things -mundane is convincingly proved by <i>Peasants Going -to Market</i>, <i>Goldsmith’s Apprentices Fighting</i>, or <i>The -Miller</i>. How well he has differentiated between the -mother-ass, filled with maternal solicitude, and the -woolly, stocky, and somewhat foolish little donkey -which follows, while the miller with upraised staff -urges her onward.</p> - -<p>The <i>Crozier</i> and the <i>Censer</i> furnish unmistakable -proof, were such needed, that as a goldsmith-designer, -no less than as an engraver, Schongauer -is entitled to the loftiest place in German art. -They are masterpieces, alike in invention and in -execution. His influence was not confined to his -contemporaries, but can be traced in many ways, -and in many media, long after his death. His -School, however, produced no engraver worthy, -for a moment, of comparison with him.</p> - -<p><span class="pagenum" id="Page_43">[Pg 43]</span></p> - -<div class="figcentera" id="f19"> -<img src="images/fig19.jpg" alt="" /> -<p class="caption">MARTIN SCHONGAUER. THE MILLER</p> -<p class="c">Size of the original engraving, 3½ × 4⅞ inches<br /> -In the Albertina, Vienna</p> -</div> - - - -<p><span class="pagenum" id="Page_44">[Pg 44]</span></p> - -<div class="figcenter" id="f20"> -<img src="images/fig20.jpg" alt="" /> -<p class="caption">MARTIN SCHONGAUER. CENSER</p> -<p class="c">Size of the original engraving, 11½ × 8¼ inches<br /> -</p> -</div> - - -<p><span class="pagenum" id="Page_45">[Pg 45]</span></p> - -<p>The <span class="smcap">Master</span> L Cz alone seems to have caught -something of Schongauer’s spirit while, at the same -time, preserving his own individuality. The face of -the Redeemer in <i>Christ Entering Jerusalem</i> is reminiscent -of the earlier engraver; and, among the -Apostles to the left, two, at least, are taken, with -slight modifications, from Schongauer’s <i>Death of the -Virgin</i>.</p> - -<p><i>Christ Tempted</i> has a singular charm. The figure -of Satan, realistically treated, is an interesting -example of that passion for the grotesque from -which even the greatest artists in the North seemed -unable to shake themselves wholly free. The wood -in the middle distance, to the left of Christ, evinces -a close study of natural forms, while the landscape -takes its place admirably in the composition. The -excessive rarity of engravings by L Cz alone has -prevented them from being appreciated at their -true worth. They are original in composition, full -of fantasy and charm. Even so universal an artist -as Albrecht Dürer did not disdain to borrow, from -<i>Christ Tempted</i>, the motive of the mountain goat -gazing downward, which reappears, slightly modified, -in <i>Adam and Eve</i>, his masterpiece of the -year 1504.</p> - -<p><span class="pagenum" id="Page_46">[Pg 46]</span></p> - - -<p class="c larger p2">ENGRAVERS AND ETCHERS</p> - -<p class="c">GERMAN ENGRAVING: FROM THE BEGINNINGS<br /> -TO MARTIN SCHONGAUER</p> - -<p class="c little">BIBLIOGRAPHY</p> - -<div class="blockquot"> - -<p><span class="smcap">Le Peintre Graveur.</span> <i>By Adam Bartsch.</i> 21 volumes. Vienna: 1803-1821. -Volumes 6 and 10, Early German Engravers.</p> - -<p><span class="smcap">Les deux cents Incunables xylographiques du Département des -Estampes.</span> <i>By Henri Bouchot.</i> Volume 1, Text. Volume 2, Atlas (191 reproductions). -Paris: Librairie Centrale des Beaux-Arts. 1903.</p> - -<p><span class="smcap">Geschichte und kritischer Katalog des deutschen, niederländischen -und französischen Kupferstichs im XV. Jahrhundert.</span> <i>By Max Lehrs.</i> -Vienna: Gesellschaft für vervielfältigende Kunst. Volume 1. The Primitives. -With portfolio of 114 reproductions on 43 plates. 1908. Volume 2. Master -E. S. With portfolio of 237 reproductions on 92 plates. 1910.</p> - -<p><span class="smcap">Die ältesten deutschen Spielkarten des königlichen Kupferstich-cabinets -zu Dresden.</span> <i>By Max Lehrs.</i> 97 reproductions on 29 plates. -Dresden: W. Hoffmann. 1885.</p> - -<p><span class="smcap">Katalog der im germanischen Museum befindlichen deutschen Kupferstiche -des XV. Jahrhunderts.</span> <i>By Max Lehrs.</i> 1 original engraving -and 9 reproductions. Nürnberg. 1887.</p> - -<p><span class="smcap">Le Peintre-Graveur.</span> <i>By J. D. Passavant.</i> 6 volumes. Leipzig: Rudolph -Weigel. 1860-1864. Volumes 1 and 2, Early German Engravers.</p> - -<p><span class="smcap">Histoire de l’origine et des progrès de la gravure dans les Pays-Bas -et en Allemagne, jusqu’à la fin du quinzième siècle.</span> <i>By Jules -Renouvier.</i> Brussels: M. Hayez. 1860.</p> - -<p><span class="smcap">Die Inkunabeln des Kupferstichs im Kgl. Kabinet zu München.</span> <i>By -Wilhelm Schmidt.</i> 32 reproductions. Munich. 1887.</p> - -<p><span class="smcap">Manuel de l’amateur de la gravure sur bois et sur métal au XV</span>ᵉ -<span class="allsmcap">SIÈCLE</span>. <i>By Wilhelm Ludwig Schreiber.</i> Volumes 1-4, Text. Volumes 6-8, -Reproductions. Berlin: Albert Cohn, 1891-1900. (Vol. 4 in Leipzig: O. Harrassowitz.)</p> - -<p><span class="smcap">A Descriptive Catalogue of Early Prints in the British Museum.</span> <i>By -William Hughes Willshire.</i> 2 volumes. 22 reproductions. London: The -Trustees. 1879-1883.</p> - - -<p class="xlarge"><span class="smcap">Master of the Playing Cards</span> (flourished 1440-1450)</p> - -<p><span class="smcap">Das älteste gestochene deutsche Kartenspiel vom Meister der -Spielkarten (vor 1446).</span> <i>By Max Geisberg.</i> 68 reproductions on 33 plates. -Strassburg: J. H. Ed. Heitz (Heitz & Mündel). 1905. (Studien zur deutschen -Kunstgeschichte. Part 66.)</p> - - -<p class="xlarge"><span class="smcap">Master of the Gardens of Love</span> (flourished 1445-1450)</p> - -<p><span class="smcap">Der Meister der Liebesgärten; ein Beitrag zur Geschichte des -ältesten Kupferstichs in den Niederlanden.</span> <i>By Max Lehrs.</i> 28 reproductions -on 10 plates. Dresden: Bruno Schulze. 1893.</p> - -<span class="pagenum" id="Page_49">[Pg 49]</span> - -<p class="xlarge"><span class="smcap">Master E. S.</span> (flourished 1450-1470)</p> - -<p><span class="smcap">Der Meister E. S.; sein Name, seine Heimat, und sein Ende.</span> <i>By Peter -P. Albert.</i> 20 reproductions on 16 plates. Strassburg: J. H. Ed-Heitz (Heitz -& Mündel). 1911. (Studien zur deutschen Kunstgeschichte. Part 137.)</p> - -<p><span class="smcap">The Master E. S. and the “Ars Moriendi”; A Chapter in the History -of Engraving During the Fifteenth Century.</span> <i>By Lionel Cust.</i> 46 reproductions. -Oxford: Clarendon Press. 1898.</p> - -<p><span class="smcap">Die Anfänge des deutschen Kupferstiches und der Meister E. S.</span> -<i>By Max Geisberg.</i> 121 reproductions on 71 plates. Leipzig: Klinkhardt & -Biermann. 1909. (Meister der Graphik. Vol. 2.)</p> - -<p><span class="smcap">Geschichte und kritischer Katalog des deutschen, niederländischen -und französischen Kupferstichs im XV. Jahrhundert.</span> <i>By Max Lehrs.</i> -Vienna: Gesellschaft für vervielfältigende Kunst. 1908-1910. Volume 2. -Master E. S. With portfolio of 237 reproductions on 92 plates.</p> - -<p><span class="smcap">The Playing Cards of the Master E. S. of 1466.</span> <i>Edited by Max Lehrs.</i> -45 reproductions. London: Asher & Co. 1892. (International Chalcographical -Society. Extraordinary Publication. Vol. 1.)</p> - - -<p class="xlarge"><span class="smcap">Schongauer, Martin</span> (1445(?)-1491)</p> - -<p><span class="smcap">Zwei datierte Zeichnungen Martin Schongauers.</span> <i>By Sidney Calvin.</i> -2 illustrations. Jahrbuch der königlichen preussischen Kunstsammlungen, -Vol. 6, pp. 69-74. Berlin. 1885.</p> - -<p><span class="smcap">Martin Schongauer’s Kupferstiche.</span> <i>By Max G. Friedländer.</i> 5 illustrations. -Zeitschrift für bildende Kunst, Vol. 26, pp. 105-112. Leipzig. 1915.</p> - -<p><span class="smcap">Martin Schongauer.</span> <i>By Max Geisberg.</i> 14 illustrations. The Print-Collector’s -Quarterly, Vol. 4, No. 2, pp. 102-129. Boston. 1914.</p> - -<p><span class="smcap">Martin Schongauer; Nachbildungen seiner Kupferstiche.</span> <i>Edited by -Max Lehrs.</i> 115 reproductions on 72 plates. Berlin: Bruno Cassirer. 1914. -(Graphische Gesellschaft. Extraordinary Publication 5.)</p> - -<p><span class="smcap">Schongauerstudien.</span> <i>By Wilhelm Lübke.</i> 3 illustrations. Zeitschrift für -bildende Kunst, Vol. 16, pp. 74-86. Leipzig. 1881.</p> - -<p><span class="smcap">Schongauer und der Meister des Bartholomäus.</span> <i>By L. Scheibler.</i> -Repertorium für Kunstwissenschaft, Vol. 7, pp. 31-68. Berlin and Stuttgart. -1884.</p> - -<p><span class="smcap">Martin Schongauer als Kupferstecher.</span> <i>By Woldemar von Seidlitz.</i> -Repertorium für Kunstwissenschaft, Vol. 7, pp. 169-182. Berlin and Stuttgart. -1884.</p> - -<p><span class="smcap">Martin Schongauer als Kupferstecher.</span> <i>By Hans Wendland.</i> 32 reproductions. -Berlin: Edmund Meyer. 1907.</p> - -<p><span class="smcap">Martin Schongauer. Eine kritische Untersuchung seines Lebens -und seiner Werke nebst einem chronologischen Verzeichnisse seiner -Kupferstiche.</span> <i>By Alfred von Wurzbach.</i> Vienna: Manz’sche K. K. Hofverlags -und Universitäts Buchhandlung. 1880.</p> - -<p><span class="pagenum" id="Page_50">[Pg 50]</span></p> - - -<p class="xlarge"><span class="smcap">Master of the Banderoles</span> (flourished c. 1464)</p> - -<p><span class="smcap">Der Meister mit den Bandrollen; ein Beitrag zur Geschichte des -ältesten Kupferstichs in Deutschland.</span> <i>By Max Lehrs.</i> 19 reproductions -on 7 plates. Dresden: W. Hoffmann. 1886.</p> - - -<p class="xlarge"><span class="smcap">Meckenem, Israhel van</span> (c. 1440-1503)</p> - -<p><span class="smcap">Der Meister der Berliner Passion und Israhel van Meckenem.</span> <i>By -Max Geisberg.</i> 6 reproductions. Strassburg: J. H. Ed. Heitz (Heitz & -Mündel). 1903. (Studien zur deutschen Kunstgeschichte. Part 42.)</p> - -<p><span class="smcap">Verzeichnis der Kupferstiche Israhels van Meckenem.</span> <i>By Max Geisberg.</i> -11 reproductions on 9 plates. Strassburg: J. H. Ed. Heitz (Heitz & -Mündel). 1905. (Studien zur deutschen Kunstgeschichte. Part 58.)</p> - - -<p class="xlarge"><span class="smcap">Master</span> <img src="images/fig128.jpg" alt="" /> (flourished c. 1470)</p> - -<p><span class="smcap">Der Meister</span> <img src="images/fig129.jpg" alt="" />; <span class="smcap">ein Kupferstecher der Zeit Karls des Kühnen.</span> -<i>By Max Lehrs.</i> 77 reproductions on 31 plates. Dresden: W. Hoffmann. -1895.</p> - - -<p><span class="smcap">Stoss, Veit</span> (c. 1450-c. 1533)</p> - -<p><span class="smcap">Veit Stoss; Nachbildungen seiner Kupferstiche.</span> <i>Edited by Engelbert -Baumeister.</i> 13 reproductions. Berlin: Bruno Cassirer. 1913. (Graphische -Gesellschaft. Publication 17.)</p> - - -<p><span class="smcap">Olmütz, Wenzel von</span> (flourished 1480-1500)</p> - -<p><span class="smcap">Wenzel von Olmütz.</span> <i>By Max Lehrs.</i> 22 reproductions on 11 plates. -Dresden: W. Hoffmann. 1889 (In German.)</p> -</div> -<p><span class="pagenum" id="Page_51">[Pg 51]</span></p> - -<div class="figcentera" id="f21"> -<img src="images/fig21.jpg" alt="" /> -<p class="caption">MASTER L Cz. CHRIST TEMPTED</p> -<p class="c">Size of the original engraving 8¾ × 6⅝ inches<br /> -</p> -</div> - -<div class="figcenter" id="f22"> -<img src="images/fig22.jpg" alt="" /> -<p class="caption">MASTER L Cz. CHRIST ENTERING JERUSALEM</p> -<p class="c">Size of the original engraving, 8⅞ × 7 inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="l2">ITALIAN ENGRAVING:<br /> -THE FLORENTINES</h2> -</div> - - -<p class="drop-cap">ENGRAVING in Italy differs, in many essentials, -from the art as practised in Germany. -Germany may claim priority in point of time, but -it is doubtful whether the Florentines—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.</p> - -<p>In Italy it was otherwise. There, with a few signal -exceptions, engraving was used merely as a convenient -method of multiplying an existing design. -It may be that we owe to this fact both the color of -the ink used in these early Florentine prints, and the -method of taking impressions. This would seem, in -many cases, to be by rubbing rather than by the<span class="pagenum" id="Page_52">[Pg 52]</span> -use of the roller press, which appears to have been -known and used in the North substantially from -the very beginning. The Florentine, aiming to -duplicate a drawing in silver-point or wash, would -naturally endeavor to approximate the color of his -original. Consequently we do not find the lustrous -black impressions, strongly printed, which -are the prize of the collector of early German engravings.</p> - -<p>Vasari’s story of the invention of engraving by -<span class="smcap">Maso Finiguerra</span> (1426-1464) was long ago disproved, -and for a time it seemed as though Finiguerra -and his work were likely to be consigned to -that limbo of the legendary from which Baldini—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.</p> - -<div class="figcentera" id="f23"> -<img src="images/fig23.jpg" alt="" /> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. PROFILE<br /> -PORTRAIT OF A LADY</p> -<p class="c">Size of the original engraving, 8⅞ × 5⅝ inches<br /> -In the Royal Print Room, Berlin</p> -</div> - -<div class="figcenter" id="f24"> -<img src="images/fig24.jpg" alt="" /> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. WILD ANIMALS HUNTING<br /> -AND FIGHTING</p> -<p class="c">Size of the original engraving, 10⅛ × 14¾ inches<br /> -In the British Museum</p> -</div> - - -<p>The Picture-Chronicle is a book of drawings -illustrating the History of the World, and evidently -proceeds from the hand and workshop of a Florentine -<span class="pagenum" id="Page_55">[Pg 55]</span>goldsmith-engraver of about 1460. It was -acquired by the British Museum from Mr. Ruskin -in 1888. The drawings are in pen and ink and wash, -often reinforced with open pen-shading like that -imitated later by the Broad Manner engravers. -At its best the work has the true early Renaissance -combination of archaic strength with attractive -naiveté—the ornamental detail carried out with a -masterly power of pen, and with the patient delight -of one who is by instinct and training above all -things a jeweler.</p> - -<p>Finiguerra’s fame as the leading worker in niello -was firmly established by 1450; and although we -cannot assign certainly any engraving by him to a -date earlier than 1460, there is a group of Florentine -primitives which may be placed between the years -1450 and 1460, thus antedating Finiguerra’s first -plate by about ten years. The most beautiful of -these early prints in conception, and the purest in -execution, is the <i>Profile Portrait of a Lady</i>, a single -impression of which has come down to us and is -now in Berlin. In style it recalls the paintings of -Piero della Francesca, Verrocchio, Uccello, or Pollaiuolo, -and although it would be unwise to attribute -it to any known master, there is a sensitive -quality in the drawing, and a restraint, which differentiates -it from any other print of this period.</p> - -<p>Among the engravings which may be by Finiguerra -<span class="pagenum" id="Page_56">[Pg 56]</span>himself, one of the most interesting is the -plate of <i>Wild Animals Hunting and Fighting</i>, wherein -we see a number of motives taken directly from -the Picture-Chronicle—motives which reappear -again and again in works undoubtedly by other -hands. This print, as also the <i>Encounter of a Hunting -Party with a Family of Wild Folk</i>, is unique. In -the last-named we see a number of motives repeated -from the <i>Wild Animals Hunting and Fighting</i>: -such as the boar being pulled down by two -hounds, the hound chasing a hare, in the upper -right corner; and the dog, slightly to the left, devouring -the entrails of yet another hare.</p> - -<p>The <i>Road to Calvary and the Crucifixion</i> is a far -more elaborate and important composition, and in -this engraving we see that which is especially noteworthy -in the <i>Judgment Hall of Pilate</i>—the largest -and most important of all the Fine Manner prints—the -goldsmith’s love of ornament. In the <i>Judgment -Hall of Pilate</i> the head-dresses, and especially -the armor, are highly elaborate, while the architecture -itself is overlaid with ornate decoration directly -drawn from the Picture-Chronicle. In the -only known impression the plate seems to have -been re-worked, in the Broad Manner, by a later -hand.</p> - -<div class="figcentera"> -<a id="f25" href="images/fig25big.jpg"> -<img src="images/fig25.jpg" alt="" /> -</a> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. TRIUMPHAL PROCESSION OF BACCHUS<br /> -AND ARIADNE</p> -<p class="c">Size of the original engraving, 8⅛ × 22 inches<br /> -In the British Museum<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter" id="f26"> -<img src="images/fig26.jpg" alt="" /> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. JUPITER</p> -<p class="c">Size of the original engraving, 12⅝ × 8½ inches<br /> -In the British Museum</p> -</div> - - - -<p>Somewhat later in date, by an engraver of the -Finiguerra School, is the <i>Triumphal Procession of</i> -<span class="pagenum" id="Page_59">[Pg 59]</span><i>Bacchus and Ariadne</i>, the most joyous of all Florentine -engravings. The original design was attributed -at one time to Botticelli; and although, as -Herbert P. Horne has shown, it cannot be by -this master, it is similar in style to his compositions. -Whatever the immediate original, it shows marked -traces of classical influences, and its motive is -directly derived from antique sculpture—a sarcophagus -in all probability. “The splendid design -has suffered not only from the feebleness of the -engraving, but also from the florid manner in which -the engraver has exaggerated some of the decorative -details and added others.... In spite of -the feebleness of its execution it remains an incomparably -greater work of art than any other print -in the Fine Manner.”<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a></p> - -<div class="footnote"> - -<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> Sandro Botticelli. By Herbert P. Horne. London: George Bell & -Sons. 1908. p. 84.</p> - -</div> - -<p>The Fine Manner, in which all of the engravings -hitherto mentioned are executed, owes its name to -the method employed. The engraver has incised -his outlines upon the plate—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<span class="pagenum" id="Page_60">[Pg 60]</span> -wash drawing. In the Broad Manner the style of -engraving is based upon that of pen drawing, with -open, diagonal shade strokes and without cross-hatching. -The Broad Manner was finally developed -by Pollaiuolo and Mantegna, who modified it by a -series of delicate lines laid at an acute angle to the -heavier shadings, blending the main lines into a -harmonious whole.</p> - -<p>“None of the sciences that descended from antiquity,” -writes Arthur M. Hind,<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a> “possessed a -firmer hold on the popular imagination of the -Middle Ages than that of Astrology. That science -took as its foundation the ancient conception of -the universe, with the earth as the centre round -which all the heavenly bodies revolved in the space -of a day and a night. Encircling the earth were -the successive spheres of water, air, fire, the seven -planets (Moon, Mercury, Venus, Sun, Mars, Jupiter, -Saturn), the firmament with the constellations -(the <i>cœlum crystallinum</i>), and the Primum -Mobile. To each of the planets were ascribed attributes -according to the traditional character of -the deity whose name it bore, and these attributes -were regarded as transmissible under certain conditions -to mankind. The influence of the planets -depended on their position in the heavens in respect<span class="pagenum" id="Page_61">[Pg 61]</span> -of the various constellations, with which each -had different relations. Each planet had what was -called its ‘house’ in one of the constellations, and -according to its position relative to these was said -to be in the ‘ascendant’ or ‘descendant’. In regard -to individual human beings the date of birth was -the decisive point, and the degree of influence -transmitted from the planets depended on the respective -degree of ‘ascendance’ or ‘descendance’ at -the particular epoch.”</p> - -<div class="footnote"> - -<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> Catalogue of Early Italian Engravings ... in the British Museum. -By Arthur Mayger Hind. London. 1910. pp. 49-50.</p> - -</div> - -<p>The planets and their influences afforded subject -matter for many artists of the fifteenth and -sixteenth centuries, and the finest and most important -series is that engraved in the Fine Manner -by an artist of the Finiguerra School, who has, as -usual, drawn directly upon the Picture-Chronicle -for his ornamental accessories. We can reproduce -two only from the set of seven—<i>Jupiter</i> and <i>Mercury</i>. -The inscription beneath <i>Jupiter</i> reads, in -part, as follows: “Jupiter is a male planet in the -sixth sphere, warm and moist, temperate by nature, -and of gentle disposition; he is sanguine, cheerful, -liberal, eloquent; he loves fine clothes, is handsome -and ruddy of aspect, and looks toward the Earth. -Tin is his metal; his days are Sunday and Thursday, -with the first, eighth, fifteenth and twenty-fourth -hours; his night is that of Wednesday; he -is friendly to the Moon, hostile to Mars....”<span class="pagenum" id="Page_62">[Pg 62]</span> -In the landscape we again meet with several of -the stock Finiguerra motives, the muzzled hounds, -the dog chasing the hare, etc. Of especial interest -is the group at the right—“wing-bearing Dante who -flew through Hell, through the starry Heavens and -o’er the intermediate hill of Purgatory beneath the -beauteous brows of Beatrice; and Petrarch too, -who tells again the tale of Cupid’s triumph; and -the man who, in ten days, portrays a hundred -stories (Boccaccio).”</p> - -<p><i>Mercury</i>—“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.</p> - -<div class="figcentera" id="f27"> -<img src="images/fig27.jpg" alt="" /> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. MERCURY</p> -<p class="c">Size of the original engraving, 12¾ × 8½ inches<br /> -In the British Museum</p> -</div> - -<div class="figcenter" id="f28"> -<img src="images/fig28.jpg" alt="" /> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. LADY<br /> -WITH A UNICORN</p> -<p class="c">Size of the original engraving, 6¼ inches in diameter<br /> -In the British Museum</p> -</div> - - - -<p>To a slightly later date, 1465-1470, belong the -group of Fine Manner prints, known as the <span class="smcap">Otto -Prints</span>, also emanating from the Finiguerra workshop. -They are not a series, in any true sense, and -owe their name—also their fortunate preservation—to -the accidental circumstance<span class="pagenum" id="Page_65">[Pg 65]</span> of their having -belonged at one time to Peter Ernst Otto, a merchant -and collector of Leipzig. The purpose served -by these prints—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.</p> - -<p>In the print entitled <i>Two Heads in Medallions -and Two Hunting Scenes</i> we again meet with the -animal motives taken from the Picture-Chronicle. -One of the most charming is the <i>Lady with a -Unicorn</i> (Chastity), in its arrangement suggestive -of the beautiful drawing by Leonardo da Vinci -in the British Museum; and its symbolic meaning -is doubtless the same. “The unicorn,” writes Leonardo -in his “Bestiarius,” “is distinguished for lack -of moderation and self-control. His passionate love -of young women makes him entirely forget his -shyness and ferocity. Oblivious of all dangers, he -comes straight to the seated maiden and falling -asleep in her lap is then caught by the hunter.” -The ermine, likewise a sign of chastity, is to be -seen at the right, gazing upward into Marietta’s -face.</p> - -<p>Still later than the Otto prints, and greatly inferior<span class="pagenum" id="Page_66">[Pg 66]</span> -to them in execution, are the three illustrations -for <i>Il Monte Sancto di Dio</i>, of 1477; and the -nineteen engravings for Dante’s <i>Divina Commedia</i>, -with Landino’s Commentary, of 1481. <i>Il Monte -Sancto di Dio</i> is the first book in Italy or in Germany -in which there appear illustrations from engraved -plates printed on the text page. This entailed -much additional labor, and was soon discontinued -in favor of the wood-block, which could be -printed simultaneously with the letterpress, and -was not taken up again until nearly the end of the -sixteenth century.</p> - -<p>Alike by tradition and internal evidence, Botticelli -is unquestionably the author of the Dante -designs; but no artist has been suggested as the -probable designer of the three illustrations for -<i>Il Monte Sancto di Dio</i>. In the first illustration the -costume and general attitude of the young gallant -to the left are strongly reminiscent of the Otto -prints. The lower portion of the plate shows all the -characteristics of the Fine Manner, but the angel -heads are treated in a simpler and more open linear -method. <i>The Christian’s Ascent to the Glory of Paradise</i> -is allegorically represented by a ladder placed -firmly in the ground of widespread Knowledge and -Humility, and reaching up to the triple mountain -of Faith, Hope, and Charity, on the summit of -which stands the Saviour. This ladder is called Perseverance,<span class="pagenum" id="Page_69">[Pg 69]</span> -one of its sides being Prayer, the other -Sacrament. It has eleven steps: Prudence, Temperance, -Fortitude, Justice, etc.</p> - -<div class="figcentera"> -<a id="f29" href="images/fig29big.jpg"> -<img src="images/fig29.jpg" alt="" /> -</a> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. THE CHRISTIAN’S ASCENT TO<br /> -THE GLORY OF PARADISE. FROM “IL MONTE SANCTO DI DIO,”<br /> -FLORENCE, 1477</p> -<p class="c">Size of the original engraving, 9⅞ × 7 inches<br /> -In the Fogg Art Museum, Harvard University<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter" id="f30"> -<img src="images/fig30.jpg" alt="" /> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. DANTE AND VIRGIL WITH THE VISION<br /> -OF BEATRICE. FROM THE “DIVINA COMMEDIA,” FLORENCE, 1481</p> -<p class="c">Size of the original engraving, 3½ × 6⅞ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - - -<p>The second illustration depicts the glory of Paradise; -the third the punishment of Hell, the main -motives of the last-named being adapted from the -fresco attributed to Orcagna, in the Campo Santo -at Pisa.</p> - -<p>In the illustrations to the <i>Divina Commedia</i>, of -1481, there is little left of the beauty which the -original designs must have possessed. They are, -indeed, “disguised into puerility by the feebleness -of the engraver”; but, none the less, they remain, -with the exception of Botticelli’s superb series of -drawings on vellum, in Berlin and in the Vatican, -unquestionably the best, one might say the <i>only</i>, -satisfactory illustrations of Dante’s text. No known -copy contains more than the first three engravings -printed directly upon the page itself. In every -other case, where a greater number of illustrations -appear, they are printed separately and pasted in -place, indicating the difficulty experienced by the -Renaissance printer in making his plates register -with the letterpress.</p> - -<p>The first print of the series shows Dante lost in -the wood, emerging therefrom, and his meeting -with Virgil—three subjects on a single plate. The -second represents <i>Dante and Virgil with the Vision</i><span class="pagenum" id="Page_70">[Pg 70]</span> -<i>of Beatrice</i>. Dante and Virgil are seen twice—first -to the left, where Dante doubts whether to follow -the guidance of Virgil further, and again on the -slope of the hill to the right, where Virgil relates -how the vision of Beatrice appeared to him. Near -the summit of the rocky mountain is seen the -entrance to Hell.</p> - -<p>“Of the extant engravings in the Broad Manner, -unquestionably the most remarkable is the large -print on two sheets of the <i>Assumption of the Virgin</i>, -after Botticelli. The original design [no longer -known to exist], whether drawing or painting, from -which this engraving was taken, must have been -among the grandest and most vigorous works of -the last period of Botticelli’s art. The large and -rugged treatment of the figures of the apostles, -their strange mane-like hair and beards, their fervent -and agitated gestures and attitudes, lend to -this part of the design a forcible and primitive -character, which recalls, though largely, perhaps, -in an accidental fashion, the grand and impressive -art of Andrea del Castagno. Not less vigorous in -conception, but of greater beauty of form and -movement, is the figure of the Virgin, and the -motive and arrangement of the angels who form a -‘mandorla’ around her are among the most lovely -and imaginative of the many inventions of the kind<span class="pagenum" id="Page_73">[Pg 73]</span> -which Botticelli has left us.”<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a> In the distant valley -is a view of Rome showing the Pantheon, the Column -of Trajan, the Colosseum, and other buildings.</p> - -<div class="footnote"> - -<p><a id="Footnote_4" href="#FNanchor_4" class="label">[4]</a> Sandro Botticelli. By Herbert P. Horne. London: George Bell & -Sons. 1908. p. 289.</p> - -</div> - -<div class="figcentera" id="f31"> -<img src="images/fig31.jpg" alt="" /> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. ASSUMPTION<br /> -OF THE VIRGIN (After Botticelli)</p> -<p class="c">Size of the original engraving, 32⅝ × 22¼ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f32"> -<img src="images/fig32.jpg" alt="" /> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. TRIUMPH OF<br /> -LOVE. FROM THE TRIUMPHS OF PETRARCH.</p> -<p class="c">Size of the original engraving, 10⅜ × 6¾ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p>If the <i>Assumption of the Virgin</i> is the noblest -print in the Broad Manner, the <i>Triumphs of Petrarch</i>—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 <i>Trionfi</i> -is the same which he proposed to himself in the -<i>Canzoniere</i>: namely, “to return in thought, from -time to time, now to the beginning, now to the -progress, and now to the end of his passion, taking -by the way frequent opportunities of rendering -praise and honor to the single and exalted object of -his love. To reach this aim he devised a description -of man in his various conditions of life, wherein -he might naturally find occasion to speak of himself -and of his Laura.</p> - -<p>“Man in his first stage of youth is the slave of -appetites, which may all be included under the -generic name of <span class="smcap">Love</span>, or Self-Love. But as he<span class="pagenum" id="Page_74">[Pg 74]</span> -gains understanding, he sees the impropriety of -such a condition, so that he strives advisedly against -those appetites and overcomes them by means of -<span class="smcap">Chastity</span>, that is, by denying himself the opportunity -of satisfying them. Amid these struggles and -victories <span class="smcap">Death</span> overtakes him and makes victors -and vanquished equal by taking them all out of the -world. Nevertheless, it has no power to destroy the -memory of a man, who by illustrious and honorable -deeds seeks to survive his own death. Such a man -truly lives through a long course of ages by means -of his <span class="smcap">Fame</span>. But <span class="smcap">Time</span> at length obliterates all -memory of him, and he finds, in the last resort, that -his only sure hope of living forever is by joy in -God and by partaking with God in his blessed -<span class="smcap">Eternity</span>.</p> - -<p>“Thus <span class="smcap">Love</span> triumphs over man, <span class="smcap">Chastity</span> over -<span class="smcap">Love</span>, and <span class="smcap">Death</span> over both alike; <span class="smcap">Fame</span> triumphs -over <span class="smcap">Death</span>, <span class="smcap">Time</span> over <span class="smcap">Fame</span>, and <span class="smcap">Eternity</span> over -<span class="smcap">Time</span>.”<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a></p> - -<div class="footnote"> - -<p><a id="Footnote_5" href="#FNanchor_5" class="label">[5]</a> Le Rime di Francesco Petrarca con l’interpretazione di Giacomo -Leopardi ... e gli argomenti di A. Marsand. Florence. 1839. p. 866. -Translation in, Petrarch: His Life and Times. By H. C. Hollway-Calthrop. -London. 1907. pp. 41-42.</p> - -</div> - -<p>With the exception of the first plate, <i>The Triumph -of Love</i>, none of these engravings illustrates, -in any strict sense of the word, the text of Petrarch’s -poem. It is the spirit which the engraver -has interpreted. Who may have been the designer -<span class="pagenum" id="Page_77">[Pg 77]</span>we know not, but they show certain affinities to the -work of Pesellino and Baldovinetti.</p> - -<div class="figcentera" id="f33"> -<img src="images/fig33.jpg" alt="" /> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. TRIUMPH OF<br /> -CHASTITY. FROM THE TRIUMPHS OF PETRARCH</p> -<p class="c">Size of the original engraving, 10 × 6⅜ inches<br /> -In the Fogg Art Museum, Harvard University</p> -</div> - -<div class="figcenter" id="f34"> -<img src="images/fig34.jpg" alt="" /> -<p class="caption">ANONYMOUS FLORENTINE, XV CENTURY. LIBYAN SIBYL</p> -<p class="c">Size of the original engraving, 7 × 4¼ inches<br /> -In the British Museum</p> -</div> - - -<p>In the first plate, Cupid, the blind archer, with -flame-tipped arrow, is poised upon a ball rising -from a flaming vase, the base of which, in its turn, -rests upon flame. Jupiter(?), chained, is seated in -the front of the car, while Samson, bearing a -column, walks upon the further side. Four prancing -steeds draw the car; behind, Love’s victims -follow in endless procession. In the second plate, -<i>Chastity</i> stands upon an urn; in front of her kneels -Cupid, still blindfolded, with his broken arrow beside -him. Two unicorns, symbols of chastity, draw -the car, while upon the banner borne by the maiden -at the extreme right there appears the symbolic -ermine. Then follow in order the Triumphs of -<i>Death</i>, of <i>Fame</i>, of <i>Time</i>, and of <i>Eternity</i>.</p> - -<p>This series of illustrations reappears, somewhat -modified and simplified, in the form of woodcuts, -in the editions of the <i>Trionfi</i> published in Venice -in 1488, 1490, 1492, and in Florence in 1499.</p> - -<p>We have already referred to the <i>Evangelists and -Apostles</i> engraved by the German, Master E. S. of -1466. It is from him that the anonymous Florentine -engraver borrowed his figures, in many cases -leaving the form of the drapery unchanged but -enriching it with elaborate designs in the manner -of Finiguerra. The Prophet <i>Ezekiel</i> is thus compounded<span class="pagenum" id="Page_78">[Pg 78]</span> -of <i>St. John</i> and <i>St. Peter</i>, while <i>Amos</i> is -copied in reverse from <i>St. Paul</i>. The seated figure -of <i>Daniel</i>, in its turn, is derived from Martin -Schongauer’s engraving, <i>Christ Before Pilate</i>, but -the throne upon which he is seated is strongly -reminiscent of the Picture-Chronicle, and likewise -recalls Botticelli’s early painting of <i>Fortitude</i>. -The <i>Tiburtine Sibyl</i> is derived from <i>St. Matthew</i>, -who, in changing his position, has likewise changed -his sex. The precedent thus established has been -followed by <i>St. John</i>, transformed into the <i>Libyan -Sibyl</i> in the Fine Manner, with the addition of a -flying veil, to the right, copied from the <i>Woman -with the Escutcheon</i>, also by the Master E. S. In the -Broad Manner print the figure of this Sibyl gains -in dignity by the elimination of much superfluous -ornament upon her outer garment, and from the -fact that she now sits in a more upright posture, -the Fine Manner print still suggesting the crouching -attitude of its Northern prototype. It is to the -influence, if not to the hand, of Botticelli that such -improvement is most likely due.</p> - -<p>The twenty-four <i>Prophets</i> and the twelve <i>Sibyls</i>, -engraved both in the Fine and in the Broad Manner -of the Finiguerra School, are individually and collectively -among the most delightful productions of -Italian art. It was doubtless as illustrations of -mystery plays or pageants in Florence that this<span class="pagenum" id="Page_81">[Pg 81]</span> -series of engravings was designed, and we are able -to reconstruct from the <i>Triumphs of Petrarch</i>, and -from these prints, a Florentine street pageant at -its loveliest.</p> - -<div class="figcentera" id="f35"> -<img src="images/fig35.jpg" alt="" /> -<p class="caption">ANONYMOUS NORTH ITALIAN, XV CENTURY. THE<br /> -GENTLEMAN. FROM THE TAROCCHI PRINTS<br /> -(E Series)</p> -<p class="c">Size of the original engraving, 7⅛ × 4 inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f36"> -<img src="images/fig36.jpg" alt="" /> -<p class="caption">ANONYMOUS NORTH ITALIAN, XV CENTURY. CLIO.<br /> -FROM THE TAROCCHI PRINTS (S Series)</p> -<p class="c">Size of the original engraving, 7⅛ × 4 inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p>However great their beauty and however strong -the fascination which they exert, they have a rival -in the series of fifty instructive prints, which, for -many years, were miscalled the <i>Tarocchi Cards of -Mantegna</i>. Tarocchi cards they are not, and of -Mantegna’s influence, direct or indirect, there -would seem to be no trace whatsoever. They are -of North Italian origin and are the work, in all -probability, of some anonymous Venetian engraver, -working from Venetian or Ferrarese originals, -about 1465—contemporary, therefore, with -the Florentine engravings of the <i>Prophets and Sibyls</i>. -Forming, apparently, a pictorial cyclopædia of the -mediæval universe, with its systematic classification -of the various powers of Heaven and Earth, -they divide themselves into five groups of ten cards -each. First we have the ranks and conditions of -men from Beggar to Pope; next Apollo and the nine -Muses; then the Liberal Arts, with the addition -of Poetry, Philosophy, and Theology, in order to -make up the ten; next the Seven Virtues, the set -being brought up to the required number by the -addition of <i>Chronico</i>, the genius of Time, <i>Cosmico</i>, -the genius of the Universe, and <i>Iliaco</i>, the genius<span class="pagenum" id="Page_82">[Pg 82]</span> -of the Sun. The fifth group is based on the Seven -Planets, together with the Sphere of the Fixed -Stars and the Primum Mobile, which imparts its -own revolving motion to all the spheres within it; -and enfolding all the Empyrean Sphere, the abode -of Heavenly Wisdom.</p> - -<p>Much wisdom and many words have been expended -upon the still unsolved riddle as to which -of the two sets, known respectively as the E series -and the S series (from the letters which appear in -the lower left-hand corners of the ten cards of the -<i>Sorts and Conditions of Men</i>) may claim priority of -date. Both series are in the Fine Manner, the outlines -clearly defined, the shadings and modelling -indicated with delicate burin strokes, crossed and -re-crossed so as to give a tonal effect. These delicate -strokes soon wore out in printing, and the structural -lines of the figures then emerge in all their -beauty. It may seem absurd that one should admire -impressions from plates obviously worn, but -the critic would do well to suspend his condemnation, -since the Tarocchi Prints present many and -manifold forms of beauty—in the early impressions -a delicate and bloom-like quality; in certain somewhat -later proofs, a charm of line which recalls the -art of the Far East.</p> - -<div class="figcentera" id="f37"> -<img src="images/fig37.jpg" alt="" /> -<p class="caption">ANONYMOUS NORTH ITALIAN, XV CENTURY. THE SUN.<br /> -FROM THE TAROCCHI PRINTS (E Series)</p> -<p class="c">Size of the original engraving, 7⅛ × 4 inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f38"> -<img src="images/fig38.jpg" alt="" /> -<p class="caption">ANONYMOUS NORTH ITALIAN, XV CENTURY. ANGEL OF<br /> -THE EIGHTH SPHERE. FROM THE TAROCCHI PRINTS<br /> -(E Series)</p> -<p class="c">Size of the original engraving, 7⅛ × 4 inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><i>The Gentleman</i> is the fifth in order in the first -group of the <i>Sorts and Conditions of Men</i>, and is<span class="pagenum" id="Page_85">[Pg 85]</span> -from the so-called E series (claimed by Sir Sidney -Colvin and Mr. Arthur M. Hind, of the British -Museum, to be the earlier of the two sets). The -sequence runs: (1) The Beggar, (2) The Servant, -(3) The Artisan, (4) The Merchant, (5) The Gentleman, -(6) The Knight, (7) The Doge, (8) The -King, (9) The Emperor, (10) The Pope.</p> - -<p><i>Clio</i> is the ninth of the Muses and is from the -S series (placed first in point of time, by Kristeller, -and about ten years later than the E series, by the -British Museum authorities).</p> - -<p><i>The Sun</i> naturally finds his place in the group of -<i>Planets</i> and <i>Spheres</i>. There is a delightful and -childish touch in the way in which <i>Phæton</i> is pictured -as a little boy falling headlong into the river -Po, which conveniently flows immediately beneath -him. To this group belongs likewise the <i>Angel of the -Eighth Sphere</i>, the Sphere of the Fixed Stars, one -of the loveliest prints in the entire set, both in -arrangement and in execution.</p> - -<p>Nothing could be in greater contrast to the gracefulness -of such a print as the above than the <i>Battle -of Naked Men</i> by <span class="smcap">Antonio Pollaiuolo</span>, “the stupendous -Florentine”—if one may borrow Dante’s -title; but, for the moment, we will hold Pollaiuolo -and his one engraving in reserve while we glance at -the work of <span class="smcap">Christofano Robetta</span>, who, born in -Florence in 1462, was consequently the junior of<span class="pagenum" id="Page_86">[Pg 86]</span> -Pollaiuolo by thirty years. As an engraver, Robetta -is inferior to the anonymous master to whom we -owe the E series of the Tarocchi prints. His style -is somewhat dry, and the individual lines are lacking -in beauty; but his plates have that indefinable -and indescribable fascination and charm which is -the peculiar possession of Italian engraving and of -the Florentine masters in particular. The shaping -influences which determined his choice and treatment -of subject are Botticelli, and, in a much -larger measure, Filippino Lippi, though only in a -few cases can he be shown to have worked directly -from that painter’s designs. The <i>Adoration of the -Magi</i> is obviously inspired by Filippino Lippi’s -painting in the Uffizi, though whether Robetta -actually worked from the painting itself, or, as -seems more probable, translated one of Filippino’s -drawings, is an interesting question. The fact that -the engraving is in reverse of the painting proves -nothing; but there are so many points of difference -between them—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<span class="pagenum" id="Page_89">[Pg 89]</span> -reverse from Schongauer’s <i>Adoration</i>, and that the -<i>Allegory of the Power of Love</i>, one of Robetta’s most -charming subjects, is engraved upon the reverse -side of the plate of the <i>Adoration of the Magi</i>, the -copper-plate itself being now in the Print Room -of the British Museum. Whether the <i>Allegory of -Abundance</i> is entirely Robetta’s, or whether the -design was suggested by another master’s painting -or drawing, can be only a matter of conjecture. It -shows, however, so many of the characteristics -which we associate with his work that we may give -him the benefit of the doubt and consider him as -its “onlie begetter.”</p> - -<div class="figcentera" id="f39"> -<img src="images/fig39.jpg" alt="" /> -<p class="caption">CRISTOFANO ROBETTA. ADORATION OF THE MAGI</p> -<p class="c">Size of the original engraving, 11⅝ × 11 inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter"> -<a id="f40" href="images/fig40big.jpg"> -<img src="images/fig40.jpg" alt="" /> -</a> -<p class="caption">ANTONIO POLLAIUOLO. BATTLE OF NAKED MEN</p> -<p class="c">Size of the original engraving, 15¾ × 23½ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p><i>Hercules and the Hydra</i> and <i>Hercules and Antæus</i> -show so markedly the influence of Pollaiuolo that -we may conclude them to have been taken from -the two small panels in the Uffizi; though, in the -case of the first named, Pollaiuolo’s original sketch, -now in the British Museum, may also have served -Robetta.</p> - -<p>Whether <span class="smcap">Pollaiuolo</span> based his technical method -upon that of Mantegna and his School, or whether -Mantegna’s own engravings were inspired by his -Florentine contemporary, is an interesting, but -thus far unanswered, question. Pollaiuolo’s one -print, the <i>Battle of Naked Men</i>, is engraved in the -Broad Manner, somewhat modified by the use of a -light stroke laid at an acute angle between the<span class="pagenum" id="Page_90">[Pg 90]</span> -parallels. The outlines of the figures are strongly -incised; while the treatment of the background -lends color to the supposition that, in his youth, -Pollaiuolo engraved in niello, as well as furnished -designs to be executed by Finiguerra and his -School. In this masterpiece the artist has summed -up his knowledge of the human form, and has expressed, -in a more convincing and vigorous measure -than has any other engraver in the history of -the art, the strain and stress of violent motion and -the fury of combat.</p> - -<p>“What is it,” asks Bernhard Berenson, “that -makes us return to this sheet with ever-renewed, -ever-increased pleasure? Surely it is not the -hideous faces of most of the figures and their -scarcely less hideous bodies. Nor is it the pattern -as decorative design, which is of great beauty indeed, -but not at all in proportion to the spell exerted -upon us. Least of all is it—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<span class="pagenum" id="Page_91">[Pg 91]</span> -foe, who, turning as upon a pivot, with his grip on -the other’s head, exerts no less force to keep the -advantage gained. The significance of all these -muscular strains and pressures is so rendered that -we cannot help realizing them; we imagine ourselves -imitating all the movements and exerting -the force required for them—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.”<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a></p> - -<div class="footnote"> - -<p><a id="Footnote_6" href="#FNanchor_6" class="label">[6]</a> Florentine Painters of the Renaissance. By Bernhard Berenson. -New York: Putnam’s Sons. 1899. pp. 54-55.</p> - -</div> - -<p>Pollaiuolo is the one great original engraver -Florence produced, and with him we bring to a -close our all too brief study of Florentine engraving.</p> - -<p><span class="pagenum" id="Page_92">[Pg 92]</span></p> - - -<p class="c p2">ITALIAN ENGRAVING: THE FLORENTINES</p> - -<p class="c little">BIBLIOGRAPHY</p> - -<div class="blockquot"> - -<p><span class="smcap">Le Peintre Graveur.</span> <i>By Adam Bartsch.</i> 21 volumes. Vienna: 1803-1821. -Volume 13, Early Italian Engravers.</p> - -<p><span class="smcap">The Drawings of the Florentine Painters.</span> <i>By Bernhard Berenson.</i> -2 volumes. 180 illustrations. New York: E. P. Dutton & Company. 1903.</p> - -<p><span class="smcap">Catalogue of Early Italian Engravings Preserved in the Department -of Prints and Drawings in the British Museum.</span> <i>By Arthur Mayger Hind. -Edited by Sidney Colvin.</i> 20 illustrations. London: The Trustees. 1910.</p> - -<p>———. Illustrations to the Catalogue ... 198 plates. London: -The Trustees. 1909.</p> - -<p><span class="smcap">Some Early Italian Engravers Before the Time of Marcantonio.</span> <i>By -Arthur Mayger Hind.</i> 22 illustrations. The Print-Collector’s Quarterly, Vol. -2, No. 3, pp. 253-289. Boston. 1912.</p> - -<p><span class="smcap">Sulle origini dell’incisione in rame in Italia.</span> <i>By Paul Kristeller.</i> 4 -illustrations. Archivio Storico dell’Arte, Vol. 6, p. 391-400. Rome. 1893.</p> - -<p><span class="smcap">Le Peintre-Graveur.</span> <i>By J. D. Passavant.</i> 6 volumes. Leipzig: Rudolph -Weigel. 1860-1864. Volumes 1 and 5, Early Italian Engravers.</p> - -<p><span class="smcap">Des Types et des manières des maitres graveurs ... en Italie, -en Allemagne, dans les Pays-Bas et en France.</span> <i>By Jules Renouvier.</i> -2 volumes. Montpellier: Boehm, 1853-1855. Volume 1, Engravers of the -Fifteenth Century.</p> - -<p><span class="smcap">Lives of the Most Eminent Painters, Sculptors, and Architects.</span> -<i>By Giorgio Vasari.</i> Translated by Mrs. Jonathan Foster. With commentary -by J. P. Richter. 6 volumes. London: George Bell & Sons. 1890-1892.</p> - - -<p class="xlarge"><span class="smcap">Finiguerra, Maso</span> (1426-1464)</p> - -<p><span class="smcap">A Florentine Picture-Chronicle; being a Series of Ninety-nine -Drawings Representing Scenes and Personages of Ancient History, -Sacred and Profane; reproduced from the Originals in the British -Museum.</span> <i>Edited by Sidney Colvin.</i> 99 reproductions and 117 text illustrations. -London: B. Quaritch. 1898.</p> - -<p><span class="smcap">Sandro Botticelli.</span> <i>By Herbert P. Horne.</i> 43 plates. London: George Bell -& Sons. 1905. pp. 77-86.</p> - - -<p class="xlarge"><span class="smcap">The Planets</span> (c. 1460)</p> - -<p><span class="smcap">The Seven Planets.</span> <i>By Friedrich Lippmann. Translated by Florence Simmonds.</i> -43 reproductions. London. 1895. (International Chalcographical -Society. 1895.)</p> - - -<p class="xlarge"><span class="smcap">The Otto Prints</span> (c. 1465-1470)</p> - -<p><span class="smcap">Florentinische Zierstücke aus dem XV. Jahrhundert.</span> <i>Edited by Paul -Kristeller.</i> 25 reproductions. Berlin: Bruno Cassirer. 1909. (Graphische -Gesellschaft. Publication 10.)</p> - -<p><span class="pagenum" id="Page_93">[Pg 93]</span></p> - -<p><span class="smcap">Delle ‘Imprese amorose’ nelle più antiche incisione fiorentine.</span> <i>By -A. Warburg.</i> Rivista d’Arte, Vol. 3 (July-August). Florence. 1905.</p> - - -<p class="xlarge"><span class="smcap">Engravings in Books</span> (1477-1481)</p> - -<p><span class="smcap">Works of the Italian Engravers in the Fifteenth Century; Reproduced -... with an Introduction.</span> <i>By George William Reid.</i> 20 -reproductions on 19 plates. First Series: Il Libro del Monte Sancto di Dio, -1477; La Divina Commedia of Dante; and the Triumphs of Petrarch.</p> - - -<p class="xlarge"><span class="smcap">Illustrations of the Divina Commedia, Florence</span>, 1481</p> - -<p><span class="smcap">Sandro Botticelli.</span> <i>By Herbert P. Horne.</i> 43 plates. London: George Bell -& Sons. 1908. pp. 75-77, 190-255.</p> - -<p><span class="smcap">Zeichnungen von Sandro Botticelli zu Dante’s Goettlicher Komoedie -nach den Originalen im K. Kupferstichkabinet zu Berlin.</span> <i>Edited -by Friedrich Lippmann.</i> 20 reproductions of engravings bound with text. -With portfolio of 84 reproductions of the drawings.</p> - -<p>Supplemented by—<span class="smcap">Die acht Handzeichnungen des Sandro Botticelli -zu Dantes Göttlicher Komödie im Vatikan.</span> <i>Edited by Josef -Strzygowski.</i> With portfolio of 8 reproductions.</p> - - -<p class="xlarge"><span class="smcap">Triumphs of Petrarch</span> (c. 1470-1480)</p> - -<p><span class="smcap">Pétrarque; ses études d’art, son influence sur les artistes, ses -portraits and ceux de Laure, l’illustration de ses écrits.</span> <i>By Victor -Masséna</i>, <i>Prince d’Essling</i>, and <i>Eugène Muntz</i>. 21 plates and 191 text illustrations. -Paris: Gazette des Beaux-Arts. 1902.</p> - -<p><span class="smcap">Études sur les Triomphes de Pétrarque.</span> <i>By Victor Masséna, Prince -d’Essling.</i> 6 illustrations. Gazette des Beaux-Arts. 2 parts. Part I. Vol. 35 -(second period). pp. 311-321. Part II. Vol. 36 (second period). pp. 25-34. -Paris. 1887.</p> - -<p><span class="smcap">Petrarch; His Life and Times.</span> <i>By H. C. Hollway-Calthrop.</i> 24 illustrations. -London: Methuen & Co. 1907.</p> - - -<p class="xlarge"><span class="smcap">Broad Manner Plates</span> (c. 1470-1480)</p> - -<p><span class="smcap">Sandro Botticelli.</span> <i>By Herbert P. Horne.</i> 43 plates. London: George Bell -& Sons. 1908. pp. 288-291.</p> - - -<p class="xlarge"><span class="smcap">The Tarocchi Prints</span> (c. 1467)</p> - -<p><span class="smcap">Die Tarocchi; zwei italienische Kupferstichfolgen aus dem XV. -Jahrhundert.</span> <i>Edited by Paul Kristeller.</i> 100 reproductions on 50 plates. -Berlin: Bruno Cassirer. 1910. (Graphische Gesellschaft. Extraordinary -Publication 2.)</p> - -<p><span class="smcap">Der venezianische Kupferstich im XV. Jahrhundert.</span> <i>By Paul Kristeller.</i> -6 illustrations. Mitteilungen der Gesellschaft für vervielfältigende -Kunst, Vol. 30, No. 1. Vienna. 1907.</p> - -<p><span class="smcap">Origine des cartes à jouer.</span> <i>By R. Merlin.</i> About 600 reproductions. -Paris: L’auteur. 1869.</p> - -<p><span class="pagenum" id="Page_94">[Pg 94]</span></p> - -<p><span class="smcap">The Tarocchi Prints.</span> <i>By Emil H. Richter.</i> 13 illustrations. The Print-Collector’s -Quarterly, Vol. 6, No. 1, pp. 37-89. Boston. 1916.</p> - -<p><span class="smcap">Catalogue of Playing and Other Cards in the British Museum.</span> <i>By -William Hughes Willshire.</i> 78 reproductions on 24 plates. London: The -Trustees. 1876.</p> - - -<p class="xlarge"><span class="smcap">Pollaiuolo, Antonio</span> (1432-1498)</p> - -<p><span class="smcap">Florentine Painters of the Renaissance.</span> <i>By Bernhard Berenson.</i> New -York: Putnam’s Sons. 1899. pp. 47-57.</p> - -<p><span class="smcap">Antonio Pollaiuolo.</span> <i>By Maud Cruttwell.</i> 51 illustrations. London: Duckworth -and Company. 1907.</p> - -<p><span class="smcap">Note su Mantegna e Pollaiuolo.</span> <i>By Arthur Mayger Hind.</i> 2 illustrations. -L’Arte, Vol. 9, pp. 303-305. Rome. 1906.</p> -</div> -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_95">[Pg 95]</span></p> - -<h2 class="nobreak" id="l3">GERMAN ENGRAVING: THE MASTER OF<br /> -THE AMSTERDAM CABINET AND<br /> -ALBRECHT DÜRER</h2> -</div> - - -<p class="drop-cap">WITH the exception of Martin Schongauer, -none of Dürer’s immediate predecessors better -repays a thorough study, or exerts a more potent -fascination, than the <span class="smcap">Master of the Amsterdam -Cabinet</span>. The earlier writers, from Duchesne to -Dutuit, were united in their opinion that this engraver -was a Netherlander; but Max Lehrs, following -the track opened up by Harzen, has proved -conclusively that the Master of the Amsterdam -Cabinet (so called because the largest collection of -his engravings—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.</p> - -<p>In subject-matter he owes little to his predecessors, -and in technique he is an isolated phenomenon.<span class="pagenum" id="Page_96">[Pg 96]</span> -<i>St. Martin and the Beggar</i> and <i>St. Michael and -the Dragon</i> show that he was acquainted with the -work of Martin Schongauer; the <i>Ecstasy of St. -Mary Magdalen</i> is obviously based upon a similar -engraving by the Master E. S. of 1466; but for the -most part he stands alone. He seems to have -worked entirely in dry-point upon some soft metal—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.</p> - -<p>The Master of the Amsterdam Cabinet has -treated a wide range of subjects, his preference -being for scenes of everyday life. His prints show -appreciation of the beauties of landscape, his skill -in the treatment of wide spaces is masterly, and -there is a beauty and sweetness in the expression of -his faces which makes him a worthy rival of -Martin Schongauer himself. He has left us no -purely ornamental designs, such as might serve in -the decoration of vessels used in the church, and -we may infer, from the character of his engravings, -that he was a painter, who used the dry-point as -a diversion, rather than a professional engraver, -pursuing his craft as a means of livelihood. In -power of composition he can hardly rank with -Martin Schongauer, and in range of intellect he -<span class="pagenum" id="Page_99">[Pg 99]</span>falls short of the heights reached by Albrecht -Dürer; but his very limitations, perhaps, render -him a more companionable personage, and his -modernity makes an immediate appeal to us all.</p> - -<div class="figcentera" id="f41"> -<img src="images/fig41.jpg" alt="" /> -<p class="caption">MASTER OF THE AMSTERDAM CABINET. ECSTASY<br /> -OF ST. MARY MAGDALEN</p> -<p class="c">Size of the original engraving, 7⅝ × 5¼ inches<br /> -In the Royal Print Room, Amsterdam</p> -</div> - -<div class="figcenter" id="f42"> -<img src="images/fig42.jpg" alt="" /> -<p class="caption">MASTER OF THE AMSTERDAM CABINET. CRUCIFIXION</p> -<p class="c">Size of the original engraving, 6 × 5¼ inches<br /> -In the Royal Print Room, Amsterdam</p> -</div> - - -<p>The <i>Ecstasy of St. Mary Magdalen</i> is one of his -earliest plates and is a free translation of the same -subject by the Master E. S. It would seem as -though his dry-point was the immediate original -of Dürer’s woodcut. The position of the Magdalen’s -hands is the same in both compositions, but Dürer -has added a landscape which, admirable though it -be, detracts from the main interest of his print.</p> - -<p>The Master of the Amsterdam Cabinet, in a -second rendering, herewith reproduced, has eliminated -all superfluous or distracting details and -imparted a surprising degree of grace and purity -to the lovely design. Anything like a chronological -arrangement of the master’s work would -be difficult, but one may safely assume that this -beautiful engraving belongs to the latest and most -mature period of his art, to which period we also -may assign the <i>Two Lovers</i>.</p> - -<p>As a rule, his least successful engravings are those -dealing with religious themes. At times, however, -as in the <i>Crucifixion</i>, he rises to heights of dramatic -intensity, and Dürer may be indebted more -than we realize to this rendering of the divine -tragedy. <i>Aristotle and Phyllis</i> and <i>Solomon’s Idolatry</i> -<span class="pagenum" id="Page_100">[Pg 100]</span>are satirical illustrations of the follies of sages -in love. Both plates are illumined by a truly -modern sense of humor, while the arrangement of -the figures within the spaces to be filled is admirable.</p> - -<p>Such subjects as <i>The Three Living and the Three -Dead Kings</i> and <i>Young Man and Death</i> are variations -upon a theme which was uppermost in the -minds of many men at this time, when the <i>Ars -Moriendi</i> and the <i>Dance of Death</i> were constant -reminders of man’s mortality. In agreeable contrast -is the dry-point of <i>Two Lovers</i>—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.”<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a></p> - -<div class="footnote"> - -<p><a id="Footnote_7" href="#FNanchor_7" class="label">[7]</a> The Master of the Amsterdam Cabinet. By Max Lehrs. International -Chalcographical Society, 1893 and 1894. p. 7.</p> - -</div> - -<p>The <i>Stag Hunt</i> is filled with the spirit of outdoor -life, the exhilaration of the chase, and the -joy of the hounds in pursuing their quarry. No -other engraver of the fifteenth century has left us -any such truthful rendering of a hunting scene, and -the life-enhancing quality of this little dry-point -<span class="pagenum" id="Page_103">[Pg 103]</span>makes even Dürer’s rendering of animal forms -seem cold and relatively lifeless.</p> - -<div class="figcentera"> -<a id="f43" href="images/fig43big.jpg"> -<img src="images/fig43.jpg" alt="" /> -</a> -<p class="caption">MASTER OF THE AMSTERDAM CABINET. STAG HUNT</p> -<p class="c">Size of the original engraving, 3⅝ × 6¾ inches<br /> -In the Royal Print Room, Amsterdam<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter" id="f44"> -<img src="images/fig44.jpg" alt="" /> -<p class="caption">MASTER OF THE AMSTERDAM CABINET. ST. GEORGE</p> -<p class="c">Size of the original engraving, 5⅝ × 4⅛ inches<br /> -In the British Museum</p> -</div> - - - -<p>The master’s knowledge of the anatomy of the -horse, and his treatment of that noble beast, unfortunately -fall far short of his rendering of the dogs -and stags in the <i>Stag Hunt</i>. The figure of <i>St. George</i> -is sufficiently graceful and convincing, but the horse -(seemingly of the rocking-horse variety) can hardly -be proclaimed a complete success. In spite of this -obvious defect it is one of the artist’s finest plates, -remarkable for its exceptional force and animation. -The unique proof, of which the British Museum is -the fortunate possessor, is in splendid condition -and rich in burr.</p> - -<p>And now, with some trepidation of spirit, we approach -<span class="smcap">Albrecht Dürer</span> and his engraved work. -His many-sidedness foredooms to failure any attempt -at an adequate and comprehensive treatment. -His compositions, as Max Allihn justly says, -may fittingly be likened to the Sphinx of the old -legend; for “they attack everyone who, either as -critic, historian or harmless wanderer, ventures in -the realm of art, and propose to him their unsolvable -riddles.”</p> - -<p>Of his own work Dürer says: “What beauty may -be I know not. Art is hidden in nature and whosoever -can tear it out has it,” and his life-long quest -of knowledge, his truly German reverence for fact,<span class="pagenum" id="Page_104">[Pg 104]</span> -hangs like a millstone around his neck. “Of a -truth,” writes Raphael, “this man would have surpassed -us all if he had had the masterpieces of art -constantly before him,” Raphael himself—“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.</p> - -<p>“If you see it in a book it’s true; if you see it in -a German book it’s very true,” applies with only -too telling a force to a considerable share of Dürer -speculation. For better or worse I cannot but think -that Dürer’s prime intention in his engravings was -an artistic one, though obviously this intention was -often overlaid with a desire to supply an existing -demand and to introduce, into otherwise simple -compositions, traditional moralistic motives which -should render his engravings more marketable at -the fairs, where mostly they were sold. So many -and so fascinating are the facets of Dürer’s personality, -so interesting is he as a man in whose mind -meet, and sometimes blend, the ideas of the -Middle Ages with those almost of our own time,<span class="pagenum" id="Page_105">[Pg 105]</span> -that if we are to study, even in the briefest and -most cursory fashion, his engraved work, we must -perforce confine ourselves strictly to the artistic -content of his plates and not be seduced into the -by-ways of speculation which lead anywhere—or, -more often, nowhere.</p> - -<p>Earliest of his authenticated engravings, without -monogram and without date, crude in handling, -possibly suggested by the work of some earlier -master, and in all probability executed before his -first journey to Venice (that is to say, before or in -the year 1490) is the <i>Ravisher</i>, susceptible of as -many and as varied interpretations as there are -authorities; from a man using violence, to the -struggle for existence. It has even been connected -in some way with a belief in witchcraft! The <i>Holy -Family with the Dragonfly</i>, to which Koehler gives -second place in his chronological arrangement of -Dürer’s engravings, shows an astonishing advance -in technique and in composition. It is undated, but -the monogram is in its early form. The galley and -the two gondolas, in the distant water to the right, -would seem to indicate that it was engraved in or -about the year 1494, upon Dürer’s return from -Venice, and it is probably his first plate after his -return to Nuremberg. There is a sweetness and an -attractiveness in the face of the Virgin which points -to an acquaintance with Schongauer’s engraving,<span class="pagenum" id="Page_106">[Pg 106]</span> -the <i>Virgin with a Parrot</i>. The poise of the head and -the flowing hair lend color to this supposition.</p> - -<p>To how great an extent not only the engravings, -but the theories, of Jacopo de’ Barbari may have -influenced Dürer in such plates as <i>St. Jerome in -Penitence</i>, the <i>Carrying Off of Amymone</i>, <i>Hercules</i>, -or the <i>Four Naked Women</i>, is difficult to determine. -It may have been considerable, though, at times, -one cannot help wondering whether the theory of -proportion of the human body, of which Jacopo -spoke to Dürer, but concerning which he refused -(or was unable) to give him further detailed particulars, -may not have been more or less of a “bluff,” -since there is no record of Jacopo having committed -the results of his studies to writing, and in -his engravings there is little evidence of any logical -theory of proportion. That a potent influence was -at work shaping Dürer’s development is clear, and -the figure of <i>St. Jerome</i> undoubtedly owes a good -deal to Jacopo. The landscape is all Dürer’s own, -the first of a long series finely conceived and admirably -executed. The long, sweeping lines in the foreground -recall the manner of Jacopo de’ Barbari, -but otherwise the engraving owes little technically -to that artist.</p> - -<div class="figcentera" id="f45"> -<img src="images/fig45.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. VIRGIN AND CHILD WITH THE<br /> -MONKEY</p> -<p class="c">Size of the original engraving, 7½ × 4¾ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f46"> -<img src="images/fig46.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. FOUR NAKED WOMEN</p> -<p class="c">Size of the original engraving, 7½ × 5¼ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><i>The Virgin and Child with the Monkey</i> is the most -brilliant of Dürer’s engravings in his earlier period. -In the opinion of many students it is, likewise, the -<span class="pagenum" id="Page_109">[Pg 109]</span>most beautiful and dignified, not only in the figures -of the Virgin and Child, but also in the breadth and -richness of the landscape. The loveliness of the background -was early recognized, and several Italian -engravers, including Giulio Campagnola, availed -themselves of it. When Dürer’s drawings and water-colors -are more generally known, he will be acclaimed -one of the masters of landscape. There is a -freshness, a breeziness, an “out-of-doors” quality -in his water-color of the <i>Weierhaus</i> which will surprise -those who hitherto have known him only -through his engraved work, wherein the landscape -undergoes a certain formalizing process.</p> - -<p>The <i>Virgin and Child with the Monkey</i> is so -beautiful in simplicity of handling, so delightful in -arrangement of black and white, that it is hard to -reconcile oneself to the comparatively coarse line -work, the insensitiveness to beauty of form, the -disregard of anatomy, shown in <i>Four Naked Women</i> -of 1497—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.</p> - -<p>Speculation is again rife as to the meaning, if -it has a meaning, of the skull and bone on the -ground, and the devil emerging from the flames at<span class="pagenum" id="Page_110">[Pg 110]</span> -the left. The engraving seems to be a straightforward, -naturalistic study of the nude, with these -accessories thrown in to give the subject a moralizing -air which would make it palatable to the -artist’s contemporaries. There could hardly be a -greater contrast to this frankly hideous treatment -of the human form than <i>Hercules</i> (called also the -<i>Effects of Jealousy</i>, the <i>Great Satyr</i>, etc.). In this -plate we are able, as in few others—the one notable -exception being the <i>Adam and Eve</i> 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.</p> - -<div class="figcentera" id="f47"> -<img src="images/fig47.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. HERCULES</p> -<p class="c">Size of the original engraving, 13¾ × 8¾ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcentera"> -<a id="f48" href="images/fig48big.jpg"> -<img src="images/fig48.jpg" alt="" /> -</a> -<p class="caption">ANONYMOUS NORTH ITALIAN, XV CENTURY. DEATH OF<br /> -ORPHEUS</p> -<p class="c">Size of the original engraving, 5¾ × 8⅜ inches<br /> -In the Kunsthalle, Hamburg<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcentera" id="f49"> -<img src="images/fig49.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. DEATH OF ORPHEUS</p> -<p class="c">Size of the original drawing, 11⅜ × 8⅞ inches<br /> -In the Kunsthalle, Hamburg</p> -</div> - -<div class="figcenter"> -<a id="f50" href="images/fig50big.jpg"> -<img src="images/fig50.jpg" alt="" /> -</a> -<p class="caption">ALBRECHT DÜRER. BATTLE OF THE SEA-GODS. (After Mantegna)</p> -<p class="c">Size of the original drawing, 11½ × 15¼ inches<br /> -In the Albertina, Vienna<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p>Beginning with the <i>Death of Orpheus</i>, engraved -by some anonymous North Italian master working -in the Fine Manner of the Tarocchi Cards, the next -step is Dürer’s pen drawing, dated 1494. The figures -of Orpheus and of the two Thracian Mænads -remain unchanged, as does also the little child running -towards the left. Dürer has, however, changed -the lute into a lyre, as being more suited to Orpheus, -and has added the beautiful group of trees -<span class="pagenum" id="Page_115">[Pg 115]</span>which reappears, little changed, in his engraving of -<i>Hercules</i>. There is a drawing of the Mantegna -School which Dürer may, or may not, have seen; -but the face of Orpheus in his drawing shows certain -unmistakable Mantegna characteristics, far -removed from the North Italian Fine Manner -print. From Mantegna’s engraving, the <i>Battle of -the Sea-Gods</i> (right-hand portion), Dürer has borrowed -the figure of the reclining woman to the left -and the Satyr. That he was acquainted with this -engraving by Mantegna is attested by a drawing -of 1494. The man standing to the right, with legs -spread wide apart, wearing a fantastic helmet in -the shape of a cock, recalls the work of Pollaiuolo, by -whom there exists a similar drawing, now in Berlin. -From these various elements Dürer builds up his composition. -Its full meaning he alone knew. It has remained -an unsolved riddle from his time to our own.</p> - -<p>The <i>Carrying Off of Amymone</i> belongs to this same -period. Here Dürer has again used the motive -taken from Mantegna’s engraving, the <i>Battle of the -Sea Gods</i>; but in this instance he follows his original -much more closely. Dürer alludes to this print in -the diary of his journey to the Netherlands as <i>The -Sea Wonder</i> (<i>Das Meerwunder</i>); and although the -interpretations given to it are many and various, -its true meaning, as in the case of the Hercules, -remains a matter of conjecture.</p> - -<p><span class="pagenum" id="Page_116">[Pg 116]</span></p> - -<p>By 1503, the year to which belongs the <i>Coat-of-Arms -with the Skull</i>, and also, in all probability, the -magnificent <i>Coat-of-Arms with the Cock</i>, Dürer -seems to have overcome successfully all technical -difficulties and is absolute master of his medium. -From this time onwards, although his manner -undergoes certain modifications in the direction of -fuller color and of a more accurate rendering of -texture, his language is adequate for anything he -may wish to say, and he is free to address himself -to the solution of scientific problems, such as are -involved in the elucidation of his canon of human -proportion, or the still deeper questions which -stirred so profoundly the speculative minds of his -time.</p> - -<p>With the exception of <i>Hercules</i>, <i>Adam and Eve</i> is -the only engraving by Dürer of which trial proofs, -properly so-called, exist, whereby we can study -Dürer’s method. First the outlines were lightly -laid in; then the background was carried forward -and substantially completed. In the first trial proof -Adam’s right leg alone is finished; but in the second -trial proof he is completed to the waist. This -method of procedure is significant, in view of the -endless controversies, based upon an incomplete -study of Dürer’s technique, regarding the use of -preliminary etching in many plates of his middle -and later period.</p> - -<p><span class="pagenum" id="Page_117">[Pg 117]</span></p> - -<div class="figcentera" id="f51"> -<img src="images/fig51.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. ADAM AND EVE</p> -<p class="c">Size of the original engraving, 9¾ x 8⅝ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><span class="pagenum" id="Page_118">[Pg 118]</span></p> - -<div class="figcenter" id="f52"> -<img src="images/fig52.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. APOLLO AND DIANA</p> -<p class="c">Size of the original engraving, 4½ × 2¾ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - - -<p><span class="pagenum" id="Page_119">[Pg 119]</span></p> - -<p>In <i>Adam and Eve</i> Dürer has summed up the -knowledge obtained by actual observation and by -a series of drawings and studies extending over a -number of years, and combined with it his theoretical -working out of the proportions of the human -figure, male and female. In no other plate has he -lavished such loving care upon the representation -of the human form. The flesh is, so to speak, -caressed with the burin, as though, once and for all, -the artist wished to prove to his contemporaries -that the graver sufficed for the rendering of the -most beautiful, the most subtle and scientific -problems. That Dürer himself was satisfied with -the result of his labors at this time is made manifest -by the detailed inscription, <span class="allsmcap">ALBERTUS DURER -NORICUS FACIEBAT</span>, on the tablet, followed by his -monogram and the date 1504. This plate proclaimed -him indisputably the greatest master of the -burin of his time; and along the lines which he laid -down for himself it remains unsurpassed until our -own day.</p> - -<p><i>Adam and Eve</i> is followed by a group of prints -which, though interesting in treatment and charming -in subject, such as the <i>Nativity</i>, <i>Apollo and -Diana</i>, and the first four plates of the <i>Small Passion</i>, -reveal nothing new in Dürer’s development as an -artist or a man. In the year 1510, however, is made -his first experiment in dry-point. Of the very small<span class="pagenum" id="Page_120">[Pg 120]</span> -plate of <i>St. Veronica with the Sudarium</i> two impressions -only have come down to us, neither of them -showing much burr. The <i>Man of Sorrows</i>, dated -1512, likewise must have been very delicately -scratched upon the copper, all existing impressions -being pale and delicate in tone. Whether -Dürer’s desire was to produce engravings which -should entail less labor and be more quickly -executed than was possible by the slower and more -laborious method of the burin, or whether, as seems -much more likely, he was influenced by an acquaintanceship -with the dry-point work of the -Master of the Amsterdam Cabinet, cannot be asserted -with any degree of assurance. Dürer’s third -dry-point, the <i>St. Jerome by the Willow Tree</i> (like -the <i>Man of Sorrows</i> dated 1512), is treated in so -much bolder and more painter-like a manner, is -so rich in burr and so satisfying as a composition, -that one can hardly account for such remarkable -development unaided by any outside influence or -stimulation. The British Museum’s impression of -the first state, before the monogram,—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.</p> - -<p><span class="pagenum" id="Page_121">[Pg 121]</span></p> - -<div class="figcentera" id="f53"> -<img src="images/fig53.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. ST. JEROME BY THE WILLOW TREE<br /> -<span class="little">(First State)</span></p> -<p class="c">Size of the original dry-point 8⅛ × 7 inches<br /> -In the British Museum</p> -</div> - - -<p><span class="pagenum" id="Page_122">[Pg 122]</span></p> - -<div class="figcenter" id="f54"> -<img src="images/fig54.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. HOLY FAMILY</p> -<p class="c">Size of the original dry-point, 8¼ × 7¼ inches -</p> -</div> - - - -<p><span class="pagenum" id="Page_123">[Pg 123]</span></p> - -<p>The <i>Holy Family</i>, though without monogram and -undated, belongs so unmistakably, from internal -evidence, to this period, that we may safely assign -it to the year 1512. The background and landscape -to the left are indicated in outline only. Did Dürer -intend to carry the plate further? We can never -know. It is his fourth and, unfortunately, his last -dry-point. There is a beauty in <i>St. Jerome by the -Willow Tree</i> and in this Holy Family which leads -us to read in these two masterpieces certain Italian -influences. There is the largeness of conception of -the Venetian School, and both <i>St. Jerome</i> and -<i>St. Joseph</i> show strong traces of such a master as -Giovanni Bellini.</p> - -<p>With the brief space at our disposal, what shall -we say of the crowning works of those two wonderful -years, 1513-1514—<i>Knight, Death and the Devil</i>, -<i>Melancholia</i>, and <i>St. Jerome in his Study</i>? Are they -three of a proposed series of the four temperaments? -Should they be considered as parts of a group—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 <i>Knight, Death and the Devil</i>, -the weird, unearthly glitter of the <i>Melancholia</i>, -with its uncertain, glinting lights, the soft, tranquil<span class="pagenum" id="Page_124">[Pg 124]</span> -sunshine of the <i>St. Jerome</i>, are all in accordance -with their several subjects. These, whether or not -originally intended to represent ‘classes of men’ or -‘moods,’ certainly call up the latter in the mind of -the beholder—the steady courage of the valiant -fighter for the right, undismayed by darkness and -dangers; the brooding, leading well-nigh to despair, -over the vain efforts of human science to lift the -veil of the eternal secret; and the calm content of the -mind at peace with itself and the world around it.”<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a></p> - -<div class="footnote"> - -<p><a id="Footnote_8" href="#FNanchor_8" class="label">[8]</a> A Chronological Catalogue of the Engravings, Dry-Points and Etchings -of Albert Dürer, as exhibited at the Grolier Club. By Sylvester -R. Koehler. New York; The Grolier Club. 1897. p. 65.</p> - -</div> - -<p>Dürer, unfortunately, sheds no light upon the -inner and deeper meaning of the <i>Knight, Death and -the Devil</i>. He speaks of it simply as “A Horseman.” -The many and various titles invented for it since -his time carry us very little further forward than -where we began. The letter S, which precedes the -date, the dog which trots upon the further side of -the horse, even the blades of grass under the hoof -of the right hind leg of the horse, have all been -matters of speculation and controversy, and we -choose the part of wisdom if, disregarding the -swirling currents of metaphysical interpretation, -we enjoy this masterpiece of engraving for its -æsthetic content primarily, and for its potential -meanings afterwards.</p> - -<p><span class="pagenum" id="Page_125">[Pg 125]</span></p> - -<div class="figcentera" id="f55"> -<img src="images/fig55.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. KNIGHT, DEATH AND THE DEVIL</p> -<p class="c">Size of the original engraving, 9⅝ × 7⅜ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><span class="pagenum" id="Page_126">[Pg 126]</span></p> - -<div class="figcenter" id="f56"> -<img src="images/fig56.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. MELANCHOLIA</p> -<p class="c">Size of the original engraving, 9⅛ × 7¼ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - - -<p><span class="pagenum" id="Page_127">[Pg 127]</span></p> - -<p><i>Melancholia</i> favors an even wider range of speculation -than the <i>Knight, Death and the Devil</i>. This -woman, who wears a laurel wreath and who, seated -in gloomy meditation, supports her cheek in her -left hand, while all the materials for human labor, -for art, and for science lie scattered about her—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?</p> - -<p>The so-called “magic square” lends color to the -latter interpretation. Dürer’s mother died on May -17, 1514. The figures in the diagonally opposite -corners of the square can be read as follows, 16 + -1 and 13 + 4, making 17, the day of the month; -as do the figures in the center read crosswise, 10 -+ 7 and 11 + 6, and also the middle figures at -the sides read across, 5 + 12 and 8 + 9. The two -middle figures in the top line, 3 + 2, give 5, the -month in question, and the two middle figures in -the bottom line give the year, 1514.</p> - -<p>Artistically the plate suffers from the multiplicity -of objects introduced, and the loving care which -Dürer has lavished upon them. He has wished to -tell his story—whatever it may be—with absolute -completeness in every particular, and in so doing<span class="pagenum" id="Page_128">[Pg 128]</span> -he has weakened and confused the effect of his -plate. It were idle to speculate upon what might -have happened had so sensitive a master as Martin -Schongauer possessed adequate technical skill for -the interpretation of such a subject. What a masterpiece -of masterpieces might have resulted if he -had subjected it to that process of simplification -and elimination of which he was so splendid an -exponent! However this may be, <i>Melancholia</i> has -been, and probably will continue to be, one of the -signal triumphs in the history of engraving. We -may never solve the riddles which she propounds; -but is she less fascinating for being only partially -understood?</p> - -<p><i>St. Jerome in his Cell</i>, all things considered, may -be accounted Dürer’s high-water mark. There is a -unity and harmony about this plate which is lacking -in <i>Melancholia</i>. Nothing could be finer than the -lighting; and, judged merely as a “picture,” it is -altogether satisfying from every point of view. -The accessories, even the animals in the foreground, -take their just places in the composition. It is -surprising that, although the plate is “finished” -with minute and loving care, there is not the faintest -evidence of labor apparent anywhere about it; -but this is only one of its many and superlative -merits. The light streaming in through the window -at the left and bathing in its soft effulgence the -<span class="pagenum" id="Page_131">[Pg 131]</span>Saint, intent upon his task, and the entire room in -which he sits, has been for centuries the admiration -of every art lover.</p> - -<div class="figcentera" id="f57"> -<img src="images/fig57.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. ST. JEROME IN HIS CELL</p> -<p class="c">Size of the original engraving, 9½ × 7¼ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f58"> -<img src="images/fig58.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. VIRGIN SEATED BESIDE A WALL</p> -<p class="c">Size of the original engraving, 5¾ × 3⅞ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p>To this year, 1514, also belongs the <i>Virgin -Seated Beside a Wall</i>, a plate in which the variety -of texture has been carried further than in any -other engraving by Dürer. The flesh is simply -treated, in line for the most part; but the undergarment, -the fur-trimmed wrapper, and the scarf -which covers the head of the Virgin, hanging down -the back and thrown over the knee, are all carefully -differentiated. Again, the various planes in -the landscape leading up to the fortified city are -beautifully handled, as is also the wall to the right. -It is hard to say what technical problems remained -for Dürer to solve after such a little masterpiece as -this.</p> - -<p>His growing fame meanwhile had attracted the -attention of the Emperor Maximilian, “the last of -the Knights,” who in February, 1512, visited -Nuremberg. Dürer is commissioned to design the -<i>Triumphal Arch</i>, the <i>Triumphal Car</i>, and similar -monumental records of the Emperor’s prowess; not -to speak of such orders as the decoration of the -Emperor’s Prayer-Book, etc. Such distraction absorbed -the greater part of the artist’s time and -energies, and there was left little opportunity for -the development of his work along the lines he had<span class="pagenum" id="Page_132">[Pg 132]</span> -hitherto followed. It may be that we owe to this -fact, and to the quick mode of producing a print -such a process offers, the six etchings on iron which -bear dates from 1515 to 1518. But, whatever the -reason, we are glad that he etched these plates. -Discarding, for the moment, the elaborate and detailed -method of line work of his engravings on -copper, he adopts a more open system, such as -would “come well” in the biting—closer work than -in his woodcuts, but perfectly adapted to that -which he wished to say.</p> - -<p>There is a tense and passionate quality in <i>Christ -in the Garden</i> which places this etched plate -among the noteworthy works even of Dürer, -while the wind-torn tree to the left of Christ gives -the needed touch of the supernatural to the composition. -The <i>Carrying Off of Proserpine</i>—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 <i>Cannon</i>, -of 1518, with its charming landscape, was doubtless -executed to supply, promptly, a popular demand. -It represents a large field piece bearing the Arms of -Nuremberg, and the five strangely costumed men -to the right, gazing upon the “Nuremberg Field -Serpent,” obviously have some relation to the fear -of the Turk, then strong in Germany.</p> - -<p><span class="pagenum" id="Page_133">[Pg 133]</span></p> - -<div class="figcentera" id="f59"> -<img src="images/fig59.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. CHRIST IN THE GARDEN</p> -<p class="c">Size of the original etching, 8¾ × 6⅛ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><span class="pagenum" id="Page_134">[Pg 134]</span></p> - -<div class="figcenter" id="f60"> -<img src="images/fig60.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. ERASMUS OF ROTTERDAM</p> -<p class="c">Size of the original engraving, 9⅞ × 7⅝ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><span class="pagenum" id="Page_135">[Pg 135]</span></p> - -<p>In 1519 we have the first of Dürer’s engraved -portraits—<i>Albert of Brandenburg, “The Little Cardinal”</i> -to distinguish it from the larger plate of 1523. -Opinions as to Dürer’s importance as a portrait -engraver vary considerably. Some students feel -that in these later works the engraver has become -so engrossed in the delight of his craft that he has -failed to concentrate his attention upon the countenance -and character of the sitter, bestowing excessive -care upon the accessories and the minor -accidents of surface textures—wrinkles and similar -unimportant matters. On the other hand, such an -authority as Koehler maintains that the <i>Albert of -Brandenburg</i>, preeminent for delicacy and noble -simplicity among these portrait engravings by -Dürer, “will always be ranked among the best -portraits engraved anywhere and at any time.”</p> - -<p><i>Frederic the Wise, Elector of Saxony</i>, was one -of the earliest patrons of Dürer, founder of the -University of Wittenberg and a supporter of the -Reformation, although he never openly embraced -the doctrines of Martin Luther. Dürer’s drawing -in silver-point gives a straightforward and characterful -presentation of the man, and, in this instance, -translation into the terms of engraving has nowise -lessened the directness of appeal.</p> - -<p><i>Erasmus of Rotterdam</i> bears the latest date (1526) -which we find upon any engraving by Dürer, and it<span class="pagenum" id="Page_136">[Pg 136]</span> -well may be his last plate. Here the elaboration -and finish bestowed upon the accessories certainly -detract from the portrait interest. Erasmus was -polite enough, when he saw this engraving, to excuse -its unlikeness to himself by remarking that -doubtless he had changed much during the five -years which had intervened between Dürer’s -drawing of 1521 and the completion of the plate. -Technically, however, it is a masterpiece, a worthy -close to the career of undoubtedly the greatest -engraver Germany has produced.</p> - -<p><span class="pagenum" id="Page_137">[Pg 137]</span></p> - - -<p class="c p2">GERMAN ENGRAVING: THE MASTER OF THE AMSTERDAM<br /> -CABINET AND ALBRECHT DÜRER</p> - -<p class="c little">BIBLIOGRAPHY</p> - -<div class="blockquot"> - -<p class="xlarge"><span class="smcap">Master of the Amsterdam Cabinet</span> (flourished c. 1467-c. -1500)</p> - -<p><span class="smcap">Zur Zeitbestimmung der Stiche des Hausbuch-meisters.</span> <i>By Curt -Glaser.</i> Monatshefte für Kunstwissenschaft, Vol. 3, pp. 145-156. Leipzig. -1910.</p> - -<p><span class="smcap">The Master of the Amsterdam Cabinet.</span> <i>By Max Lehrs.</i> 89 reproductions. -London. 1894. (International Chalcographical Society. 1893 and -1894.)</p> - -<p><span class="smcap">Bilder und Zeichnungen Vom Meister des Hausbuchs.</span> <i>By Max Lehrs.</i> -5 illustrations. Jahrbuch der königlichen preussischen Kunstsammlungen, -Vol. 20, pp. 173-182. Berlin. 1899.</p> - -<p><span class="smcap">The Master of the Amsterdam Cabinet and Two New Works by His -Hand.</span> <i>By Willy F. Storck.</i> 6 illustrations. The Burlington Magazine. -Vol. 18, pp. 184-192. London. 1910.</p> - - -<p class="xlarge"><span class="smcap">Dürer, Albrecht</span> (1471-1528)</p> - -<p><span class="smcap">Le Peintre-Graveur.</span> <i>By Adam Bartsch.</i> Volume 7, pp. 5-197. Albert -Durer, Vienna. 1803-1821.</p> - -<p><span class="smcap">Literary Remains of Albrecht Dürer.</span> <i>By William Martin Conway.</i> 14 -illustrations. Cambridge: University Press. 1889.</p> - -<p><span class="smcap">The Engravings of Albrecht Dürer.</span> <i>By Lionel Cust.</i> 4 reproductions -and 25 text illustrations. London: Seeley & Co. 1906. (The Portfolio Artistic -Monographs. No. 11.)</p> - -<p><span class="smcap">Albrecht Dürer; His Engravings and Woodcuts.</span> <i>Edited by Arthur -Mayger Hind.</i> 65 reproductions. London and New York: Frederick A. -Stokes Company, n. d. (Great Engravers.)</p> - -<p><span class="smcap">Dürer.</span> <i>By H. Knackfuss. Translated by Campbell Dodgson.</i> 134 illustrations. -Bielefeld and Leipzig: Velhagen & Klasing. 1900. (Monographs on -Artists.)</p> - -<p><span class="smcap">Exhibition of Albert Dürer’s Engravings, Etchings and Dry-Points, -and of Most of the Woodcuts Executed from his Designs.</span> (Museum -of Fine Arts, Boston. November 15, 1888-January 15, 1889.) <i>By Sylvester R. -Koehler.</i> Boston: Museum of Fine Arts. 1888.</p> - -<p><span class="smcap">Chronological Catalogue of the Engravings, Dry-Points and Etchings -Of Albert Dürer, as Exhibited at the Grolier Club.</span> <i>By Sylvester -R. Koehler.</i> 9 reproductions on 7 plates. New York: The Grolier Club. 1897.</p> - -<p><span class="smcap">Dürer; des Meisters Gemälde, Kupferstiche und Holzschnitte.</span> <i>Edited -by Valentin Scherer.</i> 473 reproductions. Stuttgart and Leipzig: Deutsche -Verlags-Anstalt. (Klassiker der Kunst. Vol. 4.)</p> - -<p><span class="pagenum" id="Page_138">[Pg 138]</span></p> - -<p><span class="smcap">Albert Dürer; His Life and Works.</span> <i>By William B. Scott.</i> Illustrated. -London: Longmans, Green & Co. 1869.</p> - -<p><span class="smcap">Albrecht Dürer; Kupferstiche in getreuen Nachbildungen.</span> <i>Edited -by Jaro Springer.</i> 70 plates. Munich: Holbein-Verlag. 1914.</p> - -<p><span class="smcap">Albert Dürer; His Life and Works.</span> <i>By Moritz Thausing. Translated -from the German. Edited by Frederick A. Eaton.</i> 2 volumes. 58 illustrations. -London: John Murray. 1882.</p> - -<p><span class="smcap">Dürer Society. [Portfolios] With Introductory Notes by Campbell -Dodgson and Others.</span> Series 1-10 (1898-1908). 311 reproductions. Index -of Series 1-10. London. 1898-1908.</p> - -<p>———. Publication No. 12. 24 reproductions. London. 1911.</p> -</div> -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_139">[Pg 139]</span></p> - -<h2 class="nobreak" id="l4">ITALIAN ENGRAVING: MANTEGNA TO<br /> -MARCANTONIO RAIMONDI</h2> -</div> - - -<p class="drop-cap">ANDREA MANTEGNA is, both by his art and his -influence, the most significant figure in early -Italian engraving. His method or viewpoint is a -determining feature in much of the best work -which was produced during the last quarter of the -fifteenth century, until the influence of Raphael, -transmitted through Marcantonio, with a technical -mode based upon the manner of Albrecht Dürer, -completely changed the current of Italian engraving, -seducing it from what might have developed -into an original creative art, and condemned it to -perpetual servitude as the handmaid of painting.</p> - -<p>Andrea Mantegna, born in 1431, at Vicenza, and -consequently Pollaiuolo’s senior by one year, was -adopted, at the age of ten, by Squarcione, in Padua. -Squarcione appears to have been less a painter -than a contractor, undertaking commissions to be -executed by artists in his employ. He was likewise -a dealer in antiquities, and in his shop the young -Mantegna must have met many of the leading -humanists who had made Padua famous as a seat -of classical learning. From them he drew in and<span class="pagenum" id="Page_140">[Pg 140]</span> -absorbed that passion for imperial Rome which -was to color his life and his art. His dream was of -forms more beautiful than those of everyday life, -built of some substance finer and less perishable -than the flesh of frail humanity; and as years went -by his work takes on, in increasing measure, a -grander and more majestic aspect. Fortunate for -us is it that in his mature period, when his style -was fully formed, he himself was impelled, by influences -of which later we shall speak, to take up -the graving tool and with it produce the seven imperishable -masterpieces which, beyond peradventure, -we may claim as his authentic work.</p> - -<p>The <i>Virgin and Child</i>, the earliest of his engravings, -can hardly have been executed before -1475, and maybe not until after 1480, when Mantegna -had reached his fiftieth year. Mr. Hind -points out that there is a simplicity and directness -about it which recalls quite early work, similarly -conceived, such as the <i>Adoration of the Kings</i> of -1454; but the reasons which he advances are of -equal weight in assigning it to a later date, and I -am convinced that the intensity of mother-love expressed -in the poise and face of the Virgin betokens -a deeper feeling, a broader humanity, than one -normally would expect in a youth of twenty-three, -even though he be illumined with that flame of -genius which burned so brightly in Mantegna.</p> - -<p><span class="pagenum" id="Page_141">[Pg 141]</span></p> - -<div class="figcentera" id="f61"> -<img src="images/fig61.jpg" alt="" /> -<p class="caption">ANDREA MANTEGNA. VIRGIN AND CHILD</p> -<p class="c">Size of the original engraving, 9¾ × 8⅛ inches<br /> -In the British Museum</p> -</div> - - -<p><span class="pagenum" id="Page_142">[Pg 142]</span></p> - -<div class="figcenter"> -<a id="f62" href="images/fig62big.jpg"> -<img src="images/fig62.jpg" alt="" /> -</a> -<p class="caption">ANDREA MANTEGNA. BATTLE OF THE SEA-GODS</p> -<p class="c">Size of the original engraving, 11⅝ × 17 inches.<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p><span class="pagenum" id="Page_143">[Pg 143]</span></p> - -<p>Technically, the plate plainly shows the hand of -an engraver not yet master of his medium. It is -marked with all the characteristics which we associate -with Mantegna’s work: the strong outline, -ploughed with repeated strokes of a rather blunt -instrument into a plate of unbeaten copper or some -yet softer metal; the diagonal shade lines widely -spaced; and the light strokes blending all into a -harmonious whole. In an impression of the first -state, in the British Museum, there is a tone, similar -to sulphur-tint, over portions of the plate, -noticeably in the faces of the mother and child. -How it was produced is still a matter of conjecture, -but that it adds much to the beauty of the print is -beyond question.</p> - -<p>The <i>Bacchanalian Group with Silenus</i> and the -<i>Bacchanalian Group with a Wine-Press</i> (which, -like the <i>Battle of the Sea-Gods</i>, may be joined together -so as to form one long, horizontal composition) -show greater skill on the part of the engraver. -Mantegna’s increasing passion for the antique is -reflected in the standing figure to the left, who with -his left hand reaches up towards the wreath with -which he is about to be crowned, while resting his -right hand upon a horn of plenty. This figure is -obviously inspired by the Apollo Belvedere, while -the standing faun, at the extreme right, filled with -the sheer delight of mere animal existence, is a<span class="pagenum" id="Page_144">[Pg 144]</span> -delightful creation in Mantegna’s happiest mood.</p> - -<p>The two plates of the <i>Battle of the Sea-Gods</i> may -be assigned, on technical grounds, to about the same -period as the two Bacchanals. The drawing which -Durer made of the right-hand portion, as also of the -<i>Bacchanalian Group with Silenus</i>, both dated 1494, -conclusively prove that these engravings antedate -the completion of the <i>Triumph of Cæsar</i>. Though -Mantegna borrowed his material from the antique, -he has so shaped it to his ends, so stamped upon it -the impress of his own personality, as to make of it -not an echo of classic art, but an original creation -of compelling force and charm. “These are not the -mighty gods of Olympus but the inferior deities of -Nature, of the Earth and the Sea, who acknowledge -none of the higher obligations and who display -unchecked their wanton elemental nature, -giving a loose rein to all the exuberance of their -joy in living.... These creatures of the sea -frolic about in the water, turbulent and wanton as -the waves.... The combat with those harmless-looking -weapons is probably not meant to be -in earnest; a vent for their superfluous energy is -all they seek.”<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">[9]</a></p> - -<div class="footnote"> - -<p><a id="Footnote_9" href="#FNanchor_9" class="label">[9]</a> Andrea Mantegna. By Paul Kristeller. London; Longman’s Green -& Co. 1901. p. 395.</p> - -</div> - -<p>To a somewhat later period belongs the <i>Entombment</i>. -There is nothing of the meek spirit of the<span class="pagenum" id="Page_145">[Pg 145]</span> -Redeemer in this passionate plate. The hard, lapidary -landscape is in accord with the figures, which -might, not unfittingly, find a place upon some triumphal -arch. Three crosses crown the distant hill. -At the right stands St. John, a magnificent figure, -giving utterance to his unspeakable grief, while the -Virgin, sinking in a swoon, is supported by one of -the holy women.</p> - -<p>Here is none of that tenderness which we associate -with the divine tragedy, none of that grace -and beauty which inheres in the work of many of -the Italian painters of the Renaissance. All is stark -and harsh. It is not food for babes, but it is superb.</p> - -<p><i>The Risen Christ Between Saints Andrew and -Longinus</i> is Mantegna’s last engraving. Christ -towers above the two subsidiary figures, with a -form and bearing which would better befit a Roman -Emperor returning in triumph. In this plate, above -all others, Mantegna’s technique shines forth as -not only adequate, but as beyond question the -best—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<span class="pagenum" id="Page_146">[Pg 146]</span> -borne out by the statuesque impressiveness -of the group and by the fact that Christ gazes -downwards, as though from a height.</p> - -<p>Although 1480 is the earliest date to which we -can assign the first of Mantegna’s original engravings, -there were in existence, at least five years -before that time, engravings by other hands after -designs by the master, and it may have been either -to protect himself from unauthorized and fraudulent -copyists, or as an artistic protest against the -incapacity of his translators, that Mantegna was -compelled to take up the graver. There has come -down to us a letter, dated September 15, 1475, addressed -by Simone di Ardizone, of Reggio, to the -Marquis Lodovico, of Mantua, complaining to the -prince of Mantegna’s behavior towards him. His -story was that “Mantegna, upon his arrival in -Mantua, made him splendid offers, and treated -him with great friendliness. Actuated by feelings -of compassion, however, towards his old friend, -Zoan Andrea, a painter in Mantua, from whom -prints (<i>stampe</i>), drawings, and medals had been -stolen, and wishing to help in the restoration of the -plates, he had worked with his friend for four -months. As soon as this came to Mantegna’s knowledge -he proceeded to threats, and one evening -Ardizone and Zoan Andrea had been assaulted by ten -or more armed men and left for dead in the square.”</p> - -<p><span class="pagenum" id="Page_147">[Pg 147]</span></p> - -<div class="figcentera" id="f63"> -<img src="images/fig63.jpg" alt="" /> -<p class="caption">ANDREA MANTEGNA. THE RISEN CHRIST BETWEEN<br /> -SAINTS ANDREW AND LONGINUS</p> -<p class="c">Size of the original engraving, 15½ × 12¾ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><span class="pagenum" id="Page_148">[Pg 148]</span></p> - -<div class="figcenter" id="f64"> -<img src="images/fig64.jpg" alt="" /> -<p class="caption">SCHOOL OF ANDREA MANTEGNA. ADORATION OF THE MAGI</p> -<p class="c">Size of the original engraving, 15⅛ × 10¾ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><span class="pagenum" id="Page_149">[Pg 149]</span></p> - -<p>The letter is “proof that, in Mantua, in the year -1475, two professional engravers, one of whom -clearly designates himself as such, were at work.... -It is clear that Mantegna had a very special -interest in the engravings and drawings which -had been stolen from Zoan Andrea, and which -Ardizone, ‘out of compassion,’ helped to restore, -since he sought by force to impede the engraver’s -work. His anger can also be explained by the supposition -that Zoan Andrea’s engravings were facsimiles -of his own drawings which the former had -succeeded in obtaining possession of and had used -as designs for his engravings; and that being unable -to win Ardizone’s assistance in his work -Mantegna thought himself obliged to protest, by -violent means, against this infringement of his -artistic rights.”<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">[10]</a></p> - -<div class="footnote"> - -<p><a id="Footnote_10" href="#FNanchor_10" class="label">[10]</a> Andrea Mantegna By Paul Kristeller. London. 1901. pp. 381-384.</p> - -</div> - -<p>It is probable that to this drastic and effectual -method of protecting against piracy his own artistic -property we owe the two renderings, both incomplete, -of the <i>Triumph of Cæsar</i>. One may well be -the series upon which Zoan Andrea and Ardizone -were working when Mantegna brought their labors -to an untimely close; whereas the second series, -although authorized by Mantegna himself, may -have seemed to him, not without just cause, so to<span class="pagenum" id="Page_150">[Pg 150]</span> -misinterpret his original drawings as to impel him -to abandon the project and, in future, engrave his -own designs. The <i>Triumph</i> series naturally remained -incomplete, since, like every great artist, -Mantegna would hardly feel disposed to repeat, in -another medium, a subject which he had already -treated. Of the <i>Triumph</i> plates, the <i>Elephants</i> approximates -most closely Mantegna’s undoubted -work; but the drawing lacks distinction, and there -is a feeling of “tightness” throughout the whole -plate, which makes it impossible to attribute the -engraving to Mantegna’s own hand. The plate -which immediately follows—<i>Soldiers Carrying Trophies</i>—was -left unfinished. The subject is repeated -in the reverse sense and with the addition of a pilaster -to the right. This pilaster is probably Mantegna’s -original design for the upright members -dividing the nine portions of the painted <i>Triumphs</i>, -since the procession is supposed to pass upon the -further side of a row of columns, the figures and -animals being so arranged as to extend over one -picture to the next, with a sufficient space between -them for the introduction of the pilaster.</p> - -<div class="figcentera"> -<a id="f65" href="images/fig65big.jpg"> -<img src="images/fig65.jpg" alt="" /> -</a> -<p class="caption">ZOAN ANDREA (?). FOUR WOMEN DANCING</p> -<p class="c">Size of the original engraving, 8⅞ × 13 inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter" id="f66"> -<img src="images/fig66.jpg" alt="" /> -<p class="caption">GIOVANNI ANTONIO DA BRESCIA. HOLY FAMILY WITH<br /> -SAINTS ELIZABETH AND JOHN</p> -<p class="c">Size of original engraving, 11⅞ × 10⅛ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p>The <i>Adoration of the Magi</i>, which for some reason -likewise remained unfinished, is taken directly from -the central portion of the triptych in the Uffizi. -The engraving, aside from its intrinsic beauty, is -of especial interest as affording an example of the<span class="pagenum" id="Page_153">[Pg 153]</span> -method adopted by Mantegna and his School. The -structural lines are deeply incised, in many cases by -repeated strokes of the graver. The diagonal shading -is then added and the plate carried forward and -completed, bit by bit. This engraving, at one time -accounted an original work by the master himself, -has received of recent years more than its merited -share of harsh criticism. It obviously falls far -short, in beauty, of Mantegna’s painting; but, for -all that, it preserves many of the essential qualities -of its immediate original, and one cannot but admire -the manner in which an engraver, certainly -not of the first rank, has captured the spirit of -humility and adoration, eloquent in every line of -the king at the left, humbly bending to receive the -benediction of the Christ Child.</p> - -<p>By an engraver of the Mantegna School, perhaps -<span class="smcap">Zoan Andrea</span>, working in Mantegna’s manner and -after his design for the <i>Parnassus</i> in the Louvre, is -<i>Four Women Dancing</i>—one of the most charming -and graceful prints of the period. It differs in many -particulars from the painting (assigned to the year -1497) and almost certainly translates Mantegna’s -drawing, rather than the painting itself.</p> - -<p>To <span class="smcap">Giovanni Antonio da Brescia</span>, of whose life, -apart from what we may learn from a study of his -work, we know substantially nothing, may be attributed -the <i>Holy Family with Saints Elizabeth and</i><span class="pagenum" id="Page_154">[Pg 154]</span> -<i>John</i>, based upon a design by Mantegna, of about -1500, and probably engraved at a date prior to -Mantegna’s death, September 13, 1506. At a later -period, Giovanni came under the influence of -Marcantonio Raimondi, whose style he imperfectly -assimilated.</p> - -<p>In the British Museum there is a unique impression -of a <i>Profile Bust of a Young Woman</i>, which -has been ascribed, with some show of reason, to -<span class="smcap">Leonardo da Vinci</span>. Its intrinsic beauty might -lend some color to this attribution, were it not that, -even in its re-worked condition, the texture and flow -of the young woman’s abundant tresses, the treatment -of the flowing ribbons, and the delicate shading -in the face and upon the garment, betray the -hand of the trained engraver.</p> - -<p><span class="smcap">Nicoletto Rosex da Modena</span> was working from -about 1490 to 1515. He engraved almost a hundred -plates, the majority of them being presumably -from his own designs, though in the <i>Adoration of -the Shepherds</i> the influence of Schongauer is markedly -apparent, and in <i>Fortune</i> and <i>St. Sebastian</i> the -inspiration of Mantegna is clearly to be seen.</p> - -<div class="figcentera" id="f67"> -<img src="images/fig67.jpg" alt="" /> -<p class="caption">SCHOOL OF LEONARDO DA VINCI. PROFILE BUST OF A<br /> -YOUNG WOMAN</p> -<p class="c">Size of the original engraving, 4⅛ × 3 inches<br /> -In the British Museum</p> -</div> - -<div class="figcenter" id="f68"> -<img src="images/fig68.jpg" alt="" /> -<p class="caption">NICOLETTO ROSEX DA MODENA. ORPHEUS</p> -<p class="c">Size of the original engraving, 9⅞ × 6¾ inches<br /> -In the British Museum</p> -</div> - - -<p>The group of trees in the <i>Fate of the Evil Tongue</i> -is borrowed from Dürer’s print of <i>Hercules</i>, while -the <i>Turkish Family</i> and the <i>Four Naked Women</i>—the -last-named being dated 1500—are copies of -Dürer’s engravings. Vedriani, writing of Nicoletto -<span class="pagenum" id="Page_157">[Pg 157]</span>as a painter, speaks of him as “chiefly distinguished -in perspective,” and among the most charming of -his plates in which this quality is seen is <i>Orpheus</i>. -The bare tree is suggestive of Martin Schongauer, -while the birds and beasts, including a dog, a peacock, -a weasel, a monkey playing with a tortoise, -a squirrel, a snake, a piping bird, two rabbits, a -fox, and a stag, not to speak of the ducks and -swans in the water, though not copied from northern -originals, have all the charm and life-like quality -which we find in the work of German engravers -such as The Master of St. John the Baptist and -The Master E. S. of 1466.</p> - -<p>Concerning <span class="smcap">Jacopo de’ Barbari</span> there is a wealth -of biographical material, in contrast with the meagerness -of our knowledge concerning the earlier -Italian engravers. Born at Venice, between 1440 -and 1450, he is known to have worked between -1500 and 1508 for the Emperor and various other -princes in different towns of Germany. He was at -Nuremberg in 1505, and in 1510 he was in the -service of the Archduchess Margaret, Regent of the -Netherlands, while, in the inventory of the Regent’s -pictures of 1515-1516, he is referred to as dead.</p> - -<p>Not one of the thirty engravings by Jacopo is -signed with his name, initials, or any form of monogram, -nor does any of them bear a date. His emblem -is the caduceus, which appears on the greater<span class="pagenum" id="Page_158">[Pg 158]</span> -number of his prints; and those upon which it is -lacking can readily be identified by his individual -style. This style undergoes certain modifications -with the passing years. In the early period, the -shading, for the most part, is in parallel lines, which -follow the contour of the figure, the figure itself -being long and sinuous. In his middle and later -period he indulged more freely in cross-hatching, -and the faces are modelled with greater delicacy.</p> - -<p>Stress has been laid upon the influence exerted -by Jacopo upon Dürer’s engraving; but with the -exception of the <i>Apollo and Diana</i> this influence is -theoretical rather than artistic. Dürer, in one of -the manuscript sketches, dated 1523, for his book -<i>The Theory of Human Proportions</i>, writes: “Howbeit, -I can find none such who hath written aught -about how to form a canon of human proportion, -save one man—Jacopo by name, born at Venice, -and a charming painter. He showed me the figures -of a man and a woman, which he had drawn according -to a canon of proportions, so that, at that -time, I would rather have seen what he meant than -be shown a new kingdom.... Then, however, -I was still young and had not heard of such -things before. Howbeit, I was very fond of art, so -I set myself to discover how such a canon might be -wrought out.” Dürer undoubtedly refers to the -period of his first visit to Venice, and it is, accordingly, -<span class="pagenum" id="Page_161">[Pg 161]</span>in Dürer’s earliest plates that we see most -clearly the influence of the older master on his -technical method. Dürer soon outstripped Jacopo -in everything that pertains to the technical side of -engraving and worked out for himself a method -which, for his purpose, was substantially perfect.</p> - -<div class="figcentera" id="f69"> -<img src="images/fig69.jpg" alt="" /> -<p class="caption">JACOPO DE’ BARBARI. APOLLO AND DIANA</p> -<p class="c">Size of the original engraving, 5¾ × 3⅞ inches.<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f70"> -<img src="images/fig70.jpg" alt="" /> -<p class="caption">JACOPO DE’ BARBARI. ST. CATHERINE</p> -<p class="c">Size of the original engraving, 7⅛ × 4⅝ inches<br /> -In the British Museum</p> -</div> - - -<p>In such plates as <i>Judith</i> and <i>St. Catherine</i>, Jacopo’s -love for long, flowing lines finds its fullest -expression. There is a grace about these single -figures which is not without appealing charm, -though obviously they leave something to be desired -on the score of solidity and structure.</p> - -<p><span class="smcap">Girolamo Mocetto</span>, born in Murano before -1458, was living at Venice in 1514, where he died -after 1531. According to Vasari, Mocetto was, at -some time, an assistant to Giovanni Bellini, whose -influence may be traced in his work. His engravings -are unpleasing in style and often clumsy in draughtsmanship. -He owes such merit as he may possess -to the originals which he interpreted. There is a -compelling power in <i>Judith</i>, after Mantegna’s design, -which atones for even so shapeless a member -as Judith’s right hand. The grandeur of the plate -is, however, derived from Mantegna. Mocetto has -done little more than traduce it; but, even so, the -engraving is noteworthy, inasmuch as it preserves -for us a noble composition, of which otherwise we -might remain in ignorance. The <i>Baptism of Christ</i><span class="pagenum" id="Page_162">[Pg 162]</span> -is adapted, with some modifications, from Giovanni -Bellini’s painting executed between 1500 and 1510. -In the engraving, the landscape, which differs radically -from that in Bellini’s painting, may possibly -be original with Mocetto, though it recalls the work -of Cima, whose <i>Baptism</i>, in S. Giovanni in Bragora, -Venice, was painted in 1494.</p> - -<p><span class="smcap">Benedetto Montagna</span> was, like Mocetto, -painter as well as engraver. His earliest engravings -are executed in a large, open manner, which can be -seen to advantage in the <i>Sacrifice of Abraham</i>. The -outline is strongly defined and the shading chiefly -in parallel lines. Where cross-hatching is used, it is -laid generally at right angles. Later, Montagna -modifies his style and adopts the finer system of -cross-hatching perfected by Dürer, whose influence, -especially in the backgrounds, is clearly to be -traced, and whose <i>Nativity</i>, of the year 1504, Montagna -copied in reverse. <i>St. Jerome Beneath an -Arch of Rock</i> belongs to this later period, and the -plate is probably based upon a painting by Bartolommeo -Montagna, the engraver’s father.</p> - -<p><span class="smcap">Giulio Campagnola</span>, born at Padua about 1482, -is known to have been working in Venice in 1507 -and is assumed to have died shortly after 1514. -According to contemporary accounts, he was a -youth of marvellously precocious and varied gifts -and promise. To his musical and literary accomplishments, -<span class="pagenum" id="Page_165">[Pg 165]</span>he added those of painter, miniaturist, -engraver, and sculptor.</p> - -<div class="figcentera"> -<a id="f71" href="images/fig71big.jpg"> -<img src="images/fig71.jpg" alt="" /> -</a> -<p class="caption">GIULIO CAMPAGNOLA. CHRIST AND THE WOMAN OF SAMARIA</p> -<p class="c">Size of the original engraving, 5⅛ × 7¼ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter" id="f72"> -<img src="images/fig72.jpg" alt="" /> -<p class="caption">GIULIO CAMPAGNOLA. GANYMEDE (First State)</p> -<p class="c">Size of the original engraving, 6⅜ × 4⅞ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p>His engravings betray markedly the influence of -Giorgione, and his manner of engraving may have -been an attempt to imitate the rich softness of that -master’s painting. He worked out and perfected a -technical system all his own. In his earliest -manner he works in pure line, as in his copies of -Dürer’s engravings and in such plates as the <i>Old -Shepherd</i> and <i>St. Jerome</i>.</p> - -<p>In the <i>Young Shepherd</i>, the <i>Astrologer</i>, and -<i>Christ and the Woman of Samaria</i>, the composition -is first engraved in simple, open lines, with little -cross-hatching. The plate is then carried forward -and completed by a system of delicate flicks, so -disposed as to produce a harmonious result, obliterating -substantially all trace of the preliminary -line work. In the third group, to which two prints -belong—<i>Naked Woman Reclining</i> and <i>The Stag</i>—no -lines at all are used, and the plate is carried out, -from first to last, in flick work.</p> - -<p>Only one of Campagnola’s plates is dated—the -<i>Astrologer</i>, of 1509. In this he shows himself ripe, -both as artist and as craftsman. To an earlier -period would seem to belong the <i>Ganymede</i>, in -which the landscape is a faithful copy of Dürer’s -engraving of the <i>Virgin and Child with a Monkey</i>. -The place which, in the original engraving, was<span class="pagenum" id="Page_166">[Pg 166]</span> -occupied by the Virgin, is now filled by a clump of -trees.</p> - -<p><i>St. John the Baptist</i> is, all things considered, -Campagnola’s masterpiece. The figure is unquestionably -based upon a drawing by Mantegna, and -has all the largeness and grandeur of style which -characterizes the work of that master. The landscape -background may be original with the engraver -but it clearly shows the influence of Giorgione. -In this superb plate Campagnola’s method -of combining line work with delicate flick work can -be studied at its best. The <i>Young Shepherd</i>, known -in two states—the first in pure line, the second -completed with flick work—is as charming and -graceful as <i>St. John the Baptist</i> is monumental. It -justly deserves the reputation and popularity which -it enjoys among print lovers.</p> - -<p><i>Christ and the Woman of Samaria</i> is treated in a -more open manner than either of the two preceding -engravings. The beautiful landscape, as also the hill -to the left, is entirely in line, while the flick work -upon the figures and garments and, even more noticeably, -in the foreground to the right, is of a more -open character than that which appears in the -<i>Young Shepherd</i>. It may belong to the latter part -of Campagnola’s career as an engraver. There is an -amplitude in the design of the seated woman which -suggests Giorgione and Palma, though one cannot -<span class="pagenum" id="Page_169">[Pg 169]</span>definitely name any painting by either of these -masters from which Campagnola has borrowed his -figure.</p> - -<div class="figcentera" id="f73"> -<img src="images/fig73.jpg" alt="" /> -<p class="caption">GIULIO CAMPAGNOLA. ST. JOHN THE BAPTIST</p> -<p class="c">Size of the original engraving, 13⅝ × 9½ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter"> -<a id="f74" href="images/fig74big.jpg"> -<img src="images/fig74.jpg" alt="" /> -</a> -<p class="caption">GIULIO AND DOMENICO CAMPAGNOLA. SHEPHERDS IN A LANDSCAPE</p> -<p class="c">Size of the original engraving, 5¼ × 10⅛ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p>The last of Campagnola’s plates, left unfinished -at his death and completed by <span class="smcap">Domenico Campagnola</span>, -is <i>Shepherds in a Landscape</i> or, as it is sometimes -called, the <i>Musical Shepherds</i>. The original -drawing, in reverse, for the right-hand half of this -print is in the Louvre. It is unquestionably by -Giulio Campagnola; but, equally without question, -the left-hand portion of the engraving itself is by -Domenico. Whether Domenico was a close relative -or merely a pupil of Giulio’s has not been determined; -but the <i>Shepherds in a Landscape</i> conclusively -proves that he was at least the artistic heir -of the older master. Domenico’s style is in marked -contrast to that of Giulio. Flick work is almost -absent from his engravings, which are executed in -rather open lines, more in the mode of an etcher -than of an engraver working according to established -tradition. The skies, in particular, have a -romantic quality which is all their own, and which -can be seen to advantage in the <i>Shepherd and the -Old Warrior</i>, dated 1517.</p> - -<p><span class="smcap">Marcantonio Raimondi</span>, born in Bologna about -1480, for over three centuries enjoyed a reputation -eclipsing that of any other Italian master. Of recent -years, however, upon insufficient grounds, he<span class="pagenum" id="Page_170">[Pg 170]</span> -has been somewhat pushed aside and belittled as a -“reproductive engraver,” his critics wilfully forgetting -the fact that, with the exception of Pollaiuolo -and Mantegna, the Italian School is, in the -main, derivative, and cannot boast of any original -engravers of world-wide fame, such as Schongauer -or Dürer. But Marcantonio was far from being a -mere translator of alien works. “He is like some -great composer who borrows another’s theme only -to make it his own by the originality of his setting.”<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">[11]</a></p> - -<div class="footnote"> - -<p><a id="Footnote_11" href="#FNanchor_11" class="label">[11]</a> Marcantonio Raimondi. By Arthur M. Hind. The Print-Collector’s -Quarterly, Vol. 3, No. 3. p. 276.</p> - -</div> - -<p>The earliest influence which we may trace in -Marcantonio’s work is that of the famous goldsmith -and painter, Francesco Francia, with whom Marcantonio -served his apprenticeship. Certain nielli, -among them <i>Pyramus and Thisbe</i> and <i>Arion on the -Dolphin</i>, have been assigned to the young Marcantonio -and attributed to this period of his life.</p> - -<p><i>St. George and the Dragon</i> is strongly reminiscent -of the niello technique, with its dark shadows, -against which the figures stand out in relief. The -landscape is clearly borrowed or adapted from engravings -in Dürer’s earlier period, the trees at the -left, in particular, recalling the <i>Hercules</i>.</p> - -<div class="figcentera"> -<a id="f75" href="images/fig75big.jpg"> -<img src="images/fig75.jpg" alt="" /> -</a> -<p class="caption">MARCANTONIO RAIMONDI. ST. GEORGE AND THE DRAGON</p> -<p class="c">Size of the original engraving, 11⅞ × 8¾ inches<br /> -In the British Museum<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcentera" id="f76"> -<img src="images/fig76.jpg" alt="" /> -<p class="caption">MARCANTONIO RAIMONDI. BATHERS</p> -<p class="c">Size of the original engraving, 11¼ × 9 inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcentera" id="f77"> -<img src="images/fig77.jpg" alt="" /> -<p class="caption">MARCANTONIO RAIMONDI. ST. CECILIA</p> -<p class="c">Size of the original engraving, 10¼ × 6⅛ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f78"> -<img src="images/fig78.jpg" alt="" /> -<p class="caption">MARCANTONIO RAIMONDI. DEATH OF LUCRETIA</p> -<p class="c">Size of the original engraving, 8½ × 5¼ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p>To this early period likewise belongs <i>Pyramus -and Thisbe</i>, which bears the earliest date—1505—which -we find upon any of his engravings. It may -<span class="pagenum" id="Page_175">[Pg 175]</span>well have been executed during his residence in -Venice, between 1505 and 1509.</p> - -<p>The <i>Bathers</i>, of 1510, is an artistic record of -Marcantonio’s visit to Florence, on his way to -Rome. The figures are taken from Michelangelo’s -cartoon of the <i>Battle of Pisa</i>; but the landscape, -including the thatched barn to the right, is a faithful -copy, in reverse, of Lucas van Leyden’s plate of -<i>Mahomet and the Monk Sergius</i>; for Marcantonio, -like all great artists, freely borrowed his material -wherever he found it, shaping it to his own ends.</p> - -<p>According to Vasari, it was the <i>Death of Lucretia</i>, -engraved shortly after Marcantonio’s arrival in -Rome, about 1510, after a drawing by Raphael, -which attracted the attention of that master and -showed him how much he might benefit by the -reproduction of his work. One would be inclined -to think that the <i>Death of Dido</i> rather than the -<i>Death of Lucretia</i> might have been the means of -bringing about this artistic collaboration; for, if -Vasari is correct, the immediate result of Raphael’s -personal influence upon Marcantonio was harmful -rather than helpful, the <i>Lucretia</i> by general consent -being the finer plate of the two.</p> - -<p>It is significant that none of Marcantonio’s -engravings interprets any existing painting by -Raphael. We may infer that the engraver worked -entirely after drawings supplied to him by Raphael—either -drawings made for the purpose of being<span class="pagenum" id="Page_176">[Pg 176]</span> -interpreted in terms of engraving, or the original -studies for paintings, which, in their elaboration, -were subjected to many modifications and changes.</p> - -<p>Among his most interesting engravings are -<i>Saint Cecilia</i>, which may be compared, or rather -contrasted, with the famous painting in Bologna; -the <i>Virgin and Child in the Clouds</i>, which later appears -as the <i>Madonna di Foligno</i>; and <i>Poetry</i>, based -on a study by Raphael for the fresco in the Camera -della Segnatura, in the Vatican.</p> - -<p>The <i>Massacre of the Innocents</i>, usually accounted -the engraver’s masterpiece, is one of several subjects -of which two plates exist. Authorities disagree -as to which is the “original,” but some familiarity -with both versions leads one to think that Marcantonio -may well have been his own interpreter. At -least one cannot name certainly any other engraver -capable of producing either of the two -versions of the <i>Massacre of the Innocents</i>, in point -of drawing or of technique.</p> - -<p>Among Marcantonio’s portrait plates one of the -most attractive is that of <i>Philotheo Achillini</i> (“The -Guitar Player”), which is in his early manner and -probably dates from his Bolognese period. It may -be based upon a drawing by Francia, but the trees -and distant landscape all show markedly the influence -of Dürer.</p> - -<p><span class="pagenum" id="Page_177">[Pg 177]</span></p> - -<div class="figcentera" id="f79"> -<img src="images/fig79.jpg" alt="" /> -<p class="caption">MARCANTONIO RAIMONDI. PHILOTHEO ACHILLINI<br /> -<span class="little">(“The Guitar Player”)</span></p> -<p class="c">Size of the original engraving, 7¼ × 5¼ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><span class="pagenum" id="Page_178">[Pg 178]</span></p> - -<div class="figcenter" id="f80"> -<img src="images/fig80.jpg" alt="" /> -<p class="caption">MARCANTONIO RAIMONDI. PIETRO ARETINO</p> -<p class="c">Size of the original engraving, 7⅜ × 5⅞ inches<br /> -In the British Museum</p> -</div> - - -<p><span class="pagenum" id="Page_179">[Pg 179]</span></p> - -<p>To a much later period, and engraved in Marcantonio’s -most mature manner, belongs the portrait -of <i>Pietro Aretino</i>. Vasari refers to this plate as -“engraved from life,” but its richness and color -would seem to point to an original by Titian or -Sebastiano del Piombo.</p> - -<p>After the death of Raphael, in 1520, Marcantonio’s -engraving undergoes a change—a change for -the worse, as might be expected, since a number of -his plates are interpretations of designs by Giulio -Romano. There is less care in the drawing, less -delicacy in the management of the burin, and, -although we may pity him for the loss of all that -he possessed at the sack of Rome, in 1527, we cannot -greatly regret that, as an engraver, Marcantonio’s -active life terminates with that date.</p> - -<p><span class="pagenum" id="Page_180">[Pg 180]</span></p> - - -<p class="c p2">ITALIAN ENGRAVING: MANTEGNA TO<br /> -MARCANTONIO RAIMONDI</p> - -<p class="c little">BIBLIOGRAPHY</p> - -<div class="blockquot"> - -<p class="xlarge"><span class="smcap">Mantegna, Andrea</span> (1431-1506)</p> - -<p><span class="smcap">Dürer and Mantegna.</span> <i>By Sidney Colvin.</i> 5 illustrations. The Portfolio, -Vol. 8, pp. 54-63. London. 1877.</p> - -<p><span class="smcap">Andrea Mantegna and the Italian Pre-Raphaelite Engravers.</span> <i>Edited -by Arthur Mayger Hind.</i> 75 reproductions. London and New York: Frederick -A. Stokes Company, n. d. (Great Engravers.)</p> - -<p><span class="smcap">Andrea Mantegna.</span> <i>By Paul Kristeller.</i> 26 plates and 162 text illustrations. -London: Longmans, Green & Co. 1901. Chapter XI, Mantegna as Engraver.</p> - -<p><span class="smcap">Mantegna.</span> <i>By H. Thode.</i> 105 illustrations. Bielefeld and Leipzig: Velhagen -& Klasing. 1897. (Künstler Monographien. 27.)</p> - - -<p class="xlarge"><span class="smcap">Barbari, Jacopo de’</span> (c. 1440-c. 1515)</p> - -<p><span class="smcap">Engravings and Woodcuts by Jacopo de’ Barbari.</span> <i>Edited by Paul Kristeller.</i> -33 reproductions and 2 text illustrations. London. 1896. (International -Chalcographical Society, 1896.)</p> - -<p><span class="smcap">Lorenzo Lotto.</span> <i>By Bernhard Berenson.</i> 30 plates. New York: Putnam’s -Sons. 1895. pp. 34-50.</p> - - -<p class="xlarge"><span class="smcap">Campagnola, Giulio</span> (c. 1482-c. 1514)</p> - -<p><span class="smcap">Giulio Campagnola; Kupferstiche und Zeichnungen.</span> <i>Edited by Paul -Kristeller.</i> 27 reproductions. Berlin: Bruno Cassirer. 1907. (Graphische -Gesellschaft. Publication 5.)</p> - - -<p class="xlarge"><span class="smcap">Marcantonio Raimondi</span> (c. 1480-c. 1530)</p> - -<p><span class="smcap">Marc-Antoine Raimondi; étude historique et critique suivie d’un -catalogue raisonné des oeuvres du maitre.</span> <i>By Henri Delaborde.</i> 63 illustrations. -Paris: Librairie de l’art. 1888.</p> - -<p><span class="smcap">Marcantonio Raimondi.</span> <i>By Arthur Mayger Hind.</i> 22 illustrations. The -Print-Collector’s Quarterly, Vol. 3, No. 3, pp. 243-276. Boston. 1913.</p> - -<p><span class="smcap">Marcantonio and Italian Engravers and Etchers of the Sixteenth -Century.</span> <i>Edited by Arthur Mayger Hind.</i> 65 reproductions. London and -New York: Frederick A. Stokes Company. n. d. (Great Engravers.)</p> -</div> -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_181">[Pg 181]</span></p> - -<h2 class="nobreak" id="l5">SOME MASTERS OF PORTRAITURE</h2> -</div> - - -<p class="drop-cap">YOU will all remember how John Evelyn, writing -to Samuel Pepys, advised him to collect -engraved portraits—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.</p> - -<p>From the time of Evelyn and Pepys in England, -and that prince of print-collectors in France, the<span class="pagenum" id="Page_182">[Pg 182]</span> -Abbé de Marolles—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.</p> - -<p>Aside from two unimportant plates by the Master -of the Amsterdam Cabinet, which may, or may -not, be portraits, the earliest engraver to address -himself to portraiture, pure and simple, is the -anonymous German master with the monogram -<img src="images/fig81.jpg" alt="" />. So far as we know, he executed four -plates only (c. 1480-1485). In them the characterization -is strong, the drawing clear and vigorous. -The artist’s technique may have owed something to -Martin Schongauer, but it is singularly lacking in -the refinement and balance which mark the work -of that engraver.</p> - -<p><span class="smcap">Daniel Hopfer</span>, who, in 1493, was already working -in Augsburg, has left us an etching, which certainly -cannot be later than 1504, and may have -been executed five, or even ten, years earlier. It -is a portrait of <i>Kunz von der Rosen</i>, the Jester-Adviser -of the Emperor Maximilian I. The etching -is upon iron, and the quality of the line is well -adapted to the rugged character of the personage. -This plate was copied, in reverse, with some modifications, -by an anonymous North Italian engraver -<span class="pagenum" id="Page_185">[Pg 185]</span>and reappears as <i>Gonsalvo of Cordova</i>, who was in -Italy, in command of the army of Ferdinand V -of Castile, between 1494 and 1504, when Ferdinand’s -jealousy caused him to be superseded in -the Vice Royalty of Naples.</p> - -<div class="figcentera" id="f82"> -<img src="images/fig82.jpg" alt="" /> -<p class="caption">MASTER <img src="images/fig81.jpg" alt="" />. HEAD OF A YOUNG WOMAN</p> -<p class="c">Size of the original engraving, 4¾ × 3⅜ inches<br /> -In the Royal Print Room, Berlin</p> -</div> - -<div class="figcenter" id="f83"> -<img src="images/fig83.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. ALBERT OF BRANDENBURG</p> -<p class="c">Size of the original engraving, 5¾ × 3⅞ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p>The earliest in date of <span class="smcap">Dürer’s</span> engraved portraits -is likewise the best. <i>Albert of Brandenburg</i> -was twenty-nine years of age, in 1519, when Dürer -engraved this plate. There is a concentration upon -the purely portrait element lacking in some of the -later prints. The burin work is singularly delicate -and beautiful. Indeed, nothing better, from a technical -standpoint, has ever been done on copper than -Dürer’s six portrait plates; and if he at times succumbs -to the temptation of rendering each minor -detail with the same loving care which he bestows -upon the face itself, he remains, notwithstanding, -one of the greatest masters of the burin the world -has seen.</p> - -<p>Dürer engraved a second plate of <i>Albert of Brandenburg</i>, -in 1523. The intervening four years had -left their mark upon the Cardinal, and neither as -a portrait nor as an engraving is it as pleasing as -the earlier one. In the following year, 1524, there -are two portraits—<i>Frederic the Wise, Elector of -Saxony</i> and <i>Wilibald Pirkheimer</i>. The former was -one of the earliest patrons of Dürer and likewise -one of the most liberal-minded princes of his time.<span class="pagenum" id="Page_186">[Pg 186]</span> -The plate is executed in Dürer’s painstaking and -careful manner, nor does it lack, as a portrait, -the directness and immediacy of appeal of the -silver-point drawing, which may have served as -its original. Wilibald Pirkheimer, the celebrated -patrician and humanist, was Dürer’s life-long -and most intimate friend, and it is to him that -Dürer’s letters from Venice were addressed.</p> - -<p><i>Philip Melanchthon</i> is the simplest in treatment -and the most satisfying, in its elimination of unnecessary -detail, of Dürer’s portrait engravings, -and is the best likeness of the mild reformer. The -inscription reads: “Dürer could depict the features -of the living Philip, but the skilled hand could not -depict his mind.” Here Dürer does himself less -than justice, for it is the portrait-like character -which makes this engraving still noteworthy after -the lapse of four centuries.</p> - -<p>To the same year, 1526, belongs <i>Erasmus of -Rotterdam</i>. It is a technical masterpiece. Dürer -has lavished all his skill upon this plate. It is -magnificent; but from a purely portrait standpoint, -it is a magnificent failure.</p> - -<div class="figcentera" id="f84"> -<img src="images/fig84.jpg" alt="" /> -<p class="caption">ALBRECHT DÜRER. PHILIP MELANCHTHON</p> -<p class="c">Size of the original engraving, 6⅞ × 5 inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f85"> -<img src="images/fig85.jpg" alt="" /> -<p class="caption">ANTHONY VAN DYCK. PORTRAIT OF HIMSELF (First State)</p> -<p class="c">Size of the original etching, 9½ × 6⅛ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p>For a full hundred years we have no portraits of -note; then there enters upon the scene one of the -great princes of the art—<span class="smcap">Van Dyck</span>—whose etched -portraits vie with those of Rembrandt in vitality, -and surpass them in immediacy of appeal. Van -<span class="pagenum" id="Page_189">[Pg 189]</span>Dyck had not that deep humanity, that profound -reading of human character, which raises Rembrandt -above all rivals; but upon the purely technical -side, working within the truest traditions of -etching, with due regard to its possibilities and its -limitations, Van Dyck may claim precedence. His -fifteen original portrait etchings (together with -<i>Erasmus of Rotterdam</i>, after Holbein) undoubtedly -belong to the period between his return from Italy -to Antwerp, in 1626, and his settlement in London, -in 1632. From the very first, Van Dyck seems to -have been in possession of all his powers. His etchings -show various modes of treatment, according to -the character of the sitter, and it would be difficult -to speak of the <i>development</i> of his art, since, by the -grace of God, he seems to have been a born etcher.</p> - -<p>Van Dyck’s <i>Portrait of Himself</i> naturally interests -us most, on account of its subject. So far as -Van Dyck has seen fit to carry it, it is a perfect -work of art, not the least remarkable feature being -the splendid placing of the head upon the plate. -Unfortunately, the first state is of such excessive -rarity that the majority of print students can know -this superb portrait only through reproductions (in -which much of its delicacy is necessarily lost) or, -in the later state, where the plate is finished with -the graver by Jacob Neefs—a distressing piece of -work, strangely enough, countenanced by Van<span class="pagenum" id="Page_190">[Pg 190]</span> -Dyck himself; since in the British Museum there -is a touched counter-proof of the first state, which -proves that Van Dyck directed the elaboration of -the plate, no doubt with the intention of using it -as a title page to the <i>Iconography</i>, a series of a -hundred engraved portraits of his friends and contemporaries.</p> - -<p>Of even subtler beauty is <i>Snyders</i>, unfortunately—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.</p> - -<p>In marked contrast to the delicacy of <i>Snyders</i> -is the bolder and more rugged treatment of <i>Jan -Snellinx</i>. Fortunately, the plate has remained, until -our own day, in essentially the same condition -as when it left Van Dyck’s hands, and we can better -realize what an artistic treasure-house the <i>Iconography</i> -might have been, had the public possessed -the intelligence to appreciate, at their true worth, -these fine flowerings of Van Dyck’s genius, instead -of demanding, as they did, that a plate be absolutely -<span class="pagenum" id="Page_193">[Pg 193]</span>“finished” to the four corners by the professional -engraver.</p> - -<div class="figcentera" id="f86"> -<img src="images/fig86.jpg" alt="" /> -<p class="caption">ANTHONY VAN DYCK. FRANS SNYDERS (First State)</p> -<p class="c">Size of the original etching, 9⅛ × 6⅛ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f87"> -<img src="images/fig87.jpg" alt="" /> -<p class="caption">ANTHONY VAN DYCK. LUCAS VORSTERMAN (First State)</p> -<p class="c">Size of the original engraving, 9⅝ × 6⅛ inches<br /> -In the Collection of Charles C. Walker, Esq.</p> -</div> - - -<p><i>Lucas Vorsterman</i> is, in some ways, the most -purely pictorial of Van Dyck’s portrait etchings. -Even the taste of the time demanded no further -elaboration than an engraved background, which, -judiciously added, left undisturbed Van Dyck’s -original work.</p> - -<p>It would be interesting to know whether <span class="smcap">Rembrandt</span> -was acquainted with the etched work of -Van Dyck. If so, it is all the more astounding that -his work should betray no trace of any outside influence.</p> - -<p>Rembrandt’s earliest dated etching is also, seemingly, -his first etching—a <i>Portrait of His Mother</i>, 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. <i>Saskia with Pearls in Her -Hair</i>, of 1634, as also the <i>Young Man in a Velvet -Cap with Books Beside Him</i>, which belongs to the -year 1637, are in Rembrandt’s best manner, but -the crowning triumph of this period is unquestionably -<i>Rembrandt Leaning on a Stone Sill</i>, bearing the -date 1639 and showing Rembrandt at the happiest -period of his life—successful, prosperous, and perfect -master of his medium.</p> - -<p>The portrait of an <i>Old Man in a Divided Fur</i><span class="pagenum" id="Page_194">[Pg 194]</span> -<i>Cap</i>, of the following year, is likewise admirable—not -a line too much and every line full of significance. -<i>Jan Cornelis Sylvius</i>, of 1646, shows in a -marked degree Rembrandt’s sympathy with, and -appreciation of the beauty of old age. The face is -treated in a delicate and sensitive manner, and, -with the fewest possible strokes, Rembrandt has -indicated the texture and growth of the sparse -beard of his aged sitter. Sulphur-tint has been used -to give additional modelling to the face, while the -background and costume are finished in a way -which would have won the admiration of Dürer -himself. <i>Ephraim Bonus</i>, <i>Jan Asselyn</i>, and <i>Jan Six</i> -are Rembrandt’s three portrait etchings for the -year 1647. <i>Jan Six</i> is Rembrandt’s masterpiece, so -far as elaborate finish is concerned. He has availed -himself of all the resources of etching, dry-point, -and of the burin—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.</p> - -<div class="figcentera" id="f88"> -<img src="images/fig88.jpg" alt="" /> -<p class="caption">REMBRANDT. JAN CORNELIS SYLVIUS</p> -<p class="c">Size of the original etching, 10⅞ × 7½ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcentera" id="f89"> -<img src="images/fig89.jpg" alt="" /> -<p class="caption">REMBRANDT. REMBRANDT LEANING ON A STONE SILL</p> -<p class="c">Size of the original etching, 8⅛ × 6½ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcentera" id="f90"> -<img src="images/fig90.jpg" alt="" /> -<p class="caption">REMBRANDT. CLEMENT DE JONGHE (First State)</p> -<p class="c">Size of the original etching, 8⅛ × 6⅜ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f91"> -<img src="images/fig91.jpg" alt="" /> -<p class="caption">REMBRANDT. JAN LUTMA (First State)</p> -<p class="c">Size of the original etching, 7⅞ × 5⅞ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><i>Rembrandt Drawing at a Window</i> is one of the -most characterful of his portraits. It shows him at -the age of forty-two. Years of sorrow have left -their mark upon his countenance, but what a -strong, resolute face it is! <i>Clement de Jonghe</i> (which -should be seen in the first state before the expression -of the face was entirely changed) is executed -<span class="pagenum" id="Page_199">[Pg 199]</span>in Rembrandt’s open, linear manner, without -strong contrasts of light and dark. For beauty of -drawing and subtlety of observation, it is one of -his finest plates. <i>Old Haaring</i>, of 1655, is a magnificent -dry-point, in which Rembrandt has built up, -with many lines, a completely harmonious picture; -but for grip of character and straightforward presentation -of the personality of his sitter, it must -yield precedence to the unsurpassed <i>Jan Lutma</i>, of -the following year. This portrait, in the first state, -before the introduction of the window in the background, -is one of Rembrandt’s most mature works, -in that the method is perfectly adapted to the result -desired.</p> - -<p>In France there is little of significance in portrait -engraving during the sixteenth century. <span class="smcap">Thomas -de Leu</span> and <span class="smcap">Léonard Gaultier</span> based their style -upon the miniature portrait engravers of the Northern -School, such as the <span class="smcap">Wierix</span>. Although their -graver work is often quite beautiful, it lacks originality, -and when, as frequently happened, they -endeavored to interpret the wonderful drawings of -the Clouets or Dumonstier, they signally failed in -capturing the charm of their originals.</p> - -<p><span class="smcap">Claude Mellan</span>, who was born at Abbeville in -1598, is, in a sense, the fountain-head of French -portrait engraving. His work is characteristically -French, in that it is the result of a system carefully<span class="pagenum" id="Page_200">[Pg 200]</span> -worked out to its logical conclusion. In his desire -to keep strictly within the limits of what he considered -to be the proper province of engraving, he -carried his insistence upon line to a point which -borders on mannerism and which, for over two -centuries, has militated against his full recognition.</p> - -<p>Mellan’s earliest engravings recall the work of -Léonard Gaultier, but his first teacher is not known. -Dissatisfied with his instruction in Paris, in 1624 -he went to Rome where, while studying engraving -under Villamena, he came under the influence of -the French painter, Simon Vouet, who not only -provided his protégé with drawings to engrave, but -persuaded him to base all his training upon a -thorough ground-work of drawing. It is this severe -training as a draughtsman which lies at the foundation -of Mellan’s style. His original drawings -were executed in pencil, silver-point, or chalk, and -in his engravings he preserves all the delicate and -elusive charm of his originals.</p> - -<div class="figcentera" id="f92"> -<img src="images/fig92.jpg" alt="" /> -<p class="caption">CLAUDE MELLAN. VIRGINIA DA VEZZO</p> -<p class="c">Size of the original engraving, 4½ × 3 inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f93"> -<img src="images/fig93.jpg" alt="" /> -<p class="caption">CLAUDE MELLAN. FABRI DE PEIRESC</p> -<p class="c">Size of the original engraving, 8⅜ × 5⅝ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p>His manner of engraving is peculiar to himself. -The inventor of a mode, he so uses it as to exhaust -its possibilities and leaves nothing for his successors -to do along similar lines. Consequently, although -his influence on French portrait engraving -was great and far-reaching, he cannot, in any true -sense, be considered as the founder of a “school.” -Even in his early portrait plates (incidentally, -<span class="pagenum" id="Page_203">[Pg 203]</span>among the most charming and perfect), such as -<i>Virginia de Vezzo</i>, the wife of Simon Vouet, engraved -in Rome in 1626, we find his style fully -developed. Save for four little spots of deepest -shadow, the entire portrait is executed in single, -uncrossed lines, indicating, by their direction, the -contour of the face, which is delicately modelled, -while the flow of the hair is realistically and beautifully -expressed. From this simple, linear method, -adopted thus early, Mellan, with few unimportant -exceptions, never departed; and although he lived -and worked until 1688, surviving Morin by twenty-two -years and Robert Nanteuil by ten, he held -to his own self-appointed course, his work showing -no trace whatever of the influence of his two -most distinguished contemporaries.</p> - -<p>Among his many portraits choice is difficult, but, -by general consent, his style is seen at its very best -in <i>Fabri de Peiresc</i>, which excels in point of drawing, -grip of character, and straightforwardness of presentation. -It is dated 1637 and was engraved on his -way from Rome to Paris, in which city he settled, -enjoying for many years a reputation and success -second to none. Of his other portraits mention -must be made of <i>Henriette-Marie de Buade Frontenac</i>, -of a delightful silvery quality, and of her -husband, <i>Henri-Louis Habert de Montmor</i>, the richest -toned of all his works. <i>Nicolas Fouquet</i> likewise<span class="pagenum" id="Page_204">[Pg 204]</span> -is of peculiar interest, inasmuch as in this plate -Mellan has departed for once from his invariable -method of pure line work and has modelled the -face with an elaborate system of dots, in the -manner of Morin.</p> - -<p><span class="smcap">Jean Morin</span> was Mellan’s junior by two years. -His style is in the greatest contrast to that of the -older master, not only technically, but in that he -was always a <i>reproductive</i> engraver, never designing -his own portraits, the majority of his plates being -after the paintings of Philippe de Champaigne. His -plates are executed almost entirely in pure etching, -with just sufficient burin work to give crispness and -decision. The heads are elaborately modelled, with -many minute dots, recalling somewhat Van Dyck’s -manner in such a portrait as <i>Snyders</i>.</p> - -<p><i>Antoine Vitré</i>, the famous printer, shows Morin’s -method at its richest; its brilliancy and color place -it in the forefront of French portraits, though for -charm it may not rank with <i>Anne of Austria</i> or -<i>Cardinal Richelieu</i>, both after paintings by Philippe -de Champaigne.</p> - -<p><i>Cardinal Guido Bentivoglio</i>, after Van Dyck, well -deserves the reputation which it has so long enjoyed. -It is, furthermore, significant as an example -of Morin’s power of concentrating all the attention -upon the countenance of his sitter. He was primarily -a <i>portrait</i> engraver and never allowed himself -<span class="pagenum" id="Page_207">[Pg 207]</span>to be seduced, as were such eighteenth century -masters as the Drevets, into lavishing his skill upon -the purely ornamental accessories, to the detriment -of the portrait itself. Fine though Van Dyck’s full-length -painting is, Morin is more than justified in -taking from it the head and bust only, since thereby -he gives to his plate a vivid and compelling quality -which otherwise would be lacking.</p> - -<div class="figcentera" id="f94"> -<img src="images/fig94.jpg" alt="" /> -<p class="caption">JEAN MORIN. CARDINAL GUIDO BENTIVOGLIO</p> -<p class="c">Size of the original engraving, 11½ × 9¼ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f95"> -<img src="images/fig95.jpg" alt="" /> -<p class="caption">ROBERT NANTEUIL. POMPONE DE BELLIÈVRE</p> -<p class="c">Size of the original engraving, 12⅞ × 9⅞ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><span class="smcap">Robert Nanteuil</span> is not only the greatest of -French portrait engravers; he is one of the greatest -portraitists in the history of French art. In his work -the clarity and logic of the French temperament is -enriched by a study of the engravers of the Flemish -and Dutch schools, though in Nanteuil’s plates -color is never sought at the expense of balance. His -technique is a fusion of the best elements of Mellan -and of Morin. From Mellan he derived his carefully -balanced system of open line work, while -Morin doubtless suggested to him the use of graver -flicks in modelling the face.</p> - -<p>The date of Nanteuil’s birth is variously given -as 1623, 1625, and 1630, the last-named date, which -is accepted by Robert-Dumesnil, corresponding -best with what we know regarding the development -of his work.</p> - -<p>His first portrait plates were done in 1648, the -year in which he came to Paris, and from that time -onwards he devoted himself almost exclusively to<span class="pagenum" id="Page_208">[Pg 208]</span> -portraiture, until his death in 1678. His engravings -form a gallery illustrating the reign of Louis XIV, -from the King himself, whom he engraved no fewer -than eleven times, to the Norman peasant and -poet, Loret (incidentally, one of Nanteuil’s finest -portrait plates), whose “Gazette” satirized each -day “the intriguing nobles who were not afraid of -bullets, but who were in deadly fear of winter mud.”</p> - -<p>An interesting story is told of Nanteuil’s début -in Paris. It is said that he received his first order -by following some divinity students to a wine-shop, -where they were wont to take their meals. There, -having chosen one of the portrait drawings he had -brought from Rheims, he pretended to look for a -sitter whose name and address he had forgotten. It -is superfluous to add that the picture was not -recognized, but it was passed from hand to hand, -the price was asked, the artist was modest in his -demands, and before the end of the repast his -career had begun.</p> - -<p>One of the most interesting portraits, in his early -manner, is that of <i>Cardinal de Retz</i>, engraved in -1650. Morin has likewise left us a portrait of this -personage, and it is instructive to compare the two -engravings. In Nanteuil’s the background is still -somewhat stiff, but the costume is treated simply -and directly, while the face shows a judicious -blending of line and dot work.</p> - -<p><span class="pagenum" id="Page_209">[Pg 209]</span></p> - -<p>Nothing could be finer and more reticent than -<i>Marie de Bragelogne</i> of 1656. The pale, elderly, and -somewhat sad face of this old love of Cardinal -Richelieu is treated with the greatest sympathy. -For the most part, it is modelled with delicate -flick work, and where lines are employed, they are -so used as to blend perfectly into a harmonious -whole. In contrast to the face, the collar is rendered -in long, flowing lines, without cross-hatching, -entirely in the manner of Claude Mellan. It is -from Nanteuil’s own drawing from life and is -perhaps the most beautiful of the eight engraved -portraits of women we have from his hand.</p> - -<p><i>Pompone de Bellièvre</i>, of 1657, after Le Brun’s -painting, has enjoyed among collectors the reputation -of being the most beautiful of all engraved -portraits. Fine it undoubtedly is; but it lacks that -grip of character which is so conspicuously present -in Nanteuil’s engravings from life, and for compelling -portrait quality it falls short of <i>Pierre Seguier</i>, -engraved in the same year, likewise after Le Brun’s -painting. <i>Jean Loret</i> certainly does not owe its fame -to the beauty of the personage portrayed. It is one -of Nanteuil’s most convincing and vital plates. -The modelling of the face and the means employed -are absolutely adequate. This engraving alone -would explain why, in his day, Nanteuil’s greatest -fame rested upon the surprisingly life-like quality<span class="pagenum" id="Page_210">[Pg 210]</span> -of his work, whether it be pastel, drawing, or engraving.</p> - -<p>To the year 1658 also belongs <i>Basile Fouquet</i>, -brother of Nicolas Fouquet, the famous Superintendent -of Finance. Not less beautiful than <i>Pompone -de Bellièvre</i>, there is a vitality about the -<i>Basile Fouquet</i> lacking in the better-known plate.</p> - -<p>Three years later, in 1661, Nanteuil engraved the -portrait of <i>Nicolas Fouquet</i>—one of his masterpieces -of characterization. Nothing could be finer -than the way in which he has portrayed the great -finance minister, whose ambition it was to succeed -Mazarin as virtual ruler of the kingdom. It is a -historical document of prime importance, of the -greatest beauty, and preserves for all time the -features of the then most powerful man in France, -gazing out upon the world with a half quizzical -expression, totally unaware of the sensational reversal -of Fortune already drawing near.</p> - -<p>A plate not less admirable in its way—a little -masterpiece—is <i>François de la Mothe le Vayer</i>, who -was regarded as the Plutarch of his time for his -boundless erudition and his mode of reasoning. -Nanteuil’s engraving shows him at the age of -seventy-five, in full possession of all his intellectual -powers and in the enjoyment of that good health -which lasted until his death, eleven years later, at -the ripe age of eighty-six.</p> -<p><span class="pagenum" id="Page_211">[Pg 211]</span></p> - -<div class="figcentera" id="f96"> -<img src="images/fig96.jpg" alt="" /> -<p class="caption">ROBERT NANTEUIL. BASILE FOUQUET</p> -<p class="c">Size of the original engraving, 12⅞ × 9⅞ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><span class="pagenum" id="Page_212">[Pg 212]</span></p> - -<div class="figcenter" id="f97"> -<img src="images/fig97.jpg" alt="" /> -<p class="caption">ROBERT NANTEUIL. JEAN LORET</p> -<p class="c">Size of the original engraving, 10⅛ × 7⅛ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p><span class="pagenum" id="Page_213">[Pg 213]</span></p> - -<p>The masterly portrait of <i>Turenne</i>, engraved in -1663, after a painting by Philippe de Champaigne, -is one of the engraver’s most vigorous plates, of a -size somewhat larger than had hitherto been his -wont. From this period date the life-size portraits, -thirty-six of which were completed before he died -in 1678, the last four years of his life being devoted -entirely to these large plates—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.</p> - -<p>Nanteuil established the tradition of portrait -engraving in France once and for all, and although -his successors, profiting by his example, have left -us many superbly engraved plates, none of them -were able to combine the qualities of great engraver -with great portraitist, which make Nanteuil supreme -in the history of portrait engraving.</p> - -<p>The nineteenth century has produced three master -portrait etchers. Of what previous century can -we say as much? Other portraits may possess more -charm, but none have a greater measure of dignity -than those by <span class="smcap">Alphonse Legros</span>. He has been -called a “belated old master,” and in his portrait -plates are combined the qualities which prove him<span class="pagenum" id="Page_214">[Pg 214]</span> -to be a master indeed—not old, in the sense of out of -touch with his time, but displaying the same qualities -which make the portraits of Rembrandt or Van -Dyck so compelling and of such continuing interest.</p> - -<p><i>Cardinal Manning</i>—the triumph of spirit over -flesh—simple, austere; <i>G. F. Watts</i>, in which the -gravity and beauty of old age is portrayed as no one -since Rembrandt has portrayed it, are plates which -will assure his artistic immortality.</p> - -<p><span class="smcap">Mr. Whistler</span>, when asked which of his etchings -he considered the best, is reported to have answered, -“All.” Fortunately for us, in the case of -his portraits he has indicated his preference. “<i>One -of my very best</i>” is written beneath a proof of <i>Annie -Haden</i>, now in the Lenox Library; and Whistler, -in the course of conversation with Mr. E. G. Kennedy, -told him that if he had to make a decision as -to which plate was his best, he would rest his reputation -upon <i>Annie Haden</i>. It is the culmination -of that wonderful series to which belong such -masterpieces as <i>Becquet</i>, <i>Drouet</i>, <i>Finette</i>, <i>Arthur -Haden</i>, <i>Mr. Mann</i> and <i>Riault, the Engraver</i>. Whistler -himself never surpassed this portrait, which for -perfect balance, certainty of hand, and sheer charm, -is not only one of the most delightful portrait plates -in the history of the art, but one of the few successful -representations of the elusive charm of young -girlhood.</p> - -<p><span class="pagenum" id="Page_215">[Pg 215]</span></p> - -<div class="figcentera" id="f98"> -<img src="images/fig98.jpg" alt="" /> -<p class="caption">J. A. McN. WHISTLER. ANNIE HADEN</p> -<p class="c">Size of the original dry-point, 13⅞ × 8⅜ inches<br /> -In the Collection of Howard Mansfield, Esq.</p> -</div> - - -<p><span class="pagenum" id="Page_216">[Pg 216]</span></p> - -<div class="figcenter" id="f99"> -<img src="images/fig99.jpg" alt="" /> -<p class="caption">J. A. McN. WHISTLER. RIAULT, THE ENGRAVER</p> -<p class="c">Size of the original dry-point, 8⅞ × 5⅞ inches<br /> -In the Collection of Howard Mansfield, Esq.</p> -</div> - - -<p><span class="pagenum" id="Page_217">[Pg 217]</span></p> - -<p>Hardly less beautiful are the portraits of <i>Florence -Leyland</i>, standing, holding her hoop in her right -hand, every line of the slender figure rhythmic and -beautiful; or of <i>Fanny Leyland</i>, seated, the soft -flounces of her white muslin dress indicated with -the fewest and most delicate lines; or <i>Weary</i>, lying -back in her chair, with hair outspread. <i>Weary</i> suggests -the <i>Jenny</i> of Rossetti’s poem, but it is a -portrait of “Jo”—Joanna Heffernan—whom -Whistler painted as <i>The White Girl</i> and <i>La Belle -Irlandaise</i>, and of whom, in 1861, two years previously, -he had made a superb dry-point.</p> - -<p>Of Whistler’s portraits of men, <i>Riault</i> is assuredly -one of the finest, both in execution and in -portrayal of character. The concentration of the -wood-engraver on his task is expressed with convincing -power, and those who mistakenly attribute -to Whistler grace at the expense of strength could -hardly do better than study this dry-point.</p> - -<p>Could there be a greater contrast than the work -of Whistler and <span class="smcap">Zorn</span>? Could anything better -illustrate the infinite possibilities of the art, the -pliability of the medium to serve the needs of -etchers as dissimilar in method as in point of -attack? With the fewest possible lines (<i>slashed</i>, -one might almost say, into the copper) Zorn -evolves a portrait of compelling power, vibrant with -life. Mere speed counts for little, and it is of small<span class="pagenum" id="Page_218">[Pg 218]</span> -significance that a masterpiece such as <i>Ernest Renan</i> -is the result of a single sitting of one hour only. It -was done in Renan’s studio in Paris, in April, 1892. -“His friends,” the artist relates, “came and asked -me to make an etching of him. He arranged for a -sitting. He was very ill, but I sat studying him for -a little while, then took the plate and drew him. I -asked him if it was a characteristic pose and he -replied, ‘No, I very seldom sit like this.’ But his -wife came in and said, ‘You have caught him to -perfection, it is himself. When he is not watched -he is always like that.’ She was really touched by -it.” What is significant in the portrait of <i>Renan</i>, -astounding, one might say, is that with lines so -few Zorn has given us not only the outer man, -but a character study of profound insight. Renan, -sunk in his chair, the bulky body topped by the -massive head, the hair suggested with a mere -handful of lines, was like a bomb-shell to such -print-collectors as previously were unacquainted -with Zorn’s work. It was, however, only one of a -group of masterpieces with which the artist made -his début in America, in 1892: <i>Zorn and His Wife</i>, -<i>Faure</i>, <i>The Waltz</i>, <i>The Omnibus</i>, <i>Olga Bratt</i>, with -its elusive charm, and the piquant <i>Girl with the -Cigarette</i>, and <i>Madame Simon</i>, which still remains -one of his most powerful portraits.</p> - -<div class="figcentera"> -<a id="f100" href="images/fig100big.jpg"> -<img src="images/fig100.jpg" alt="" /> -</a> -<p class="caption">ANDERS ZORN. ERNEST RENAN</p> -<p class="c">Size of the original etching, 9¼ × 13⅜ inches<br /> -In the Collection of the Author<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcentera" id="f101"> -<img src="images/fig101.jpg" alt="" /> -<p class="caption">ANDERS ZORN. THE TOAST</p> -<p class="c">Size of the original etching, 12⅝ × 10½ inches<br /> -In the Collection of Albert W. Scholle, Esq.</p> -</div> - -<div class="figcentera" id="f102"> -<img src="images/fig102.jpg" alt="" /> -<p class="caption">ANDERS ZORN. MADAME SIMON</p> -<p class="c">Size of the original etching, 9⅜ × 6¼ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter" id="f103"> -<img src="images/fig103.jpg" alt="" /> -<p class="caption">ANDERS ZORN. MISS EMMA RASSMUSSEN</p> -<p class="c">Size of the original etching, 7⅞ × 5⅞ inches<br /> -In the Collection of the Author</p> -</div> - - -<p><i>The Toast</i> is etched from Zorn’s picture painted -<span class="pagenum" id="Page_223">[Pg 223]</span>by him to celebrate the thirtieth anniversary of the -Society of the Idun, a scientific and artistic society -in Stockholm. Wieselgren, the President of the -Society, a Viking-like figure, is about to propose a -toast; beyond him, characterized with the fewest -lines, are seen Nordenskjöld, the Arctic explorer; -Hildebrand, the archæologist; Axel Key, professor -of medicine; and Woern, the Minister of Finance. -The plate has all the freshness, all the spontaneity, -of an etching done directly from life and at a white -heat.</p> - -<p>Among his many portraits of women, it is difficult -to make a selection. <i>Miss Anna Burnett, -seated at the Piano</i>, is charming. <i>Annie</i>, <i>Mrs. Granberg</i>, -and <i>Kesti</i>—each, in its own way, fascinates -us; but if one were to express a personal preference, -it would be for <i>Miss Emma Rassmussen</i>. The blond -beauty of her hair, the fair, tender flesh, sparkling -eyes, and lips slightly open, showing the firm, small, -even teeth, are in perfect harmony. The line is -more delicate than is the artist’s wont, and both -as a portrait and as an etching it is a lasting delight.</p> - -<p><span class="pagenum" id="Page_224">[Pg 224]</span></p> - - -<p class="c p2">SOME MASTERS OF PORTRAITURE</p> - -<p class="c little">BIBLIOGRAPHY</p> - -<div class="blockquot"> - -<p><span class="smcap">Prints and Their Makers.</span> <i>Edited by FitzRoy Carrington.</i> 200 illustrations. -New York: Century Co. 1912.</p> - -<p><span class="smcap">Etching and Etchers.</span> <i>By Philip Gilbert Hamerton.</i> 35 original etchings. -London: Macmillan & Co. 1868.</p> - -<p>——. Same. 6th edition. Boston: Roberts Brothers. 1892.</p> - -<p><span class="smcap">The Golden Age of Engraving.</span> <i>By Frederick Keppel.</i> 161 illustrations. -New York: The Baker and Taylor Company. 1910.</p> - -<p><span class="smcap">The Best Portraits in Engraving.</span> <i>By Charles Sumner.</i> New York: -Frederick Keppel. 1875.</p> - - -<p class="xlarge"><span class="smcap">Dürer, Albrecht</span> (see Bibliography under “The Master of -the Amsterdam Cabinet and Albrecht Dürer,” page 137).</p> - - -<p class="xlarge"><span class="smcap">Van Dyck, Anthony</span> (1599-1641)</p> - -<p><span class="smcap">Eaux-fortes de Antoine van Dyck; reproduites et publiées par Amand-Durand.</span> -<i>Edited by Georges Duplessis.</i> 21 reproductions. Paris: Amand-Durand. -1874.</p> - -<p><span class="smcap">Van Dyck; His Original Etchings and His Iconography.</span> <i>By Arthur -Mayger Hind.</i> 38 illustrations. The Print-Collector’s Quarterly, 2 parts. -Part I. Vol. 5, No. 1, pp. 3-37. Part II. Vol. 5, No. 2, pp. 220-253. Boston. -1915.</p> - -<p>———. Reprinted in revised form. 36 illustrations. Boston: Houghton -Mifflin Company. 1915.</p> - -<p><span class="smcap">Van Dyck and Portrait Engraving and Etching in the Seventeenth -Century.</span> <i>Edited by Arthur Mayger Hind.</i> 65 reproductions. London and -New York: Frederick A. Stokes Company, n. d. (Great Engravers.)</p> - -<p><span class="smcap">Van Dyck.</span> <i>By H. Knackfuss. Translated by Campbell Dodgson.</i> 55 illustrations. -Bielefeld and Leipzig: Velhagen & Klasing. 1899. (Monographs -on Artists.)</p> - -<p><span class="smcap">Etchings of Van Dyck.</span> <i>Edited by Frank Newbolt.</i> 34 reproductions. -London: George Newnes. n. d.</p> - -<p><span class="smcap">Etchings by Van Dyck</span>. <i>By Walter H. Sparrow. With an introduction by H. -Singer.</i> 23 reproductions of the first states. London: Hodder & Stoughton. -1905.</p> - -<p><span class="smcap">L’Iconographie d’Antoine van Dyck, d’après les recherches de H. -Weber.</span> <i>By Friedrich Wibiral.</i> 1 reproduction and 6 plates of watermarks. -Leipzig: A. Danz. 1877.</p> - - -<p class="xlarge"><span class="smcap">Rembrandt Harmensz van Rijn</span> (1606-1669)</p> - -<p><span class="smcap">The Etched Work of Rembrandt; a Monograph (Written as Introduction -to the Burlington Club Exhibition, 1877) with an Appendix</span></p> -<span class="pagenum" id="Page_225">[Pg 225]</span> -<p><span class="smcap">Respecting Appropriation of the Foregoing in Middleton’s Descriptive -Catalogue.</span> <i>By Francis Seymour Haden.</i> London: Macmillan & Co. -1879.</p> - -<p><span class="smcap">The Etchings of Rembrandt.</span> <i>By Philip Gilbert Hamerton.</i> 4 reproductions -and 36 text illustrations. London: Seeley & Co. 1902. (Portfolio Monographs.)</p> - -<p><span class="smcap">Rembrandt’s Etchings; an Essay and a Catalogue, with Some Notes -on the Drawings.</span> <i>By Arthur Mayger Hind.</i> London: Methuen & Co. 1912. -Volume 1, Text (with 34 plates illustrating the drawings). Volume 2, -Illustrations (330 reproductions).</p> - -<p><span class="smcap">Etchings of Rembrandt.</span> <i>Edited by Arthur Mayger Hind.</i> 62 reproductions. -London and New York: Frederick A. Stokes Company. 1907. (Great Engravers.)</p> - -<p><span class="smcap">Rembrandt.</span> <i>By H. Knackfuss. Translated by Campbell Dodgson.</i> 159 -illustrations. Bielefeld and Leipzig: Velhagen & Klasing. 1899. (Monographs -on Artists.)</p> - -<p><span class="smcap">Rembrandt’s Amsterdam.</span> <i>By Frits Lugt.</i> 27 illustrations and map. The -Print-Collector’s Quarterly, Vol. 5, No. 2, pp. 111-169. Boston. 1915.</p> - -<p><span class="smcap">Rembrandt; His Life, His Work, and His Time.</span> <i>By Emile Michel. Translated -by Florence Simmonds. Edited by Frederick Wedmore.</i> 2 volumes. 317 -illustrations. London: William Heinemann. 1895.</p> - -<p><span class="smcap">L’oeuvre gravé de Rembrandt; Reproductions des planches dans -tout leurs états successifs, avec un catalogue raisonné.</span> <i>By Dmitri -Rovinski.</i> 1000 reproductions. St. Petersburg: L’Académie Impériale des -Sciences. 1890. Volume 1, Text. Volumes 2-4, Reproductions.</p> - -<p>——— ———. Supplement. <i>Collected by D. Rovinski. Arranged and described -by N. Tchétchouline.</i> 94 reproductions. St. Petersburg: S. N. Kotoff, -and Leipzig: Karl W. Hiersemann. 1914.</p> - -<p><span class="smcap">Kritisches Verzeichnis der Radierungen Rembrandts, zugleich eine -Anleitung zu deren Studium.</span> <i>By Woldemar von Seidlitz.</i> Leipzig: E. A. -Seemann. 1895.</p> - -<p><span class="smcap">Rembrandt; des Meisters Radierungen in 402 Abbildungen.</span> <i>Edited by -Hans Wolfgang Singer.</i> Stuttgart and Leipzig: Deutsche Verlags-Anstalt. -1906. (Klassiker der Kunst. Vol. 8.)</p> - - -<p class="xlarge"><span class="smcap">Portrait Engraving in France</span></p> - -<p><span class="smcap">De la gravure du portrait en France.</span> <i>By Georges Duplessis.</i> Paris: -Rapilly. 1875.</p> - -<p><span class="smcap">Le peintre-graveur français; un catalogue raisonné d’estampes -gravées par les peintres et les dessinateurs de l’école française, -ouvrage faisant suite au Peintre-graveur de M. Bartsch.</span> <i>By A. P. F. -Robert-Dumesnil.</i> 11 volumes. (Vol. 11. Supplement by Georges Duplessis.) -Paris: Mme. Huzard. 1835-71.</p> - -<p><span class="smcap">Le Peintre-graveur français continué ... ouvrage faisant -suite au Peintre-Graveur Français de Robert-Dumesnil.</span> <i>By Prosper -de Baudicour.</i> Paris: Mme. Bouchard-Huzard. 1859-1861. 2 volumes.</p> - -<p><span class="pagenum" id="Page_226">[Pg 226]</span></p> - -<p><span class="smcap">French Portrait Engraving of the Seventeenth and Eighteenth -Centuries.</span> <i>By T. H. Thomas.</i> 39 illustrations. London: George Bell & -Sons. 1910.</p> - - -<p class="xlarge"><span class="smcap">Mellan, Claude</span> (1598-1688)</p> - -<p><span class="smcap">Claude Mellan.</span> <i>By Louis R. Metcalfe.</i> 13 illustrations. The Print-Collector’s -Quarterly, Vol. 5, No. 3, pp. 258-292. Boston. 1915.</p> - -<p><span class="smcap">Catalogue raisonné de l’oeuvre de Claude Mellan d’Abbeville.</span> <i>By -Anatole de Montaiglon. Biography by P. J. Mariette.</i> Abbeville: P. Briez. -1856.</p> - - -<p class="xlarge"><span class="smcap">Morin, Jean</span> (before 1590(?)-1650)</p> - -<p><span class="smcap">Jean Morin.</span> <i>By Louis R. Metcalfe.</i> 11 illustrations. The Print-Collector’s -Quarterly, Vol. 2, No. 1, pp. 1-30. Boston. 1912.</p> - - -<p class="xlarge"><span class="smcap">Nanteuil, Robert</span> (1623(25?)-1678)</p> - -<p><span class="smcap">Robert Nanteuil.</span> By Louis R. Metcalfe. 12 illustrations. The Print-Collector’s -Quarterly, Vol. 1, No. 5, pp. 525-561. Boston. 1911.</p> - -<p><span class="smcap">Nanteuil; sa vie et son oeuvre.</span> <i>By Abbé Porrée.</i> Rouen: Cagniard. -1890.</p> - -<p><span class="smcap">The Drawings and Pastels of Nanteuil.</span> <i>By T. H. Thomas.</i> 15 illustrations. -The Print-Collector’s Quarterly, Vol. 4, No. 4, pp. 327-361. -Boston. 1914.</p> - - -<p class="xlarge"><span class="smcap">Legros, Alphonse</span> (1837-1911)</p> - -<p><span class="smcap">Alphonse Legros.</span> <i>By Elisabeth Luther Cary.</i> 10 illustrations. The Print-Collector’s -Quarterly, Vol. 2, No. 4, pp. 439-457. Boston. 1912.</p> - -<p><span class="smcap">Catalogue raisonné de l’œuvre gravé et lithographié de M. Alphonse -Legros, 1855-77.</span> <i>By Paul Auguste Poulet-Malassis and A. W. Thibaudeau.</i> -3 plates. Paris: J. Baur. 1877.</p> - - -<p class="xlarge"><span class="smcap">Whistler, James Abbott McNeill</span> (1834-1903) (see -Bibliography under “Landscape Etching,” p. 277).</p> - - -<p class="xlarge"><span class="smcap">Zorn, Anders</span> (1860- )</p> - -<p><span class="smcap">Das radierte Werk des Anders Zorn.</span> <i>By Fortunat von Schubert-Soldern.</i> -Illustrated. Dresden: Ernst Arnold. 1905.</p> - -<p><span class="smcap">Anders Zorn.</span> <i>By Loys Delteil.</i> 328 reproductions. Paris: L’auteur. 1909. -(Le Peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. 4.)</p> - -<p><span class="smcap">Anders Zorn.</span> <i>By Mrs. Schuyler Van Rensselaer.</i> 5 illustrations. The -Century, Vol. 24, p. 582 (New Series). New York. 1893.</p> - -<p><span class="smcap">Anders Zorn: Painter-Etcher.</span> <i>By J. Nilsen Laurvik.</i> 18 illustrations. -The Print-Collector’s Quarterly, Vol. 1, No. 5, pp. 611-637. Boston. 1911.</p> -</div> -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_227">[Pg 227]</span></p> - -<h2 class="nobreak" id="l6">LANDSCAPE ETCHING</h2> -</div> - - -<p class="drop-cap">IN <span class="smcap">landscape</span>, as in portraiture, we are greeted -on the threshold by <span class="smcap">Albrecht Dürer</span>. From -his many drawings, water-colors, and the beautifully -engraved backgrounds in a number of his -plates, we know him to have been a profound -student of natural forms and of atmospheric effects, -sensitive to the character of the country he portrays; -and it is a matter of regret that <i>The Cannon</i> -is the only plate in which the landscape element -outweighs in interest the figures. <i>The Cannon</i>, -which is dated 1518, is etched upon an iron plate, -not necessarily because Dürer was unacquainted -with a suitable mordant for copper, but rather, -one is inclined to believe, because, etching having -been used in the decoration of arms and armor, -iron would naturally suggest itself as the most -appropriate metal for the purpose. Although the -cannon (“The Nuremberg Field Serpent”), to the -left, and the five Turks, to the right, are the -main motives of the composition, they are drawn -and bitten with lines of exactly the same weight -and character as the landscape itself, and we -can, if we will, consider them as accessory figures, -concentrating our attention upon the altogether -<span class="pagenum" id="Page_228">[Pg 228]</span>delightful village, its church spire pointing -heavenwards, while in the distance wooded hills -rise towards the sombre sky, and to the left a seaport -is indicated. Dürer either ignored or was unaware -of the effects to be obtained by repeated -rebitings, and consequently the plate is of a uniform -tone. Within his self-imposed limits he has -thoroughly understood the possibilities of the medium -and has availed himself of them, adopting an -open, linear technique, in marked contrast to his -highly elaborate engravings on copper of this period.</p> - -<p><span class="smcap">Albrecht Altdorfer</span>, who was born in Regensburg -about 1480 and died in February, 1538, is -notable as one of the earliest interpreters of landscape -for its own sake. He has left us ten landscape -etchings. None of them is dated, but they -clearly belong to his last period. In them he has -merely transferred to metal his mode of pen drawing, -an excellent style in a way, since it is linear -and suggestive, but lacking distinction and that -passionate, dramatic quality which is so impressive -in the painting, <i>St. George</i>, in the Munich Gallery, -the engraving of the <i>Crucifixion</i>; or the <i>Agony in -the Garden</i>, a drawing in the Berlin Print Room.</p> - -<div class="figcentera"> -<a id="f104" href="images/fig104big.jpg"> -<img src="images/fig104.jpg" alt="" /> -</a> -<p class="caption">ALBRECHT DÜRER. THE CANNON</p> -<p class="c">Size of the original etching, 8⅝ × 12⅞ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter"> -<a id="f105" href="images/fig105big.jpg"> -<img src="images/fig105.jpg" alt="" /> -</a> -<p class="caption">AUGUSTIN HIRSCHVOGEL. LANDSCAPE</p> -<p class="c">Size of the original etching, 5⅝ × 8½ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p>The etchings of <span class="smcap">Augustin Hirschvogel</span> are -even simpler in treatment than those by Altdorfer. -They bear dates from 1545 to 1549. The more one -studies his landscape plates, breathing the spirit of -<span class="pagenum" id="Page_231">[Pg 231]</span>the true nature lover, the more fascinating do they -become. He has eliminated all non-essentials, concentrating -his attention upon what were to him the -most significant features, and in this respect he may -have influenced the work of more than one nineteenth -century master.</p> - -<p><span class="smcap">Hans Sebald Lautensack</span>, who was some -twenty years Hirschvogel’s junior, was born in -Nuremberg about 1524. The greater number of -his landscape plates fall within the years 1551 and -1555. He is neither so simple nor so direct as -Hirschvogel, and his plates suffer from over-elaboration. -In an attempt to give a complete -representation of the scene the value of the line is -lost, and, in the majority of cases, the composition -is lacking in repose.</p> - -<p>For almost a century we have no landscape etchings -of prime importance. Then, in 1640, <i>Rembrandt</i> -appears on the scene with his <i>View of Amsterdam</i>, -the first of a series of twenty-seven masterpieces -which, beginning with this plate, comes to -an end with <i>A Clump of Trees with a Vista</i> (1652). -The <i>View of Amsterdam</i> is, among Rembrandt’s -landscapes, comparable to the portrait of himself -leaning on a stone sill, inasmuch as it is, in its own -simple linear mode, a model of what etching can -be at its best.</p> - -<p>As in the case of all these etchings, with the exception<span class="pagenum" id="Page_232">[Pg 232]</span> -of the <i>Three Trees</i> and the <i>Landscape with -a Ruined Tower and Clear Foreground</i>, the sky is -left perfectly blank, and our imagination must -supply the quiet sunshine of a cloudless day or that -delicate grayness which makes Holland a perpetual -delight to the painter.</p> - -<p>The <i>Windmill</i> (1641) is Rembrandt’s first <i>dated</i> -etching. It is truly a portrait of a place, not only -in its outer aspect, but in that inner spirit which, -if it be present, moves us so profoundly, as in the -case of Meryon’s etchings of Paris and Piranesi’s -plates of ancient Roman edifices; or, if it be absent, -leaves us disappointed and cold. In the <i>Windmill</i>, -“we feel the stains of weather, the touch of time, -on the structure; we feel the air about it and the -quiet light that rests on the far horizon as the eye -travels over dike and meadow; we are admitted to -the subtlety and sensitiveness of a sight transcending -our own; and even by some intangible -means beyond analysis we partake of something -of Rembrandt’s actual mind and feeling, his sense -of what the old mill meant, not merely as a picturesque -object to be drawn, but as a human element -in the landscape, implying the daily work of -human hands and the association of man and -earth.”<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">[12]</a></p> - -<div class="footnote"> - -<p><a id="Footnote_12" href="#FNanchor_12" class="label">[12]</a> Rembrandt’s Landscape Etchings. By Laurence Binyon. The Print-Collector’s -Quarterly. Vol. 2, No. 4, p. 414.</p> - -</div> -<p><span class="pagenum" id="Page_233">[Pg 233]</span></p> - -<div class="figcentera"> -<a id="f106" href="images/fig106big.jpg"> -<img src="images/fig106.jpg" alt="" /> -</a> -<p class="caption">REMBRANDT. THE WINDMILL</p> -<p class="c">Size of the original etching, 5¾ × 8¼ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p><span class="pagenum" id="Page_234">[Pg 234]</span></p> - -<div class="figcenter"> -<a id="f107" href="images/fig107big.jpg"> -<img src="images/fig107.jpg" alt="" /> -</a> -<p class="caption">REMBRANDT. THREE TREES</p> -<p class="c">Size of the original etching, 8½ × 11 inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p><span class="pagenum" id="Page_235">[Pg 235]</span></p> - -<p>To the same year belong the <i>Landscape with a Cottage -and Haybarn</i> and <i>Landscape with a Cottage and -a Large Tree</i>, two delightfully spacious plates. There -is one etching in 1642, the <i>Cottage with a White -Paling</i>, in which dry-point is judiciously used to -give richness to the shadows.</p> - -<p>To the following year, 1643, belongs the <i>Three -Trees</i>, the most famous of Rembrandt’s landscape -etchings. Note how Rembrandt has suggested the -passing of a summer thunder-storm, the rain-charged -clouds rolling away to the left, while from -the right the returning sunshine bathes the composition -in glory, making each freshly washed leaf -and blade of grass sparkle in its beams. Even the -hard, slanting lines of rain in the upper left portion -of the plate have their purpose, affording a needed -contrast to the swiftly changing clouds, which the -freshening breeze drives before it over the peopled -plain and the far-reaching sea in the distance.</p> - -<p>In 1645 there are five landscape etchings. If -the <i>Three Trees</i> is Rembrandt’s most elaborate -plate, <i>Six’s Bridge</i> is, in some ways, his most -learned performance. According to tradition, it was -etched “against time,” for a wager, at the country -house of Rembrandt’s friend, Jan Six, while the -servant was fetching the mustard, that had been -forgotten, from a neighboring village. There is, -however, nothing hasty or incomplete about it. It<span class="pagenum" id="Page_236">[Pg 236]</span> -is, to use Whistler’s words, “finished from the beginning,” -beautifully balanced, not a line wasted, -of its kind a perfect work of art.</p> - -<p>There are no more landscapes until 1650, a good -year, since it gives us eight plates, every one worthy -of the most serious consideration. Rembrandt by -this time apparently had become dissatisfied with -the relatively limited range of light and dark obtainable -by the pure etched line, and from now -onwards he relies more and more upon dry-point -to obtain his effects, at times executing his plates -entirely in that medium.</p> - -<p>The <i>Landscape with a Haybarn and a Flock of -Sheep</i> is one of the loveliest plates of this period. -There is a brilliancy in the first state, a quiet harmony -in the elaborated second state, which makes -a choice difficult. Each, in its way, is of compelling -beauty.</p> - -<p>Hardly less delightful is the <i>Landscape with a -Milkman</i>, with a view of the sea to the right, while -at the left the cottages snuggle beneath their protecting -trees.</p> - -<div class="figcentera"> -<a id="f108" href="images/fig108big.jpg"> -<img src="images/fig108.jpg" alt="" /> -</a> -<p class="caption">REMBRANDT. SIX’S BRIDGE</p> -<p class="c">Size of the original etching, 5⅛ × 8¾ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcentera"> -<a id="f109" href="images/fig109big.jpg"> -<img src="images/fig109.jpg" alt="" /> -</a> -<p class="caption">REMBRANDT. LANDSCAPE WITH A RUINED TOWER AND CLEAR FOREGROUND</p> -<p class="c">Size of the original etching, 4⅞ × 12⅝ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcentera"> -<a id="f110" href="images/fig110big.jpg"> -<img src="images/fig110.jpg" alt="" /> -</a> -<p class="caption">REMBRANDT. LANDSCAPE WITH A HAYBARN AND A FLOCK OF SHEEP</p> -<p class="c">Size of the original etching, 3¼ × 7 inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter"> -<a id="f111" href="images/fig111big.jpg"> -<img src="images/fig111.jpg" alt="" /> -</a> -<p class="caption">REMBRANDT. THREE COTTAGES</p> -<p class="c">Size of the original etching, 6¼ × 8 inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p>The <i>Landscape with a Ruined Tower and Clear -Foreground</i> is, perhaps, of all these etchings the -noblest and the most dramatic. In the sky to -the left are piled thunder clouds. A faint breeze, -the precursor of a coming storm, gently moves the -upper branches of the trees. There is an expectant -<span class="pagenum" id="Page_241">[Pg 241]</span>hush, a tenseness, and we are made to feel that in -a few minutes the first heavy raindrops will be -driving through the over-charged air. Otherwise -all is still, the sky to the right being yet quiet and -undisturbed. With the fewest etched lines Rembrandt -has indicated the form and growth of the -trees, adding, just where needed to give emphasis -and enrichment, touches of dry-point, concentrating -his richest blacks on the noble clump which -shuts off the road leading toward the left. With -such simple means, with black lines and white -paper, he has given us by his art a more convincing -record of one of Nature’s noblest spectacles than -most painters, with a full palette at their command, -could achieve in a lifetime of labor.</p> - -<p>In the <i>Three Cottages</i> dry-point is used with -magnificent effect. Early impressions of this masterpiece -have a richness, a bloom, which is unmatched -among Rembrandt’s landscape plates. A -fine impression of the third state, with the added -shading on the gabled end of the first cottage, -represents the plate admirably. To be seen at its -best, however, it should not be too heavily charged -with ink, since the tree forms thereby are confused. -Work such as this is so seemingly simple that one -may readily overlook the power of analysis and the -superb draughtsmanship it displays. Everyone -who loves Rembrandt’s landscapes—and who that<span class="pagenum" id="Page_242">[Pg 242]</span> -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.</p> - -<p>It is true that we have the <i>Goldweigher’s Field</i> of -1651—an unsurpassed masterpiece—and in the following -year the <i>Landscape with a Road Beside a -Canal</i> and <i>A Clump of Trees with a Vista</i>; but had -he treated a landscape motive with the passion -which breathes from the <i>Three Crosses</i>, <i>Christ Presented -to the People</i>, or the <i>Presentation in the Temple</i>, -how much richer and fuller would landscape -art have been!</p> - -<p>The <i>Goldweigher’s Field</i>, by tradition the country -seat of the Receiver General, Uytenbogært, whose -portrait Rembrandt had etched in 1639 (The <i>Goldweigher</i>), -is, in point of suggestiveness, second to -none of Rembrandt’s plates. The eye is gently led -from field to fertile field, each with its own individual -character and filled with interesting little -details, and finally rests upon the quiet sea which -stretches to the horizon.</p> - -<p>Contemporary with Rembrandt, treating scenes -essentially the same, a whole school of etchers produced -an enormous number of plates, many of -them charming, but none to be classed with the -permanently great work in the history of the art.</p> - -<div class="figcentera"> -<a id="f112" href="images/fig112big.jpg"> -<img src="images/fig112.jpg" alt="" /> -</a> -<p class="caption">REMBRANDT. GOLDWEIGHER’S FIELD</p> -<p class="c">Size of the original etching, 4¾ × 12⅝ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter"> -<a id="f113" href="images/fig113big.jpg"> -<img src="images/fig113.jpg" alt="" /> -</a> -<p class="caption">JACOB RUYSDAEL. WHEAT FIELD</p> -<p class="c">Size of the original etching, 4 × 6 inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p><span class="smcap">Hercules Seghers</span> is interesting because of his -<span class="pagenum" id="Page_245">[Pg 245]</span>choice of wild, rugged mountains for his subject-matter -and of his experiments in color printing, -but as an etcher he is of historical importance only.</p> - -<p><span class="smcap">Jacob Ruysdael</span> displays a knowledge of tree -forms and an appreciation of their beauty, rare at -any time. His work at its best recalls that of the -great nineteenth century master, Théodore Rousseau, -though the latter’s few plates show a greater -economy of means and an equal affection for Nature -in her wilder moods. The <i>Wheat Field</i> is one -of Ruysdael’s most satisfying plates. The sky, with -its rolling clouds, is simply treated and shows a -knowledge and reticence in the use of line denied -to the greater number of his more laborious contemporaries, -who, in the main, when they endeavored -to “finish” a plate ended by leaving it -fatigued and stiff.</p> - -<p><i>Claude Gellée</i>, called <i>Claude Lorrain</i>, is the -one seventeenth century French landscape etcher. -Born in the year 1600 in the Diocese of Toul and -the Duchy of Lorraine (whence he derives the name -by which he is best known), early orphaned, at the -age of thirteen, after a varied and picturesque boyhood, -journeyed to Rome, thence to Naples, and -later to Venice. In 1627 he settled permanently in -Rome, where he remained until his death in 1682.</p> - -<p>His etchings are the fruit of that indefatigable -study of nature which he pursued almost until the<span class="pagenum" id="Page_246">[Pg 246]</span> -day of his death. Heedless of fatigue, he would -spend day after day, from sunrise until nightfall, -noting every phase of dawn, the glory of sunrise, -or the majesty of the sunset hours. For him the -modest nook held no charm and exerted no fascination. -He chose for his theme Nature in her more -spacious aspects—wide-stretching horizons and -deep overarching skies, with clumps of stately -trees, between and beyond which are to be seen -castle-crowned hills, or a half-ruined temple, the -relic of Imperial Rome, a passionate love for which -burned with a steady flame in Claude, more Roman -than the Romans themselves in his worship of the -Eternal City and all that could recall her vanished -glory.</p> - -<p>Claude’s paintings are to be seen in nearly every -European gallery of importance, but his etchings -are seldom met with. Really fine impressions (by -which alone they can be judged) are unfortunately -very rare. His work would seem to divide itself -into two periods: 1630 to 1637, and 1662 and -1663. It is to the earlier period that his finest -work belongs, the later plates being heavy and -stiff in treatment. Claude’s etchings show none of -that economy and suggestiveness of line which -make of Rembrandt’s most summary sketch a -continuous stimulus and delight. They are highly -wrought pictures, as carefully and lovingly finished<span class="pagenum" id="Page_247">[Pg 247]</span> -in all details as are the paintings themselves. Etching, -dry-point, the burnisher, and a tone produced -by roughening the surface of the plate with pumice-stone -or some similar material, all are called into -play to produce a harmonious result, and of their -kind there is nothing finer.</p> - -<p>The <i>Dance Under the Trees</i> shows Claude in his -most purely pastoral vein—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.</p> - -<p><i>Le Bouvier</i>, etched in 1636, is accounted Claude’s -masterpiece. “For technical quality of a certain -delicate kind it is the finest landscape etching in -the world. Its transparency and gradation have -never been surpassed.”<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">[13]</a> It is the work of a -real nature lover and true poet, and sums up in a -<span class="pagenum" id="Page_248">[Pg 248]</span>few square inches all that is best of Claude’s art -when it has shaken itself free from the “set scene” -and theatricalities. Technically it is not less admirable. -The copper has been caressed, so to speak, -with the needle, until it responds by yielding all -those elusive half lights and luminous shadows -which play among the leaves of the noble trees to -the left, while on the right the landscape fairly -swims in light and air. For this same quality of -sunlight Claude tries again and again in his etchings, -in <i>Sunrise</i> with complete success. When he -essays to interpret Nature in her sterner moods, as -in the <i>Flock in Stormy Weather</i> (his one plate of the -year 1651), he is far less happy. The clouds, which -should be heavy with rain, are unconvincing, -though the suggestion of movement in the trees is -excellent, and in no other plate has he treated -architecture with a firmer touch or in a more picturesque -manner.</p> - -<div class="footnote"> - -<p><a id="Footnote_13" href="#FNanchor_13" class="label">[13]</a> Etching and Etchers. By Philip Gilbert Hamerton. London; Macmillan -& Co. 1868. p. 178.</p> - -</div> - -<p>After the middle of the seventeenth century, -etching, as an original, creative art, is increasingly -neglected for almost two hundred years, though it -grows in popularity as an easy and expeditious -mode of “forwarding” a plate to be finished with -the burin.</p> - -<div class="figcentera"> -<a id="f114" href="images/fig114big.jpg"> -<img src="images/fig114.jpg" alt="" /> -</a> -<p class="caption">CLAUDE LORRAIN. LE BOUVIER</p> -<p class="c">Size of the original etching, 5⅛ x 7¾ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter"> -<a id="f115" href="images/fig115big.jpg"> -<img src="images/fig115.jpg" alt="" /> -</a> -<p class="caption">CHARLES JACQUE. TROUPEAU DE PORCS</p> -<p class="c">Size of the original etching, 5⅛ × 8½ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p>To <span class="smcap">Charles Jacque</span>, in the early “forties,” belongs -the honor of having restored etching to its -proper and legitimate place as a suggestive and -<span class="pagenum" id="Page_251">[Pg 251]</span>linear art. His method is based on a thorough -understanding of its limitations and qualities as -exemplified by Rembrandt and his lesser contemporaries -in Holland; and both by his work (he has -left between five and six hundred plates) and by his -influence, he is the father of the nineteenth century -revival of etching, not only in France, where its -possibilities were appreciated at once by the Romantic -group and the “Men of 1830,” but in England, -through Seymour Haden and Whistler.</p> - -<p>Charles Jacque was born in Paris on May 23, -1813, and to the last (he died at the ripe age of 81, -in the year 1894) he retained, in country life, something -of the city man’s point of view, the love of the -“picturesque,” the anecdotic, in marked contrast -to his greater contemporary, Jean-François Millet, -whose few etchings form an epic of the soil even -more powerful than his paintings. For all that, -Jacque is a true etcher, working along the soundest -lines and safest traditions. He is unequal: his work -suffers at times from a hankering for “finish”; but -at his best his little plates are delightfully suggestive, -every line being there for a purpose, and not a -line too much.</p> - -<p>Up to 1848 he had completed some three hundred -etchings and dry-points, and it is among this group -that many “masterpieces in little” are to be found. -It would be hard to find a better model of style<span class="pagenum" id="Page_252">[Pg 252]</span> -than the <i>Wheat Field</i>. The print is scarcely -larger than a visiting card, but it conveys a sense -of spaciousness and “out of doors” sadly lacking in -many a painting in full color and of a hundred times -its size. The <i>Truffle Gatherers</i> is likewise of modest -size, but the landscape with its leafless trees is full -of air, and the sense of life and movement, as well -as the effective composition of the “rooters” accompanied -by their herdsman, is, from many points -of view, unexcelled.</p> - -<p>The <i>Storm—Landscape with a White Horse</i> is -one of Jacque’s finest interpretations of wind and -rough weather. This dry-point, unfortunately very -rare, recalls the work of Rembrandt in his mature -period. The sky, slashed with driving showers, the -trees swayed this way and that by the gusty wind, -the white horse with legs firmly braced, its mane -and tail matted by the rain against its neck and -flank, all combine to heighten and intensify the -effect.</p> - -<p>Younger than Jacque by four years (he was -born February 15, 1817), <span class="smcap">Charles-François Daubigny</span> -differs from him in that it is the lyric, the -spiritual aspect of nature, rather than the incidental -and picturesque details of country life, which -moved him.</p> - -<div class="figcentera"> -<a id="f116" href="images/fig116big.jpg"> -<img src="images/fig116.jpg" alt="" /> -</a> -<p class="caption">CHARLES JACQUE. STORM—LANDSCAPE WITH A WHITE HORSE</p> -<p class="c">Size of the original dry-point, 6⅜ × 8⅜ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter" id="f117"> -<img src="images/fig117.jpg" alt="" /> -<p class="caption">CHARLES-FRANÇOIS DAUBIGNY. DEER IN A WOOD</p> -<p class="c">Size of the original etching, 6⅜ × 4⅜ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - - -<p>None of the other Barbizon men has so successfully -interpreted the freshness of early morning,<span class="pagenum" id="Page_255">[Pg 255]</span> -the sparkle of sunrise on tender young leaves or -dew-bespangled grass, the tranquility of the quiet -pool hidden in the depth of the forest. His first -plate, etched in collaboration with his friend Meissonier, -is dated 1838, and all through the “forties” -Daubigny continued to etch either original motives -or such as were commissioned by editors for the -embellishment of various publications, in many -cases poems and songs of a pastoral nature. It is, -however, to the following decade that his finest -work belongs—a series of little masterpieces which, -in their way, remain unequalled. His plates, small -in size, are as carefully worked out as those of -Claude but with a truer feeling for the elusive -charm of still, untroubled places. Later his style -grows broader and bolder. Less is actually said, -more is suggested. There is a freedom in his line -work which these etchings of his middle period had -hardly led us to expect but for which, in truth, they -were the finest preparation. He has learned to -eliminate the non-essential; and in etching the <i>art -of omission</i> is the supreme virtue.</p> - -<p>One of the most suggestive plates of his middle -period is <i>Deer in a Wood</i>. The treatment is perfectly -simple and straightforward, truly linear, as all good -etching should be, but the spirit of the scene is -captured and portrayed in these few, seemingly -careless, lines. <i>Deer Coming Down to Drink</i> is another<span class="pagenum" id="Page_256">[Pg 256]</span> -altogether delightful plate in the same series. -The early morning air is vibrant with the glory of -sunrise, and the little leaves clap their hands in joy.</p> - -<p>“Has it not often occurred to you, in your explorations -as a tourist, to see suddenly open before -you a break in the landscape, a little valley, calm, -in repose, full of elegant and tranquil forms, of -discreet and harmonious colors, of softened shadows -and lights, bordered by hillsides with rounded -and retiring forms and where no step seems to have -troubled the poetic silence? A pond, placed there -like a mirror, reflects the picture, and bears on its -cup-like edge sheaves of rushes, coltsfoot, arrow-heads, -water-strawberries and the white and yellow -flowers of the water lily, amid which swarm a buzzing -world of insects and gnats.... As you -approach, some heron, occupied in dressing its -plumage, flies off, snapping its beak; the snipe runs -away, piping its little cry; then everything falls -again into silence, and the valley, welcoming you -as its guest, takes up under your eyes its mysterious -work.”<a id="FNanchor_14" href="#Footnote_14" class="fnanchor">[14]</a> All this and more Daubigny gives us by -his art.</p> - -<div class="footnote"> - -<p><a id="Footnote_14" href="#FNanchor_14" class="label">[14]</a> Count Clément de Ris. L’Artiste. June, 1853.</p> - -</div> - -<div class="figcentera"> -<a id="f118" href="images/fig118big.jpg"> -<img src="images/fig118.jpg" alt="" /> -</a> -<p class="caption">CHARLES-FRANÇOIS DAUBIGNY. DEER COMING DOWN TO DRINK</p> -<p class="c">Size of the original etching, 6⅛ × 4⅝ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter"> -<a id="f119" href="images/fig119big.jpg"> -<img src="images/fig119.jpg" alt="" /> -</a> -<p class="caption">CHARLES-FRANÇOIS DAUBIGNY. MOONLIGHT ON THE BANKS OF THE OISE</p> -<p class="c">Size of the original etching, 4⅜ × 6½ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p>Daubigny’s success as a painter, the constantly -increasing demand for his work, left him little time, -as years went by, for etching. “If only I could -paint a picture that <i>wouldn’t</i> sell,” he once said in -<span class="pagenum" id="Page_259">[Pg 259]</span>sheer desperation, and, momentarily, his superb -renderings of the mystery of evening and night accomplished -his object, though now they are jealously -guarded in some of the world’s finest collections. -But to <i>etch</i> night, to <i>suggest</i> moonlight—there -was a problem indeed! Whistler in his “Nocturnes” -paints, so to speak, on his plate with -printer’s ink. Daubigny relies on lines alone, to -produce his result. “<i>Night cannot be etched</i>” is the -dictum of more than one authority. No, nor sunlight -either, nor clouds! None of these things can -be pictured so that blind eyes can see them. But -to those who will meet the etcher half way, who -are content with a suggestion and are capable of -reconstructing from it the artist’s mood, these -simple linear plates of Daubigny’s last period are -a revelation and a delight. <i>Moonlight on the Banks -of the Oise</i> measures scant four by six inches, yet -what a feeling of space there is in it! Only a born -etcher could have succeeded by means so simple, -and seemingly inadequate, in capturing the very -spirit of such a scene.</p> - -<p>Corot’s etched work comprises fourteen plates. -It was not until 1845, when he was in his fiftieth -year, that he made his first experiment. “Corot -took a prepared copper-plate and drew in the outlines -and masses of the well-known <i>Souvenir of -Tuscany</i>, but did not proceed to the ‘biting in’<span class="pagenum" id="Page_260">[Pg 260]</span> -process. Some years later Félix Bracquemond discovered -the plate in a nail-box at Corot’s studio -and begged the master to complete it, offering to -take charge of the ‘biting in.’ Corot then took the -plate and added the tones and details of the final -state.... There was something in the use of -mordants and acids that seemed to frighten Corot, -and he always called in some good friend such as -Bracquemond, Michelin or Delaunay to assist in -this delicate process.”<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">[15]</a></p> - -<div class="footnote"> - -<p><a id="Footnote_15" href="#FNanchor_15" class="label">[15]</a> Le Père Corot. By Robert J. Wickenden. The Print-Collector’s Quarterly. -Vol. 2, No. 3. p. 382.</p> - -</div> - -<p>In etching his method is as personal as in his -painting. He entirely disregards all the accepted -canons of the art. Line, <i>as line</i>, hardly exists in his -plates; it is scribble, scribble, everywhere. The tree -trunks, the rocks, foreground and distance, often -the foliage itself, all are as “wrong as wrong can be,” -so far as accurate representation is concerned. Yet -Corot, great artist and great nature poet, can transgress -every rule and still succeed in conveying his -message. In the best of his etchings he <i>does</i> succeed -admirably. <i>Souvenir of Italy</i> and <i>Environs of Rome</i> -of 1865 (Corot was then nearly seventy years of -age) are among the most interesting prints of the -period. In these plates, and others like them, -Corot has given free rein to his poetic and imaginative -powers and has drawn upon his memory of the -<span class="pagenum" id="Page_263">[Pg 263]</span>Italy of his youth. In method, in their disregard -of line, form and texture, they are shining examples -of what etching should <i>not</i> be. In decorative quality, -poetic suggestion, and sentiment they are altogether -delightful.</p> - -<div class="figcentera" id="f120"> -<img src="images/fig120.jpg" alt="" /> -<p class="caption">CAMILLE COROT. SOUVENIR OF ITALY</p> -<p class="c">Size of the original etching, 11⅝ × 8⅝ inches<br /> -In the Museum of Fine Arts, Boston</p> -</div> - -<div class="figcenter"> -<a id="f121" href="images/fig121big.jpg"> -<img src="images/fig121.jpg" alt="" /> -</a> -<p class="caption">JEAN-FRANÇOIS MILLET. THE GLEANERS</p> -<p class="c">Size of the original etching, 7½ × 10 inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p>In <span class="smcap">Millet’s</span> etchings the landscape and the -figures are so inter-related as to make any separate -study of them unavailing. They are models of -significant draughtsmanship and profound feeling, -in which nothing is introduced that does not bear -directly upon the main theme. <i>Shepherdess Knitting</i>, -<i>Peasants Going to Work</i>, <i>Two Men Digging</i>, -and above all the <i>Gleaners</i>, have each their perfect -setting. The wide-stretching plain, slightly undulating, -shimmers in the hot summer sunshine, -which bathes in a golden glow the three women -gleaning, the harvesters gathering in the rich -fruits of their toil, and the little village, snuggling -amid its trees in the far distance to the right.</p> - -<p>Etchers, like poets, are “born, not made.” But, -as also in the case of poets, natural gifts will avail -little if they are not reinforced by that capacity for -taking infinite pains, through which alone a man -may so master his medium as to shape it readily -to his artistic needs. The etched work of <span class="smcap">Seymour -Haden</span> is no chance happening. It is the fruit of -close and analytical study, by a man of forceful -character and scientific attainments, of the best<span class="pagenum" id="Page_264">[Pg 264]</span> -model of style, the etchings of Rembrandt; supplemented -by a familiarity with the work of his contemporaries -in France, the land of clear and logical -thinking; and in no art is clarity and brevity of -speech more essential than in etching. From the -beginning, Seymour Haden was in possession of -all his powers, both in etching and in dry-point. -There is no uncertainty in that which he wishes to -say, no fumbling in his manner of saying it. The -reticences and half-hesitations of Daubigny are not -for him; there is no place for Corot’s scribbled poetry. -He will give us a strong man’s interpretation -of the lovely English landscape, in which he takes a -pride, as in any other personal possession—God’s -visible and abounding bounty to a superior people. -It is “the bones of things” (his own phrase) that he -wishes, above all else, to give. At his best he succeeds -magnificently, but in much of his work, -structurally fine though it be, it is the frame rather -than the spirit that he portrays.</p> - -<div class="figcentera"> -<a id="f122" href="images/fig122big.jpg"> -<img src="images/fig122.jpg" alt="" /> -</a> -<p class="caption">SEYMOUR HADEN. CARDIGAN BRIDGE</p> -<p class="c">Size of the original etching, 4½ × 5⅞ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcentera"> -<a id="f123" href="images/fig123big.jpg"> -<img src="images/fig123.jpg" alt="" /> -</a> -<p class="caption">SEYMOUR HADEN. BY-ROAD IN TIPPERARY</p> -<p class="c">Size of the original etching, 7½ × 11¼ inches<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcentera"> -<a id="f124" href="images/fig124big.jpg"> -<img src="images/fig124.jpg" alt="" /> -</a> -<p class="caption">SEYMOUR HADEN. SUNSET IN IRELAND</p> -<p class="c">Size of the original dry-point, 5⅜ × 8½ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter"> -<a id="f125" href="images/fig125big.jpg"> -<img src="images/fig125.jpg" alt="" /> -</a> -<p class="caption">SEYMOUR HADEN. SAWLEY ABBEY</p> -<p class="c">Size of the original etching, 10 × 14⅞ inches<br /> -In the Collection of the Author<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p><i>A Water Meadow</i> (incidentally, a plate which the -artist himself liked) is a fine transcript of a sudden -shower in the Hampshire lowlands. It is bold and -painter-like, admirable from every point of view, -though some may prefer <i>On the Test</i>, with its truly -noble sky, etched later in the day from a somewhat -different point of view. <i>Cardigan Bridge</i> is a model -of what a sketch should be, free, suggestive, spontaneous, -<span class="pagenum" id="Page_269">[Pg 269]</span>yet full of knowledge. It is one of five -similar plates, etched in a single day, August 17, -1864, a “good day” indeed, such as rarely comes to -etchers or to painters! The more one sees of modern -etching, the more one is inclined to value work of -this order. It is so easy, so fatally easy, to make -wriggles in the water and scribbles in the sky; but -to suggest, by these seeming careless loops and -latchets, the flow of the river, the movement of -clouds, the splendor of the setting sun—<i>that</i> indeed -is another matter! Yet all this, and more, Seymour -Haden has done in a magisterial manner.</p> - -<p><i>By-road in Tipperary</i> is the largest and most -highly prized of his woodland plates and well deserves -the reputation it so long has enjoyed. Structurally -the trees are very fine, both as to branch -and stem drawing; and, as in the two plates of -<i>Kensington Gardens</i>, the suggestion of foliage with -the light filtering through the leaves is quite beautiful. -<i>Sunset in Ireland</i> is a plate which the artist, -the collector, and the general public all unite in -praising. “<i>That</i> is the plate,” said Seymour Haden, -shortly before his death, “which, in years to come, -will fetch the enormous prices!” And his prophecy -has come true. Both in its earlier states, less rich -in burr, with a luminous evening effect, and in the -later and darker impressions, it is “a thing of -beauty”—one of the most remarkable landscape<span class="pagenum" id="Page_270">[Pg 270]</span> -plates of modern times, wherein the artist has -captured, for once, all the poetry and melancholy -sentiment of the twilight hour. <i>Sawley Abbey</i>, on -the River Ribble in Lancashire, has, to some of us, -however, a “swing” and pattern, which make of it -a better and more manly plate. It must be seen in -an early state to be adequately judged. For some -inexplicable reason the artist saw fit later to “clean -up” the sky and all the foreground to the right, -leaving the plate cold, empty, and almost meaningless.</p> - -<p><i>Nine Barrow Down</i>, a dry-point, is in Haden’s -happiest vein. It is instinct with that priceless -quality, the “art which conceals art,” and is so -seeming simple that one may readily forget that its -“simplicity” is the result of a most rigid selection -of the essential lines, guided by the knowledge of a -lifetime.</p> - -<p>There is a growing tendency among the younger -and more “advanced” collectors to belittle Seymour -Haden and his work. Unquestionably there -are many etchings which fall far short of his best; -but <i>at his best</i>, in the dozen or two plates of which -he himself approved, he towers far above any of -his contemporaries, and there seems little likelihood -of his supremacy in landscape being seriously -threatened.</p> - -<div class="figcentera"> -<a id="f126" href="images/fig126big.jpg"> -<img src="images/fig126.jpg" alt="" /> -</a> -<p class="caption">J. A. McN. WHISTLER. ZAANDAM (First State)</p> -<p class="c">Size of the original etching, 5⅛ × 8⅝ inches<br /> -In the Collection of Howard Mansfield, Esq.<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - -<div class="figcenter"> -<a id="f127" href="images/fig127big.jpg"> -<img src="images/fig127.jpg" alt="" /> -</a> -<p class="caption">REMBRANDT. VIEW OF AMSTERDAM FROM THE EAST</p> -<p class="c">Size of the original etching, 4⅛ × 5⅞ inches<br /> -In the Museum of Fine Arts, Boston<br /> -<span class="more greentext">(<i>If supported click figure to enlarge.</i>)</span></p> -</div> - - -<p><span class="smcap">Whistler</span>, “the greatest etcher and the most accomplished -<span class="pagenum" id="Page_273">[Pg 273]</span>lithographer who ever lived” (according -to Mr. Joseph Pennell), seems to have interested -himself in landscape hardly at all. Not even -his most ardent disciples would assert that the -master’s few purely landscape plates contribute -greatly to the pyramid of his fame. But even here -one must tread softly. <i>Whistlerium tremens</i> is still -a highly contagious disease; and has not his official -biographer written “All his work is alike perfect”? -How then may a modest lecturer presume to praise -or compare? Let Mr. Pennell speak: “Look at -Rembrandt’s prints made, I do not know whether -with Amsterdam or Zaandam in the background, -and then at Whistler’s of the same subjects. Rembrandt -drew and bit and printed these little plates -as no one had up to his time. But Whistler is as -much in advance of Rembrandt as that great artist -was of his predecessors. In these little distant views -of absolutely the same subject, Whistler has triumphed. -It is not necessary to explain how: you -have only to see the prints to know it.... The -older master is conservative and mannered; the -modern master, respecting all the great art of the -past, is gracious and sensitive, and perfectly free.”</p> - -<p>“You have only to see the prints to know it.” -Well, let us look at two of them: Rembrandt’s -<i>View of Amsterdam</i>, of 1640, and Whistler’s -<i>Zaandam</i>. “Why drag in Velasquez?” the master of<span class="pagenum" id="Page_274">[Pg 274]</span> -the gentle art of making enemies is reported to -have said, upon one historic occasion. This time, -so far as landscape etching is concerned, may it -not be Rembrandt’s turn to say, “Why drag in -Whistler?”</p> - -<p><span class="pagenum" id="Page_275">[Pg 275]</span></p> - - -<p class="c p2">LANDSCAPE ETCHING</p> - -<p class="c little">BIBLIOGRAPHY</p> - -<div class="blockquot"> - -<p><span class="smcap">Fine Prints.</span> <i>By Frederick Wedmore.</i> 15 illustrations. Edinburgh: John -Grant. 1905.</p> - -<p><span class="smcap">The Great Painter-Etchers from Rembrandt to Whistler.</span> <i>By Malcolm -C. Salaman. Edited by Charles Holme.</i> 191 illustrations. London, Paris, -New York: The Studio. 1914.</p> - -<p><span class="smcap">Four Masters of Etching.</span> [Haden, Jacquemart, Whistler, Legros.] <i>By -Frederick Wedmore.</i> Original etchings by Haden, Jacquemart, Whistler, and -Legros. London: Fine Art Society. 1883.</p> - -<p><span class="smcap">Dutch Etchers of the Seventeenth Century.</span> <i>By Laurence Binyon.</i> 4 -reproductions and 29 text illustrations. London: Seeley & Co. 1895. -(Portfolio Artistic Monographs. No. 21.)</p> - - -<p class="xlarge"><span class="smcap">Altdorfer, Albrecht</span> (c. 1480-1538)</p> - -<p><span class="smcap">Albrecht Altdorfer.</span> <i>By T. Sturge Moore. Edited by Laurence Binyon.</i> -25 illustrations. New York: Longmans, Green & Co.; London: The Unicorn -Press. 1901.</p> - -<p><span class="smcap">Albrecht Altdorfers Landschafts Radierungen.</span> <i>Edited by Max J. -Friedländer.</i> 9 reproductions and 1 text illustration. Berlin: Bruno Cassirer. -1906. (Graphische Gesellschaft. Publication 3.)</p> - -<p><span class="smcap">Albrecht Altdorfer and Wolf Huber.</span> <i>By Hermann Voss.</i> 160 reproductions -on 63 plates. Leipzig: Klinkhardt & Biermann. 1910. (Meister -der Graphik. Vol. 3.)</p> - - -<p class="xlarge"><span class="smcap">Gellée, Claude</span>, called <span class="smcap">Lorrain</span> (1600-1682)</p> - -<p><span class="smcap">Claude Lorrain; Painter and Etcher.</span> <i>By George Graham.</i> 4 reproductions -and 23 text illustrations. London: Seeley & Co. 1895. (The Portfolio -Artistic Monographs.)</p> - - -<p class="xlarge"><span class="smcap">Rembrandt Harmensz van Rijn</span> (See also Bibliography -under “Some Masters of Portraiture,” p. 224.)</p> - -<p><span class="smcap">Rembrandt’s Landscape Etchings.</span> <i>By Laurence Binyon.</i> 8 illustrations. -The Print-Collector’s Quarterly, Vol. 2, No. 4, pp. 407-432. Boston. 1912.</p> - - -<p class="xlarge"><span class="smcap">Jacque, Charles Émile</span> (1813-1894)</p> - -<p><span class="smcap">L’oeuvre de Ch. Jacque; catalogue de ses eaux-fortes et pointes -sèches.</span> <i>By Jules Marie Joseph Guiffrey.</i> With an original etching. Paris: -Mlle. Lemaire. 1866.</p> - -<p>———. <span class="smcap">Nouvelles eaux-fortes et pointes sèches.</span> Supplement au -catalogue. Paris: Jouaust & Sigaux. 1884.</p> - -<p><span class="smcap">Charles Jacque.</span> <i>By Robert J. Wickenden.</i> 18 illustrations. The Print-Collector’s -Quarterly, Vol. 2, No. 1, pp. 74-101. Boston. 1912.</p> - -<p><span class="pagenum" id="Page_276">[Pg 276]</span></p> - -<p>——— ———. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’ -Booklets.)</p> - - -<p class="xlarge"><span class="smcap">Daubigny, Charles Francois</span> (1817-1878)</p> - -<p><span class="smcap">C. Daubigny et son oeuvre gravé.</span> <i>By Frédéric Henriet.</i> 5 original etchings -and 4 reproductions. Paris: A. Levy. 1875.</p> - -<p><span class="smcap">Daubigny.</span> <i>By Jean Laran.</i> 48 reproductions. Paris: Librairie centrale des -Beaux-Arts. n. d. (L’Art de Notre Temps.)</p> - -<p><span class="smcap">Charles-François Daubigny; Painter and Etcher.</span> <i>By Robert J. Wickenden.</i> -15 illustrations. The Print-Collector’s Quarterly, Vol. 3, No. 2, pp. -177-206. Boston. 1913.</p> - -<p>——— ———. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’ -Booklets.)</p> - - -<p class="xlarge"><span class="smcap">Corot, Jean Baptiste Camille</span> (1796-1875)</p> - -<p><span class="smcap">Corot.</span> <i>By Loys Delteil.</i> An original etching and 102 reproductions. Paris: -L’auteur. 1910. (Le peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. 5.)</p> - -<p><span class="smcap">Corot and Millet.</span> <i>With critical essays by Gustave Geffroy and Arsène -Alexandre. Edited by Charles Holme.</i> 120 illustrations. London, Paris, New -York: John Lane. 1902. (The Studio.)</p> - -<p>“<span class="smcap">Le Père Corot.</span>” <i>By Robert J. Wickenden.</i> 9 illustrations. The Print-Collector’s -Quarterly, Vol. 2, No. 3, pp. 365-386. Boston. 1912.</p> - -<p>——— ———. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’ -Booklets.)</p> - - -<p class="xlarge"><span class="smcap">Millet, Jean-François</span> (1814-1875)</p> - -<p><span class="smcap">Jean-François Millet.</span> <i>By Arsène Alexandre.</i> <span class="smcap">The Etchings of J. F. -Millet.</span> <i>By Frederick Keppel.</i> 85 illustrations. London and New York: -John Lane. 1903. (The Studio.)</p> - -<p><span class="smcap">Jean-François Millet.</span> <i>By Loys Delteil.</i> Illustrated. Paris: L’auteur. -1906. (Le peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. I.)</p> - -<p><span class="smcap">Alfred Lebrun’s Catalogue of the Etchings, Heliographs, Lithographs -and Woodcuts Done by Jean-François Millet.</span> <i>Translated from -the French by Frederick Keppel.</i> With additional notes and a sketch of the -artist’s life. 7 reproductions. New York: Frederick Keppel & Co. 1887.</p> - -<p><span class="smcap">Jean-François Millet; Painter-Etcher.</span> <i>By Mrs. Schuyler Van Rensselaer.</i> -With a biographical sketch of Millet by Frederick Keppel. 11 illustrations. -New York: Frederick Keppel & Co. 1901. (The Keppel Booklets. -1st series.)</p> - -<p><span class="smcap">The Art and Etchings of Jean-François Millet.</span> <i>By Robert J. -Wickenden.</i> 14 illustrations. The Print-Collector’s Quarterly, Vol. 2, No. 2, -pp. 225-250. Boston. 1912.</p> - -<p>——— ———. Reprinted. Boston: Houghton Mifflin Company. 1914. -(Print-Collectors’ Booklets.)</p> - -<p><span class="pagenum" id="Page_277">[Pg 277]</span></p> - -<p><span class="smcap">Millet’s Drawings in the Museum of Fine Arts, Boston.</span> <i>By Robert J. -Wickenden.</i> 11 illustrations. The Print-Collector’s Quarterly, Vol. 4, No. 1, -pp. 3-30. Boston. 1914.</p> - - -<p class="xlarge"><span class="smcap">Haden, Francis Seymour</span> (1818-1910)</p> - -<p><span class="smcap">A Descriptive Catalogue of the Etched Work of Francis Seymour -Haden.</span> <i>By Sir William Richard Drake.</i> London: Macmillan & Co. 1880.</p> - -<p><span class="smcap">The Engraved Work of Sir Francis Seymour Haden, P. R. E.</span> <i>By H. -Nazeby Harrington.</i> 250 reproductions on 109 plates. Liverpool: Henry -Young & Sons. 1910.</p> - -<p><span class="smcap">The Water-Colors and Drawings of Sir Seymour Haden, P. R. E.</span> <i>By -H. Nazeby Harrington.</i> 8 illustrations. The Print-Collector’s Quarterly, -Vol. 1, No. 4, pp. 405-419. Boston. 1911.</p> - -<p><span class="smcap">Sir Seymour Haden, Painter-Etcher.</span> <i>By Frederick Keppel.</i> 5 illustrations. -New York: Frederick Keppel & Co. 1901. (The Keppel Booklets. -1st series.)</p> - -<p><span class="smcap">Personal Characteristics of Sir Seymour Haden, P. R. E.</span> <i>By Frederick -Keppel.</i> 27 illustrations. The Print-Collector’s Quarterly. 2 parts. Part I. -Vol. 1, No. 3, pp. 291-316. Part II. Vol 1, No. 4, pp. 421-442. Boston. 1911.</p> - - -<p class="xlarge"><span class="smcap">Whistler, James Abbott McNeill</span></p> - -<p><span class="smcap">The Etched Work of Whistler. Illustrated by Reproductions in -Collotype of the Different States of the Plates.</span> <i>Compiled, arranged, -and described by Edward G. Kennedy. With an introduction by Royal Cortissoz.</i> -1002 reproductions. New York: The Grolier Club. 1910.</p> - -<p><span class="smcap">A Descriptive Catalogue of the Etchings and Drypoints of James -Abbott McNeill Whistler.</span> <i>By Howard Mansfield.</i> 1 portrait. Chicago: -Caxton Club. 1909.</p> - -<p><span class="smcap">Whistler as a Critic of His Own Prints.</span> <i>By Howard Mansfield.</i> 12 illustrations. -The Print-Collector’s Quarterly, Vol. 3, No. 4, pp. 367-393. -Boston. 1913.</p> - -<p><span class="smcap">The Life of James McNeill Whistler.</span> <i>By Elizabeth Robins Pennell and -Joseph Pennell.</i> 97 illustrations. 5th edition. Philadelphia: J. B. Lippincott -Company. 1911.</p> - -<p><span class="smcap">Mr. Whistler’s Lithographs; the Catalogue.</span> <i>By Thomas R. Way.</i> 1 -lithograph. London: George Bell & Sons. 1896.</p> - -<p><span class="smcap">Whistler’s Lithographs.</span> <i>By Thomas R. Way.</i> 18 illustrations. The Print-Collector’s -Quarterly, Vol. 3, No. 3, pp. 279-309. Boston. 1913.</p> - -<p><span class="smcap">The Lithographs by Whistler, Illustrated by Reproductions in -Photogravure and Lithography, Arranged According to the Catalogue -by Thomas R. Way, with Additional Subjects Not Before Recorded.</span> -166 reproductions. New York: Kennedy & Co. 1914.</p> - -<p><span class="smcap">The Art of James McNeill Whistler.</span> <i>By T. R. Way and G. R. Dennis.</i> -11 portraits and 41 plates. London: George Bell & Sons. 1904.</p> - -<p><span class="pagenum" id="Page_278">[Pg 278]</span></p> - -<p><span class="smcap">Whistler’s Etchings; a Study and a Catalogue.</span> <i>By Frederick Wedmore.</i> -London: A. W. Thibaudeau. 1886.</p> - -<p>———. Same. 2nd edition. London: P. & D. Colnaghi & Co. 1899.</p> - -<p><span class="smcap">The Gentle Art of Making Enemies.</span> <i>By J. A. McN. Whistler.</i> London: -William Heinemann. 1890.</p> - -<p>———. Same. 2nd edition. 1892.</p> - -<p>———. Same. 3rd edition. 1904.</p> - -<p><span class="smcap">The Gentle Art of Making Enemies.</span> <i>Edited by Sheridan Ford.</i> Paris: -Delabrosse & Compagnie. 1890.</p> - - -<p class="xlarge"><span class="smcap">Cameron, David Young</span> (1865- )</p> - -<p><span class="smcap">D. Y. Cameron; an Illustrated Catalogue of His Etched Work; with -an Introductory Essay and Descriptive Notes on Each Plate.</span> <i>By -Frank Rinder.</i> 444 reproductions. Glasgow: J. MacLehose & Sons. 1912.</p> - -<p><span class="smcap">Cameron’s Etchings; a Study and a Catalogue.</span> <i>By Frederick Wedmore.</i> -London: R. Gutekunst. 1903.</p> - - -<p class="xlarge"><span class="smcap">Bone, Muirhead</span> (1876- )</p> - -<p><span class="smcap">Etchings and Drypoints by Muirhead Bone.</span> <i>By Campbell Dodgson.</i> -Portrait. London: Obach & Co. 1909.</p> -</div> - -<div class="transnote"> - -<p class="c">Transcriber’s Notes:</p> - -<p>Variations in spelling and hyphenation are retained.</p> - -<p>Punctuation has been retained as published.</p> - -</div> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK ENGRAVERS AND ETCHERS ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -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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