,,engraving ,,for ,,illustration ,reproduction by ,r4 ,j4 ,,everett ,,sons' ,,ink-,,photo ,process ,illustration3 ,,frontispiece4 ,,engraving ,,for ,,illustration4 ,,engraving ,,for ,,illustration ,historical and ,practical ,notes ,,by ,,joseph ,,kirkbride ,,with ,,two ,,plates ,,by ,,ink ,,photo ,,process ,,and ,,six ,,illustrations ,,london ,,scott1 ,,greenwood ,,co4 #aj ,,ludgate ,,hill1 ,e4,c4 ,,new ,,york ,d4 ,,van ,,nostrand ,,co4 #bc ,,murray ,,street #aijc ,all ,rights remain with ,scott1 ,greenwood ,co4 ,,contents ,,page ,,chapter ,i ,,its ,,inception4 ,a ,theory of ,evolution--,a ,distinct ,progress #a ,,chapter ,,ii ,,wood ,,engraving4 ,rise and ,progress--,block ,books--,durer's ,influence--,hans ,holbein--,a ,renaissance--,comparison and ,justification--,the ,illustrator #e ,,chapter ,,iii ,,metal ,,engraving4 ,the ,invention--,early ,engravers--,national ,characteristics--,a ,progressive ,review #ah ,,chapter ,,iv ,,engraving ,,in ,,england4 ,introduction of ,metal ,engraving--,notable ,british ,engravers--,summary #bf ,,chapter ,v ,,etching4 ,early ,records--,descriptive--,rembrandt's ,influence--,wenceslaus ,hollar #ch ,,mezzotint4 ,invention--,description--,artistic ,qualities--,dilettanti ,art--,a ,modern ,mezzo ,engraver #ch ,,chapter ,,vi ,,the ,,engraver',s ,,task4 ,inartistic ,work--,constructive ,elements--,outline--,extraneous ,matter--,composition--,light and ,shade--,expression--,perspective--,exec ution #dh ,,chapter ,,vii ,,photo ,,process ,,engraving4 ,a ,progressive ,process--,commercial and ,artistic ,features--,line ,process--,half ,tone--,artistic ,restoration--,tri-chromatography--,phot ogravure #eg ,,chapter ,,viii ,,appreciative ,,criticism4 ,an ,educative ,principle--,an ,analysis--,realism in ,art ,retrospect #ff ,,index #gj ,,list ,,of ,,illustrations ,,fig4 ,plate ,i4 ,frontispiece #a4 ,old ,wood ,engraving 7,erenburg ,castle7 ,facing p4 #aj #b4 ,modern ,wood ,engraving 7,the ,goose ,fountain1 ,nuremburg7 #ad #c4 ,old ,wood ,engraving #bh #d4 ,modern ,wood ,engraving #ed #e4 ,cross ,section of ,cyanide ,furnace ,page #ei #f4 ,process ,engraving ,facing p4 #fj ,plate ,,ii4 #fd ,,preface ,a philosopher and writer has declared that in our fine arts1 not imitation1 but creation1 is the aim4 ,it is to emphasise a distinction between an imitative and a creative art that the following chapters are offered4 ,engraving for ,illustration is pre-eminently a creative art by which the work of the artist is translated1 in order to render the effect of his design in such a form as will admit of rapid and effective reproduction4 ,it is1 moreover1 a popular art with a well-defined educative principle underlying the numerous phases of its manifestation2 while1 at the same time1 its historical and general interest will commend this brief record of its progress and influence to many who are lovers of art for art's sake4 ,j4 ,k4 ,,london ,june #aijc4 ,,engraving ,,for ,,illustration ,,chapter ,i ,,its ,,inception--,a ,,theory ,,of ,,evolution--,a ,,distinct ,,progress ,in proportion to his force the artist will find in his work an outlet for his proper character4--,emerson4 ,its ,inception4--,it was the dawn of a new sense when primitive man first ornamented his weapons1 utensils1 and the walls of his cave dwellings with incised drawings1--pictorial representations which enabled him to record events or suggest and illustrate thoughts and ideas when his somewhat limited vocabulary failed him4 ,it was a severely utilitarian epoch of the world's history1 and the crude yet intensely realistic manifestations of man's artistic desires were the more remarkable that they were wholly dependent upon stern necessity for their realisation4 ,childlike in their simplicity1 yet both graphic and vigorous in expression1 these ancient drawings bear testimony to the intense desire of primeval man for some suitable and satisfying form of pictorial expression4 ,such incised drawings were undoubtedly the earliest forms1 which the mind of man suggested and his skill attained1 of conveying information and displaying pictorial or ornamental art4 ,they were but crude conceptions of the untutored art of a savage race1 yet1 with a characteristic quaintness of expression1 they abundantly prove the existence of an innate1 imitative1 and artistic faculty1 inspired by an insatiable craving for illustrative delineation4 ,a ,theory of ,evolution4--,the antiquity of the engraver's art1 then1 is exceedingly remote1 and its earliest records display frequent evidences of manipulative skill and artistic perception--evidences which are still more convincing when the environment and scanty resources of its exponents are fully appreciated4 ,it was a most unique phase of that process of evolution whereby the social education of the human race was advanced1 and through countless ages it has indicated the same onward roll of progressive intelligence4 ,responsive to the ever-changing conditions of life1 the necessities of mankind were constantly increasing4 ,his higher intelligence also created a greater diversity of interests1 and consequently demanded a fuller and more expressive vehicle of communication for his thoughts4 ,no longer content with what was only needful for the maintenance of social or commercial intercourse1 he sought to add to the archaic simplicity of his drawings1 skilful arrangement1 and a certain degree of artistic feeling and interpretation4 ,it was as though some transitory flashes of artistic power in the minds of prehistoric artists were struggling with an inability to give adequate expression to their inceptions4 ,their productions1 some of them dating from the ,palaeolithic and ,neolithic periods1 were not pretentious works of art4 ,their primary purpose being representative1 their merit was1 of course1 decided by the success or failure of such representation1 apart from any artistic qualities they might possess4 ,a ,distinct ,purpose4--,the evident care with which many of the ancient incised drawings or engravings were executed and preserved1 together with the permanent character of the materials employed1 seems to indicate that these simple yet graphic representations were produced with the distinct purpose of perpetuating a memory as well as for the amplification of a meagre language1--a purpose which considerably enhances their interest1 and suggests that the primeval engraver appreciated some at least of the possibilities of his art4 ,moreover1 they frequently possess an intense veracity and directness of imitation which renders them of inestimable value as reliable historical records4 ,had caprice alone directed the artist's efforts1 they would not in so many instances have merited the interest and approval which they now receive4 ,such1 then1 were the beginnings of an art that subsequently reached its maturity only by a slow growth of gradual development1 and which1 in the modesty and seriousness of its earlier manifestations1 is at least as interesting as in the audacity of its later and more impressionistic phases4 ,engraving as a reproductive as well as an ornamental art was at different periods modified in accordance with ever-changing conditions produced by the exigencies of national and industrial policy4 ,its frequent adaptation to the various circumstances with which it was indissolubly associated1 and the fluctuations of an enthusiasm which was more or less dependent upon national as well as social prosperity1 fully justifies the statement that its history is the mirror of a nation's progress4 ,the rude methods of ancient artists can be distinctly traced through ,egyptian1 ,assyrian1 and ,grecian history4 ,hieroglyphic and symbolic figures1 engraved on ancient ,egyptian monuments1 bear testimony to a vast progress both in expressive and inventive power4 ,assyrian antiquities disclose an art which is even more suggestive and picturesque1 while the ancient ,greeks developed the highest qualities of pictorial power1 and raised the art to a marvellous pitch of excellence4 ,beyond this brief epitome of the early history of engraving we need not venture4 ,the idea of taking impressions from any form of incised drawings was not suggested until many centuries later4 ,,chapter ,,ii ,,wood ,,engraving--,,rise ,,and ,,progress--,,block ,,books--,,durer',s ,,influence--,,hans ,,holbein--,a ,,renaissance--,,comparison ,,and ,,justification--,,the ,,illustrator ,it is therefore beautiful because it is alive1 moving1 reproductive4 ,it is therefore useful because it is symmetrical and fair4--,emerson4 ,wood ,engraving4--,the most animating event in the whole history of engraving was the development of engraved wood blocks4 ,wood engraving did not receive the impetus of a new discovery as did metal engraving at a later period4 ,it was to some extent a purely commercial enterprise1 the success of which was assured by an ever increasing interest in pictorial art4 ,engraved wood blocks were used for purposes of reproduction several centuries before their introduction into ,europe4 ,historians claim that it can be traced back to ,a4,d4 #icj1 when a form of playing card was known to the ,chinese1 and printed by them from rough wood engravings4 ,the commercial intercourse of the ,venetians with ,eastern nations would suggest a probability that their navigators brought home some of these playing cards1 and described the method of their production to their countrymen4 ,the further we pursue our investigations1 the more remarkable does this tardy recognition of the utility of wood engraving appear to be4 ,it is true that somewhere about the middle of the thirteenth century legal documents were stamped1 and merchant marks made with engraved wood blocks1 but no extensive use was made of this method of reproduction until a much later period4 ,the ,low ,countries claim credit for the first employment of engraved wood blocks for commercial purposes4 ,many dispute this claim1 but the amount of credit at stake is so infinitesimal that it renders the contention of little value4 ,until the time of that immense progress which wood engraving made in ,germany about the middle and towards the end of the fifteenth century1 no work of any artistic merit whatever had been produced4 ,the older prints may possess a certain historical or antiquarian value1 but otherwise are both crude and uninteresting4 ,block ,books4--,the ,mediaeval ,block ,books were the most important of the early pictorial reproductions from engraved wood blocks4 ,they also may be traced to ,china1 where1 as early as the ninth century1 they were used for decorative as well as illustrative purposes4 ,they retained their primitive form for a long period after their first introduction to ,western civilisation1 and it is interesting to note that the blocks1 and not the prints1 were supplied to the monks1--the scholars of the day1--the impressions being made by them as required4 ,towards the end of the fourteenth century ,dutch merchants1 like the ,venetians1 paid frequent visits to ,chinese ports1 when they too were impressed with the novelty and utility of pictorial reproduction as practised in the ,east4 ,at any rate1 pictorial sheets or cards1 very similar in character to the ,chinese playing cards1 were published in ,holland about that period4 ,they bore pictures of the saints with the titles or legends engraved alongside4 ,the production of such prints was evidently a recognised business during the early part of the fifteenth century1 for there are numerous entries in the civic records of ,nuremberg concerning the wood engraver ,formschneider and cardmaker ,kartenmacher4 ,it has been ingenuously suggested that1 for convenience1 collections of these cards were pasted into books2 and the books available being chiefly of a religious character1 the idea of illustrating religious matter with such pictures was readily suggested4 ,the next step was the application of block engraving and printing to the production of volumes of a more pretentious character1 the most noteworthy of which were ,the ,apocalypsio sue ,historia ,sancti ,johannis1 the ,biblia ,pauperum1 and the ,historia ,virginis ex ,cantico ,canticorum4 ,in another of these books1 the ,speculum ,humanae ,salvationis1 the titles were not engraved on the plates1 but were printed with movable types4 ,this volume was published at ,haarlem1 and was composed of fifty-eight plates--a very considerable production with the materials then at the disposal of the publishers4 ,durer's ,influence4--,in #adij ,albert ,durer1 who possessed a spirited imagination and deep enthusiasm for his work1 marked out a distinct era of substantial progress1 and impressed the art of wood engraving with that expressive power of delineation which his truly remarkable genius ever manifested4 ,durer was an artist of somewhat variable characteristics1 but the diversity and amplitude of his productions afford conclusive evidences of a remarkable industry and skill4 ,like other artists of his time1 and even of much later periods1 he did not engrave his own drawings4 ,he may1 of course1 have engraved a few blocks1 but most1 if not all of the wood engravings signed by ,durer1 were executed by ,jerome ,rock4 ,perhaps the most peculiar characteristic of ,durer's designs was the portrayal of scenes and figures of ancient history and myth in well-defined imitation of his own surroundings and the conditions of life then existing4 ,apropos of this1 it was said that he turned the ,new ,testament into the history of a ,flemish village4 ,hans ,holbein was another of the early artists who prepared their drawings for the express purpose of reproduction by means of wood engraving4 ,that he fully appreciated the resources of his art there can be no doubt1 for he imbued his work with an expressive individual force which was distinctly progressive and influential4 ,his best known production consists of forty-one engravings representing ,death--the ,king of ,terrors1 in association with nearly every phase of human life4 ,each one of these designs is a picture parable of remarkable power and suggestiveness4 ,the characteristic drawing and quaint expressiveness of ,holbein's illustrations merit unqualified admiration1 and his graphic use of pure line for pictorial expression stands almost unrivalled4 ,hans ,litzelburger engraved ,holbein's designs4 ,towards the end of the fifteenth and during part of the sixteenth centuries wood engraving still received enthusiastic attention1 and then1 for sheer lack of interest1 fell rapidly into decay4 ,metal engraving was absorbing the attention of the artistic world1 and for many years wood engraving was regarded as only fit for the reproduction of pictures which may be charitably described as inartistic1 and too often perhaps discreditable4 ,as far as our own country was concerned1 it was not until the advent of ,thomas ,bewick that this decadence received any effective check4 ,a ,renaissance4--,the ,renaissance of wood engraving in ,england may be dated from #agge1 when ,bewick engraved a picture entitled ,the ,hound1 and received a prize offered by the ,royal ,society for the best engraving on wood4 ,thomas ,bewick was born in #agec1 and fourteen years later he was apprenticed to a metal engraver4 ,it was indeed a fortuitous circumstance which caused him to transfer his energies and his talents to wood engraving1 in which he displayed a rare skill and inimitable directness of expression4 ,he was probably the first wood engraver to adopt level tinting in place of complicated and laborious cross hatching which was then practised by his continental contemporaries4 ,he usually preferred to develop his drawing rather than attempt the production of extraneous effects1 and the subtle effectiveness of his pictures affords incontrovertible proofs of the advantage of such substitution4 ,their humour and pathos1 vigour and fidelity1 remain to this day as memorials of the consummate1 artistic skill and perceptive capacity of a truly remarkable man4 ,bewick was a self-contained genius whose rugged emotions would admit of but one form of pictorial expression1 and that peculiarly his own4 ,his work was pregnant with masterly good sense1 and ever manifested a charming simplicity of purpose4 ,he had but a modest estimate of his ability as an engraver1 and consequently rarely engraved any other than his own drawings4 ,the exact measure of ,bewick's influence on the art of wood engraving for pictorial illustration and reproduction would be difficult to satisfactorily determine4 ,this much is certain1 however1 that through it wood engraving was verified and popularised1 and illustrated literature received a stimulus which subsequent developments combined to maintain and emphasise4 ,illustration3 ,fig4 #a4--,old ,wood ,engraving 7,erenburg ,castle74 ,colour values and perspective can only be expressed by thick and thin lines at varying distances apart4 ,block supplied by the ,london ,electrotype ,agency ,ltd41 from the ,illustrated ,london ,news4 ,a ,comparison4--,there is a vast difference between the effects procurable in an impression from a wood engraving and the print from an engraved metal plate4 ,in the former1 colour values and perspective can only be expressed by thick and thin lines at varying distances apart1 the ink on the prints being of the same density throughout1 no matter how thick or thin the lines may be4 ,in metal engraving intermediary values may be obtained by lines of the same thickness1 if need be1 but of varying depth4 ,the result is a strong1 intense effect produced by the greater body of pigment held by such portions of the lines as are cut deeply1 and the comparatively grey appearance of the shallower parts4 ,it is largely due to this that prints from engraved metal plates possess a peculiar richness and depth of tone4 ,the commercial advantages generally claimed for engraved wood blocks are the ease and rapidity with which impressions can be made from them as compared with the metal plates1 and also the fact that they can be printed with type1 i4e4 letterpress1 without any unusual preparations4 ,granting the validity of these claims1 it must follow that1 owing to the larger number of impressions made from wood engravings1 their intrinsic worth will be correspondingly less than the limited number of prints made from engraved metal plates1 and their commercial value will be estimated accordingly4 ,a ,justification4--,the somewhat sweeping assertion that wood engraving affords a medium of expression only for the blunter minds is not the whole truth4 ,its strikingly bold conceptions and broad expressive effects certainly appeal to the untrained eye or untutored mind more than the artistic qualities of design and execution displayed in metal engraving2 but there is yet in the art of the wood engraver a well-nigh inexhaustible store of artistic as well as pictorial effects4 ,the forcible character and charm of its productions are chiefly due to the disposition and combination of the lines employed1 and a variety of texture which is thereby introduced4 ,it affords also an exceptional facility of execution1 and an almost limitless power of realisation1 which gives to it a deservedly high place among the pictorial and reproductive arts4 ,the whole matter may be summed up in a statement once made by a well-known artist and illustrator3 ,there is no process in relief which has the same certainty1 which gives the same colour and brightness1 and by which gradations of touch can be more truly rendered4 ,few of our great artists1 however1 can be prevailed upon to draw for wood engraving1 and when they do undertake an illustration1 say of a great poem1 the drawing1 which has to be multiplied #ajj1jjj times1 has less thought bestowed upon it than the painted portrait of a cotton king4 ,what wonder1 then1 at the retrogression of this facile and graphic art of pictorial illustration4 ,illustration3 ,fig4 #b4--,modern ,wood ,engraving 7the ,goose ,fountain1 ,nuremburg74 ,the forcible character of wood engraving chiefly due to the disposition and combination of the lines employed4 ,block supplied by the ,london ,electrotype ,agency ,ltd41 from the ,religious ,tract ,society4 ,the ,illustrator4--,the employment of wood engravings in conjunction with literature created a new phase of artistic work4 ,the task of the illustrator or designer is peculiar4 ,he sketches out his design on the wood block1 and then passes it on to the engraver4 ,his drawing is not intended as a permanent form of pictorial art1 but as a suggestive sketch1 which1 while perfectly intelligible to the engraver1 will be free from such intricacies in its composition as might interfere with its effective interpretation4 ,the old wood engravers produced1 line for line1 an exact facsimile of the artist's design4 ,his work1 no doubt1 required considerable skill and unremitting patience1 but it was almost devoid of independent thought or artistic feeling4 ,the engraver to-day must translate the work of the illustrator so as to render the effect of his design in such a form as will admit of rapid and effective reproduction4 ,the possibilities of the wood engraver's art1 therefore1 are manifold4 ,the artist's sketch may give a suggestion of light and shade1 and possibly some idea of its tone4 ,the execution and elaboration of the drawing is left almost entirely in the hands of the engraver4 ,whether it will gain or lose by its translation will1 to some extent1 depend upon his artistic perception as well as his manipulative skill4 ,,chapter ,,iii ,,metal ,,engraving--,,the ,,invention--,,early ,,engravers--,,national ,,characteristics--,a ,,progressive ,,review ,the influence of the graver is so great and extensive that its productions have constantly been the delight of all countries of the world and of all seasons of life4 ,metal ,engraving--,the ,invention4--,the engraving of metal plates for pictorial reproduction was a direct development of ornamental engraving4 ,the ,italian ,niello work of the fourteenth and fifteenth centuries was chiefly applied to the embellishment of metal ornaments and utensils with elaborate engravings4 ,to intensify their effect1 the designs were filled in with a black pigment known as ,niello1 ,l4 ,nigellus--,black4 ,hence the name by which the process was generally known4 ,niello work was practised chiefly by gold and silversmiths1 and it is recorded that one of these1 ,finiguerra by name1 was filling up the lines of the engraving with black composition in the usual way when he accidentally spilled some hot wax over the plate4 ,it rapidly cooled and hardened1 and on scaling off bore a distinct black impression of the engraving4 ,quick to perceive the importance of his discovery1 ,finiguerra promoted a few experiments which ultimately led to a full realisation of his hopes4 ,there is yet another account of the metamorphosis of metal engraving which1 if true1 reflects much more credit upon ,finiguerra than the accidental discovery already described4 ,to obtain a proof of their work1 the ,florentine metal-workers covered the ornamentation with some fine plastic material4 ,it was then a simple matter to convert the impression into a mould1 which they filled with melted sulphur4 ,the casts1 when hard1 formed exact replicas of the engravings1 and afterwards1 when the incised lines were filled with a black pigment1 probably ,niello1 they presented an effective record of the original work4 ,it is not by any means improbable that ,finiguerra made his discovery when making such a cast4 ,it is a noteworthy fact that the idea of producing impressions from engraved metal plates was not1 as might readily be imagined1 a development of wood engraving or of the then well-known method of printing from engraved wood blocks4 ,it was a fortuitous discovery1 and probably the direct result of an accident4 ,the true importance of this transition1 i4e4 ,niello work to engraving as a reproductive art1 is seldom fully appreciated4 ,it was a momentous change1 bristling with possibilities1 which subsequent developments amply proved4 ,the time was peculiarly propitious4 ,the beneficent influence of the ,renaissance was at its flood1 and a feverish spirit of progress swept over ,europe4 ,the imitative instinct inherent in mankind reasserted itself with an irresistible intensity1 and new forms of pictorial expression were eagerly sought after4 ,the art of engraving provided a medium for the extension of the artist's fame and the popularising of his creations4 ,it rapidly gained favour1 and its ultimate development and expansion fully justified the interest it aroused4 ,early ,engravers4--,baccio ,baldine1 another ,florentine goldsmith1 quickly realised the value of ,finiguerra's discovery1 and endeavoured to produce engraved plates for printing purposes4 ,being a somewhat indifferent designer1 his first efforts were not very successful4 ,he was afterwards assisted by ,sandio ,botticelli1 and this partnership was the first clear indication of progress in the art4 ,these two engravers undertook the illustration of an edition of ,dante's works1 in which the chief feature was to be an original headpiece for each canto4 ,they accomplished some meritorious work in connection therewith1 but never quite fulfilled their task4 ,some impressions from engraved plates were exhibited in ,rome about this time1 and attracted the attention of the painter ,andrea ,mantegna4 ,he was so impressed with these examples of the new art that he determined to reproduce some of his own pictures in a like manner4 ,mantegna's engravings were not in any way remarkable1 yet they were received with considerable enthusiasm by his countrymen and by artists in various parts of ,europe4 ,marc ,antonio ,raimondi was another famous ,italian engraver of this period4 ,he first became notorious through copying some of ,a4 ,durer's designs in the exact style affected by that great artist4 ,he also added ,durer's signature to his piracies1 and in other ways emphasised the imitation4 ,it is doubtful whether he ever realised the gravity of the deception he was guilty of1 for he took no pains to conceal the fact from his fellow artists4 ,apart from this1 however1 ,raimondi was a fine engraver4 ,he reproduced a number of ,raphael's pictures under that artist's direct supervision1 all of which show distinct traces of the great master's influence4 ,raimondi engraved between three and four hundred plates4 ,it is a remarkable coincidence that the art of engraving in ,italy1 and printing in ,germany1 should each receive the stimulus of a new discovery about the same period4 ,the art of printing was known to the ancient ,chinese1 but movable types were first used by ,gutenberg about #aded4 ,national ,characteristics4--,engraving is almost as old as the human race1 yet its full value as a reproductive art was not discovered until #adeb1 when ,finiguerra made his discovery4 ,for at least half a century after this discovery engraving was held in the highest esteem in ,italy4 ,from that country it passed to ,germany1 and thence into ,france4 ,in each of these countries it flourished for a time1 until at last it claimed a place1 and that a high one1 amongst the fine arts of our own country4 ,the leading characteristics of ,italian art1 and particularly ,italian engraving1 were beautiful outlines and excellent drawing4 ,nothing in any stage of ,italian art was carelessly or incompletely done4 ,there is no rough suggestion of design1 no inexact record of artistic invention4 ,the lines1 and especially the outlines1 of the early ,italian engravings are indisputably exquisite in their expression of grace and beauty1 though perhaps weak and unsuitable for the portrayal of vigour and strength4 ,the ,german engravers reached another extreme4 ,their drawings were frequently deficient1 and even grotesque2 but this was more than compensated for by a mingled force and freedom of delineation which1 added to a rich imaginative symbolism1 was in every respect remarkable4 ,by means of flowing lines they indicated every fold of draperies1 emphasised the varied contour of features1 or produced an intricate and almost perplexing perspective in their pictures4 ,they frequently sacrificed artistic power for a mere show of dexterous execution1 and consequently the engravings of this period were rarely ever sublime in their conceptions4 ,remarkable for their technique1 they were yet productive of a bewildering confusion of ideas and mannerisms4 ,it was undoubtedly this superiority of technique which attracted so much attention to the old ,german engravers4 ,their portrait engravings display abundant insight into human character1 and in this respect at least exhibit a rare power of pictorial expression4 ,indefatigable enthusiasm1 one of the racial characteristics of the ,french nation1 was exemplified in the reception accorded by her artists to the art of metal engraving4 ,french engraving was distinguished by a felicitous combination of good drawing1 skilful execution1 and an aptitude to imitate easily any impression4 ,outlines were frequently suggested rather than delineated1 and although somewhat unconventional in style1 ,french engravings of the seventeenth century displayed few traces of a perfunctory art4 ,certain vagaries of style1 due no doubt to a natural vivacity1 indicated an artistic quality of design and execution which was their peculiar inheritance4 ,of modern ,french engravers on metal1 the ,audran family were by far the most notable4 ,for four or five generations that remarkable family showed artistic talent of a high standard of excellence4 ,gerard ,audran1 who was born in #afdj1 was the best known and most gifted member of this family4 ,his productions were everywhere admired4 ,his historical pictures especially were very fine4 ,he was appointed engraver to ,louis ,,xiv4 ,died #agjc4 ,a ,progressive ,review4--,for a long period engraving was of the simplest possible character4 ,about the beginning of the sixteenth century an effort was made to introduce perspective into the productions of both brush and graver1 and until this important development obtained complete recognition1 even the most skilful artists were guilty of faulty draughtsmanship4 ,aerial perspective1 or the suggestion of distance1 quickly followed this adoption of linear perspective4 ,it is claimed for ,lucas van ,leyden1 a ,dutch engraver1 that he was the first to thoroughly appreciate and give true value to foreground and distance2 in other words1 to fully recognise the artistic value of perspective4 ,it has been frequently suggested that the fame of ,durer1 van ,leyden1 and others of the same school1 was so widespread as to create an artistic bias1 which other engravers1 who were their equals in technical skill1 if not in fertility of design1 found it difficult to overcome4 ,one of these engravers1 ,henry ,goltzius1 was determined to obtain recognition of his merits1 and engraved five plates in as many different styles1 copying the mannerisms and artifices of ,durer and others4 ,they were at once accepted as productions of the great artists1 and not until ,goltzius had heard the unqualified praise of art critics and patrons did he reveal his purpose4 ,his countrymen generously forgave him this deception1 and he certainly gained much credit thereby4 ,these pictures are now known as ,goltzius' masterpieces4 ,during the seventeenth century ,rembrandt's influence developed much of that technique which modern engravers have copied1 and in some instances claimed to improve4 ,he is also credited with the introduction of more expressive gradations of tone1 for the production and emphatic suggestion of light and shade4 ,the character of this1 too1 has been retained in present day engravings4 ,rembrandt was more directly associated with etching than with line engraving1 but his influence was far from exclusive4 ,encouraged by the influence of his example1 the line engraver endeavoured to add to the expressive power of his pictures by the introduction of more daring perspectives1 more suggestive form1 and infinitely greater diversity of texture4 ,,chapter ,,iv ,,engraving ,,in ,,england--,,introduction ,,of ,,metal ,,engraving--,,notable ,,british ,,engravers--,,summary ,when applied to objects of their proper destination1 the arts are capable of extending our intellect1 of supplying new ideas1 and of presenting to us a view of times and places1 whatever their interval or difference4--,dallaway4 ,engraving as a decorative art was well advanced in this country during the reign of ,alfred the ,great1 when the ,anglo-,saxon metal-workers were known to be skilful engravers4 ,the art was still further developed under the ,norman rule1 and during the fourteenth and fifteenth centuries4 ,wood engravings were printed by ,william ,caxton in #adha1 but there is no proof that they were the work of ,english engravers4 ,introduction of ,metal ,engraving4--,the exact date of the introduction into ,england of metal engraving as a reproductive art is doubtful4 ,there is a record of a book published in this country in #aede1 which was illustrated with copper engravings1 cut by ,thomas ,gemeni4 ,it was a work on anatomy by ,vesalius1 and was at first printed in ,latin4 ,in the preface to a translation of this work the following quaint note appears3 ,accepte1 jentill reader1 this ,tractise of ,anatomie1 thankfully interpreting the labours of ,thomas ,gemeni the workman4 ,he that with his great charge1 watch and travayle1 hath set out the figures in pourtrature will most willingly be amended1 or better perfected of his own workmanship if admonished4 ,it was probably not until ,queen ,elizabeth's reign was well advanced that metal engraving obtained any substantial recognition as a fine art which might be practised with some hope of commercial success4 ,archbishop ,parker1 a powerful prelate of this time1 extended his patronage to the art1 and for a time1 at least1 kept a private staff of engravers4 ,a portrait of this archbishop was executed by ,remigus ,hogenberg1 and is the first record of an engraved portrait produced and printed in ,england4 ,for about a century the work of ,english engravers was uninteresting1 and almost devoid of artistic feeling4 ,their pictures possessed but little merit1 either as works of art or as pictorial records of that eminently progressive period4 ,during the seventeenth century engraving became intimately associated with literature1 and then1 as now1 the combination was a felicitous one4 ,another fortunate circumstance was the settling of the ,passe family in this country4 ,they came from ,utrecht1 and were engravers of considerable skill and repute4 ,the elder ,passe was a friend and admirer of the famous painter ,reubens1 whose style he1 to some extent1 copied4 ,john ,payne--the first ,english artist to distinguish himself with the graver--was a pupil of ,passe4 ,payne was an undoubted genius1 and1 but for his indolence and dissipated habits1 might have accomplished a great work4 ,his most noteworthy engraving was a picture of ,the ,royal ,sovereign1 made on two plates1 which1 when joined together1 measured #cf in4 x #bf in4 ,vertue succeeded ,payne4 ,his engravings were chiefly of historical value2 as works of art they displayed no unusual merit4 ,many were portraits of personages of high degree1 in which ,vertue evidently copied the style of ,houbraken1 a ,dutch artist1 who some time previously engraved a similar series of portraits1 the commission being given to him because no ,english engraver was capable of executing it4 ,vertue's writings on ,english ,art were profuse and thoughtful4 ,they were afterwards collected and published by ,horace ,walpole4 ,illustration3 ,fig4 #c4--,old ,wood ,engraving4 ,horace ,walpole1 the historian of the graphic arts4 ,block supplied by the ,london ,electrotype ,agency ,ltd41 from the ,illustrated ,london ,news4 ,hogarth1 ,the inimitable ,hogarth1 ,whose pictured morals charm the eye1 ,and through the eye correct the heart1 was a brilliant exponent of the expressive power of the engraver's art4 ,possessing a profound knowledge of human nature1 and a keen sense of all that is humanely interesting1 he expressed in his pictures a wonderful creative fancy1 and a well directed humour4 ,he almost invariably represented character rather than scenes1 and while displaying immense fertility of design1 he retained sufficient realism in the composition of his pictures to render them valuable as records of the manners and customs of his times4 ,they1 moreover1 describe their incidents in the most direct and piquant fashion4 ,his somewhat defective drawing was redeemed by a wealth of suggestion and an endless variety of grotesque conceptions4 ,he possessed the happy art of seizing a fleeting impression from which he would evolve a caricature full of peculiar and quaint humour4 ,hogarth's place in the art annals of this country is undoubtedly assured1 for it has been said that he represented his characters with more force than most men could see them4 ,his career may be dated from #agbd1 when he produced the illustrations for ,hudibras and ,la ,mortray's ,travels4 ,there is a most extraordinary story related in connection with ,hogarth's last engraving4 ,while spending a merry evening with some friends he was heard to say3 ,my next undertaking will be the end of all things4 ,if that is so1 remarked one of his companions1 there will soon be an end of the artist4 ,yes1 there will be1 ,hogarth replied1 and the sooner my task is finished the better4 ,the engraving was executed under the impulse of an intense excitement4 ,finis1 he exclaimed1 as he finished that most remarkable design1 ,all is now over1 and1 strange to relate1 this was actually his last work1 for he died about a month later4 ,robert ,strange1 who was contemporary with ,hogarth1 was a native of the ,orkney ,islands4 ,he was an art student in ,edinburgh when ,prince ,charlie landed1 and his ,jacobite sympathies led him to throw aside his work and join the young chevalier4 ,when the remnant of the army of #agde was flying before ,duke ,william after the battle of ,culloden1 ,strange1 closely pursued by a number of soldiers1 sought shelter in the house of the ,lumsdales4 ,miss ,lumsdale was sitting with her work by one of the windows1 and at once offered to conceal the young soldier underneath the folds of her skirt4 ,ladies' skirts of the crinoline period were of such proportions as to render the concealment easy1 and ,miss ,lumsdale1 to lull the suspicions of the pursuing soldiers1 continued her sewing1 and affected considerable surprise and indignation at their intrusion4 ,they shamefacedly withdrew upon finding the lady alone1 and ,strange afterwards made good his escape to ,france4 ,gratitude to his deliverer1 intensified by the romantic situation which saved his life1 quickly ripened into love1 and1 it is needless to add1 a good old-fashioned love match4 ,strange settled in ,london about #agej1 when1 by his zeal and skilful work1 he added much to the fame of historical engraving in this country4 ,he engraved over eighty plates during his lifetime1 and displayed a literary talent of no mean order4 ,he was not a brilliant draughtsman1 but the tone and texture of his engravings are almost perfect4 ,he was knighted in #agha4 ,there is yet one other engraver of this period whose career merits a share of attention and interest4 ,james ,gilray was born in #ageg1 and1 like ,hogarth1 commenced at the bottom rung of the ladder as a letter engraver4 ,he also became a notable caricaturist1 and some idea of his skill in this branch of pictorial art may be gleaned from the fact that over #abjj designs were the product of his inventive fancy4 ,though not by any means indolent1 his habits were dissipated1 and unfortunately for him he1 for many years1 resided with his publisher1 who gratified his passions so long as his art was sufficiently productive4 ,gilray's designs were not all caricatures4 ,a number of illustrations for ,goldsmith's ,deserted ,village were designed and engraved by him4 ,he also engraved a few of ,northcote's pictures4 ,his style was free and spirited1 and he was one of the first ,english engravers to prove the merits of stipple engraving4 ,the stipple manner of engraving was a curious development of the art4 ,it appeared as though line engraving could not keep pace with the ever-growing demand for pictures1 and was therefore combined with stipple to facilitate production4 ,in capable hands very fine results were obtained with this combination4 ,english engraving was still in its infancy1 however1 and continental productions were favoured by the art patrons of this country1 until a stimulus was given to native art by the painters ,reynolds1 ,wilson1 and ,west4 ,profiting by this renewed interest1 ,woollet entered upon a career of unqualified success1 and eventually succeeded in obtaining full recognition for the merits of ,english engraving4 ,as a boy ,woollet showed his artistic proclivities in a strange manner4 ,his father1 it is stated1 won a ,l#ejjj prize in a lottery1 and bought an inn1 glorying in the name of ,the ,turk's ,head1 a title which the embryonic artist endeavoured to express pictorially on a pewter pot4 ,the father1 struck by some quality in the drawing1 apprenticed young ,woollet to an obscure ,london engraver4 ,from an artistic point of view this apprenticeship was of little value4 ,woollet was a born artist1 and although his early training may have intensified the natural bent of his genius1 it did little to cultivate it4 ,he possessed versatile talents4 ,his historical pictures were1 in every respect1 equal to his landscapes1 and these will long remain as lasting and convincing monuments of his skill4 ,the boldness of contrast and accuracy of execution displayed by ,woollet in his landscape engravings far surpassed all previous efforts to express pictorial effects with the graver4 ,raimbach was a miniature painter of some note1 who1 like many other artists1 turned from creative to reproductive art1 and became a successful engraver4 ,in #ahab he became associated with ,david ,wilkie1 and it is generally supposed that he was retained by that artist for the reproduction of his pictures4 ,raimbach's translations of ,wilkie's works were in every sense artistic productions and faithful representations4 ,he was said to be so careful and conscientious in his work that he employed no assistants1 but this was not entirely true4 ,careful and conscientious he undoubtedly was1 but he frequently employed assistants to engrave the less important parts of his commissions4 ,raimbach was born in #aggf1 and died #ahdc4 ,f4 ,c4 ,lewis was a progressive engraver contemporary with ,raimbach4 ,his most notable productions were after ,landseer and ,lawrence4 ,he was appointed engraver first to ,george ,,iv41 then ,william ,,iv41 and afterwards to ,queen ,victoria4 ,samuel ,cousins was another most influential engraver4 ,a brief sketch of his artistic career is given in another chapter4 ,c4 ,g4 ,lewis was both a line and mezzotint engraver4 ,he was probably ,landseer's favourite engraver1 and his name is best known in association with that artist's pictures4 ,born #ahjh2 died #ahhj4 ,when ,john ,pye engraved his first ,turner picture1 ,pope's ,villa1 in #ahaa1 that famous artist expressed his unqualified approval when he said1 ,if ,i had known there was anyone in this country who could have done that1 ,i would have had it done before1 and on more than one occasion he mentioned ,pye's engravings as the most satisfactory translations of my colour into black and white4 ,an adequate interpretation of ,turner's pictures requires a masterly appreciation of the gradations and balance of tone which suggest both colour and space2 and to merit such expressions of satisfaction from the great artist himself was proof of ,john ,pye's artistic power and skill4 ,he began his career as an engraver about the year #ahjj after a short apprenticeship with ,james ,heath1 a clever and practical man1 who was quick to perceive the ability of his apprentice4 ,john ,pye was a recognised authority on the pictorial effect of colour1 and it was said that during his long and eminently useful life no engraver did more than he to spread a knowledge of the sound principles of landscape art4 ,he was frequently consulted by his fellow artists1 and without even a suggestion of professional jealousy1 he was ever ready with his advice and1 if need be1 practical help4 ,the following copy of a letter--now in the ,swansea ,art ,gallery--gives some idea of the esteem in which his opinion was held by contemporary artists3-- ,monday4 ,to ,j4 ,pye1 ,esq4 ,thursday night1 at half-past five1 if you please4 ,i hope that day will be convenient to you4 ,i should like1 if possible1 to see you here by daylight1 as your opinion is always valuable to me1 and ,i have some few things to show you4--,your faithful servant1 ,ed4 ,landseer4 ,pye was long known in art circles as the ,father of landscape engraving1 and he certainly succeeded1 as no other engraver has done1 in his translation of colour values and suggestion of aerial perspectives4 ,turner's paintings were his favourite subjects1 and his interpretations of them are brilliant in expression1 and charged with the very essence of artistic feeling4 ,his life and work indicated a progress as distinct as it was far reaching4 ,and still the work went on1 ,and on1 and on1 and is not yet completed4 ,the generation that succeeds our own ,perhaps may finish it4 ,it has been through the efforts of these men and others who1 though less influential1 were not less skilful perhaps1 or less earnest1 that ,english engraving1 in its daring innovations and substantial improvements1 has far outstripped that of other countries4 ,by them its reputation has been built up and enhanced1 so that its influence is conspicuously visible in the principles and history of ,art4 ,,chapter ,v ,,etching--,,early ,,records--,,descriptive--,,rembrandt',s ,,influence--,,wenceslaus ,,hollar4 ,,mezzotint--,,invention--,,description- -,,artistic ,,qualities--,,dilettanti ,,art--,a ,,modern ,,mezzo ,,engraver ,by its very character of freedom1 by the intimate and rapid connection which it establishes between the hands and the thoughts of the artists1 etching becomes the frankest and most natural of interpreters4--,lalanne4 ,it has been asserted1 and not without some show of reason1 that of all the reproductive arts etching stands pre-eminent as a medium of pictorial expression wherein perfect freedom of drawing is retained4 ,it has found considerable favour with artists1 because it enables them to reproduce their own works with ease and rapidity1 and without any perceptible loss of expressive power4 ,early ,records4--,the first account of the art of etching comes from ,dutch sources1 but whether or not it had its birth in ,holland is a matter of pure conjecture4 ,it was certainly cradled in the ,low ,countries1 and finding the time and conditions of art congenial there1 flourished abundantly4 ,a book bearing the title1 ,a ,book of ,secrets1 was published in ,england in #aeii4 ,it was a translation from the ,dutch1 and described ,a method of engraving with strong waters on steel or iron4 ,the art of etching must have been known in ,holland some time previous to the date of this publication4 ,it was an unfortunate tendency which led the early etchers1 or at any rate etchers of the latter part of the fifteenth and sixteenth centuries1 to practise a style of execution in direct imitation of the work of the graver4 ,their productions were robbed of their peculiar character and charm1 their directness and completeness of representation4 ,descriptive4--,the practical phase of the etcher's work claims a more than passing interest from the earnest reader4 ,a carefully polished sheet of copper is covered with an acid resist in the form of a thin coating of wax or some similar composition4 ,when this has been blackened by the smoke of a candle1 or by any other suitable means1 the drawing is made with steel points4 ,the bright sheen of the copper exposed by each stroke of the point or etching needle will show the progress of the work very distinctly4 ,the etching mordant is poured over the drawing thus made1 when the exposed parts of the plate will be corroded or etched away until sufficient depth is obtained4 ,these are1 of course1 but the bare outlines of the process1 yet they will suffice to illustrate the facility and simplicity of its operations4 ,because it is so admirably adapted for light and sketchy drawings1 etching has been described as a kind of summary of pictorial expression1 and in some respects such a description fits it perfectly2 yet1 for a just appreciation of its merits1 it will be needful to put aside the idea that it is little more than a sketchy framework4 ,it is true that some of the finest etchings have been executed with the fewest possible lines and without any pretence of elaboration1 yet tone and texture may be fully expressed though not actually realised4 ,hence the term sometimes so aptly applied to etching when it is referred to as the stenography of artistic thought4 ,it is upon this principle of limitation that the chief merits of the etcher's art rests1--a system of pictorial representation which does not always produce illogical and inartistic interpretation or the imperfect transcription of light and shade4 ,it may be frequently characterised by a certain amount of caprice in its execution1 but it is nevertheless capable of producing form and expression of a very high character4 ,albert ,durer1 who possessed a most remarkable artistic versatility1 etched a number of plates2 but they can scarcely be regarded as successful examples of his work1 for1 like other artists of his time1 he endeavoured to imitate the productions of the graver with his etching needle4 ,it was altogether a futile experiment1 if indeed it can be regarded as an experiment1 and ,durer's etchings show but little of that rare power and technical skill for which he was justly famous in other phases of graphic art4 ,rembrandt's ,influence4--,rembrandt1 who was said to be ,the greatest artistic individuality of the seventeenth century1 manifested a deep and lasting enthusiasm for the art of etching1--an enthusiasm which was abundantly displayed in the marvellous diversity of form by which he reproduced the characteristic grace and delicate modelling of his pictures4 ,his graver and etching needle possessed the same spirited touch as his brush1 and when with his own hand he presented his bold principles of light and shade1 he almost invariably combined strength of expression with great facility of invention4 ,there is one notable etcher whose chequered career may well be regarded with interest1 for it reveals a depth of artistic enthusiasm almost unparalleled in the art annals of this or any other country4 ,hollar4--,wenceslaus ,hollar was a ,bohemian by birth1 and came to ,england under the patronage of the ,duke of ,arundel in #afcg4 ,during a lifetime of peculiar misfortunes and vicissitudes1 he etched something like #bgjj plates4 ,as an ardent ,royalist1 he was drawn into the civil war of #afdc-dd4 ,he also passed through the ,great ,plague and the ,fire of ,london4 ,difficulties and hardships ever beset his path1 yet his industry and fond attachment to art never flagged4 ,the very fact that ever-recurring misfortunes and privations never impaired his power as a most remarkable and ingenious illustrator is ample proof1 if such be required1 of his genius4 ,hollar's etchings are distinguished by an intense fidelity4 ,they abound in historical interest of a reliable and fascinating kind1 and though never showy they possess a wealth of artistic beauty and artistic expression4 ,it is difficult to understand how an artist with ,hollar's gigantic1 productive energy should end his days in abject poverty4 ,mezzotint engraving is the art of engraving on metal in tones4 ,it dates back to about the middle of the seventeenth century4 ,its history is interesting if only for the fact that it has been developed chiefly in this country1 the high degree of perfection to which it attained being chiefly due to ,english artists4 ,so much so1 indeed1 that it has frequently been referred to as la manaire ,anglais4 ,invention4--,the invention of ,mezzotint engraving was the result of an every-day circumstance which attracted the attention of a soldier more thoughtful than his fellows4 ,ludwig von ,sigen was a lieutenant-colonel in the army of the ,landgrave of ,hesse ,cassel when he observed the corrosive action of moisture on the stock of a musket4 ,the metal work had been ornamented with an engraved design1 and the ground formed by corrosion in conjunction with the engraved lines suggested an idea from which von ,sigen subsequently developed the mezzotint process4 ,this story of von ,sigen's discovery is regarded by some authorities with a suspicion of doubt1 and a suggestion is made that his purpose was to invest this introduction of a new reproductive art with a romantic as well as an artistic interest4 ,in any case1 the gallant colonel's credit is maintained1 and it is interesting to note that the principle of his invention remains still unchanged4 ,the chief purpose of later developments was to facilitate the production of a perfectly even ground4 ,on the presentation of his first print to the ,landgrave of ,hesse1 von ,sigen declared1 ,there is not a single engraver1 or a single artist1 who knows how this work is done4 ,about twelve years afterwards the inventor divulged his secret to ,prince ,rupert1 by whom it was brought to ,england4 ,it is generally supposed that ,prince ,rupert carefully preserved the secret of this new process for some time1 and then in a generous mood he imparted it to ,vallerant ,valliant1 who fortunately for ,english art made his knowledge widespread4 ,when mezzotint engraving was first introduced into ,england1 the famous artists1 ,reynolds and ,gainsborough1 had reached the summit of their fame4 ,the time was indeed auspicious4 ,line engraving failed to give a faithful reproduction of the peculiar style of painting then so much admired1 while mezzotint engraving1 with its soft gradations and attractive qualities of expression1 translated with a vivacity and facility that could not fail to please and satisfy4 ,then1 again1 a somewhat abrupt change manifested itself in the pictorial art of this period4 ,representations of incidents and portraits of famous personages1 which were in themselves interesting1 took the place of the severely artistic productions of the past4 ,the natural result was an intense interest1 which embraced the art and the process by which it was popularised4 ,description4--,the mezzotint process of engraving may be described in a very few sentences4 ,the plate of metal is first covered with a ground or tone4 ,to accomplish this1 a tool with a serrated edge is passed over the surface in various directions4 ,the myriads of microscopic indentations thus produced constitute a tooth or roughness similar to the grain of a coarse sandstone4 ,this grain holds a certain proportion of printing ink1 and gives a rich1 velvety black impression4 ,on such a ground the engraver works up his design1 and1 by the skilful use of scraper and burnisher1 obtains a series of tones or almost imperceptible gradations4 ,he removes just so much of the grain as may be required for the lighter tones1 and by burnishing or polishing1 after the scraper has been used1 secures the high lights4 ,in one respect1 at least1 this form of reproductive art is peculiar1 and unlike any other types of engraving4 ,the artist works from black to white1 and produces1 on the plate1 the lights instead of the shadows4 ,artistic ,qualities4--,although capable of most charming effects1 the mezzotint process never became a really serious menace to line engraving1 with its firm and expressive outlines and peculiarly lustrous textures4 ,yet it is not at all surprising that a process1 offering the artistic qualities of reproduction which mezzotint possesses1 should prove successful in the interpretation of such light and shade as1 for example1 ,turner painted into his pictures4 ,turner was engaged upon the series of pictures for his ,liber ,studiorum when he suddenly realised the value of mezzotint engraving4 ,he consulted with ,charles ,turner1 an eminent engraver1 who afterwards executed twenty-three of the ,liber ,studiorum plates1 and eventually decided to adopt a combination of etching with mezzotint for the reproduction of that famous series of pictures4 ,the leading or essential lines of each picture were etched1 probably by ,turner himself1 and the mezzotint added by other engravers4 ,it is perhaps to some extent true that prints from mezzo plates lack somewhat in dignity of effect and fidelity of representation4 ,they are suggestive rather than representative2 yet1 when the character of the work is suitable1 this lack of dignity is more than compensated for by the soft and harmonious effects of light and shade already referred to4 ,the peculiar beauty and brilliancy of these effects1 when artistically rendered1 impart to the prints an alluring charm1 which appeals to the inartistic as well as the accredited artistic eye4 ,the fact that ,sir ,joshua ,reynolds1 ,west1 ,romney1 and other famous artists allowed their paintings to be reproduced by the mezzotint process1 is sufficient proof of their appreciation of its power4 ,it was1 as already stated1 to ,english engravers that mezzo engraving owed its development and fame as a reproductive art1 and for very many years after its invention it was practised chiefly in ,england and ,holland4 ,it is a remarkable fact that ,germany1 the birthplace of this art1 had but a slight connection with its subsequent history2 and equally remarkable that ,french engravers1 who excelled in line engraving when mezzotint was at the zenith of its fame1 should almost entirely neglect to appreciate its possibilities4 ,another curious fact concerning mezzotint engraving is that it has ever been the art of the dilettanti4 ,it was first of all invented by von ,sigen1 who followed the fine arts for pleasure rather than with any serious purpose4 ,prince ,rupert brought it over to ,england with an enthusiastic1 but certainly not a professional1 interest1 and at several periods of its history it has received encouragement and substantial help from like sources4 ,one of the earliest and most ardent mezzo engravers in this country was ,francis ,place1 a well-known ,yorkshire country squire4 ,h4 ,lutterel was another such exponent of the art4 ,he was the first engraver to make any decided improvement in laying the ground4 ,he evidently realised the importance of a good ground1 and constructed a tool to ensure its evenness and regularity4 ,another ,irishman1 ,captain ,baillie1 a retired cavalry officer1 adopted a style of engraving similar to ,rembrandt's1 and copied some of that great artist's productions4 ,he was one of the most enlightened art critics of his time4 ,a ,modern ,mezzo ,engraver4--,a brief outline sketch of the life of ,samuel ,cousins1 one of the most successful of modern mezzotint engravers1 will form a fitting conclusion to this chapter4 ,samuel ,cousins was born in #ahjj4 ,the story of his precociousness in artistic matters is certainly extraordinary4 ,sir ,thomas ,ackland1 an enthusiastic patron of the fine arts1 saw the boy ,cousins standing before a picture dealer's window1 and sketching with all the eagerness and verve of a born artist4 ,even while yet a child of eleven years his exceptional ability manifested itself1 for he won the silver palette1 presented by the ,society of ,arts1 and again the silver medal when twelve years4 ,his rapid progress1 both as an artist and engraver1 was undoubtedly due to the influence and encouragement of his patron and friend1 ,sir ,thomas ,ackland4 ,he engraved about two hundred plates1 including pictures by ,reynolds1 ,lawrence1 ,landseer1 and ,millais4 ,cousins died in #ahhg1 after a most brilliant and purposeful career4 ,,chapter ,,vi ,,the ,,engraver',s ,,task--,,inartistic ,,work--,,constructive ,,elements--,,outline--,,extraneous ,,matter--,,composition--,,light ,,and ,,shade--,,expression--,,perspective--,, execution ,the highest art is undoubtedly that which is simplest and most perfect1 which gives the experience of a lifetime by a few lines and touches4 ,the ,engraver's ,task4--,engraving1 by whatever process it may be accomplished1 is not by any means a secondary art4 ,even when it descends to mere copying1 which its commercial associations unfortunately encourage1 it requires for its effective execution exceptional skill1 unremitting patience1 and a more than average degree of artistic feeling4 ,it is almost impossible to appreciate the true value of the engraver's work without some consideration of the labour it entails4 ,each one of the multitudinous lines of an engraving is cut with a definite purpose and deliberate care1 and may be operated upon again and again to increase the depth or width in various places4 ,even the dots of a stipple are not made in that aimless fashion which their appearance might at first suggest4 ,a mechanical effect is sedulously avoided1 consequently each dot must be cut with scrupulous care1 and may require two or three touches with the graver to produce the desired effect4 ,the proportionate reduction of pictures for engraving also demands exquisite skill and accurate draughtsmanship in which the eye and hand of the artist may be distinctly traced4 ,thus1 by a laborious yet picturesque and harmonious interpretation of the artist's creations1 the engraver renders their reproduction possible1 widens the sphere of their interest and influence1 and in many instances procures for them a world-wide reputation4 ,such an art may be both erudite and comprehensive in its information1 for it is executed with a purposeful patience which omits nothing1 forgets nothing1 and maintains a convincing directness of expression4 ,outline1 light and shade1 variety of style and representation of surfaces1 are all within the engraver's control1 and a vast diversity of expression will be requisite for their realisation4 ,it is quite within his power also to interpret the artist's thoughts as well as imitate his style1 and this involves not only a judicious balancing of tone and texture1 but a knowledge of the principles of art embodied in the picture--his copy4 ,inartistic ,work4--,owing to an insatiable craving for pictorial illustration1 there is an ever-growing tendency on the part of the artist engraver to seek after sensational or entertaining effects which are not artistic productions4 ,intensely interesting and attractive they may be1 and yet signally deficient in the true elements of fine art4 ,it is quite possible to make any art popular1 however crude its conception and manifestation may be1 so long as its expression is sufficiently striking or pleasing4 ,such products of the graver or brush may be elaborate compositions and effective forms of pictorial expression1 inasmuch as they provide interesting information concerning past or current events4 ,they may even possess a certain value as historical records1 and yet not manifest that subtle power of suggestive beauty and intensity of thought which are prima facie evidences of masterly genius and artistic power4 ,when the energy and skill of the artist are thus devoted to expressive delineation in place of artistic completeness1 he becomes satisfied with an inferior degree of excellence1 provided only that it pleases2 and the result will almost assuredly be an incomplete1 if not vitiated1 production4 ,in these days of invention and advancement1 when the resources of mankind are almost limitless1 conditions of life favourable1 and opportunities for the acquirement of knowledge and skill always abounding1 there can surely be no valid excuse for this dead level mediocrity in the engraver's art1--a result which might possibly arise from the insiduous fever of display1 of notoriety1 and of commercialism which is ever seeking fresh victims in this as in every other phase of human life and effort4 ,constructive ,elements4--,an engraving may be an imitative or representative interpretation of a picture or drawing in black and white4 ,in such an interpretation1 whatever its character may be1 integrity of form is of paramount importance1 and essential to the attainment of any degree of excellence in engraving4 ,it imparts to the work a distinctive character1 and endows it with that delicacy and precision of execution for which engraving is so justly famous4 ,outline4--,in the early engravings the constructive element consisted almost entirely of pure outline1 which was rarely monotonous1 but frequently suggestive of form and character4 ,is it not almost marvellous1 this suggestive power of outline1 for is it not in reality but an imaginary boundary8 ,an actual outline is a thing unknown in nature1 and the very fact that it has its existence only in the imagination of the artist makes our reconciliation to it and our admiration of it the more wonderful4 ,the astonishing elasticity of the human imagination makes it quite easy to fill in the details of a picture if only the outline be sufficiently suggestive4 ,the primary function of the outline is1 of course1 to represent2 but its secondary or suggestive purpose is scarcely of less importance1 and can only be fully realised when the imagination is so stimulated as to perceive more than is actually exhibited4 ,the completeness and truthfulness of the outline must be an engraver's first point4 ,an art critic once stated that ,he had finished the picture who had finished the outline4 ,to some extent such a statement may be perfectly true2 but just as in elocution1 or even in ordinary conversation1 emphasis is requisite1 so in pictorial art the emphasis of concise expression1 modulation1 and delicate or vigorous accentuation are equally necessary and effective4 ,extraneous ,matter4--,in other words1 an artist's ideas may be decisively portrayed in outline1 yet for lack of suitable extraneous matter appear both crude and impoverished4 ,the amount of characteristic form expressed by constructive elements in the drawing1 other than the outlines1 is strikingly illustrated in old ,german portrait engravings4 ,they are simply overflowing with details of the most minute description4 ,nor can such details be regarded as altogether superfluous1 for they each help to build up the character of the picture4 ,in portrait engraving a mere likeness may easily be portrayed by a simple outline4 ,not so1 however1 with character4 ,considerable amplification will be necessary to show that2 and this1 perhaps1 is the most difficult task of the engraver--to introduce a satisfactory amount of essential detail without detracting in any way from a pleasing general effect in the picture4 ,composition4--,in its broadest sense composition in graphic art refers to the putting together or combination of the various details into a pleasing and effective picture4 ,it may comprise--7#a7 the choice of a subject2 7#b7 the most effective moment of its representation2 7#c7 the choice of such circumstantial matter as will best intensify the interest of the picture1 and enhance its artistic value4 ,nor is one part much less important than another1 for interest in the subject must necessarily be influenced by effective grouping1 and the choice of harmonious surrounding for both4 ,it is in this that the finesse of the artist becomes available1 and1 by clever contrasts and agreeable combinations1 enables him to emphasise the expressive power of his pictorial art4 ,light and ,shade4--,the importance of light and shade in the composition of a picture is a fact too well established to require much further recognition here4 ,if skilfully arranged and distributed it may in some measure compensate for any lack of cohesion in the design1 and thus become a redeeming feature in what would otherwise prove to be an ineffective composition4 ,it is chiefly by a dexterous arrangement of light and shade that the artist engraver can produce a faithful and intelligible translation of his subject4 ,it adds considerably to the force and vigour of pictures1 and produces effects which please the eye and successfully appeal to the imagination4 ,there are1 of course1 other qualities and conditions which materially affect the engraver and his work1 and these will now be briefly indicated4 ,expression4--,expression is the representation of an object agreeably to its nature and character1 and the use or office it is intended to have in the work4 ,it is1 in fact1 the very essence of a picture4 ,without it there can be no character1 no emotion1 and therefore no faithful delineation4 ,perspective4--,linear perspective in engraving represents the position or magnitude of the lines or contour of objects portrayed1 and suggests their diminution in proportion to their distance from the eye4 ,aerial perspective1 on the other hand1 represents the diminution of colour value of each object as it recedes from the eye4 ,it is1 in reality1 a degradation of tone1 suggesting the relative distances of objects4 ,either may be the direct product of light and shade as well as of accurate drawing4 ,execution4--,the execution of an engraving admits of almost any degree of variety--the display of individual skill1 and knowledge of technique4 ,execution1 as the term implies1 is the direct result of individual dexterity2 the ability to interpret colour1 tone1 and texture of a picture by an arrangement of lines of varying depth and fineness2 the ability also to imitate1 or even create1 pictorial expression4 ,the work of the engraver1 like many other phases of reproductive art1 is a fruitful source of mannerisms2 yet even these will produce excellent results if they create innovations which will be afterwards approved and recognised as healthy1 independent1 and entirely original methods4 ,illustration3 ,fig4 #d4--,modern ,wood ,engraving4 ,an interpretation of tone and texture by an arrangement of lines4 ,block supplied by the ,london ,electrotype ,agency ,ltd41 from the ,religious ,tract ,society4 ,,chapter ,,vii ,,photo ,,process ,,engraving--,a ,,progressive ,,process--,,commercial ,,and ,,artistic ,,features--,,line ,,process--,,half ,,tone--,,artistic ,,restoration--,,tri-,,chromatography--, ,photogravure ,it is not knowledge itself which is power1 but the ability to use and apply knowledge4 ,a ,progressive ,process4--,photo process engraving is a method of graphic reproduction which comes into direct contact with art in its most popular phases4 ,it is a distinctly progressive process which possesses immense advantages and represents an effective and by no means inartistic aspect of the graphic arts4 ,the lavish1 and in many instances extravagant1 employment of process engraving for purposes of pictorial illustration is a substantial proof of its popularity and illustrative value4 ,it may not always reach a high standard of artistic realisation1 but it is almost invariably realistic and attractive in its varied forms of representation4 ,the idea of pictorial illustration1 whether as the translation of an artistic conception or an actual representation of current events1 has ever been a fascinating one2 and its evolution1 from a photo-mechanical standpoint1 has been one unbroken record of remarkable progress4 ,to enter upon a detailed exposition of any of the many photo-mechanical processes is somewhat beyond the purpose of this short treatise1 and to attempt anything but a full and comprehensive description on such lines would be both unwise and valueless4 ,let it suffice1 then1 to indicate their more salient points1 their illustrative and artistic value1 and the manner in which they may be most successfully applied4 ,commercial and ,artistic ,features4--,the commercial advantages of photo-engraving may be summed up in a very few words3-- #a4 ,the plates can be produced quickly and economically4 #b4 ,the impressions can be made at a high rate of speed1 and in some of the processes without perceptible deterioration4 #c4 ,the prints will be more or less facsimiles of the original4 ,from an artistic point of view1 photo-engraving possesses equally important features4 ,it translates the artist's work with extraordinary facility and accuracy1 retaining a satisfactory proportion of its expressive feeling1 and reproducing subtleties of drawing and texture which it would be difficult1 if not quite impossible1 to obtain by any other process4 ,of the many photo-mechanical engraving processes1 all of which are more or less associated with pictorial illustration1 three at least merit further consideration4 ,illustration3 ,fig4 #e4--;,cross ,section of ,cyanide ,furnace4 ,the ,line ,process4 7a7 ,the ,line ,process4--,the line process is applicable only to the reproduction of line drawings or prints1 in which the design is represented in simple black and white1 with only such gradations of tone as may be suggested by lines or dots4 ,for the reproduction of pen-and-ink drawings1 it has found considerable favour with illustrators1 and many even of the more conservative artists are compelled to appreciate its merits and acknowledge its value4 ,an interesting account of the compulsory acceptance of process engraving by the famous illustrator ,du ,maurier is suggestive of at least one valuable peculiarity of this method of reproduction4 ,owing to failing sight1 ,du ,maurier found it increasingly difficult to introduce into his drawings on the wood block that amount of detail which he considered necessary for the adequate expression of his ideas4 ,eventually he was compelled to make pen-and-ink drawings on a much larger scale than was his wont1 and to have them reproduced as photo-line-blocks1 the reduction being made as required4 7b7 ,half ,tone4--,half tone process engraving1 as distinguished from the line process1 is the reproduction of a design or copy which has in its composition gradations of tone in the form of flat tints4 ,wash drawings and photographs present characteristic examples of such copies4 ,illustration3 ,fig4 #f4--,process ,engraving4 ,block by the ,arc ,engraving ,co4 ,ltd41 ,london4 ,the true relative value of these medium or half tones can only be retained in the half tone engraving by breaking up the picture into most minute sections1 and thereby producing a grain or series of dots of varying size and contiguity according to the requirements of the drawing4 ,this grain or screen effect is produced by the interposition of a network of finely ruled lines in the form of a screen between the lens and the sensitive plate when photographing4 ,the optical principle involved is beyond the sphere of this work1 but the effect produced is a matter of vital importance1 and requires careful consideration4 ,the coarser the ruling of a screen1 consistent of course with the class of work for which it is required1 the more vigorous and consequently more effective the reproduction will appear4 ,the variety of tones will be greater1 and the textures will appear richer4 ,small prints are naturally subjected to a close inspection2 the screen effect1 therefore1 should be less obtrusive than in larger ones4 ,it may also be useful to know that a finely ruled screen will reproduce the minute details of a copy4 ,artistic ,restoration4--,it is somewhat doubtful if the half tone engraving1 pure and simple1 would ever have any real artistic value for pictorial illustration but for some method of restoring those qualities which are so considerably reduced when copying a picture through the line screen4 ,the pure half tone consists of a grain of varying gradations over the whole design4 ,there are1 therefore1 no pure whites even in the highest lights4 ,the use of the roulette and graver for accentuating light and shade is therefore not only permissible but decidedly advantageous1 for the monotony of a mechanical grain is thereby relieved1 and the print produced will be an effective and accurate translation of the artistic sketch4 ,a true half tone will be best obtained by not relying entirely on the mechanical means1 but assisting them with some hand work1 either in the shape of re-etching or engraving1 or both4 ,the application of hand engraving to photo-mechanical work has been chiefly due to ,american process workers1 who applied the technique of the wood engraver's art to the amplification of their half tone blocks4 ,tri-chromatography4--,the ,three ,colour ,process is more or less an application of half tone engraving to chromo-typography4 ,the colours1 each in their relative value1 are produced by purely photo-mechanical methods--the colours of the original copy being dissected by means of specially prepared colour screens4 ,half tone blocks are made from each of the three negatives1 and superimposed in accurate register in the subsequent printing1 when1 of course1 the primary colours1 red1 blue1 and yellow1 are used4 ,the process possesses brilliant and effective illustrative power1 offers ample scope for the ingenuity and manipulative skill of artist1 engraver1 and printer1 and promises well-nigh unlimited possibilities as a medium of pictorial expression4 7c7 ,photogravure4--,photogravure may be very briefly described4 ,it is a photo-mechanical process1 in which rich1 soft tones of surpassing delicacy and undeniably artistic effect are striking peculiarities4 ,unlike line and half tone engraving1 it is an intaglio process1 in which the printer as well as the etcher must possess a profound artistic perception4 ,illustration3 ,reproduction by ,r4 ,j4 ,,everett ,,sons' ,,ink-,,photo ,process4 ,plate ,,engraving ,,for ,,illustration ,,within ,a ,,mile ,,of ,,edinburgh ,,town4 ,a polished copper plate is grained by dusting resin or asphalt powder on its surface1 and afterwards fixing it by the application of heat4 ,a tissue negative print is made1 squeezed on to the grained plate1 and developed in the usual way4 ,the plate is etched through the tissue4 ,the action of the etching mordant--perchloride of iron--being in exact proportion to the light and shade of the developed print4 ,the printing is a necessarily slow1 and therefore costly1 item4 ,this limitation to their production1 however1 enhances the value of photogravure prints4 ,ink ,photo4--,what is known as the ink photo process of reproduction is interesting chiefly on account of the remarkable fidelity with which engravings of the finest and most intricate texture can be reproduced by its agency4 ,it is essentially a photo-mechanical process1 but differs from others of a similar character1 inasmuch as the vigour and expressive power of the original is to a considerable extent preserved4 ,colour values also1 as far as they can be expressed by the engraver's art 7see p4 #aa71 are reproduced by ink photo methods with surprising accuracy1 and the intensity of impression1 that peculiar feature of prints from engraved plates1 is almost invariably well sustained4 ,a careful criticism of the appended illustration and frontispiece done1 this process will reveal many other interesting points of practical value4 ,,chapter ,,viii ,,appreciative ,,criticism--,,an ,,educative ,,principle--,,an ,,analysis--,,realism ,,in ,,art--,a ,,retrospect ,yet when we have said all our fine things about the arts1 we must end in a frank confession that the arts1 as we know them1 are but initial4 ,he has conceived meanly of the resources of man who believes that the best age of production is past4 ,appreciative ,criticism4--,the art of engraving1 and particularly wood engraving1 has fully justified its existence1 and the eminently popular position which it has long held amongst the fine arts of the world4 ,through the medium of the pictorial press it has diffused a knowledge of the noblest principles of art1 and has ever exerted a refining influence even over inartistic minds4 ,for this reason the lack of knowledge concerning some of the essential qualities of engraving as a pictorial art is somewhat remarkable4 ,even more so when it is considered that never before in the history of the world has such a wealth of illustrative art been produced and brought well within the reach of its humblest patrons4 ,it is perhaps too much to expect1 nor is it at all desirable1 that individual preference should be moulded to one common and fixed standard4 ,to some minds the picturesque1 though perhaps undignified paintings of the old ,dutch masters1 would appeal with greater success than the wondrous light and shade of ,turner's pictures4 ,or1 again1 the astonishing technicalities and intricacies of ,german wood engraving may stir up a deeper interest and enthusiasm than the simple yet expressive productions of ,thomas ,bewick4 ,yet such a difference of opinion may exist only in individual appreciation or taste4 ,the appreciative faculties in mankind are in the main identical4 ,an ,educative ,principle4--,there is in human life an omnipotent and omniscient educative principle which may1 to some extent at least1 be rendered subservient to the human will1 but which in other respects is as certain in its results and impulses as the course of the planets4 ,those who surround themselves with the beautiful in ,nature and in ,art1 whose minds are constantly in communion with the grand and noble purposes they suggest1 are infinitely more sensible to their manifold beauties than those of their fellows who persistently disregard1 and even repel1 artistic influences4 ,their appreciation of the full significance of any artistic production is deeper1 more sincere1 and more equable than is that of those who neglect the aspirations of the finer fibres of their beings1 and thus allow their higher faculties to become blunted1 and their judgments warped4 ,verily unto him that hath shall be given1 etc4 ,the most independent and most penetrative imagination is not by any means a free agent4 ,environment1 mental culture1 and natural temperament are each controlling influences of variable power2 yet there is much truth in the philosophy which declares that ,it is as easy to excite the intellectual faculties as the limbs to useful action4 ,the ,artist's ,purpose4--,a misconception of the artist's aim almost invariably leads to a condemnation of his work4 ,first of all discover his purpose1 and then decide upon the success or non-success of his conceptions4 ,the style of their execution1 i4e4 the manner in which various surfaces and textures are reproduced1 is but a means to an end4 ,it is infinitely easier to assimilate a style once its objective has been clearly comprehended4 ,an ,analysis4--,for obvious reasons1 then1 an analysis of the merits and demerits of the engraver's art is not always a simple matter4 ,his work may be an acceptable pictorial record1 though not in any sense a picture from an artistic point of view4 ,on the other hand1 it may possess artistic qualities in abundance1 and yet be far from a truthful record of an incident or scene4 ,realism in ,art4--,it is frequently claimed for graphic art that when it cannot faithfully imitate it is permissible for it to interpret4 ,quite so2 and it is in just such a light that engraving is or ought to be regarded4 ,a picture1 whether illustrating a story or recording an artistic impression1 is never so great as when it enchants the imagination with an ideal presence4 ,absolute realism is not always desirable either in pictorial art or pictorial expression4 ,no matter how realistic it may be1 it is a doubtful gain to introduce into the composition of a picture a mass of detail which might only prove disconcerting1 and distract attention from the main issues of the subject4 ,the partial or complete isolation of a central idea often adds to the vigour and general effectiveness of the whole4 ,rarely1 indeed1 does it render it less picturesque4 ,after all1 it is not ,nature so much as ,nature's expression which should be represented4 ,its infinity of secondary effects1 its superabundance of detail1 may1 often with advantage1 be left out4 ,a ,retrospect4--,while in this critical mood1 it may be worth while noting that the sincere and painstaking work of the old-time engravers is deserving of some praise and an ever tolerant criticism4 ,it manifests incongruities and exaggerated metaphors which are at times painfully unconventional or grotesque1 yet they have a directness of representation which admits of no doubt as to their meaning1 and bear few traces of a perfunctory art4 ,our arts are happy hits4 ,we are like the musician on the lake whose melody is sweeter than he knows1 or like a traveller surprised by a mountain echo whose trivial word returns to him in romantic thunders4--,emerson4 ,,index ,ackland1 ,sir ,thomas1 #dg4 ,analysis1 #fh4 ,ancient drawings1 #a4 ,antiquity of engraving1 #b4 ,apocalypsio sue ,historia1 #g4 ,art representative1 #c4 ,artistic purpose1 #fh4 ,artistic restoration1 #fc4 ,arundel1 ,duke of1 #da4 ,assyrian antiquities1 #d4 ,audran family1 #d4 ,baillie1 ,captain1 #df4 ,baldine1 ,baccio1 #bj4 ,bewick1 ,thomas1 #i1 #fg4 ,biblia ,pauperum1 #g4 ,block books1 #f4 ,botticelli1 ,sandio1 #bj4 ,cave dwellings1 #a4 ,caxton1 ,william1 #bf4 ,character1 building up of1 #eb4 ,chinese playing cards1 #e4 ,clever contrasts1 #ec4 ,colour dissection1 #fd4 ,commercial advantages1 #ac4 ,comparisons1 #ab1 #ac4 ,composition1 #eb1 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#bb1 #bc4 ,thirteenth century documents1 #f4 ,three colour process1 #fd4 ,tone and texture1 #di4 ,translation1 #ag4 ,tri-chromatography1 #fd4 ,turk's ,head1 #cd4 ,turner1 #ce1 #cf1 #cg1 #de1 #fg4 ,untutored art1 #b4 ,vallerant ,valliant1 #dc4 ,venetian navigators1 #e4 ,vertue1 #bh4 ,vesalius1 #bf4 ,walpole1 ,horace1 #bh1 #cj4 ,west1 #cd1 #de4 ,wilkie1 ,david1 #ce4 ,wilson1 #cd4 ,wood blocks1 #e4 ,wood engraving1 #e4 ,wood engraving1 combination of lines1 #ad4 ,wood engraving1 justification of1 #ac4 ,wood engraving1 power of realisation1 #ad4 ,wood engraving1 pictorial and artistic effects1 #ad4 ,wood engraving1 renaissance1 #i4 ,wood engraving1 variety of texture1 #ad4 99 99 99 99 99 ,printed by ,,morrison ,,gibb ,,limited1 ,edinburgh