,,engravers ,,and ,,etchers ,illustration3 ,,master ,,of ,,the ,,amsterdam ,,cabinet4 ,,two ,,lovers ,size of the original engraving1 #f #d inches ,in the ,ducal ,collection1 ,coburg ,,engravers ,,and ,,etchers ,,six ,,lectures ,,delivered ,,on ,,the ,,scammon ,,foundation ,,at ,,the ,,art ,,institute ,,of ,,chicago1 ,,march #aiaf ,,by ,,fitzroy ,,carrington1 ,m4 ,a4 ,,curator ,,of ,,prints ,,at ,,the ,,museum ,,of ,,fine ,,arts1 ,,boston2 ,,lecturer ,,on ,,the ,,history ,,and ,,principles ,,of ,,engraving ,,at ,,harvard ,,university2 ,,editor ,,of 8,,the ,,print-,,collector',s ,,quarterly0 ,,with #acc ,,illustrations ,illustration ,,the ,,art ,,institute ,,of ,,chicago #aiag ,,copyright #aiag ,,thomsen-,,bryan-,,ellis ,,company ,,designed ,,and ,,published ,,by ,,thomsen-,,bryan-,,ellis ,,company ,,washington ,,baltimore ,,new ,,york ,,philadelphia ,,to ,,those ,,who ,,helped ,,me ,,make ,,this ,,book ,,in ,,grateful ,,recognition ,,note ,the lectures presented in this volume comprise the twelfth series delivered at the ,art ,institute of ,chicago on the ,scammon ,foundation4 ,the ,scammon ,lectureship is established on an ample basis by bequest of ,mrs4 ,maria ,sheldon ,scammon1 who died in #aija4 ,the will prescribes that these lectures shall be upon the history1 theory1 and practice of the ,fine ,arts 7meaning thereby the graphic and plastic arts71 by persons of distinction or authority on the subject on which they lecture1 such lectures to be primarily for the benefit of the students of the ,art ,institute1 and secondarily for members and other persons4 ,the lectures are known as 8,the ,scammon ,lectures40 ,,contents ,,page ,,lecture ,i ,,german ,,engraving3 ,,from ,,the ,,beginnings ,,to ,,martin ,,schongauer #ac ,,lecture ,,ii ,,italian ,,engraving3 ,,the ,,florentines #ea ,,lecture ,,iii ,,german ,,engraving3 ,,the ,,master ,,of ,,the ,,amsterdam ,,cabinet ,,and ,,albrecht ,d,,rer #ie ,,lecture ,,iv ,,italian ,,engraving3 ,,mantegna ,,to ,,marcantonio ,,raimondi #aci ,,lecture ,v ,,some ,,masters ,,of ,,portraiture #aha ,,lecture ,,vi ,,landscape ,,etching #bbg ,,list ,,of ,,illustrations ,,page ,,master ,,of ,,the ,,amsterdam ,,cabinet4 ,two ,lovers ,frontispiece ,,master ,,of ,,the ,,playing ,,cards4 ,st4 ,george #ae ,man of ,sorrows #af ,,master ,,of ,,the ,,year #addf4 ,christ ,nailed to the ,cross #ai ,,master ,,of ,,st4 ,,john ,,the ,,baptist4 ,st4 ,john the ,baptist #bj ,,master ,e4 ,s4 ,,of #adff4 ,madonna and ,child with ,saints ,marguerite and ,catherine #bc ,ecstasy of ,st4 ,mary ,magdalen #bd ,design for a ,paten #bg ,st4 ,john on the ,island of ,patmos #bh ,,martin ,,schongauer4 ,virgin with a ,parrot #ca ,temptation of ,st4 ,anthony #cb ,death of the ,virgin #cc ,pilate ,washing ,his ,hands #cd ,st4 ,john on the ,island of ,patmos #cg ,christ ,appearing to the ,magdalen #ch ,virgin ,seated in a ,courtyard #ci ,angel of the ,annunciation #dj ,the ,miller #dc ,censer #dd ,,master ,l ,,cz4 ,christ ,tempted #dg ,christ ,entering ,jerusalem #dh ,,anonymous ,,florentine1 ,,xv ,,century4 ,profile ,portrait of a ,lady #ec ,wild ,animals ,hunting and ,fighting #ed ,triumphal ,procession of ,bacchus and ,ariadne #eg ,jupiter #eh ,mercury #fc ,lady with a ,unicorn #fd ,the ,christian's ,ascent to the ,glory of ,paradise4 ,from 8,il ,monte ,sancto di ,dio10 ,florence1 #adgg #fg ,dante and ,virgil with the ,vision of ,beatrice4 ,from the 8,divina ,commedia10 ,florence1 #adha #fh ,assumption of the ,virgin 7,after ,botticelli7 #ga ,triumph of ,love4 ,from the ,triumphs of ,petrarch #gb ,triumph of ,chastity4 ,from the ,triumphs of ,petrarch #ge ,libyan ,sibyl #gf ,,anonymous ,,north ,,italian1 ,,xv ,,century4 ,the ,gentleman4 ,from the ,tarocchi ,prints 7,e ,series7 #gi ,clio4 ,from the ,tarocchi ,prints 7,s ,series7 #hj ,the ,sun4 ,from the ,tarocchi ,prints 7,e ,series7 #hc ,angel of the ,eighth ,sphere4 ,from the ,tarocchi ,prints 7,e ,series7 #hd ,,cristofano ,,robetta4 ,adoration of the ,magi #hg ,,antonio ,,pollaiuolo4 ,battle of ,naked ,men #hh ,,master ,,of ,,the ,,amsterdam ,,cabinet4 ,ecstasy of ,st4 ,mary ,magdalen #ig ,crucifixion #ih ,stag ,hunt #aja ,st4 ,george #ajb ,,albrecht ,d,,rer4 ,virgin and ,child with the ,monkey #ajg ,four ,naked ,women #ajh ,hercules #aaa ,,anonymous ,,north ,,italian1 ,,xv ,,century4 ,death of ,orpheus #aab ,,albrecht ,d,,rer4 ,death of ,orpheus #aac ,battle of the ,sea-,gods 7,after ,mantegna7 #aad ,adam and ,eve #aag ,apollo and ,diana #aah ,st4 ,jerome by the ,willow ,tree 7,first ,state7 #aba ,holy ,family #abb ,knight1 ,death and the ,devil #abe ,melancholia #abf ,st4 ,jerome in ,his ,cell #abi ,virgin ,seated ,beside a ,wall #acj ,christ in the ,garden #acc ,erasmus of ,rotterdam #acd ,,andrea ,,mantegna4 ,virgin and ,child #ada ,battle of the ,sea-,gods #adb ,the ,risen ,christ ,between ,saints ,andrew and ,longinus #adg ,,school ,,of ,,andrea ,,mantegna4 ,adoration of the ,magi #adh ,,zoan ,,andrea 7874 ,four ,women ,dancing #aea ,,giovanni ,,antonio ,,da ,,brescia4 ,holy ,family with ,saints ,elizabeth and ,john #aeb ,,school ,,of ,,leonardo ,,da ,,vinci4 ,profile ,bust of a ,young ,woman #aee ,,nicoletto ,,rosex ,,da ,,modena4 ,orpheus #aef ,,jacopo ,,de' ,,barbari4 ,apollo and ,diana #aei ,st4 ,catherine #afj ,,giulio ,,campagnola4 ,christ and the ,woman of ,samaria #afc ,ganymede 7,first ,state7 #afd ,st4 ,john the ,baptist #afg ,,giulio ,,and ,,domenico ,,campagnola4 ,shepherds in a ,landscape #afh ,,marcantonio ,,raimondi4 ,st4 ,george and the ,dragon #aga ,bathers #agb ,st4 ,cecelia #agc ,death of ,lucretia #agd ,philotheo ,achillini 78,the ,guitar ,player07 #agg ,pietro ,aretino #agh ,,master ,w ,,caduceus ,s4 ,head of a ,young ,woman #ahc ,,albrecht ,d,,rer4 ,albert of ,brandenburg #ahd ,philip ,melanchthon #ahg ,,anthony ,,van ,,dyck4 ,portrait of ,himself 7,first ,state7 #ahh ,frans ,snyders 7,first ,state7 #aia ,lucas ,vorsterman 7,first ,state7 #aib ,,rembrandt4 ,jan ,cornelis ,sylvius #aie ,rembrandt ,leaning on a ,stone ,sill #aif ,clement de ,jonghe 7,first ,state7 #aig ,jan ,lutma 7,first ,state7 #aih ,,claude ,,mellan4 ,virginia da ,vezzo #bja ,fabri de ,peiresc #bjb ,,jean ,,morin4 ,cardinal ,guido ,bentivoglio #bje ,,robert ,,nanteuil4 ,pompone de ,bellivre #bjf ,basile ,fouquet #baa ,jean ,loret #bab ,j4 ,a4 ,mc,n4 ,,whistler4 ,annie ,haden #bae ,riault1 the ,engraver #baf ,,anders ,,zorn4 ,ernest ,renan #bai ,the ,toast #bbj ,madame ,simon #bba ,miss ,emma ,rassmussen #bbb ,,albrecht ,d,,rer4 ,the ,cannon #bbi ,,augustin ,,hirschvogel4 ,landscape #bcj ,,rembrandt4 ,the ,windmill #bcc ,three ,trees #bcd ,six's ,bridge #bcg ,landscape with a ,ruined ,tower and ,clear ,foreground #bch ,landscape with a ,haybarn and a ,flock of ,sheep #bci ,three ,cottages #bdj ,goldweigher's ,field #bdc ,,jacob ,,ruysdael4 ,wheat ,field #bdd ,,claude ,,lorrain4 ,le ,bouvier #bdi ,,charles ,,jacque4 ,troupeau de ,porcs #bej ,storm--,landscape with a ,white ,horse #bec ,,charles-,,fran,,ois ,,daubigny4 ,deer in a ,wood #bed ,deer ,coming ,down to ,drink #beg ,moonlight on the ,banks of the ,oise #beh ,,camille ,,corot4 ,souvenir of ,italy #bfa ,,jean-,,fran,,ois ,,millet4 ,the ,gleaners #bfb ,,seymour ,,haden4 ,cardigan ,bridge #bfe ,by-,road in ,tipperary #bff ,sunset in ,ireland #bfg ,sawley ,abbey #bfh ,j4 ,a4 ,mc,n4 ,,whistler4 ,zaandam 7,first ,state7 #bga ,,rembrandt4 ,view of ,amsterdam from the ,east #bgb ,,to ,,the ,,reader ,when that most sensitive of ,american print-lovers1 the late ,francis ,bullard1 learned that ,i was to deliver at ,harvard1 each year1 a course of lectures on the ,history and ,principles of ,engraving1 he wrote me one of those characteristic letters which endeared him to his friends1 concluding his wise counsels with these words3 8,nothing original--get it all out of the books40 ,in these six lectures ,i have endeavored to profit by his suggestion4 ,in them there is little original3 most of it is out of the books4 ,books1 however1 like ,nature1 are a storehouse from which we draw whatever is best suited to our immediate needs2 and if in choosing that which might interest an audience1 to the majority of whom engravings and etchings were an unexplored country1 ,i have preferred the obvious to the profound1 ,i trust that the true-blue ,print ,expert will forgive me4 ,these simple lectures make no pretense of being a ,history of ,engraving1 or a manual of ,how to ,appreciate ,prints4 ,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 me4 ,if ,i have succeeded1 even a little1 ,i shall be happy4 ,i would add that the lectures are printed in substantially the same form as they were delivered4 ,consequently they must be read in connection with the illustrations which accompany them4 ,the ,bibliographies which follow each chapter have been prepared by ,mr4 ,adam ,e4 ,m4 ,paff1 ,assistant in the ,department of ,prints at the ,museum of ,fine ,arts1 ,boston4 ,,fitzroy ,,carrington ,museum of ,fine ,arts1 ,boston ,june #bf1 #aiaf ,,engravers ,,and ,,etchers ,,german ,,engraving3 ,,from ,,the ,,beginnings ,,to ,,martin ,,schongauer ,where were the beginnings8 ,when were the beginnings8 ,germany1 the ,netherlands1 and ,italy have each claimed priority4 ,max ,lehrs has settled these rival claims1 so far as they can be settled at the present time1 by locating the cradle of engraving neither in ,germany1 in the ,netherlands1 nor in ,italy1 but in a neutral country--,switzerland1 in the vicinity of ,basle--naming the ,,master ,,of ,,the ,,playing ,,cards as probably the earliest engraver whose works have come down to us4 ,undoubtedly this artist was not the first to engrave upon metal plates1 but of his predecessors nothing is known1 nor has any example of their work survived4 ,the technical method of the ,master of the ,playing ,cards is that of a painter rather than of a goldsmith4 ,there is practically no cross-hatching1 and the effect is produced by a series of delicate lines1 mostly vertical1 laid close together4 ,his plates are unsigned and undated1 so that we can only approximate the period of his activity4 ,that he preceded1 by at least ten years1 the earliest dated engraving1 the ,flagellation1 by the ,master of #addf1 may safely be assumed1 since in the manuscript copy of ,conrad von ,wrzburg's 8,the ,trojan ,war10 transcribed in #adda by ,heinrich von ,steinfurt 7an ecclesiastic of ,osnabrck71 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 period4 ,the ,master of the ,playing ,cards is1 therefore1 the first bright morning star of engraving4 ,from him there flows a stream of influence affecting substantially all of the ,german masters until the time of ,martin ,schongauer1 some of whose earlier plates show unmistakable traces of an acquaintanceship with his work4 ,illustration3 ,,master ,,of ,,the ,,playing ,,cards4 ,,st4 ,,george ,size of the original engraving1 #e #e inches ,in the ,royal ,print ,room1 ,dresden ,illustration3 ,,master ,,of ,,the ,,playing ,,cards4 ,,man ,,of ,,sorrows ,size of the original engraving1 #g #e inches ,in the ,british ,museum ,st4 ,george and the ,dragon is in his early manner4 ,here are plainly to be seen the characteristics of this first period--the broken1 stratified rocks1 the isolated and conventionalized plants1 and the peculiar drawing of the horse1 especially its slanting and half-human eyes4 ,the ,playing ,cards1 from which he takes his name1 may safely be assigned to his middle period4 ,the suits are made up of ,flowers 7roses and cyclamen71 ,wild ,men1 ,birds1 and ,deer1 with a fifth1 or alternative suit of ,lions and ,bears4 ,like all the early ,german designers of playing cards1 he has given free rein to his fancy and inventiveness4 ,the position of the different emblems is varied for each numeral card2 and each flower1 wild man1 bird1 or beast1 has an attitude and character of its own1 no two being identical4 ,no engraver has surpassed him in truthfulness and subtlety of observation and in the delineation of birds few artists have equalled him4 ,his rendering of the growth and form of flowers would have delighted ,john ,ruskin4 ,in the ,king of ,cyclamen and the ,queen of ,cyclamen the faces have an almost portrait-like individuality4 ,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 himself4 ,the clothing falls in natural folds1 and in the ,king of ,cyclamen the representation of fur could hardly be bettered4 ,to his latest and most mature period must be assigned the ,man of ,sorrows--in some ways his finest1 and certainly his most moving1 plate4 ,not only has he differentiated between the textures of the linen loin-cloth and the coarser material of the cloak2 but the column1 the cross with its beautiful and truthful indication of the grain of the wood1 and the ground itself1 all are treated with a knowledge and a sensitiveness that is surprising4 ,the engraver's greatest triumph1 however1 is in the figure of ,christ4 ,there is a feeling for form and structure1 sadly lacking in the work of his successors1 and his suggestion of the strained and pulsing veins1 which throb through the ,redeemer's tortured limbs1 is of a compelling truth4 ,chief among the engravers who show most clearly the influence of the ,master of the ,playing ,cards is the ,,master ,,of ,,the ,,year #addf1 so named from the date which appears in the ,flagellation4 ,his prints present a more or less primitive appearance1 and were it not for this date1 one might be tempted1 on internal evidence1 to assign them to an earlier period4 ,in the ,passion series1 in particular1 many of the figures are more gnome-like than human4 ,such creatures as the man blowing a horn1 in ,christ ,nailed to the ,cross1 and the man pulling upon a rope1 in the same print1 recall to our minds1 by an association of ideas1 the old ,german fairy tales4 ,contemporary with the ,master of #addf1 and belonging to the ,burgundian-,netherlands group1 to which also belong the two anonymous engravers known as the ,,master ,,of ,,the ,,mount ,,of ,,calvary and the ,,master ,,of ,,the ,,death ,,of ,,mary1 is the ,,master ,,of ,,the ,,gardens ,,of ,,love4 ,his figures are crude in drawing and stiff in their movements4 ,his knowledge of tree forms is rudimentary2 but his animals and birds show real observation and seem to have been studied from life4 ,illustration3 ,,master ,,of ,,the ,,year #addf4 ,,christ ,,nailed ,,to ,,the ,,cross ,size of the original engraving1 #d #c inches ,in the ,royal ,print ,room1 ,berlin ,illustration3 ,,master ,,of ,,st4 ,,john ,,the ,,baptist4 ,,st4 ,,john ,,the ,,baptist ,size of the original engraving1 #h #e inches ,in the ,albertina1 ,vienna ,in the larger of the two engravings from which he takes his name1 we see reflected the pleasure-loving court of the ,dukes of ,burgundy4 ,on the right1 a lady leads her lover to a table spread with tempting viands4 ,she stretches forth her right hand to take the fruit4 ,it is a fig1 the sign of fertility4 ,to their right1 drinking from a stream1 is a unicorn1 the sign of chastity4 ,the artist seemingly wishes the lady's message to read that she is still unwedded1 and that1 were she wedded1 she would be a good mother4 ,observe1 likewise1 the way in which the engraver has placed the wild hogs1 deer1 and bears emerging from the woods1 while1 in the sky1 numerous birds wing their flight4 ,in the immediate foreground a lady and a cavalier are reading poetry to each other4 ,another lady plays to a gallant who1 in a most uncomfortable attitude1 holds a sheet of music4 ,in the right-hand corner is a fourth pair1 the lady busily twining a wreath for her lover's hat1 which lies on her lap4 ,we have here a compendium of the courtly life of the time1 which is about #addh4 ,,the ,,master ,,of ,,st4 ,,john ,,the ,,baptist may fittingly be called the first realist in engraving4 ,his plates do not display that extraordinary delicacy in cutting which is characteristic of the ,master of the ,playing ,cards4 ,like that earlier engraver1 he makes little use of cross-hatching1 and his strokes are freely disposed--more in the manner of a painter than a goldsmith-engraver4 ,his birds and flowers are closely observed and admirably rendered4 ,the mullein1 the columbine1 and the iris in ,st4 ,john the ,baptist are each given their individual character2 the tree trunks to the right no longer resemble twisted columns1 as in earlier work1 but have real bark with knot holes and branches organically joined1 though the foliage is still conventionally treated4 ,one cannot but remark1 also1 the skilful way in which the engraver has differentiated between the furry undergarment and the cloak which ,st4 ,john the ,baptist wears4 ,in ,st4 ,christopher we have probably one of his latest works4 ,his representation of the waves1 of the sky and clouds1 is noteworthy1 while1 on the beach1 the sea-shells give mute testimony to his love for little things4 ,of the predecessors of ,martin ,schongauer1 none exerted a greater influence than the ,,master ,e4 ,s4 ,,of #adff4 ,on the technical side he was the actual creator of engraving as practised in modern times1 and was a determining factor in the progress of the art4 ,even the ,italian engravers were unable to withstand it2 their ,prophets and ,sibyls are partly derived from his ,evangelists and ,apostles1 the easy disposition of his draperies furnishing them with models4 ,over three hundred engravings by the ,master ,e4 ,s4 have come down to us1 and over a hundred more can be traced through copies by other hands1 or as having formed component parts of his two sets of playing cards--the smaller set made up of ,wild ,animals1 ,helmets1 ,escutcheons1 and ,flowers1 while the larger set comprises ,men1 ,dogs1 ,birds1 and ,escutcheons4 ,illustration3 ,,master ,e4 ,s4 ,,of #adff4 ,,madonna ,,and ,,child ,,with ,,saints ,,marguerite ,,and ,,catherine ,size of the original engraving1 #h #f inches ,in the ,royal ,print ,room1 ,dresden ,illustration3 ,,master ,e4 ,s4 ,,of #adff4 ,,ecstasy ,,of ,,st4 ,,mary ,,magdalen ,size of the original engraving1 #f #e inches ,in the ,royal ,print ,room1 ,dresden ,his work shows unmistakably the influence of the ,master of the ,playing ,cards1 and we may safely place him in the region of the upper ,rhine1 probably in the vicinity of ,freiburg or ,breisach4 ,in the ,madonna and ,child with ,saints ,marguerite and ,catherine his peculiar qualities and limitations may clearly be seen4 ,the plants and flowers1 with which the ground is thickly carpeted1 are engraved in firm1 clear-cut lines1 betokening the trained hand of the goldsmith4 ,the figures and drapery are rendered with delicate single strokes2 but in the shaded portions of the wall1 back of the ,madonna1 cross-hatching is skilfully employed4 ,as is the case in nearly all the works of the early ,german engravers1 the laws of perspective are imperfectly understood1 but none the less the composition has a charm all its own4 ,the ,ecstasy of ,st4 ,mary ,magdalen is of interest1 not only technically and artistically1 but because of its influence upon the ,master of the ,amsterdam ,cabinet1 who has twice treated the subject1 and upon ,albrecht ,drer1 by whom we have a woodcut seemingly copied from this engraving4 ,martin ,schongauer1 likewise1 may have profited by the feathered forms of the angels which reappear1 somewhat modified1 in his engraving of the ,nativity4 ,the birds and the isolated plants in the foreground still show the influence of the ,master of the ,playing ,cards4 ,st4 ,matthew 7whom we shall meet again in our consideration of ,florentine engraving1 transformed into the ,tiburtine ,sibyl1 engraved in the ,fine ,manner of the ,finiguerra ,school7 and ,st4 ,paul 7who likewise reappears as ,amos in the series of ,prophets and ,sibyls7 show an increasing command of technical resources4 ,the draperies are beautifully disposed2 and1 in ,st4 ,paul1 the system of cross-hatching upon the back of the chair1 in the shaded portions beneath1 and upon the mantle of the saint1 is fully developed4 ,the ,madonna of ,einsiedeln1 dated #adff1 is usually accounted the engraver's masterpiece4 ,beautiful though it is in composition and in execution1 it suggests a translation1 into black and white1 of a painting1 and on technical grounds1 as well as for the beauty of its component parts1 one may prefer the ,design for a ,paten1 dating from the same year #adff4 ,here the central scene1 representing ,st4 ,john the ,baptist1 owes not a little1 both in composition and in technique1 to the ,master of ,st4 ,john the ,baptist4 ,the four ,evangelists1 arranged in alternation with their appropriate symbols1 around the central picture1 are little masterpieces of characterization and of engraving1 and there can be nothing but unmixed admiration for the way in which plant and bird forms are woven into a perfectly harmonious pattern4 ,illustration3 ,,master ,e4 ,s4 ,,of #adff4 ,,design ,,for ,a ,,paten ,size of the original engraving1 #g inches in diameter ,in the ,royal ,print ,room1 ,berlin ,illustration3 ,,master ,e4 ,s4 ,,of #adff4 ,,st4 ,,john ,,on ,,the ,,island ,,of ,,patmos ,size of the original engraving1 #h #e inches ,in the ,hofbibliotek1 ,vienna ,st4 ,john on the ,island of ,patmos likewise shows unmistakably the influence of the ,master of ,st4 ,john the ,baptist and is doubly interesting inasmuch as1 in its turn1 it had a shaping influence upon the engraving of the same subject by ,martin ,schongauer4 ,it is dated #adfg1 the latest date found upon any plate by the ,master ,e4 ,s41 and it is assumed that in this year his activity came to an end4 ,,martin ,,schongauer1 who was born in ,colmar about #adde and is known to have died in #adia1 is not only the most eminent painter and engraver in the latter third of the fifteenth century1 he is one of the very greatest masters of the graphic arts4 ,his plates number one hundred and fifteen1 and1 as in the case of ,albrecht ,drer1 it is upon his engraved work1 rather than upon his all too few paintings1 that his immortality must rest4 ,schongauer's prints can be arranged in something approximating chronological order4 ,in the earliest twelve engravings the shanks of the letter ,m1 in his monogram1 are drawn vertically1 whereas in all his later prints they slant outward4 ,this apparently minor point is really of great significance in a study of his development1 since it enables us to place correctly certain plates which1 until recently1 were assigned to his latest period1 such as the ,death of the ,virgin1 the ,adoration of the ,magi1 and the ,flight ,into ,egypt4 ,one of the richest toned plates in this first group is the ,virgin with a ,parrot1 an engraving which1 incidentally1 exists in two states4 ,in the second state1 the cushion upon which the ,christ ,child is seated1 instead of being plain1 has an elaborate pattern upon the upper side1 and the flowing tresses of the ,virgin are extended more to the left1 thereby greatly improving the composition as a whole4 ,for ,martin ,schongauer1 as for nearly all the earlier ,german masters1 the grotesque had a strange fascination4 ,his power of welding together parts of various animals into living fantastic creatures is nowhere better seen than in the ,temptation of ,st4 ,anthony4 ,vasari tells how the young ,michelangelo1 meeting with an impression of this engraving in ,florence1 was impelled to copy it with a pen 8in such a manner as had never before been seen4 ,he painted it in colors also1 and the better to imitate the strange forms among these devils1 he bought fish which had scales somewhat resembling those of the demon4 ,in this pen copy also he displayed so much ability that his credit and reputation were greatly enhanced thereby40 ,it would appear to be one of ,schongauer's early plates1 not only from the form of the monogram1 but also from the treatment of the upper portion of the sky1 shaded with many horizontal graver strokes1 growing stronger as the upper edge of the plate is reached--a treatment which does not occur in any other print by him4 ,illustration3 ,,martin ,,schongauer4 ,,virgin ,,with ,a ,,parrot ,size of the original engraving1 #f #d inches ,in the ,public ,art ,collections1 ,basle ,illustration3 ,,martin ,,schongauer4 ,,temptation ,,of ,,st4 ,,anthony ,size of the original engraving1 #ab #i inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,martin ,,schongauer4 ,,death ,,of ,,the ,,virgin ,size of the original engraving1 #aj #f inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,martin ,,schongauer4 ,,pilate ,,washing ,,his ,,hands ,size of the original engraving1 #f #d inches ,in the ,museum of ,fine ,arts1 ,boston ,among the myriad renderings of the ,death of the ,virgin1 by painters and engravers1 it is doubtful if any version is superior1 so far as dramatic intensity is concerned1 to ,schongauer's4 ,as a composition1 ,drer's woodcut from the ,life of the ,virgin1 is simpler and more 8telling10 in that certain non-essentials have been eliminated2 but could we well spare so beautiful a design as that of the candelabrum which1 in ,schongauer's engraving1 stands at the foot of the bed8 ,from the twelve plates of the ,passion1 each of which repays study1 it is not easy to select one for reproduction4 ,the ,crucifixion1 a subject which ,schongauer engraved no less than six times1 has a poignant charm2 and for sheer beauty the ,resurrection is among the most significant of the series4 ,pilate ,washing ,his ,hands has1 however1 a double interest4 ,the faces of ,christ's tormentors and of the figures standing beside and to the left of ,pilate's throne1 are strongly characterized1 portrait-like heads1 in marked contrast with the gentleness of ,christ1 and the weak and vacillating ,pilate4 ,the enthroned ,pilate later reappears as the ,prophet ,daniel in the series of ,prophets and ,sibyls1 ,florentine engravings in the ,fine ,manner4 ,we have already referred to ,st4 ,john on the ,island of ,patmos by the ,master ,e4 ,s4 ,a more significant contrast between the work of the earlier engraver and that of ,schongauer could hardly be found4 ,the ,master ,e4 ,s4 gives a multiplicity of objects1 animate and inanimate1 charming and interesting in themselves1 but distracting from the main purpose of the composition--witness the ,st4 ,christopher crossing the river in the middle distance1 the lion and the terrified horse in the wood to the right1 the swan in the stream to the left1 and the life-like birds perched upon the castle-crowned cliff4 ,schongauer eliminates all these accessories4 ,one vessel and two small boats alone break the calm expanse of the unruffled sea4 ,save for the two plants in the foreground 7which betray the influence of the ,master of the ,playing ,cards7 the ground is simply treated and offers little to distract our attention from the seated figure of ,st4 ,john1 who faces to the left and gazes upwards at the ,madonna and ,child in glory4 ,the eagle bears a strong family likeness to the same bird in the ,design for a ,paten by the ,master ,e4 ,s4 ,schongauer has here drawn a tree1 not bare1 as is his wont1 but adorned with foliage beautifully disposed and artistically treated1 in marked contrast to the conventional and decorative manner of the ,master ,e4 ,s4 and his predecessors4 ,illustration3 ,,martin ,,schongauer4 ,,st4 ,,john ,,on ,,the ,,island ,,of ,,patmos ,size of the original engraving1 #f #d inches ,in the ,kunsthalle1 ,hamburg ,illustration3 ,,martin ,,schongauer4 ,,christ ,,appearing ,,to ,,the ,,magdalen ,size of the original engraving1 #f #f inches ,in the ,kunsthalle1 ,hamburg ,illustration3 ,,martin ,,schongauer4 ,,virgin ,,seated ,,in ,a ,,courtyard ,size of the original engraving1 #f #d inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,martin ,,schongauer4 ,,angel ,,of ,,the ,,annunciation ,size of the original engraving1 #f #d inches ,in the ,museum of ,fine ,arts1 ,boston ,the type of the ,redeemer1 which ,schongauer has made so peculiarly his own1 is nowhere seen to better advantage than in the two beautiful plates of the ,baptism of ,christ and ,christ ,appearing to the ,magdalen4 ,max ,geisberg acclaims the last-named as ,schongauer's most beautiful engraving4 8,here1 the contents of the composition have received an embodiment1 the fervor1 depth1 and delicacy of which have never been surpassed in art40#a ,it can1 however1 share this high praise with the ,virgin ,seated in a ,courtyard and the ,angel of the ,annunciation4 ,for sheer beauty1 these plates remain to this day not only unsurpassed1 but unequalled4 ,what quietude and restraint there is in the ,virgin ,seated in a ,courtyard1 the wall back of her discreetly bare1 the grass indicated by a few small but significant strokes1 while the branches of one little1 leafless tree form an exquisite pattern against the untouched sky6 ,by contrast one of ,drer's technical masterpieces--the ,virgin ,seated by a ,city ,wall--seems overworked and overloaded with needless accessories4 #a ,martin ,schongauer4 ,by ,dr4 ,max ,geisberg4 ,the ,print-,collector's ,quarterly4 ,vol4 ,,iv4 ,april1 #aiad4 p4 #abh4 ,the ,angel of the ,annunciation marks the culmination of ,schongauer's art and belongs to his most mature period4 ,everything not absolutely necessary for a clear presentation has been eliminated4 ,a slight shadow upon the ground gives solidity to the figure4 ,all else is blank4 ,the art of simplification can hardly go further1 and were one to be restricted to the choice of a single print by any of ,drer's predecessors1 one might wisely select the ,angel of the ,annunciation4 ,that ,schongauer was equally interested in things mundane is convincingly proved by ,peasants ,going to ,market1 ,goldsmith's ,apprentices ,fighting1 or ,the ,miller4 ,how well he has differentiated between the mother-ass1 filled with maternal solicitude1 and the woolly1 stocky1 and somewhat foolish little donkey which follows1 while the miller with upraised staff urges her onward4 ,the ,crozier and the ,censer furnish unmistakable proof1 were such needed1 that as a goldsmith-designer1 no less than as an engraver1 ,schongauer is entitled to the loftiest place in ,german art4 ,they are masterpieces1 alike in invention and in execution4 ,his influence was not confined to his contemporaries1 but can be traced in many ways1 and in many media1 long after his death4 ,his ,school1 however1 produced no engraver worthy1 for a moment1 of comparison with him4 ,illustration3 ,,martin ,,schongauer4 ,,the ,,miller ,size of the original engraving1 #c #d inches ,in the ,albertina1 ,vienna ,illustration3 ,,martin ,,schongauer4 ,,censer ,size of the original engraving1 #aa #h inches ,the ,,master ,l ,cz alone seems to have caught something of ,schongauer's spirit while1 at the same time1 preserving his own individuality4 ,the face of the ,redeemer in ,christ ,entering ,jerusalem is reminiscent of the earlier engraver2 and1 among the ,apostles to the left1 two1 at least1 are taken1 with slight modifications1 from ,schongauer's ,death of the ,virgin4 ,christ ,tempted has a singular charm4 ,the figure of ,satan1 realistically treated1 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 free4 ,the wood in the middle distance1 to the left of ,christ1 evinces a close study of natural forms1 while the landscape takes its place admirably in the composition4 ,the excessive rarity of engravings by ,l ,cz alone has prevented them from being appreciated at their true worth4 ,they are original in composition1 full of fantasy and charm4 ,even so universal an artist as ,albrecht ,drer did not disdain to borrow1 from ,christ ,tempted1 the motive of the mountain goat gazing downward1 which reappears1 slightly modified1 in ,adam and ,eve1 his masterpiece of the year #aejd4 ,,engravers ,,and ,,etchers ,,german ,,engraving3 ,,from ,,the ,,beginnings ,,to ,,martin ,,schongauer ,,bibliography ,,le ,,peintre ,,graveur4 ,by ,adam ,bartsch4 #ba volumes4 ,vienna3 #ahjc-ahba4 ,volumes #f and #aj1 ,early ,german ,engravers4 ,,les ,,deux ,,cents ,,incunables ,,xylographiques ,,du ,d,,partement ,,des ,,estampes4 ,by ,henri ,bouchot4 ,volume #a1 ,text4 ,volume #b1 ,atlas 7#aia reproductions74 ,paris3 ,librairie ,centrale des ,beaux-,arts4 #aijc4 ,,geschichte ,,und ,,kritischer ,,katalog ,,des ,,deutschen1 ,,niederl,,ndischen ,,und ,,franz,,sischen ,,kupferstichs ,,im ,,xv4 ,,jahrhundert4 ,by ,max ,lehrs4 ,vienna3 ,gesellschaft fr vervielfltigende ,kunst4 ,volume #a4 ,the ,primitives4 ,with portfolio of #aad reproductions on #dc plates4 #aijh4 ,volume #b4 ,master ,e4 ,s4 ,with portfolio of #bcg reproductions on #ib plates4 #aiaj4 ,,die ,,ltesten ,,deutschen ,,spielkarten ,,des ,k,,niglichen ,,kupferstich-,,cabinets ,,zu ,,dresden4 ,by ,max ,lehrs4 #ig reproductions on #bi plates4 ,dresden3 ,w4 ,hoffmann4 #ahhe4 ,,katalog ,,der ,,im ,,germanischen ,,museum ,,befindlichen ,,deutschen ,,kupferstiche ,,des ,,xv4 ,,jahrhunderts4 ,by ,max ,lehrs4 #a original engraving and #i reproductions4 ,nrnberg4 #ahhg4 ,,le ,,peintre-,,graveur4 ,by ,j4 ,d4 ,passavant4 #f volumes4 ,leipzig3 ,rudolph ,weigel4 #ahfj-ahfd4 ,volumes #a and #b1 ,early ,german ,engravers4 ,,histoire ,,de ,l',,origine ,,et ,,des ,,progr,s ,,de ,,la ,,gravure ,,dans ,,les ,,pays-,,bas ,,et ,,en ,,allemagne1 ,,jusqu' ,,la ,,fin ,,du ,,quinzi,,me ,,si,,cle4 ,by ,jules ,renouvier4 ,brussels3 ,m4 ,hayez4 #ahfj4 ,,die ,,inkunabeln ,,des ,,kupferstichs ,,im ,,kgl4 ,,kabinet ,,zu ,m,,nchen4 ,by ,wilhelm ,schmidt4 #cb reproductions4 ,munich4 #ahhg4 ,,manuel ,,de ,l',,amateur ,,de ,,la ,,gravure ,,sur ,,bois ,,et ,,sur ,m,,tal ,,au ,,xv ,,si,,cle4 ,by ,wilhelm ,ludwig ,schreiber4 ,volumes #a-d1 ,text4 ,volumes #f-h1 ,reproductions4 ,berlin3 ,albert ,cohn1 #ahia-aijj4 7,vol4 #d in ,leipzig3 ,o4 ,harrassowitz47 ,a ,,descriptive ,,catalogue ,,of ,,early ,,prints ,,in ,,the ,,british ,,museum4 ,by ,william ,hughes ,willshire4 #b volumes4 #bb reproductions4 ,london3 ,the ,trustees4 #ahgi-ahhc4 ,,master ,,of ,,the ,,playing ,,cards 7flourished #addj-adej7 ,,das ,,lteste ,,gestochene ,,deutsche ,,kartenspiel ,,vom ,,meister ,,der ,,spielkarten 7,,vor #addf74 ,by ,max ,geisberg4 #fh reproductions on #cc plates4 ,strassburg3 ,j4 ,h4 ,ed4 ,heitz 7,heitz ,mndel74 #aije4 7,studien zur deutschen ,kunstgeschichte4 ,part #ff47 ,,master ,,of ,,the ,,gardens ,,of ,,love 7flourished #adde-adej7 ,,der ,,meister ,,der ,,liebesg,,rten2 ,,ein ,,beitrag ,,zur ,,geschichte ,,des ,,ltesten ,,kupferstichs ,,in ,,den ,,niederlanden4 ,by ,max ,lehrs4 #bh reproductions on #aj plates4 ,dresden3 ,bruno ,schulze4 #ahic4 ,,master ,e4 ,s4 7flourished #adej-adgj7 ,,der ,,meister ,e4 ,s42 ,,sein ,,name1 ,,seine ,,heimat1 ,,und ,,sein ,,ende4 ,by ,peter ,p4 ,albert4 #bj reproductions on #af plates4 ,strassburg3 ,j4 ,h4 ,ed-,heitz 7,heitz ,mndel74 #aiaa4 7,studien zur deutschen ,kunstgeschichte4 ,part #acg47 ,,the ,,master ,e4 ,s4 ,,and ,,the 8,,ars ,,moriendi02 ,a ,,chapter ,,in ,,the ,,history ,,of ,,engraving ,,during ,,the ,,fifteenth ,,century4 ,by ,lionel ,cust4 #df reproductions4 ,oxford3 ,clarendon ,press4 #ahih4 ,,die ,,anf,,nge ,,des ,,deutschen ,,kupferstiches ,,und ,,der ,,meister ,e4 ,s4 ,by ,max ,geisberg4 #aba reproductions on #ga plates4 ,leipzig3 ,klinkhardt ,biermann4 #aiji4 7,meister der ,graphik4 ,vol4 #b47 ,,geschichte ,,und ,,kritischer ,,katalog ,,des ,,deutschen1 ,,niederl,,ndischen ,,und ,,franz,,sischen ,,kupferstichs ,,im ,,xv4 ,,jahrhundert4 ,by ,max ,lehrs4 ,vienna3 ,gesellschaft fr vervielfltigende ,kunst4 #aijh-aiaj4 ,volume #b4 ,master ,e4 ,s4 ,with portfolio of #bcg reproductions on #ib plates4 ,,the ,,playing ,,cards ,,of ,,the ,,master ,e4 ,s4 ,,of #adff4 ,edited by ,max ,lehrs4 #de reproductions4 ,london3 ,asher ,co4 #ahib4 7,international ,chalcographical ,society4 ,extraordinary ,publication4 ,vol4 #a47 ,,schongauer1 ,,martin 7#adde787-adia7 ,,zwei ,,datierte ,,zeichnungen ,,martin ,,schongauers4 ,by ,sidney ,calvin4 #b illustrations4 ,jahrbuch der kniglichen preussischen ,kunstsammlungen1 ,vol4 #f1 pp4 #fi-gd4 ,berlin4 #ahhe4 ,,martin ,,schongauer',s ,,kupferstiche4 ,by ,max ,g4 ,friedlnder4 #e illustrations4 ,zeitschrift fr bildende ,kunst1 ,vol4 #bf1 pp4 #aje-aab4 ,leipzig4 #aiae4 ,,martin ,,schongauer4 ,by ,max ,geisberg4 #ad illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #d1 ,no4 #b1 pp4 #ajb-abi4 ,boston4 #aiad4 ,,martin ,,schongauer2 ,,nachbildungen ,,seiner ,,kupferstiche4 ,edited by ,max ,lehrs4 #aae reproductions on #gb plates4 ,berlin3 ,bruno ,cassirer4 #aiad4 7,graphische ,gesellschaft4 ,extraordinary ,publication #e47 ,,schongauerstudien4 ,by ,wilhelm ,lbke4 #c illustrations4 ,zeitschrift fr bildende ,kunst1 ,vol4 #af1 pp4 #gd-hf4 ,leipzig4 #ahha4 ,,schongauer ,,und ,,der ,,meister ,,des ,,bartholom,,us4 ,by ,l4 ,scheibler4 ,repertorium fr ,kunstwissenschaft1 ,vol4 #g1 pp4 #ca-fh4 ,berlin and ,stuttgart4 #ahhd4 ,,martin ,,schongauer ,,als ,,kupferstecher4 ,by ,woldemar von ,seidlitz4 ,repertorium fr ,kunstwissenschaft1 ,vol4 #g1 pp4 #afi-ahb4 ,berlin and ,stuttgart4 #ahhd4 ,,martin ,,schongauer ,,als ,,kupferstecher4 ,by ,hans ,wendland4 #cb reproductions4 ,berlin3 ,edmund ,meyer4 #aijg4 ,,martin ,,schongauer4 ,,eine ,,kritische ,,untersuchung ,,seines ,,lebens ,,und ,,seiner ,,werke ,,nebst ,,einem ,,chronologischen ,,verzeichnisse ,,seiner ,,kupferstiche4 ,by ,alfred von ,wurzbach4 ,vienna3 ,manz'sche ,k4 ,k4 ,hofverlags und ,universitts ,buchhandlung4 #ahhj4 ,,master ,,of ,,the ,,banderoles 7flourished c4 #adfd7 ,,der ,,meister ,,mit ,,den ,,bandrollen2 ,,ein ,,beitrag ,,zur ,,geschichte ,,des ,,ltesten ,,kupferstichs ,,in ,,deutschland4 ,by ,max ,lehrs4 #ai reproductions on #g plates4 ,dresden3 ,w4 ,hoffmann4 #ahhf4 ,,meckenem1 ,,israhel ,,van 7c4 #addj-aejc7 ,,der ,,meister ,,der ,,berliner ,,passion ,,und ,,israhel ,,van ,,meckenem4 ,by ,max ,geisberg4 #f reproductions4 ,strassburg3 ,j4 ,h4 ,ed4 ,heitz 7,heitz ,mndel74 #aijc4 7,studien zur deutschen ,kunstgeschichte4 ,part #db47 ,,verzeichnis ,,der ,,kupferstiche ,,israhels ,,van ,,meckenem4 ,by ,max ,geisberg4 #aa reproductions on #i plates4 ,strassburg3 ,j4 ,h4 ,ed4 ,heitz 7,heitz ,mndel74 #aije4 7,studien zur deutschen ,kunstgeschichte4 ,part #eh47 ,,master ,w ,a 7flourished c4 #adgj7 ,,der ,,meister ,w ,a2 ,,ein ,,kupferstecher ,,der ,,zeit ,,karls ,,des ,k,,hnen4 ,by ,max ,lehrs4 #gg reproductions on #ca plates4 ,dresden3 ,w4 ,hoffmann4 #ahie4 ,,stoss1 ,,veit 7c4 #adej-;c4 #aecc7 ,,veit ,,stoss2 ,,nachbildungen ,,seiner ,,kupferstiche4 ,edited by ,engelbert ,baumeister4 #ac reproductions4 ,berlin3 ,bruno ,cassirer4 #aiac4 7,graphische ,gesellschaft4 ,publication #ag47 ,,olm,,tz1 ,,wenzel ,,von 7flourished #adhj-aejj7 ,,wenzel ,,von ,,olm,,tz4 ,by ,max ,lehrs4 #bb reproductions on #aa plates4 ,dresden3 ,w4 ,hoffmann4 #ahhi 7,in ,german47 ,illustration3 ,,master ,l ,cz4 ,,christ ,,tempted ,size of the original engraving #h #f inches ,illustration3 ,,master ,l ,cz4 ,,christ ,,entering ,,jerusalem ,size of the original engraving1 #h #g inches ,in the ,museum of ,fine ,arts1 ,boston ,,italian ,,engraving3 ,,the ,,florentines ,engraving in ,italy differs1 in many essentials1 from the art as practised in ,germany4 ,germany may claim priority in point of time1 but it is doubtful whether the ,florentines--for in ,florence1 and among the goldsmiths1 the art took its rise in ,italy--in the beginning were influenced by1 or even acquainted with1 the work of their northern contemporaries4 ,in ,germany the designer and the engraver were one1 and some of the greatest masters embodied their finest conceptions in their prints4 ,we may truly say that the world-wide reputation which ,drer and ,schongauer have enjoyed for four centuries and more1 rests almost entirely upon their engraved1 rather than upon their painted1 work4 ,in ,italy it was otherwise4 ,there1 with a few signal exceptions1 engraving was used merely as a convenient method of multiplying an existing design4 ,it may be that we owe to this fact both the color of the ink used in these early ,florentine prints1 and the method of taking impressions4 ,this would seem1 in many cases1 to be by rubbing rather than by the use of the roller press1 which appears to have been known and used in the ,north substantially from the very beginning4 ,the ,florentine1 aiming to duplicate a drawing in silver-point or wash1 would naturally endeavor to approximate the color of his original4 ,consequently we do not find the lustrous black impressions1 strongly printed1 which are the prize of the collector of early ,german engravings4 ,vasari's story of the invention of engraving by ,,maso ,,finiguerra 7#adbf-adfd7 was long ago disproved1 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 emerging4 ,yet ,finiguerra1 although not the 8inventor0 of the art1 is1 beyond peradventure1 the most important influence in early ,italian engraving1 not only on account of his own work on copper1 but still more through the ,picture-,chronicle1 which served as an inspiration to the artists working in his ,school and continuing his tradition after his death4 ,so that ,vasari's tale1 though not accurate in the matter of fact1 was veracious in the larger sense4 ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,profile ,,portrait ,,of ,a ,,lady ,size of the original engraving1 #h #e inches ,in the ,royal ,print ,room1 ,berlin ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,wild ,,animals ,,hunting ,,and ,,fighting ,size of the original engraving1 #aj #ad inches ,in the ,british ,museum ,the ,picture-,chronicle is a book of drawings illustrating the ,history of the ,world1 and evidently proceeds from the hand and workshop of a ,florentine goldsmith-engraver of about #adfj4 ,it was acquired by the ,british ,museum from ,mr4 ,ruskin in #ahhh4 ,the drawings are in pen and ink and wash1 often reinforced with open pen-shading like that imitated later by the ,broad ,manner engravers4 ,at its best the work has the true early ,renaissance combination of archaic strength with attractive naivet--the ornamental detail carried out with a masterly power of pen1 and with the patient delight of one who is by instinct and training above all things a jeweler4 ,finiguerra's fame as the leading worker in niello was firmly established by #adej2 and although we cannot assign certainly any engraving by him to a date earlier than #adfj1 there is a group of ,florentine primitives which may be placed between the years #adej and #adfj1 thus antedating ,finiguerra's first plate by about ten years4 ,the most beautiful of these early prints in conception1 and the purest in execution1 is the ,profile ,portrait of a ,lady1 a single impression of which has come down to us and is now in ,berlin4 ,in style it recalls the paintings of ,piero della ,francesca1 ,verrocchio1 ,uccello1 or ,pollaiuolo1 and although it would be unwise to attribute it to any known master1 there is a sensitive quality in the drawing1 and a restraint1 which differentiates it from any other print of this period4 ,among the engravings which may be by ,finiguerra himself1 one of the most interesting is the plate of ,wild ,animals ,hunting and ,fighting1 wherein we see a number of motives taken directly from the ,picture-,chronicle--motives which reappear again and again in works undoubtedly by other hands4 ,this print1 as also the ,encounter of a ,hunting ,party with a ,family of ,wild ,folk1 is unique4 ,in the last-named we see a number of motives repeated from the ,wild ,animals ,hunting and ,fighting3 such as the boar being pulled down by two hounds1 the hound chasing a hare1 in the upper right corner2 and the dog1 slightly to the left1 devouring the entrails of yet another hare4 ,the ,road to ,calvary and the ,crucifixion is a far more elaborate and important composition1 and in this engraving we see that which is especially noteworthy in the ,judgment ,hall of ,pilate--the largest and most important of all the ,fine ,manner prints--the goldsmith's love of ornament4 ,in the ,judgment ,hall of ,pilate the head-dresses1 and especially the armor1 are highly elaborate1 while the architecture itself is overlaid with ornate decoration directly drawn from the ,picture-,chronicle4 ,in the only known impression the plate seems to have been re-worked1 in the ,broad ,manner1 by a later hand4 ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,triumphal ,,procession ,,of ,,bacchus ,,and ,,ariadne ,size of the original engraving1 #h #bb inches ,in the ,british ,museum ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,jupiter ,size of the original engraving1 #ab #h inches ,in the ,british ,museum ,somewhat later in date1 by an engraver of the ,finiguerra ,school1 is the ,triumphal ,procession of ,bacchus and ,ariadne1 the most joyous of all ,florentine engravings4 ,the original design was attributed at one time to ,botticelli2 and although1 as ,herbert ,p4 ,horne has shown1 it cannot be by this master1 it is similar in style to his compositions4 ,whatever the immediate original1 it shows marked traces of classical influences1 and its motive is directly derived from antique sculpture--a sarcophagus in all probability4 8,the splendid design has suffered not only from the feebleness of the engraving1 but also from the florid manner in which the engraver has exaggerated some of the decorative details and added others4444 ,in spite of the feebleness of its execution it remains an incomparably greater work of art than any other print in the ,fine ,manner40#b #b ,sandro ,botticelli4 ,by ,herbert ,p4 ,horne4 ,london3 ,george ,bell ,sons4 #aijh4 p4 #hd4 ,the ,fine ,manner1 in which all of the engravings hitherto mentioned are executed1 owes its name to the method employed4 ,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 strokes1 laid close to one another and overlaid with two1 and1 at times1 three1 sets of cross-hatching4 ,such engravings1 when printed1 as is usually the case1 in a greenish or grayish ink1 give a result similar to a wash drawing4 ,in the ,broad ,manner the style of engraving is based upon that of pen drawing1 with open1 diagonal shade strokes and without cross-hatching4 ,the ,broad ,manner was finally developed by ,pollaiuolo and ,mantegna1 who modified it by a series of delicate lines laid at an acute angle to the heavier shadings1 blending the main lines into a harmonious whole4 8,none of the sciences that descended from antiquity10 writes ,arthur ,m4 ,hind1#c 8possessed a firmer hold on the popular imagination of the ,middle ,ages than that of ,astrology4 ,that science took as its foundation the ancient conception of the universe1 with the earth as the centre round which all the heavenly bodies revolved in the space of a day and a night4 ,encircling the earth were the successive spheres of water1 air1 fire1 the seven planets 7,moon1 ,mercury1 ,venus1 ,sun1 ,mars1 ,jupiter1 ,saturn71 the firmament with the constellations 7the clum crystallinum71 and the ,primum ,mobile4 ,to each of the planets were ascribed attributes according to the traditional character of the deity whose name it bore1 and these attributes were regarded as transmissible under certain conditions to mankind4 ,the influence of the planets depended on their position in the heavens in respect of the various constellations1 with which each had different relations4 ,each planet had what was called its #8house' in one of the constellations1 and according to its position relative to these was said to be in the #8ascendant' or #8descendant'4 ,in regard to individual human beings the date of birth was the decisive point1 and the degree of influence transmitted from the planets depended on the respective degree of #8ascendance' or #8descendance' at the particular epoch40 #c ,catalogue of ,early ,italian ,engravings 444 in the ,british ,museum4 ,by ,arthur ,mayger ,hind4 ,london4 #aiaj4 pp4 #di-ej4 ,the planets and their influences afforded subject matter for many artists of the fifteenth and sixteenth centuries1 and the finest and most important series is that engraved in the ,fine ,manner by an artist of the ,finiguerra ,school1 who has1 as usual1 drawn directly upon the ,picture-,chronicle for his ornamental accessories4 ,we can reproduce two only from the set of seven--,jupiter and ,mercury4 ,the inscription beneath ,jupiter reads1 in part1 as follows3 8,jupiter is a male planet in the sixth sphere1 warm and moist1 temperate by nature1 and of gentle disposition2 he is sanguine1 cheerful1 liberal1 eloquent2 he loves fine clothes1 is handsome and ruddy of aspect1 and looks toward the ,earth4 ,tin is his metal2 his days are ,sunday and ,thursday1 with the first1 eighth1 fifteenth and twenty-fourth hours2 his night is that of ,wednesday2 he is friendly to the ,moon1 hostile to ,mars44440 ,in the landscape we again meet with several of the stock ,finiguerra motives1 the muzzled hounds1 the dog chasing the hare1 etc4 ,of especial interest is the group at the right--8wing-bearing ,dante who flew through ,hell1 through the starry ,heavens and o'er the intermediate hill of ,purgatory beneath the beauteous brows of ,beatrice2 and ,petrarch too1 who tells again the tale of ,cupid's triumph2 and the man who1 in ten days1 portrays a hundred stories 7,boccaccio740 ,mercury--8eloquent and inventive 444 slender of figure1 tall and well grown1 with delicate lips4 ,quicksilver is his metal0--sets forth various applications of the arts and sciences4 ,especially interesting is the goldsmith's shop at the left1 where we see an engraver actually at work upon a plate4 ,the goldsmith is seated1 his apprentice behind him1 as a prospective purchaser examines a richly ornamented vessel4 ,in the foreground a sculptor is chiseling his statue1 while1 standing above1 on a scaffolding1 a fresco painter is actively at work--a record of the ,florence of #adfj or thereabouts1 full of interest for us4 ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,mercury ,size of the original engraving1 #ab #h inches ,in the ,british ,museum ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,lady ,,with ,a ,,unicorn ,size of the original engraving1 #f inches in diameter ,in the ,british ,museum ,to a slightly later date1 #adfe-adgj1 belong the group of ,fine ,manner prints1 known as the ,,otto ,,prints1 also emanating from the ,finiguerra workshop4 ,they are not a series1 in any true sense1 and owe their name--also their fortunate preservation--to the accidental circumstance of their having belonged at one time to ,peter ,ernst ,otto1 a merchant and collector of ,leipzig4 ,the purpose served by these prints--twenty-four in all--was the decoration of box lids1 either as patterns to be copied1 in the case of metal caskets1 or to be colored and pasted on the lids of wooden boxes4 ,the escutcheons are usually left blank1 to be filled in by hand with the device of the donor or the recipient1 or with some appropriate sentiment4 ,in the print entitled ,two ,heads in ,medallions and ,two ,hunting ,scenes we again meet with the animal motives taken from the ,picture-,chronicle4 ,one of the most charming is the ,lady with a ,unicorn 7,chastity71 in its arrangement suggestive of the beautiful drawing by ,leonardo da ,vinci in the ,british ,museum2 and its symbolic meaning is doubtless the same4 8,the unicorn10 writes ,leonardo in his 8,bestiarius10 8is distinguished for lack of moderation and self-control4 ,his passionate love of young women makes him entirely forget his shyness and ferocity4 ,oblivious of all dangers1 he comes straight to the seated maiden and falling asleep in her lap is then caught by the hunter40 ,the ermine1 likewise a sign of chastity1 is to be seen at the right1 gazing upward into ,marietta's face4 ,still later than the ,otto prints1 and greatly inferior to them in execution1 are the three illustrations for ,il ,monte ,sancto di ,dio1 of #adgg2 and the nineteen engravings for ,dante's ,divina ,commedia1 with ,landino's ,commentary1 of #adha4 ,il ,monte ,sancto di ,dio is the first book in ,italy or in ,germany in which there appear illustrations from engraved plates printed on the text page4 ,this entailed much additional labor1 and was soon discontinued in favor of the wood-block1 which could be printed simultaneously with the letterpress1 and was not taken up again until nearly the end of the sixteenth century4 ,alike by tradition and internal evidence1 ,botticelli is unquestionably the author of the ,dante designs2 but no artist has been suggested as the probable designer of the three illustrations for ,il ,monte ,sancto di ,dio4 ,in the first illustration the costume and general attitude of the young gallant to the left are strongly reminiscent of the ,otto prints4 ,the lower portion of the plate shows all the characteristics of the ,fine ,manner1 but the angel heads are treated in a simpler and more open linear method4 ,the ,christian's ,ascent to the ,glory of ,paradise is allegorically represented by a ladder placed firmly in the ground of widespread ,knowledge and ,humility1 and reaching up to the triple mountain of ,faith1 ,hope1 and ,charity1 on the summit of which stands the ,saviour4 ,this ladder is called ,perseverance1 one of its sides being ,prayer1 the other ,sacrament4 ,it has eleven steps3 ,prudence1 ,temperance1 ,fortitude1 ,justice1 etc4 ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,the ,,christian',s ,,ascent ,,to ,,the ,,glory ,,of ,,paradise4 ,,from 8,,il ,,monte ,,sancto ,,di ,,dio10 ,,florence1 #adgg ,size of the original engraving1 #i #g inches ,in the ,fogg ,art ,museum1 ,harvard ,university ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,dante ,,and ,,virgil ,,with ,,the ,,vision ,,of ,,beatrice4 ,,from ,,the 8,,divina ,,commedia10 ,,florence1 #adha ,size of the original engraving1 #c #f inches ,in the ,museum of ,fine ,arts1 ,boston ,the second illustration depicts the glory of ,paradise2 the third the punishment of ,hell1 the main motives of the last-named being adapted from the fresco attributed to ,orcagna1 in the ,campo ,santo at ,pisa4 ,in the illustrations to the ,divina ,commedia1 of #adha1 there is little left of the beauty which the original designs must have possessed4 ,they are1 indeed1 8disguised into puerility by the feebleness of the engraver02 but1 none the less1 they remain1 with the exception of ,botticelli's superb series of drawings on vellum1 in ,berlin and in the ,vatican1 unquestionably the best1 one might say the only1 satisfactory illustrations of ,dante's text4 ,no known copy contains more than the first three engravings printed directly upon the page itself4 ,in every other case1 where a greater number of illustrations appear1 they are printed separately and pasted in place1 indicating the difficulty experienced by the ,renaissance printer in making his plates register with the letterpress4 ,the first print of the series shows ,dante lost in the wood1 emerging therefrom1 and his meeting with ,virgil--three subjects on a single plate4 ,the second represents ,dante and ,virgil with the ,vision of ,beatrice4 ,dante and ,virgil are seen twice--first to the left1 where ,dante doubts whether to follow the guidance of ,virgil further1 and again on the slope of the hill to the right1 where ,virgil relates how the vision of ,beatrice appeared to him4 ,near the summit of the rocky mountain is seen the entrance to ,hell4 8,of the extant engravings in the ,broad ,manner1 unquestionably the most remarkable is the large print on two sheets of the ,assumption of the ,virgin1 after ,botticelli4 ,the original design no longer known to exist1 whether drawing or painting1 from which this engraving was taken1 must have been among the grandest and most vigorous works of the last period of ,botticelli's art4 ,the large and rugged treatment of the figures of the apostles1 their strange mane-like hair and beards1 their fervent and agitated gestures and attitudes1 lend to this part of the design a forcible and primitive character1 which recalls1 though largely1 perhaps1 in an accidental fashion1 the grand and impressive art of ,andrea del ,castagno4 ,not less vigorous in conception1 but of greater beauty of form and movement1 is the figure of the ,virgin1 and the motive and arrangement of the angels who form a #8mandorla' around her are among the most lovely and imaginative of the many inventions of the kind which ,botticelli has left us40#d ,in the distant valley is a view of ,rome showing the ,pantheon1 the ,column of ,trajan1 the ,colosseum1 and other buildings4 #d ,sandro ,botticelli4 ,by ,herbert ,p4 ,horne4 ,london3 ,george ,bell ,sons4 #aijh4 p4 #bhi4 ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,assumption ,,of ,,the ,,virgin 7,after ,botticelli7 ,size of the original engraving1 #cb #bb inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,triumph ,,of ,,love4 ,,from ,,the ,,triumphs ,,of ,,petrarch4 ,size of the original engraving1 #aj #f inches ,in the ,museum of ,fine ,arts1 ,boston ,if the ,assumption of the ,virgin is the noblest print in the ,broad ,manner1 the ,triumphs of ,petrarch--a set of six prints--may be said to possess the greatest charm1 not less by its subject than by its treatment4 ,petrarch first saw ,laura on ,april #f1 #acbg1 in the ,church of ,santa ,clara at ,avignon1 and 8in the same city1 on the same #fth day of the same month of ,april1 in the year #acdh1 the bright light of her life was taken away from the light of this earth40 ,the poet's aim in composing these ,trionfi is the same which he proposed to himself in the ,canzoniere3 namely1 8to return in thought1 from time to time1 now to the beginning1 now to the progress1 and now to the end of his passion1 taking by the way frequent opportunities of rendering praise and honor to the single and exalted object of his love4 ,to reach this aim he devised a description of man in his various conditions of life1 wherein he might naturally find occasion to speak of himself and of his ,laura4 8,man in his first stage of youth is the slave of appetites1 which may all be included under the generic name of ,,love1 or ,self-,love4 ,but as he gains understanding1 he sees the impropriety of such a condition1 so that he strives advisedly against those appetites and overcomes them by means of ,,chastity1 that is1 by denying himself the opportunity of satisfying them4 ,amid these struggles and victories ,,death overtakes him and makes victors and vanquished equal by taking them all out of the world4 ,nevertheless1 it has no power to destroy the memory of a man1 who by illustrious and honorable deeds seeks to survive his own death4 ,such a man truly lives through a long course of ages by means of his ,,fame4 ,but ,,time at length obliterates all memory of him1 and he finds1 in the last resort1 that his only sure hope of living forever is by joy in ,god and by partaking with ,god in his blessed ,,eternity4 8,thus ,,love triumphs over man1 ,,chastity over ,,love1 and ,,death over both alike2 ,,fame triumphs over ,,death1 ,,time over ,,fame1 and ,,eternity over ,,time40#e #e ,le ,rime di ,francesco ,petrarca con l'interpretazione di ,giacomo ,leopardi 444 e gli argomenti di ,a4 ,marsand4 ,florence4 #ahci4 p4 #hff4 ,translation in1 ,petrarch3 ,his ,life and ,times4 ,by ,h4 ,c4 ,hollway-,calthrop4 ,london4 #aijg4 pp4 #da-db4 ,with the exception of the first plate1 ,the ,triumph of ,love1 none of these engravings illustrates1 in any strict sense of the word1 the text of ,petrarch's poem4 ,it is the spirit which the engraver has interpreted4 ,who may have been the designer we know not1 but they show certain affinities to the work of ,pesellino and ,baldovinetti4 ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,triumph ,,of ,,chastity4 ,,from ,,the ,,triumphs ,,of ,,petrarch ,size of the original engraving1 #aj #f inches ,in the ,fogg ,art ,museum1 ,harvard ,university ,illustration3 ,,anonymous ,,florentine1 ,,xv ,,century4 ,,libyan ,,sibyl ,size of the original engraving1 #g #d inches ,in the ,british ,museum ,in the first plate1 ,cupid1 the blind archer1 with flame-tipped arrow1 is poised upon a ball rising from a flaming vase1 the base of which1 in its turn1 rests upon flame4 ,jupiter7871 chained1 is seated in the front of the car1 while ,samson1 bearing a column1 walks upon the further side4 ,four prancing steeds draw the car2 behind1 ,love's victims follow in endless procession4 ,in the second plate1 ,chastity stands upon an urn2 in front of her kneels ,cupid1 still blindfolded1 with his broken arrow beside him4 ,two unicorns1 symbols of chastity1 draw the car1 while upon the banner borne by the maiden at the extreme right there appears the symbolic ermine4 ,then follow in order the ,triumphs of ,death1 of ,fame1 of ,time1 and of ,eternity4 ,this series of illustrations reappears1 somewhat modified and simplified1 in the form of woodcuts1 in the editions of the ,trionfi published in ,venice in #adhh1 #adij1 #adib1 and in ,florence in #adii4 ,we have already referred to the ,evangelists and ,apostles engraved by the ,german1 ,master ,e4 ,s4 of #adff4 ,it is from him that the anonymous ,florentine engraver borrowed his figures1 in many cases leaving the form of the drapery unchanged but enriching it with elaborate designs in the manner of ,finiguerra4 ,the ,prophet ,ezekiel is thus compounded of ,st4 ,john and ,st4 ,peter1 while ,amos is copied in reverse from ,st4 ,paul4 ,the seated figure of ,daniel1 in its turn1 is derived from ,martin ,schongauer's engraving1 ,christ ,before ,pilate1 but the throne upon which he is seated is strongly reminiscent of the ,picture-,chronicle1 and likewise recalls ,botticelli's early painting of ,fortitude4 ,the ,tiburtine ,sibyl is derived from ,st4 ,matthew1 who1 in changing his position1 has likewise changed his sex4 ,the precedent thus established has been followed by ,st4 ,john1 transformed into the ,libyan ,sibyl in the ,fine ,manner1 with the addition of a flying veil1 to the right1 copied from the ,woman with the ,escutcheon1 also by the ,master ,e4 ,s4 ,in the ,broad ,manner print the figure of this ,sibyl gains in dignity by the elimination of much superfluous ornament upon her outer garment1 and from the fact that she now sits in a more upright posture1 the ,fine ,manner print still suggesting the crouching attitude of its ,northern prototype4 ,it is to the influence1 if not to the hand1 of ,botticelli that such improvement is most likely due4 ,the twenty-four ,prophets and the twelve ,sibyls1 engraved both in the ,fine and in the ,broad ,manner of the ,finiguerra ,school1 are individually and collectively among the most delightful productions of ,italian art4 ,it was doubtless as illustrations of mystery plays or pageants in ,florence that this series of engravings was designed1 and we are able to reconstruct from the ,triumphs of ,petrarch1 and from these prints1 a ,florentine street pageant at its loveliest4 ,illustration3 ,,anonymous ,,north ,,italian1 ,,xv ,,century4 ,,the ,,gentleman4 ,,from ,,the ,,tarocchi ,,prints 7,e ,series7 ,size of the original engraving1 #g #d inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,anonymous ,,north ,,italian1 ,,xv ,,century4 ,,clio4 ,,from ,,the ,,tarocchi ,,prints 7,s ,series7 ,size of the original engraving1 #g #d inches ,in the ,museum of ,fine ,arts1 ,boston ,however great their beauty and however strong the fascination which they exert1 they have a rival in the series of fifty instructive prints1 which1 for many years1 were miscalled the ,tarocchi ,cards of ,mantegna4 ,tarocchi cards they are not1 and of ,mantegna's influence1 direct or indirect1 there would seem to be no trace whatsoever4 ,they are of ,north ,italian origin and are the work1 in all probability1 of some anonymous ,venetian engraver1 working from ,venetian or ,ferrarese originals1 about #adfe--;contemporary1 therefore1 with the ,florentine engravings of the ,prophets and ,sibyls4 ,forming1 apparently1 a pictorial cyclopdia of the medival universe1 with its systematic classification of the various powers of ,heaven and ,earth1 they divide themselves into five groups of ten cards each4 ,first we have the ranks and conditions of men from ,beggar to ,pope2 next ,apollo and the nine ,muses2 then the ,liberal ,arts1 with the addition of ,poetry1 ,philosophy1 and ,theology1 in order to make up the ten2 next the ,seven ,virtues1 the set being brought up to the required number by the addition of ,chronico1 the genius of ,time1 ,cosmico1 the genius of the ,universe1 and ,iliaco1 the genius of the ,sun4 ,the fifth group is based on the ,seven ,planets1 together with the ,sphere of the ,fixed ,stars and the ,primum ,mobile1 which imparts its own revolving motion to all the spheres within it2 and enfolding all the ,empyrean ,sphere1 the abode of ,heavenly ,wisdom4 ,much wisdom and many words have been expended upon the still unsolved riddle as to which of the two sets1 known respectively as the ,e series and the ,s series 7from the letters which appear in the lower left-hand corners of the ten cards of the ,sorts and ,conditions of ,men7 may claim priority of date4 ,both series are in the ,fine ,manner1 the outlines clearly defined1 the shadings and modelling indicated with delicate burin strokes1 crossed and re-crossed so as to give a tonal effect4 ,these delicate strokes soon wore out in printing1 and the structural lines of the figures then emerge in all their beauty4 ,it may seem absurd that one should admire impressions from plates obviously worn1 but the critic would do well to suspend his condemnation1 since the ,tarocchi ,prints present many and manifold forms of beauty--in the early impressions a delicate and bloom-like quality2 in certain somewhat later proofs1 a charm of line which recalls the art of the ,far ,east4 ,illustration3 ,,anonymous ,,north ,,italian1 ,,xv ,,century4 ,,the ,,sun4 ,,from ,,the ,,tarocchi ,,prints 7,e ,series7 ,size of the original engraving1 #g #d inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,anonymous ,,north ,,italian1 ,,xv ,,century4 ,,angel ,,of ,,the ,,eighth ,,sphere4 ,,from ,,the ,,tarocchi ,,prints 7,e ,series7 ,size of the original engraving1 #g #d inches ,in the ,museum of ,fine ,arts1 ,boston ,the ,gentleman is the fifth in order in the first group of the ,sorts and ,conditions of ,men1 and is from the so-called ,e series 7claimed by ,sir ,sidney ,colvin and ,mr4 ,arthur ,m4 ,hind1 of the ,british ,museum1 to be the earlier of the two sets74 ,the sequence runs3 7#a7 ,the ,beggar1 7#b7 ,the ,servant1 7#c7 ,the ,artisan1 7#d7 ,the ,merchant1 7#e7 ,the ,gentleman1 7#f7 ,the ,knight1 7#g7 ,the ,doge1 7#h7 ,the ,king1 7#i7 ,the ,emperor1 7#aj7 ,the ,pope4 ,clio is the ninth of the ,muses and is from the ,s series 7placed first in point of time1 by ,kristeller1 and about ten years later than the ,e series1 by the ,british ,museum authorities74 ,the ,sun naturally finds his place in the group of ,planets and ,spheres4 ,there is a delightful and childish touch in the way in which ,phton is pictured as a little boy falling headlong into the river ,po1 which conveniently flows immediately beneath him4 ,to this group belongs likewise the ,angel of the ,eighth ,sphere1 the ,sphere of the ,fixed ,stars1 one of the loveliest prints in the entire set1 both in arrangement and in execution4 ,nothing could be in greater contrast to the gracefulness of such a print as the above than the ,battle of ,naked ,men by ,,antonio ,,pollaiuolo1 8the stupendous ,florentine0--if one may borrow ,dante's title2 but1 for the moment1 we will hold ,pollaiuolo and his one engraving in reserve while we glance at the work of ,,christofano ,,robetta1 who1 born in ,florence in #adfb1 was consequently the junior of ,pollaiuolo by thirty years4 ,as an engraver1 ,robetta is inferior to the anonymous master to whom we owe the ,e series of the ,tarocchi prints4 ,his style is somewhat dry1 and the individual lines are lacking in beauty2 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 particular4 ,the shaping influences which determined his choice and treatment of subject are ,botticelli1 and1 in a much larger measure1 ,filippino ,lippi1 though only in a few cases can he be shown to have worked directly from that painter's designs4 ,the ,adoration of the ,magi is obviously inspired by ,filippino ,lippi's painting in the ,uffizi1 though whether ,robetta actually worked from the painting itself1 or1 as seems more probable1 translated one of ,filippino's drawings1 is an interesting question4 ,the fact that the engraving is in reverse of the painting proves nothing2 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 itself1 if a drawing had been available4 ,it is interesting1 though of minor importance1 that the hat of the ,king to the right1 which lies on the ground1 is copied in reverse from ,schongauer's ,adoration1 and that the ,allegory of the ,power of ,love1 one of ,robetta's most charming subjects1 is engraved upon the reverse side of the plate of the ,adoration of the ,magi1 the copper-plate itself being now in the ,print ,room of the ,british ,museum4 ,whether the ,allegory of ,abundance is entirely ,robetta's1 or whether the design was suggested by another master's painting or drawing1 can be only a matter of conjecture4 ,it shows1 however1 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 8onlie begetter40 ,illustration3 ,,cristofano ,,robetta4 ,,adoration ,,of ,,the ,,magi ,size of the original engraving1 #aa #aa inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,antonio ,,pollaiuolo4 ,,battle ,,of ,,naked ,,men ,size of the original engraving1 #ae #bc inches ,in the ,museum of ,fine ,arts1 ,boston ,hercules and the ,hydra and ,hercules and ,antus show so markedly the influence of ,pollaiuolo that we may conclude them to have been taken from the two small panels in the ,uffizi2 though1 in the case of the first named1 ,pollaiuolo's original sketch1 now in the ,british ,museum1 may also have served ,robetta4 ,whether ,,pollaiuolo based his technical method upon that of ,mantegna and his ,school1 or whether ,mantegna's own engravings were inspired by his ,florentine contemporary1 is an interesting1 but thus far unanswered1 question4 ,pollaiuolo's one print1 the ,battle of ,naked ,men1 is engraved in the ,broad ,manner1 somewhat modified by the use of a light stroke laid at an acute angle between the parallels4 ,the outlines of the figures are strongly incised2 while the treatment of the background lends color to the supposition that1 in his youth1 ,pollaiuolo engraved in niello1 as well as furnished designs to be executed by ,finiguerra and his ,school4 ,in this masterpiece the artist has summed up his knowledge of the human form1 and has expressed1 in a more convincing and vigorous measure than has any other engraver in the history of the art1 the strain and stress of violent motion and the fury of combat4 8,what is it10 asks ,bernhard ,berenson1 8that makes us return to this sheet with ever-renewed1 ever-increased pleasure8 ,surely it is not the hideous faces of most of the figures and their scarcely less hideous bodies4 ,nor is it the pattern as decorative design1 which is of great beauty indeed1 but not at all in proportion to the spell exerted upon us4 ,least of all is it--for most of us--an interest in the technique or history of engraving4 ,no1 the pleasure we take in these savagely battling forms arises from their power to directly communicate life1 to immensely heighten our sense of vitality4 ,look at the combatant prostrate on the ground and his assailant1 bending over1 each intent on stabbing the other4 ,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 foe1 who1 turning as upon a pivot1 with his grip on the other's head1 exerts no less force to keep the advantage gained4 ,the significance of all these muscular strains and pressures is so rendered that we cannot help realizing them2 we imagine ourselves imitating all the movements and exerting the force required for them--and all without the least effort on our side4 ,if all this without moving a muscle1 what should we feel if we too had exerted ourselves8 ,and thus while under the spell of this illusion--this hypersthesia not bought with drugs and not paid for with cheques drawn on our vitality--we feel as if the elixir of life1 not our own sluggish blood1 were coursing through our veins40#f #f ,florentine ,painters of the ,renaissance4 ,by ,bernhard ,berenson4 ,new ,york3 ,putnam's ,sons4 #ahii4 pp4 #ed-ee4 ,pollaiuolo is the one great original engraver ,florence produced1 and with him we bring to a close our all too brief study of ,florentine engraving4 ,,italian ,,engraving3 ,,the ,,florentines ,,bibliography ,,le ,,peintre ,,graveur4 ,by ,adam ,bartsch4 #ba volumes4 ,vienna3 #ahjc-ahba4 ,volume #ac1 ,early ,italian ,engravers4 ,,the ,,drawings ,,of ,,the ,,florentine ,,painters4 ,by ,bernhard ,berenson4 #b volumes4 #ahj illustrations4 ,new ,york3 ,e4 ,p4 ,dutton ,company4 #aijc4 ,,catalogue ,,of ,,early ,,italian ,,engravings ,,preserved ,,in ,,the ,,department ,,of ,,prints ,,and ,,drawings ,,in ,,the ,,british ,,museum4 ,by ,arthur ,mayger ,hind4 ,edited by ,sidney ,colvin4 #bj illustrations4 ,london3 ,the ,trustees4 #aiaj4 ----4 ,illustrations to the ,catalogue 444 #aih plates4 ,london3 ,the ,trustees4 #aiji4 ,,some ,,early ,,italian ,,engravers ,,before ,,the ,,time ,,of ,,marcantonio4 ,by ,arthur ,mayger ,hind4 #bb illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #b1 ,no4 #c1 pp4 #bec-bhi4 ,boston4 #aiab4 ,,sulle ,,origini ,,dell',,incisione ,,in ,,rame ,,in ,,italia4 ,by ,paul ,kristeller4 #d illustrations4 ,archivio ,storico dell',arte1 ,vol4 #f1 p4 #cia-djj4 ,rome4 #ahic4 ,,le ,,peintre-,,graveur4 ,by ,j4 ,d4 ,passavant4 #f volumes4 ,leipzig3 ,rudolph ,weigel4 #ahfj-ahfd4 ,volumes #a and #e1 ,early ,italian ,engravers4 ,,des ,,types ,,et ,,des ,,mani,,res ,,des ,,maitres ,,graveurs 444 ,,en ,,italie1 ,,en ,,allemagne1 ,,dans ,,les ,,pays-,,bas ,,et ,,en ,,france4 ,by ,jules ,renouvier4 #b volumes4 ,montpellier3 ,boehm1 #ahec-ahee4 ,volume #a1 ,engravers of the ,fifteenth ,century4 ,,lives ,,of ,,the ,,most ,,eminent ,,painters1 ,,sculptors1 ,,and ,,architects4 ,by ,giorgio ,vasari4 ,translated by ,mrs4 ,jonathan ,foster4 ,with commentary by ,j4 ,p4 ,richter4 #f volumes4 ,london3 ,george ,bell ,sons4 #ahij-ahib4 ,,finiguerra1 ,,maso 7#adbf-adfd7 ,a ,,florentine ,,picture-,,chronicle2 ,,being ,a ,,series ,,of ,,ninety-,,nine ,,drawings ,,representing ,,scenes ,,and ,,personages ,,of ,,ancient ,,history1 ,,sacred ,,and ,,profane2 ,,reproduced ,,from ,,the ,,originals ,,in ,,the ,,british ,,museum4 ,edited by ,sidney ,colvin4 #ii reproductions and #aag text illustrations4 ,london3 ,b4 ,quaritch4 #ahih4 ,,sandro ,,botticelli4 ,by ,herbert ,p4 ,horne4 #dc plates4 ,london3 ,george ,bell ,sons4 #aije4 pp4 #gg-hf4 ,,the ,,planets 7c4 #adfj7 ,,the ,,seven ,,planets4 ,by ,friedrich ,lippmann4 ,translated by ,florence ,simmonds4 #dc reproductions4 ,london4 #ahie4 7,international ,chalcographical ,society4 #ahie47 ,,the ,,otto ,,prints 7c4 #adfe-adgj7 ,,florentinische ,,zierst,,cke ,,aus ,,dem ,,xv4 ,,jahrhundert4 ,edited by ,paul ,kristeller4 #be reproductions4 ,berlin3 ,bruno ,cassirer4 #aiji4 7,graphische ,gesellschaft4 ,publication #aj47 ,,delle #8,,imprese ,,amorose' ,,nelle ,,pi ,,antiche ,,incisione ,,fiorentine4 ,by ,a4 ,warburg4 ,rivista d',arte1 ,vol4 #c 7,july-,august74 ,florence4 #aije4 ,,engravings ,,in ,,books 7#adgg-adha7 ,,works ,,of ,,the ,,italian ,,engravers ,,in ,,the ,,fifteenth ,,century2 ,,reproduced 444 ,,with ,,an ,,introduction4 ,by ,george ,william ,reid4 #bj reproductions on #ai plates4 ,first ,series3 ,il ,libro del ,monte ,sancto di ,dio1 #adgg2 ,la ,divina ,commedia of ,dante2 and the ,triumphs of ,petrarch4 ,,illustrations ,,of ,,the ,,divina ,,commedia1 ,,florence1 #adha ,,sandro ,,botticelli4 ,by ,herbert ,p4 ,horne4 #dc plates4 ,london3 ,george ,bell ,sons4 #aijh4 pp4 #ge-gg1 #aij-bee4 ,,zeichnungen ,,von ,,sandro ,,botticelli ,,zu ,,dante',s ,,goettlicher ,,komoedie ,,nach ,,den ,,originalen ,,im ,k4 ,,kupferstichkabinet ,,zu ,,berlin4 ,edited by ,friedrich ,lippmann4 #bj reproductions of engravings bound with text4 ,with portfolio of #hd reproductions of the drawings4 ,supplemented by--,,die ,,acht ,,handzeichnungen ,,des ,,sandro ,,botticelli ,,zu ,,dantes ,g,,ttlicher ,,kom,,die ,,im ,,vatikan4 ,edited by ,josef ,strzygowski4 ,with portfolio of #h reproductions4 ,,triumphs ,,of ,,petrarch 7c4 #adgj-adhj7 ,p,,trarque2 ,,ses ,,tudes ,d',,art1 ,,son ,,influence ,,sur ,,les ,,artistes1 ,,ses ,,portraits ,,and ,,ceux ,,de ,,laure1 ,l',,illustration ,,de ,,ses ,,crits4 ,by ,victor ,massna1 ,prince d',essling1 and ,eugne ,muntz4 #ba plates and #aia text illustrations4 ,paris3 ,gazette des ,beaux-,arts4 #aijb4 ,,tudes ,,sur ,,les ,,triomphes ,,de ,p,,trarque4 ,by ,victor ,massna1 ,prince d',essling4 #f illustrations4 ,gazette des ,beaux-,arts4 #b parts4 ,part ,i4 ,vol4 #ce 7second period74 pp4 #caa-cba4 ,part ,,ii4 ,vol4 #cf 7second period74 pp4 #be-cd4 ,paris4 #ahhg4 ,,petrarch2 ,,his ,,life ,,and ,,times4 ,by ,h4 ,c4 ,hollway-,calthrop4 #bd illustrations4 ,london3 ,methuen ,co4 #aijg4 ,,broad ,,manner ,,plates 7c4 #adgj-adhj7 ,,sandro ,,botticelli4 ,by ,herbert ,p4 ,horne4 #dc plates4 ,london3 ,george ,bell ,sons4 #aijh4 pp4 #bhh-bia4 ,,the ,,tarocchi ,,prints 7c4 #adfg7 ,,die ,,tarocchi2 ,,zwei ,,italienische ,,kupferstichfolgen ,,aus ,,dem ,,xv4 ,,jahrhundert4 ,edited by ,paul ,kristeller4 #ajj reproductions on #ej plates4 ,berlin3 ,bruno ,cassirer4 #aiaj4 7,graphische ,gesellschaft4 ,extraordinary ,publication #b47 ,,der ,,venezianische ,,kupferstich ,,im ,,xv4 ,,jahrhundert4 ,by ,paul ,kristeller4 #f illustrations4 ,mitteilungen der ,gesellschaft fr vervielfltigende ,kunst1 ,vol4 #cj1 ,no4 #a4 ,vienna4 #aijg4 ,,origine ,,des ,,cartes ,,jouer4 ,by ,r4 ,merlin4 ,about #fjj reproductions4 ,paris3 ,l'auteur4 #ahfi4 ,,the ,,tarocchi ,,prints4 ,by ,emil ,h4 ,richter4 #ac illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #f1 ,no4 #a1 pp4 #cg-hi4 ,boston4 #aiaf4 ,,catalogue ,,of ,,playing ,,and ,,other ,,cards ,,in ,,the ,,british ,,museum4 ,by ,william ,hughes ,willshire4 #gh reproductions on #bd plates4 ,london3 ,the ,trustees4 #ahgf4 ,,pollaiuolo1 ,,antonio 7#adcb-adih7 ,,florentine ,,painters ,,of ,,the ,,renaissance4 ,by ,bernhard ,berenson4 ,new ,york3 ,putnam's ,sons4 #ahii4 pp4 #dg-eg4 ,,antonio ,,pollaiuolo4 ,by ,maud ,cruttwell4 #ea illustrations4 ,london3 ,duckworth and ,company4 #aijg4 ,,note ,,su ,,mantegna ,e ,,pollaiuolo4 ,by ,arthur ,mayger ,hind4 #b illustrations4 ,l',arte1 ,vol4 #i1 pp4 #cjc-cje4 ,rome4 #aijf4 ,,german ,,engraving3 ,,the ,,master ,,of ,,the ,,amsterdam ,,cabinet ,,and ,,albrecht ,d,,rer ,with the exception of ,martin ,schongauer1 none of ,drer's immediate predecessors better repays a thorough study1 or exerts a more potent fascination1 than the ,,master ,,of ,,the ,,amsterdam ,,cabinet4 ,the earlier writers1 from ,duchesne to ,dutuit1 were united in their opinion that this engraver was a ,netherlander2 but ,max ,lehrs1 following the track opened up by ,harzen1 has proved conclusively that the ,master of the ,amsterdam ,cabinet 7so 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 ,amsterdam7 was not a ,netherlander but a ,south ,german1 a native of ,rhenish ,suabia--the very artist1 in fact1 who designed the illustrations of the ,planets and their influences and the various arts and occupations of men1 for the so-called 8,medieval ,house ,book0 in the collection of ,prince von ,waldburg-,wolfegg4 ,in subject-matter he owes little to his predecessors1 and in technique he is an isolated phenomenon4 ,st4 ,martin and the ,beggar and ,st4 ,michael and the ,dragon show that he was acquainted with the work of ,martin ,schongauer2 the ,ecstasy of ,st4 ,mary ,magdalen is obviously based upon a similar engraving by the ,master ,e4 ,s4 of #adff2 but for the most part he stands alone4 ,he seems to have worked entirely in dry-point upon some soft metal--lead or pewter1 perhaps--and the ink which he used1 of a soft grayish tint1 combines with the breadth and softness of the lines to impart to his prints much of the character of drawings in silver-point4 ,the ,master of the ,amsterdam ,cabinet has treated a wide range of subjects1 his preference being for scenes of everyday life4 ,his prints show appreciation of the beauties of landscape1 his skill in the treatment of wide spaces is masterly1 and there is a beauty and sweetness in the expression of his faces which makes him a worthy rival of ,martin ,schongauer himself4 ,he has left us no purely ornamental designs1 such as might serve in the decoration of vessels used in the church1 and we may infer1 from the character of his engravings1 that he was a painter1 who used the dry-point as a diversion1 rather than a professional engraver1 pursuing his craft as a means of livelihood4 ,in power of composition he can hardly rank with ,martin ,schongauer1 and in range of intellect he falls short of the heights reached by ,albrecht ,drer2 but his very limitations1 perhaps1 render him a more companionable personage1 and his modernity makes an immediate appeal to us all4 ,illustration3 ,,master ,,of ,,the ,,amsterdam ,,cabinet4 ,,ecstasy ,,of ,,st4 ,,mary ,,magdalen ,size of the original engraving1 #g #e inches ,in the ,royal ,print ,room1 ,amsterdam ,illustration3 ,,master ,,of ,,the ,,amsterdam ,,cabinet4 ,,crucifixion ,size of the original engraving1 #f #e inches ,in the ,royal ,print ,room1 ,amsterdam ,the ,ecstasy of ,st4 ,mary ,magdalen is one of his earliest plates and is a free translation of the same subject by the ,master ,e4 ,s4 ,it would seem as though his dry-point was the immediate original of ,drer's woodcut4 ,the position of the ,magdalen's hands is the same in both compositions1 but ,drer has added a landscape which1 admirable though it be1 detracts from the main interest of his print4 ,the ,master of the ,amsterdam ,cabinet1 in a second rendering1 herewith reproduced1 has eliminated all superfluous or distracting details and imparted a surprising degree of grace and purity to the lovely design4 ,anything like a chronological arrangement of the master's work would be difficult1 but one may safely assume that this beautiful engraving belongs to the latest and most mature period of his art1 to which period we also may assign the ,two ,lovers4 ,as a rule1 his least successful engravings are those dealing with religious themes4 ,at times1 however1 as in the ,crucifixion1 he rises to heights of dramatic intensity1 and ,drer may be indebted more than we realize to this rendering of the divine tragedy4 ,aristotle and ,phyllis and ,solomon's ,idolatry are satirical illustrations of the follies of sages in love4 ,both plates are illumined by a truly modern sense of humor1 while the arrangement of the figures within the spaces to be filled is admirable4 ,such subjects as ,the ,three ,living and the ,three ,dead ,kings and ,young ,man and ,death are variations upon a theme which was uppermost in the minds of many men at this time1 when the ,ars ,moriendi and the ,dance of ,death were constant reminders of man's mortality4 ,in agreeable contrast is the dry-point of ,two ,lovers--a little masterpiece--one of his most charming designs4 8,the sweet shyness of the maiden1 the tender glances of the lover and the soft pressure of their hands are rendered with an inimitable grace1 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 century40#g #g ,the ,master of the ,amsterdam ,cabinet4 ,by ,max ,lehrs4 ,international ,chalcographical ,society1 #ahic and #ahid4 p4 #g4 ,the ,stag ,hunt is filled with the spirit of outdoor life1 the exhilaration of the chase1 and the joy of the hounds in pursuing their quarry4 ,no other engraver of the fifteenth century has left us any such truthful rendering of a hunting scene1 and the life-enhancing quality of this little dry-point makes even ,drer's rendering of animal forms seem cold and relatively lifeless4 ,illustration3 ,,master ,,of ,,the ,,amsterdam ,,cabinet4 ,,stag ,,hunt ,size of the original engraving1 #c #f inches ,in the ,royal ,print ,room1 ,amsterdam ,illustration3 ,,master ,,of ,,the ,,amsterdam ,,cabinet4 ,,st4 ,,george ,size of the original engraving1 #e #d inches ,in the ,british ,museum ,the master's knowledge of the anatomy of the horse1 and his treatment of that noble beast1 unfortunately fall far short of his rendering of the dogs and stags in the ,stag ,hunt4 ,the figure of ,st4 ,george is sufficiently graceful and convincing1 but the horse 7seemingly of the rocking-horse variety7 can hardly be proclaimed a complete success4 ,in spite of this obvious defect it is one of the artist's finest plates1 remarkable for its exceptional force and animation4 ,the unique proof1 of which the ,british ,museum is the fortunate possessor1 is in splendid condition and rich in burr4 ,and now1 with some trepidation of spirit1 we approach ,,albrecht ,d,,rer and his engraved work4 ,his many-sidedness foredooms to failure any attempt at an adequate and comprehensive treatment4 ,his compositions1 as ,max ,allihn justly says1 may fittingly be likened to the ,sphinx of the old legend2 for 8they attack everyone who1 either as critic1 historian or harmless wanderer1 ventures in the realm of art1 and propose to him their unsolvable riddles40 ,of his own work ,drer says3 8,what beauty may be ,i know not4 ,art is hidden in nature and whosoever can tear it out has it10 and his life-long quest of knowledge1 his truly ,german reverence for fact1 hangs like a millstone around his neck4 8,of a truth10 writes ,raphael1 8this man would have surpassed us all if he had had the masterpieces of art constantly before him10 ,raphael himself--8,raphael the ,divine0--hardly paralyzed sthetic criticism for a longer period than has ,drer1 and in studying his engravings1 if the student would see them for what they are1 as works of art1 and not through the enchanted1 oftentimes stupefying1 maze of metaphysics1 he must be prepared for the gibes and verbal brick-bats of his contemporaries1 who hold in reverence all that has the sanction of long-continued repetition by authority after authority4 8,if you see it in a book it's true2 if you see it in a ,german book it's very true10 applies with only too telling a force to a considerable share of ,drer speculation4 ,for better or worse ,i cannot but think that ,drer's prime intention in his engravings was an artistic one1 though obviously this intention was often overlaid with a desire to supply an existing demand and to introduce1 into otherwise simple compositions1 traditional moralistic motives which should render his engravings more marketable at the fairs1 where mostly they were sold4 ,so many and so fascinating are the facets of ,drer's personality1 so interesting is he as a man in whose mind meet1 and sometimes blend1 the ideas of the ,middle ,ages with those almost of our own time1 that if we are to study1 even in the briefest and most cursory fashion1 his engraved work1 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--or1 more often1 nowhere4 ,earliest of his authenticated engravings1 without monogram and without date1 crude in handling1 possibly suggested by the work of some earlier master1 and in all probability executed before his first journey to ,venice 7that is to say1 before or in the year #adij7 is the ,ravisher1 susceptible of as many and as varied interpretations as there are authorities2 from a man using violence1 to the struggle for existence4 ,it has even been connected in some way with a belief in witchcraft6 ,the ,holy ,family with the ,dragonfly1 to which ,koehler gives second place in his chronological arrangement of ,drer's engravings1 shows an astonishing advance in technique and in composition4 ,it is undated1 but the monogram is in its early form4 ,the galley and the two gondolas1 in the distant water to the right1 would seem to indicate that it was engraved in or about the year #adid1 upon ,drer's return from ,venice1 and it is probably his first plate after his return to ,nuremberg4 ,there is a sweetness and an attractiveness in the face of the ,virgin which points to an acquaintance with ,schongauer's engraving1 the ,virgin with a ,parrot4 ,the poise of the head and the flowing hair lend color to this supposition4 ,to how great an extent not only the engravings1 but the theories1 of ,jacopo de' ,barbari may have influenced ,drer in such plates as ,st4 ,jerome in ,penitence1 the ,carrying ,off of ,amymone1 ,hercules1 or the ,four ,naked ,women1 is difficult to determine4 ,it may have been considerable1 though1 at times1 one cannot help wondering whether the theory of proportion of the human body1 of which ,jacopo spoke to ,drer1 but concerning which he refused 7or was unable7 to give him further detailed particulars1 may not have been more or less of a 8bluff10 since there is no record of ,jacopo having committed the results of his studies to writing1 and in his engravings there is little evidence of any logical theory of proportion4 ,that a potent influence was at work shaping ,drer's development is clear1 and the figure of ,st4 ,jerome undoubtedly owes a good deal to ,jacopo4 ,the landscape is all ,drer's own1 the first of a long series finely conceived and admirably executed4 ,the long1 sweeping lines in the foreground recall the manner of ,jacopo de' ,barbari1 but otherwise the engraving owes little technically to that artist4 ,illustration3 ,,albrecht ,d,,rer4 ,,virgin ,,and ,,child ,,with ,,the ,,monkey ,size of the original engraving1 #g #d inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,albrecht ,d,,rer4 ,,four ,,naked ,,women ,size of the original engraving1 #g #e inches ,in the ,museum of ,fine ,arts1 ,boston ,the ,virgin and ,child with the ,monkey is the most brilliant of ,drer's engravings in his earlier period4 ,in the opinion of many students it is1 likewise1 the most beautiful and dignified1 not only in the figures of the ,virgin and ,child1 but also in the breadth and richness of the landscape4 ,the loveliness of the background was early recognized1 and several ,italian engravers1 including ,giulio ,campagnola1 availed themselves of it4 ,when ,drer's drawings and water-colors are more generally known1 he will be acclaimed one of the masters of landscape4 ,there is a freshness1 a breeziness1 an 8out-of-doors0 quality in his water-color of the ,weierhaus which will surprise those who hitherto have known him only through his engraved work1 wherein the landscape undergoes a certain formalizing process4 ,the ,virgin and ,child with the ,monkey is so beautiful in simplicity of handling1 so delightful in arrangement of black and white1 that it is hard to reconcile oneself to the comparatively coarse line work1 the insensitiveness to beauty of form1 the disregard of anatomy1 shown in ,four ,naked ,women of #adig--;,drer's first dated plate--especially the woman standing to the left1 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 ,renaissance4 ,speculation is again rife as to the meaning1 if it has a meaning1 of the skull and bone on the ground1 and the devil emerging from the flames at the left4 ,the engraving seems to be a straightforward1 naturalistic study of the nude1 with these accessories thrown in to give the subject a moralizing air which would make it palatable to the artist's contemporaries4 ,there could hardly be a greater contrast to this frankly hideous treatment of the human form than ,hercules 7called also the ,effects of ,jealousy1 the ,great ,satyr1 etc474 ,in this plate we are able1 as in few others--the one notable exception being the ,adam and ,eve of #aejd--to follow out1 step by step1 ,drer's upbuilding of the composition4 ,the figures are1 in this case1 idealized according to the canons of classical beauty1 rather than realistically rendered4 ,incidentally1 the landscape is quite the most beautiful which appears in any of ,drer's engravings4 ,its spaciousness instantly commands our admiration1 and the gradation from light to dark1 to indicate differing planes in the trees1 is managed in a masterly manner4 ,illustration3 ,,albrecht ,d,,rer4 ,,hercules ,size of the original engraving1 #ac #h inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,anonymous ,,north ,,italian1 ,,xv ,,century4 ,,death ,,of ,,orpheus ,size of the original engraving1 #e #h inches ,in the ,kunsthalle1 ,hamburg ,illustration3 ,,albrecht ,d,,rer4 ,,death ,,of ,,orpheus ,size of the original drawing1 #aa #h inches ,in the ,kunsthalle1 ,hamburg ,illustration3 ,,albrecht ,d,,rer4 ,,battle ,,of ,,the ,,sea-,,gods4 7,after ,mantegna7 ,size of the original drawing1 #aa #ae inches ,in the ,albertina1 ,vienna ,beginning with the ,death of ,orpheus1 engraved by some anonymous ,north ,italian master working in the ,fine ,manner of the ,tarocchi ,cards1 the next step is ,drer's pen drawing1 dated #adid4 ,the figures of ,orpheus and of the two ,thracian ,mnads remain unchanged1 as does also the little child running towards the left4 ,drer has1 however1 changed the lute into a lyre1 as being more suited to ,orpheus1 and has added the beautiful group of trees which reappears1 little changed1 in his engraving of ,hercules4 ,there is a drawing of the ,mantegna ,school which ,drer may1 or may not1 have seen2 but the face of ,orpheus in his drawing shows certain unmistakable ,mantegna characteristics1 far removed from the ,north ,italian ,fine ,manner print4 ,from ,mantegna's engraving1 the ,battle of the ,sea-,gods 7right-hand portion71 ,drer has borrowed the figure of the reclining woman to the left and the ,satyr4 ,that he was acquainted with this engraving by ,mantegna is attested by a drawing of #adid4 ,the man standing to the right1 with legs spread wide apart1 wearing a fantastic helmet in the shape of a cock1 recalls the work of ,pollaiuolo1 by whom there exists a similar drawing1 now in ,berlin4 ,from these various elements ,drer builds up his composition4 ,its full meaning he alone knew4 ,it has remained an unsolved riddle from his time to our own4 ,the ,carrying ,off of ,amymone belongs to this same period4 ,here ,drer has again used the motive taken from ,mantegna's engraving1 the ,battle of the ,sea ,gods2 but in this instance he follows his original much more closely4 ,drer alludes to this print in the diary of his journey to the ,netherlands as ,the ,sea ,wonder 7,das ,meerwunder72 and although the interpretations given to it are many and various1 its true meaning1 as in the case of the ,hercules1 remains a matter of conjecture4 ,by #aejc1 the year to which belongs the ,coat-of-,arms with the ,skull1 and also1 in all probability1 the magnificent ,coat-of-,arms with the ,cock1 ,drer seems to have overcome successfully all technical difficulties and is absolute master of his medium4 ,from this time onwards1 although his manner undergoes certain modifications in the direction of fuller color and of a more accurate rendering of texture1 his language is adequate for anything he may wish to say1 and he is free to address himself to the solution of scientific problems1 such as are involved in the elucidation of his canon of human proportion1 or the still deeper questions which stirred so profoundly the speculative minds of his time4 ,with the exception of ,hercules1 ,adam and ,eve is the only engraving by ,drer of which trial proofs1 properly so-called1 exist1 whereby we can study ,drer's method4 ,first the outlines were lightly laid in2 then the background was carried forward and substantially completed4 ,in the first trial proof ,adam's right leg alone is finished2 but in the second trial proof he is completed to the waist4 ,this method of procedure is significant1 in view of the endless controversies1 based upon an incomplete study of ,drer's technique1 regarding the use of preliminary etching in many plates of his middle and later period4 ,illustration3 ,,albrecht ,d,,rer4 ,,adam ,,and ,,eve ,size of the original engraving1 #i x #h inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,albrecht ,d,,rer4 ,,apollo ,,and ,,diana ,size of the original engraving1 #d #b inches ,in the ,museum of ,fine ,arts1 ,boston ,in ,adam and ,eve ,drer has summed up the knowledge obtained by actual observation and by a series of drawings and studies extending over a number of years1 and combined with it his theoretical working out of the proportions of the human figure1 male and female4 ,in no other plate has he lavished such loving care upon the representation of the human form4 ,the flesh is1 so to speak1 caressed with the burin1 as though1 once and for all1 the artist wished to prove to his contemporaries that the graver sufficed for the rendering of the most beautiful1 the most subtle and scientific problems4 ,that ,drer himself was satisfied with the result of his labors at this time is made manifest by the detailed inscription1 ,,albertus ,,durer ,,noricus ,,faciebat1 on the tablet1 followed by his monogram and the date #aejd4 ,this plate proclaimed him indisputably the greatest master of the burin of his time2 and along the lines which he laid down for himself it remains unsurpassed until our own day4 ,adam and ,eve is followed by a group of prints which1 though interesting in treatment and charming in subject1 such as the ,nativity1 ,apollo and ,diana1 and the first four plates of the ,small ,passion1 reveal nothing new in ,drer's development as an artist or a man4 ,in the year #aeaj1 however1 is made his first experiment in dry-point4 ,of the very small plate of ,st4 ,veronica with the ,sudarium two impressions only have come down to us1 neither of them showing much burr4 ,the ,man of ,sorrows1 dated #aeab1 likewise must have been very delicately scratched upon the copper1 all existing impressions being pale and delicate in tone4 ,whether ,drer'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 burin1 or whether1 as seems much more likely1 he was influenced by an acquaintanceship with the dry-point work of the ,master of the ,amsterdam ,cabinet1 cannot be asserted with any degree of assurance4 ,drer's third dry-point1 the ,st4 ,jerome by the ,willow ,tree 7like the ,man of ,sorrows dated #aeab71 is treated in so much bolder and more painter-like a manner1 is so rich in burr and so satisfying as a composition1 that one can hardly account for such remarkable development unaided by any outside influence or stimulation4 ,the ,british ,museum's impression of the first state1 before the monogram1--the richest impression known--yields nothing in color effect even to ,rembrandt4 ,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 masters4 ,illustration3 ,,albrecht ,d,,rer4 ,,st4 ,,jerome ,,by ,,the ,,willow ,,tree 7,first ,state7 ,size of the original dry-point #h #g inches ,in the ,british ,museum ,illustration3 ,,albrecht ,d,,rer4 ,,holy ,,family ,size of the original dry-point1 #h #g inches ,the ,holy ,family1 though without monogram and undated1 belongs so unmistakably1 from internal evidence1 to this period1 that we may safely assign it to the year #aeab4 ,the background and landscape to the left are indicated in outline only4 ,did ,drer intend to carry the plate further8 ,we can never know4 ,it is his fourth and1 unfortunately1 his last dry-point4 ,there is a beauty in ,st4 ,jerome by the ,willow ,tree and in this ,holy ,family which leads us to read in these two masterpieces certain ,italian influences4 ,there is the largeness of conception of the ,venetian ,school1 and both ,st4 ,jerome and ,st4 ,joseph show strong traces of such a master as ,giovanni ,bellini4 ,with the brief space at our disposal1 what shall we say of the crowning works of those two wonderful years1 #aeac-aead--,knight1 ,death and the ,devil1 ,melancholia1 and ,st4 ,jerome in his ,study8 ,are they three of a proposed series of the four temperaments8 ,should they be considered as parts of a group--or is each masterpiece complete in itself8 ,one thing at least they have in common3 they are truly 8,stimmungsbilder0--that is1 the lighting is so arranged1 in each composition1 as directly to affect the mind and the mood of the beholder1 and 8the sombre gloom of the ,knight1 ,death and the ,devil1 the weird1 unearthly glitter of the ,melancholia1 with its uncertain1 glinting lights1 the soft1 tranquil sunshine of the ,st4 ,jerome1 are all in accordance with their several subjects4 ,these1 whether or not originally intended to represent #8classes of men' or #8moods1' certainly call up the latter in the mind of the beholder--the steady courage of the valiant fighter for the right1 undismayed by darkness and dangers2 the brooding1 leading well-nigh to despair1 over the vain efforts of human science to lift the veil of the eternal secret2 and the calm content of the mind at peace with itself and the world around it40#h #h ,a ,chronological ,catalogue of the ,engravings1 ,dry-,points and ,etchings of ,albert ,drer1 as exhibited at the ,grolier ,club4 ,by ,sylvester ,r4 ,koehler4 ,new ,york2 ,the ,grolier ,club4 #ahig4 p4 #fe4 ,drer1 unfortunately1 sheds no light upon the inner and deeper meaning of the ,knight1 ,death and the ,devil4 ,he speaks of it simply as 8,a ,horseman40 ,the many and various titles invented for it since his time carry us very little further forward than where we began4 ,the letter ,s1 which precedes the date1 the dog which trots upon the further side of the horse1 even the blades of grass under the hoof of the right hind leg of the horse1 have all been matters of speculation and controversy1 and we choose the part of wisdom if1 disregarding the swirling currents of metaphysical interpretation1 we enjoy this masterpiece of engraving for its sthetic content primarily1 and for its potential meanings afterwards4 ,illustration3 ,,albrecht ,d,,rer4 ,,knight1 ,,death ,,and ,,the ,,devil ,size of the original engraving1 #i #g inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,albrecht ,d,,rer4 ,,melancholia ,size of the original engraving1 #i #g inches ,in the ,museum of ,fine ,arts1 ,boston ,melancholia favors an even wider range of speculation than the ,knight1 ,death and the ,devil4 ,this woman1 who wears a laurel wreath and who1 seated in gloomy meditation1 supports her cheek in her left hand1 while all the materials for human labor1 for art1 and for science lie scattered about her--does she symbolize human ,reason in despair at the limits imposed upon her power8 ,or does the plate have a more personal and intimate meaning1 reflecting ,drer's deep grief at the death of his mother--the mother to whom he so often refers in his letters1 always with heartfelt affection8 ,the so-called 8magic square0 lends color to the latter interpretation4 ,drer's mother died on ,may #ag1 #aead4 ,the figures in the diagonally opposite corners of the square can be read as follows1 #af #a and #ac #d1 making #ag1 the day of the month2 as do the figures in the center read crosswise1 #aj #g and #aa #f1 and also the middle figures at the sides read across1 #e #ab and #h #i4 ,the two middle figures in the top line1 #c #b1 give #e1 the month in question1 and the two middle figures in the bottom line give the year1 #aead4 ,artistically the plate suffers from the multiplicity of objects introduced1 and the loving care which ,drer has lavished upon them4 ,he has wished to tell his story--whatever it may be--with absolute completeness in every particular1 and in so doing he has weakened and confused the effect of his plate4 ,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 subject4 ,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 exponent6 ,however this may be1 ,melancholia has been1 and probably will continue to be1 one of the signal triumphs in the history of engraving4 ,we may never solve the riddles which she propounds2 but is she less fascinating for being only partially understood8 ,st4 ,jerome in his ,cell1 all things considered1 may be accounted ,drer's high-water mark4 ,there is a unity and harmony about this plate which is lacking in ,melancholia4 ,nothing could be finer than the lighting2 and1 judged merely as a 8picture10 it is altogether satisfying from every point of view4 ,the accessories1 even the animals in the foreground1 take their just places in the composition4 ,it is surprising that1 although the plate is 8finished0 with minute and loving care1 there is not the faintest evidence of labor apparent anywhere about it2 but this is only one of its many and superlative merits4 ,the light streaming in through the window at the left and bathing in its soft effulgence the ,saint1 intent upon his task1 and the entire room in which he sits1 has been for centuries the admiration of every art lover4 ,illustration3 ,,albrecht ,d,,rer4 ,,st4 ,,jerome ,,in ,,his ,,cell ,size of the original engraving1 #i #g inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,albrecht ,d,,rer4 ,,virgin ,,seated ,,beside ,a ,,wall ,size of the original engraving1 #e #c inches ,in the ,museum of ,fine ,arts1 ,boston ,to this year1 #aead1 also belongs the ,virgin ,seated ,beside a ,wall1 a plate in which the variety of texture has been carried further than in any other engraving by ,drer4 ,the flesh is simply treated1 in line for the most part2 but the undergarment1 the fur-trimmed wrapper1 and the scarf which covers the head of the ,virgin1 hanging down the back and thrown over the knee1 are all carefully differentiated4 ,again1 the various planes in the landscape leading up to the fortified city are beautifully handled1 as is also the wall to the right4 ,it is hard to say what technical problems remained for ,drer to solve after such a little masterpiece as this4 ,his growing fame meanwhile had attracted the attention of the ,emperor ,maximilian1 8the last of the ,knights10 who in ,february1 #aeab1 visited ,nuremberg4 ,drer is commissioned to design the ,triumphal ,arch1 the ,triumphal ,car1 and similar monumental records of the ,emperor's prowess2 not to speak of such orders as the decoration of the ,emperor's ,prayer-,book1 etc4 ,such distraction absorbed the greater part of the artist's time and energies1 and there was left little opportunity for the development of his work along the lines he had hitherto followed4 ,it may be that we owe to this fact1 and to the quick mode of producing a print such a process offers1 the six etchings on iron which bear dates from #aeae to #aeah4 ,but1 whatever the reason1 we are glad that he etched these plates4 ,discarding1 for the moment1 the elaborate and detailed method of line work of his engravings on copper1 he adopts a more open system1 such as would 8come well0 in the biting--closer work than in his woodcuts1 but perfectly adapted to that which he wished to say4 ,there is a tense and passionate quality in ,christ in the ,garden which places this etched plate among the noteworthy works even of ,drer1 while the wind-torn tree to the left of ,christ gives the needed touch of the supernatural to the composition4 ,the ,carrying ,off of ,proserpine--the spirited drawing for which is now in the ,j4 ,pierpont ,morgan collection--is the working out1 with allegorical accessories1 of a study of a warrior carrying off a woman4 ,the last of his plates1 the ,cannon1 of #aeah1 with its charming landscape1 was doubtless executed to supply1 promptly1 a popular demand4 ,it represents a large field piece bearing the ,arms of ,nuremberg1 and the five strangely costumed men to the right1 gazing upon the 8,nuremberg ,field ,serpent10 obviously have some relation to the fear of the ,turk1 then strong in ,germany4 ,illustration3 ,,albrecht ,d,,rer4 ,,christ ,,in ,,the ,,garden ,size of the original etching1 #h #f inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,albrecht ,d,,rer4 ,,erasmus ,,of ,,rotterdam ,size of the original engraving1 #i #g inches ,in the ,museum of ,fine ,arts1 ,boston ,in #aeai we have the first of ,drer's engraved portraits--,albert of ,brandenburg1 8,the ,little ,cardinal0 to distinguish it from the larger plate of #aebc4 ,opinions as to ,drer's importance as a portrait engraver vary considerably4 ,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 sitter1 bestowing excessive care upon the accessories and the minor accidents of surface textures--wrinkles and similar unimportant matters4 ,on the other hand1 such an authority as ,koehler maintains that the ,albert of ,brandenburg1 preeminent for delicacy and noble simplicity among these portrait engravings by ,drer1 8will always be ranked among the best portraits engraved anywhere and at any time40 ,frederic the ,wise1 ,elector of ,saxony1 was one of the earliest patrons of ,drer1 founder of the ,university of ,wittenberg and a supporter of the ,reformation1 although he never openly embraced the doctrines of ,martin ,luther4 ,drer's drawing in silver-point gives a straightforward and characterful presentation of the man1 and1 in this instance1 translation into the terms of engraving has nowise lessened the directness of appeal4 ,erasmus of ,rotterdam bears the latest date 7#aebf7 which we find upon any engraving by ,drer1 and it well may be his last plate4 ,here the elaboration and finish bestowed upon the accessories certainly detract from the portrait interest4 ,erasmus was polite enough1 when he saw this engraving1 to excuse its unlikeness to himself by remarking that doubtless he had changed much during the five years which had intervened between ,drer's drawing of #aeba and the completion of the plate4 ,technically1 however1 it is a masterpiece1 a worthy close to the career of undoubtedly the greatest engraver ,germany has produced4 ,,german ,,engraving3 ,,the ,,master ,,of ,,the ,,amsterdam ,,cabinet ,,and ,,albrecht ,d,,rer ,,bibliography ,,master ,,of ,,the ,,amsterdam ,,cabinet 7flourished c4 #adfg-;c4 #aejj7 ,,zur ,,zeitbestimmung ,,der ,,stiche ,,des ,,hausbuch-,,meisters4 ,by ,curt ,glaser4 ,monatshefte fr ,kunstwissenschaft1 ,vol4 #c1 pp4 #ade-aef4 ,leipzig4 #aiaj4 ,,the ,,master ,,of ,,the ,,amsterdam ,,cabinet4 ,by ,max ,lehrs4 #hi reproductions4 ,london4 #ahid4 7,international ,chalcographical ,society4 #ahic and #ahid47 ,,bilder ,,und ,,zeichnungen ,,vom ,,meister ,,des ,,hausbuchs4 ,by ,max ,lehrs4 #e illustrations4 ,jahrbuch der kniglichen preussischen ,kunstsammlungen1 ,vol4 #bj1 pp4 #agc-ahb4 ,berlin4 #ahii4 ,,the ,,master ,,of ,,the ,,amsterdam ,,cabinet ,,and ,,two ,,new ,,works ,,by ,,his ,,hand4 ,by ,willy ,f4 ,storck4 #f illustrations4 ,the ,burlington ,magazine4 ,vol4 #ah1 pp4 #ahd-aib4 ,london4 #aiaj4 ,d,,rer1 ,,albrecht 7#adga-aebh7 ,,le ,,peintre-,,graveur4 ,by ,adam ,bartsch4 ,volume #g1 pp4 #e-aig4 ,albert ,durer1 ,vienna4 #ahjc-ahba4 ,,literary ,,remains ,,of ,,albrecht ,d,,rer4 ,by ,william ,martin ,conway4 #ad illustrations4 ,cambridge3 ,university ,press4 #ahhi4 ,,the ,,engravings ,,of ,,albrecht ,d,,rer4 ,by ,lionel ,cust4 #d reproductions and #be text illustrations4 ,london3 ,seeley ,co4 #aijf4 7,the ,portfolio ,artistic ,monographs4 ,no4 #aa47 ,,albrecht ,d,,rer2 ,,his ,,engravings ,,and ,,woodcuts4 ,edited by ,arthur ,mayger ,hind4 #fe reproductions4 ,london and ,new ,york3 ,frederick ,a4 ,stokes ,company1 n4 d4 7,great ,engravers47 ,d,,rer4 ,by ,h4 ,knackfuss4 ,translated by ,campbell ,dodgson4 #acd illustrations4 ,bielefeld and ,leipzig3 ,velhagen ,klasing4 #aijj4 7,monographs on ,artists47 ,,exhibition ,,of ,,albert ,d,,rer',s ,,engravings1 ,,etchings ,,and ,,dry-,,points1 ,,and ,,of ,,most ,,of ,,the ,,woodcuts ,,executed ,,from ,,his ,,designs4 7,museum of ,fine ,arts1 ,boston4 ,november #ae1 #ahhh-;,january #ae1 #ahhi47 ,by ,sylvester ,r4 ,koehler4 ,boston3 ,museum of ,fine ,arts4 #ahhh4 ,,chronological ,,catalogue ,,of ,,the ,,engravings1 ,,dry-,,points ,,and ,,etchings ,,of ,,albert ,d,,rer1 ,,as ,,exhibited ,,at ,,the ,,grolier ,,club4 ,by ,sylvester ,r4 ,koehler4 #i reproductions on #g plates4 ,new ,york3 ,the ,grolier ,club4 #ahig4 ,d,,rer2 ,,des ,,meisters ,,gem,,lde1 ,,kupferstiche ,,und ,,holzschnitte4 ,edited by ,valentin ,scherer4 #dgc reproductions4 ,stuttgart and ,leipzig3 ,deutsche ,verlags-,anstalt4 7,klassiker der ,kunst4 ,vol4 #d47 ,,albert ,d,,rer2 ,,his ,,life ,,and ,,works4 ,by ,william ,b4 ,scott4 ,illustrated4 ,london3 ,longmans1 ,green ,co4 #ahfi4 ,,albrecht ,d,,rer2 ,,kupferstiche ,,in ,,getreuen ,,nachbildungen4 ,edited by ,jaro ,springer4 #gj plates4 ,munich3 ,holbein-,verlag4 #aiad4 ,,albert ,d,,rer2 ,,his ,,life ,,and ,,works4 ,by ,moritz ,thausing4 ,translated from the ,german4 ,edited by ,frederick ,a4 ,eaton4 #b volumes4 #eh illustrations4 ,london3 ,john ,murray4 #ahhb4 ,d,,rer ,,society4 ,,portfolios ,,with ,,introductory ,,notes ,,by ,,campbell ,,dodgson ,,and ,,others4 ,series #a-aj 7#ahih-aijh74 #caa reproductions4 ,index of ,series #a-aj4 ,london4 #ahih-aijh4 ----4 ,publication ,no4 #ab4 #bd reproductions4 ,london4 #aiaa4 ,,italian ,,engraving3 ,,mantegna ,,to ,,marcantonio ,,raimondi ,andrea ,mantegna is1 both by his art and his influence1 the most significant figure in early ,italian engraving4 ,his method or viewpoint is a determining feature in much of the best work which was produced during the last quarter of the fifteenth century1 until the influence of ,raphael1 transmitted through ,marcantonio1 with a technical mode based upon the manner of ,albrecht ,drer1 completely changed the current of ,italian engraving1 seducing it from what might have developed into an original creative art1 and condemned it to perpetual servitude as the handmaid of painting4 ,andrea ,mantegna1 born in #adca1 at ,vicenza1 and consequently ,pollaiuolo's senior by one year1 was adopted1 at the age of ten1 by ,squarcione1 in ,padua4 ,squarcione appears to have been less a painter than a contractor1 undertaking commissions to be executed by artists in his employ4 ,he was likewise a dealer in antiquities1 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 learning4 ,from them he drew in and absorbed that passion for imperial ,rome which was to color his life and his art4 ,his dream was of forms more beautiful than those of everyday life1 built of some substance finer and less perishable than the flesh of frail humanity2 and as years went by his work takes on1 in increasing measure1 a grander and more majestic aspect4 ,fortunate for us is it that in his mature period1 when his style was fully formed1 he himself was impelled1 by influences of which later we shall speak1 to take up the graving tool and with it produce the seven imperishable masterpieces which1 beyond peradventure1 we may claim as his authentic work4 ,the ,virgin and ,child1 the earliest of his engravings1 can hardly have been executed before #adge1 and maybe not until after #adhj1 when ,mantegna had reached his fiftieth year4 ,mr4 ,hind points out that there is a simplicity and directness about it which recalls quite early work1 similarly conceived1 such as the ,adoration of the ,kings of #aded2 but the reasons which he advances are of equal weight in assigning it to a later date1 and ,i am convinced that the intensity of mother-love expressed in the poise and face of the ,virgin betokens a deeper feeling1 a broader humanity1 than one normally would expect in a youth of twenty-three1 even though he be illumined with that flame of genius which burned so brightly in ,mantegna4 ,illustration3 ,,andrea ,,mantegna4 ,,virgin ,,and ,,child ,size of the original engraving1 #i #h inches ,in the ,british ,museum ,illustration3 ,,andrea ,,mantegna4 ,,battle ,,of ,,the ,,sea-,,gods ,size of the original engraving1 #aa #ag inches4 ,in the ,museum of ,fine ,arts1 ,boston ,technically1 the plate plainly shows the hand of an engraver not yet master of his medium4 ,it is marked with all the characteristics which we associate with ,mantegna's work3 the strong outline1 ploughed with repeated strokes of a rather blunt instrument into a plate of unbeaten copper or some yet softer metal2 the diagonal shade lines widely spaced2 and the light strokes blending all into a harmonious whole4 ,in an impression of the first state1 in the ,british ,museum1 there is a tone1 similar to sulphur-tint1 over portions of the plate1 noticeably in the faces of the mother and child4 ,how it was produced is still a matter of conjecture1 but that it adds much to the beauty of the print is beyond question4 ,the ,bacchanalian ,group with ,silenus and the ,bacchanalian ,group with a ,wine-,press 7which1 like the ,battle of the ,sea-,gods1 may be joined together so as to form one long1 horizontal composition7 show greater skill on the part of the engraver4 ,mantegna's increasing passion for the antique is reflected in the standing figure to the left1 who with his left hand reaches up towards the wreath with which he is about to be crowned1 while resting his right hand upon a horn of plenty4 ,this figure is obviously inspired by the ,apollo ,belvedere1 while the standing faun1 at the extreme right1 filled with the sheer delight of mere animal existence1 is a delightful creation in ,mantegna's happiest mood4 ,the two plates of the ,battle of the ,sea-,gods may be assigned1 on technical grounds1 to about the same period as the two ,bacchanals4 ,the drawing which ,durer made of the right-hand portion1 as also of the ,bacchanalian ,group with ,silenus1 both dated #adid1 conclusively prove that these engravings antedate the completion of the ,triumph of ,csar4 ,though ,mantegna borrowed his material from the antique1 he has so shaped it to his ends1 so stamped upon it the impress of his own personality1 as to make of it not an echo of classic art1 but an original creation of compelling force and charm4 8,these are not the mighty gods of ,olympus but the inferior deities of ,nature1 of the ,earth and the ,sea1 who acknowledge none of the higher obligations and who display unchecked their wanton elemental nature1 giving a loose rein to all the exuberance of their joy in living4444 ,these creatures of the sea frolic about in the water1 turbulent and wanton as the waves4444 ,the combat with those harmless-looking weapons is probably not meant to be in earnest2 a vent for their superfluous energy is all they seek40#i #i ,andrea ,mantegna4 ,by ,paul ,kristeller4 ,london2 ,longman's ,green ,co4 #aija4 p4 #cie4 ,to a somewhat later period belongs the ,entombment4 ,there is nothing of the meek spirit of the ,redeemer in this passionate plate4 ,the hard1 lapidary landscape is in accord with the figures1 which might1 not unfittingly1 find a place upon some triumphal arch4 ,three crosses crown the distant hill4 ,at the right stands ,st4 ,john1 a magnificent figure1 giving utterance to his unspeakable grief1 while the ,virgin1 sinking in a swoon1 is supported by one of the holy women4 ,here is none of that tenderness which we associate with the divine tragedy1 none of that grace and beauty which inheres in the work of many of the ,italian painters of the ,renaissance4 ,all is stark and harsh4 ,it is not food for babes1 but it is superb4 ,the ,risen ,christ ,between ,saints ,andrew and ,longinus is ,mantegna's last engraving4 ,christ towers above the two subsidiary figures1 with a form and bearing which would better befit a ,roman ,emperor returning in triumph4 ,in this plate1 above all others1 ,mantegna's technique shines forth as not only adequate1 but as beyond question the best--perhaps the only one--to convey his message4 ,translated into another mode1 one feels that it would lose much of its appeal4 ,it has been suggested that the engraving was made as a project for a group of statuary--perhaps for the high altar of ,s4 ,andrea1 in ,mantua1 raised above the most precious relic possessed by the city1 the ,blood of ,christ1 brought to ,mantua by ,longinus--a supposition borne out by the statuesque impressiveness of the group and by the fact that ,christ gazes downwards1 as though from a height4 ,although #adhj is the earliest date to which we can assign the first of ,mantegna's original engravings1 there were in existence1 at least five years before that time1 engravings by other hands after designs by the master1 and it may have been either to protect himself from unauthorized and fraudulent copyists1 or as an artistic protest against the incapacity of his translators1 that ,mantegna was compelled to take up the graver4 ,there has come down to us a letter1 dated ,september #ae1 #adge1 addressed by ,simone di ,ardizone1 of ,reggio1 to the ,marquis ,lodovico1 of ,mantua1 complaining to the prince of ,mantegna's behavior towards him4 ,his story was that 8,mantegna1 upon his arrival in ,mantua1 made him splendid offers1 and treated him with great friendliness4 ,actuated by feelings of compassion1 however1 towards his old friend1 ,zoan ,andrea1 a painter in ,mantua1 from whom prints 7stampe71 drawings1 and medals had been stolen1 and wishing to help in the restoration of the plates1 he had worked with his friend for four months4 ,as soon as this came to ,mantegna's knowledge he proceeded to threats1 and one evening ,ardizone and ,zoan ,andrea had been assaulted by ten or more armed men and left for dead in the square40 ,illustration3 ,,andrea ,,mantegna4 ,,the ,,risen ,,christ ,,between ,,saints ,,andrew ,,and ,,longinus ,size of the original engraving1 #ae #ab inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,school ,,of ,,andrea ,,mantegna4 ,,adoration ,,of ,,the ,,magi ,size of the original engraving1 #ae #aj inches ,in the ,museum of ,fine ,arts1 ,boston ,the letter is 8proof that1 in ,mantua1 in the year #adge1 two professional engravers1 one of whom clearly designates himself as such1 were at work4444 ,it is clear that ,mantegna had a very special interest in the engravings and drawings which had been stolen from ,zoan ,andrea1 and which ,ardizone1 #8out of compassion1' helped to restore1 since he sought by force to impede the engraver's work4 ,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 engravings2 and that being unable to win ,ardizone's assistance in his work ,mantegna thought himself obliged to protest1 by violent means1 against this infringement of his artistic rights40#aj #aj ,andrea ,mantegna ,by ,paul ,kristeller4 ,london4 #aija4 pp4 #cha-chd4 ,it is probable that to this drastic and effectual method of protecting against piracy his own artistic property we owe the two renderings1 both incomplete1 of the ,triumph of ,csar4 ,one may well be the series upon which ,zoan ,andrea and ,ardizone were working when ,mantegna brought their labors to an untimely close2 whereas the second series1 although authorized by ,mantegna himself1 may have seemed to him1 not without just cause1 so to misinterpret his original drawings as to impel him to abandon the project and1 in future1 engrave his own designs4 ,the ,triumph series naturally remained incomplete1 since1 like every great artist1 ,mantegna would hardly feel disposed to repeat1 in another medium1 a subject which he had already treated4 ,of the ,triumph plates1 the ,elephants approximates most closely ,mantegna's undoubted work2 but the drawing lacks distinction1 and there is a feeling of 8tightness0 throughout the whole plate1 which makes it impossible to attribute the engraving to ,mantegna's own hand4 ,the plate which immediately follows--,soldiers ,carrying ,trophies--was left unfinished4 ,the subject is repeated in the reverse sense and with the addition of a pilaster to the right4 ,this pilaster is probably ,mantegna's original design for the upright members dividing the nine portions of the painted ,triumphs1 since the procession is supposed to pass upon the further side of a row of columns1 the figures and animals being so arranged as to extend over one picture to the next1 with a sufficient space between them for the introduction of the pilaster4 ,illustration3 ,,zoan ,,andrea 7874 ,,four ,,women ,,dancing ,size of the original engraving1 #h #ac inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,giovanni ,,antonio ,,da ,,brescia4 ,,holy ,,family ,,with ,,saints ,,elizabeth ,,and ,,john ,size of original engraving1 #aa #aj inches ,in the ,museum of ,fine ,arts1 ,boston ,the ,adoration of the ,magi1 which for some reason likewise remained unfinished1 is taken directly from the central portion of the triptych in the ,uffizi4 ,the engraving1 aside from its intrinsic beauty1 is of especial interest as affording an example of the method adopted by ,mantegna and his ,school4 ,the structural lines are deeply incised1 in many cases by repeated strokes of the graver4 ,the diagonal shading is then added and the plate carried forward and completed1 bit by bit4 ,this engraving1 at one time accounted an original work by the master himself1 has received of recent years more than its merited share of harsh criticism4 ,it obviously falls far short1 in beauty1 of ,mantegna's painting2 but1 for all that1 it preserves many of the essential qualities of its immediate original1 and one cannot but admire the manner in which an engraver1 certainly not of the first rank1 has captured the spirit of humility and adoration1 eloquent in every line of the king at the left1 humbly bending to receive the benediction of the ,christ ,child4 ,by an engraver of the ,mantegna ,school1 perhaps ,,zoan ,,andrea1 working in ,mantegna's manner and after his design for the ,parnassus in the ,louvre1 is ,four ,women ,dancing--one of the most charming and graceful prints of the period4 ,it differs in many particulars from the painting 7assigned to the year #adig7 and almost certainly translates ,mantegna's drawing1 rather than the painting itself4 ,to ,,giovanni ,,antonio ,,da ,,brescia1 of whose life1 apart from what we may learn from a study of his work1 we know substantially nothing1 may be attributed the ,holy ,family with ,saints ,elizabeth and ,john1 based upon a design by ,mantegna1 of about #aejj1 and probably engraved at a date prior to ,mantegna's death1 ,september #ac1 #aejf4 ,at a later period1 ,giovanni came under the influence of ,marcantonio ,raimondi1 whose style he imperfectly assimilated4 ,in the ,british ,museum there is a unique impression of a ,profile ,bust of a ,young ,woman1 which has been ascribed1 with some show of reason1 to ,,leonardo ,,da ,,vinci4 ,its intrinsic beauty might lend some color to this attribution1 were it not that1 even in its re-worked condition1 the texture and flow of the young woman's abundant tresses1 the treatment of the flowing ribbons1 and the delicate shading in the face and upon the garment1 betray the hand of the trained engraver4 ,,nicoletto ,,rosex ,,da ,,modena was working from about #adij to #aeae4 ,he engraved almost a hundred plates1 the majority of them being presumably from his own designs1 though in the ,adoration of the ,shepherds the influence of ,schongauer is markedly apparent1 and in ,fortune and ,st4 ,sebastian the inspiration of ,mantegna is clearly to be seen4 ,illustration3 ,,school ,,of ,,leonardo ,,da ,,vinci4 ,,profile ,,bust ,,of ,a ,,young ,,woman ,size of the original engraving1 #d #c inches ,in the ,british ,museum ,illustration3 ,,nicoletto ,,rosex ,,da ,,modena4 ,,orpheus ,size of the original engraving1 #i #f inches ,in the ,british ,museum ,the group of trees in the ,fate of the ,evil ,tongue is borrowed from ,drer's print of ,hercules1 while the ,turkish ,family and the ,four ,naked ,women--the last-named being dated #aejj--;are copies of ,drer's engravings4 ,vedriani1 writing of ,nicoletto as a painter1 speaks of him as 8chiefly distinguished in perspective10 and among the most charming of his plates in which this quality is seen is ,orpheus4 ,the bare tree is suggestive of ,martin ,schongauer1 while the birds and beasts1 including a dog1 a peacock1 a weasel1 a monkey playing with a tortoise1 a squirrel1 a snake1 a piping bird1 two rabbits1 a fox1 and a stag1 not to speak of the ducks and swans in the water1 though not copied from northern originals1 have all the charm and life-like quality which we find in the work of ,german engravers such as ,the ,master of ,st4 ,john the ,baptist and ,the ,master ,e4 ,s4 of #adff4 ,concerning ,,jacopo ,,de' ,,barbari there is a wealth of biographical material1 in contrast with the meagerness of our knowledge concerning the earlier ,italian engravers4 ,born at ,venice1 between #addj and #adej1 he is known to have worked between #aejj and #aejh for the ,emperor and various other princes in different towns of ,germany4 ,he was at ,nuremberg in #aeje1 and in #aeaj he was in the service of the ,archduchess ,margaret1 ,regent of the ,netherlands1 while1 in the inventory of the ,regent's pictures of #aeae-aeaf1 he is referred to as dead4 ,not one of the thirty engravings by ,jacopo is signed with his name1 initials1 or any form of monogram1 nor does any of them bear a date4 ,his emblem is the caduceus1 which appears on the greater number of his prints2 and those upon which it is lacking can readily be identified by his individual style4 ,this style undergoes certain modifications with the passing years4 ,in the early period1 the shading1 for the most part1 is in parallel lines1 which follow the contour of the figure1 the figure itself being long and sinuous4 ,in his middle and later period he indulged more freely in cross-hatching1 and the faces are modelled with greater delicacy4 ,stress has been laid upon the influence exerted by ,jacopo upon ,drer's engraving2 but with the exception of the ,apollo and ,diana this influence is theoretical rather than artistic4 ,drer1 in one of the manuscript sketches1 dated #aebc1 for his book ,the ,theory of ,human ,proportions1 writes3 8,howbeit1 ,i can find none such who hath written aught about how to form a canon of human proportion1 save one man--,jacopo by name1 born at ,venice1 and a charming painter4 ,he showed me the figures of a man and a woman1 which he had drawn according to a canon of proportions1 so that1 at that time1 ,i would rather have seen what he meant than be shown a new kingdom4444 ,then1 however1 ,i was still young and had not heard of such things before4 ,howbeit1 ,i was very fond of art1 so ,i set myself to discover how such a canon might be wrought out40 ,drer undoubtedly refers to the period of his first visit to ,venice1 and it is1 accordingly1 in ,drer's earliest plates that we see most clearly the influence of the older master on his technical method4 ,drer soon outstripped ,jacopo in everything that pertains to the technical side of engraving and worked out for himself a method which1 for his purpose1 was substantially perfect4 ,illustration3 ,,jacopo ,,de' ,,barbari4 ,,apollo ,,and ,,diana ,size of the original engraving1 #e #c inches4 ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,jacopo ,,de' ,,barbari4 ,,st4 ,,catherine ,size of the original engraving1 #g #d inches ,in the ,british ,museum ,in such plates as ,judith and ,st4 ,catherine1 ,jacopo's love for long1 flowing lines finds its fullest expression4 ,there is a grace about these single figures which is not without appealing charm1 though obviously they leave something to be desired on the score of solidity and structure4 ,,girolamo ,,mocetto1 born in ,murano before #adeh1 was living at ,venice in #aead1 where he died after #aeca4 ,according to ,vasari1 ,mocetto was1 at some time1 an assistant to ,giovanni ,bellini1 whose influence may be traced in his work4 ,his engravings are unpleasing in style and often clumsy in draughtsmanship4 ,he owes such merit as he may possess to the originals which he interpreted4 ,there is a compelling power in ,judith1 after ,mantegna's design1 which atones for even so shapeless a member as ,judith's right hand4 ,the grandeur of the plate is1 however1 derived from ,mantegna4 ,mocetto has done little more than traduce it2 but1 even so1 the engraving is noteworthy1 inasmuch as it preserves for us a noble composition1 of which otherwise we might remain in ignorance4 ,the ,baptism of ,christ is adapted1 with some modifications1 from ,giovanni ,bellini's painting executed between #aejj and #aeaj4 ,in the engraving1 the landscape1 which differs radically from that in ,bellini's painting1 may possibly be original with ,mocetto1 though it recalls the work of ,cima1 whose ,baptism1 in ,s4 ,giovanni in ,bragora1 ,venice1 was painted in #adid4 ,,benedetto ,,montagna was1 like ,mocetto1 painter as well as engraver4 ,his earliest engravings are executed in a large1 open manner1 which can be seen to advantage in the ,sacrifice of ,abraham4 ,the outline is strongly defined and the shading chiefly in parallel lines4 ,where cross-hatching is used1 it is laid generally at right angles4 ,later1 ,montagna modifies his style and adopts the finer system of cross-hatching perfected by ,drer1 whose influence1 especially in the backgrounds1 is clearly to be traced1 and whose ,nativity1 of the year #aejd1 ,montagna copied in reverse4 ,st4 ,jerome ,beneath an ,arch of ,rock belongs to this later period1 and the plate is probably based upon a painting by ,bartolommeo ,montagna1 the engraver's father4 ,,giulio ,,campagnola1 born at ,padua about #adhb1 is known to have been working in ,venice in #aejg and is assumed to have died shortly after #aead4 ,according to contemporary accounts1 he was a youth of marvellously precocious and varied gifts and promise4 ,to his musical and literary accomplishments1 he added those of painter1 miniaturist1 engraver1 and sculptor4 ,illustration3 ,,giulio ,,campagnola4 ,,christ ,,and ,,the ,,woman ,,of ,,samaria ,size of the original engraving1 #e #g inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,giulio ,,campagnola4 ,,ganymede 7,first ,state7 ,size of the original engraving1 #f #d inches ,in the ,museum of ,fine ,arts1 ,boston ,his engravings betray markedly the influence of ,giorgione1 and his manner of engraving may have been an attempt to imitate the rich softness of that master's painting4 ,he worked out and perfected a technical system all his own4 ,in his earliest manner he works in pure line1 as in his copies of ,drer's engravings and in such plates as the ,old ,shepherd and ,st4 ,jerome4 ,in the ,young ,shepherd1 the ,astrologer1 and ,christ and the ,woman of ,samaria1 the composition is first engraved in simple1 open lines1 with little cross-hatching4 ,the plate is then carried forward and completed by a system of delicate flicks1 so disposed as to produce a harmonious result1 obliterating substantially all trace of the preliminary line work4 ,in the third group1 to which two prints belong--,naked ,woman ,reclining and ,the ,stag--no lines at all are used1 and the plate is carried out1 from first to last1 in flick work4 ,only one of ,campagnola's plates is dated--the ,astrologer1 of #aeji4 ,in this he shows himself ripe1 both as artist and as craftsman4 ,to an earlier period would seem to belong the ,ganymede1 in which the landscape is a faithful copy of ,drer's engraving of the ,virgin and ,child with a ,monkey4 ,the place which1 in the original engraving1 was occupied by the ,virgin1 is now filled by a clump of trees4 ,st4 ,john the ,baptist is1 all things considered1 ,campagnola's masterpiece4 ,the figure is unquestionably based upon a drawing by ,mantegna1 and has all the largeness and grandeur of style which characterizes the work of that master4 ,the landscape background may be original with the engraver but it clearly shows the influence of ,giorgione4 ,in this superb plate ,campagnola's method of combining line work with delicate flick work can be studied at its best4 ,the ,young ,shepherd1 known in two states--the first in pure line1 the second completed with flick work--is as charming and graceful as ,st4 ,john the ,baptist is monumental4 ,it justly deserves the reputation and popularity which it enjoys among print lovers4 ,christ and the ,woman of ,samaria is treated in a more open manner than either of the two preceding engravings4 ,the beautiful landscape1 as also the hill to the left1 is entirely in line1 while the flick work upon the figures and garments and1 even more noticeably1 in the foreground to the right1 is of a more open character than that which appears in the ,young ,shepherd4 ,it may belong to the latter part of ,campagnola's career as an engraver4 ,there is an amplitude in the design of the seated woman which suggests ,giorgione and ,palma1 though one cannot definitely name any painting by either of these masters from which ,campagnola has borrowed his figure4 ,illustration3 ,,giulio ,,campagnola4 ,,st4 ,,john ,,the ,,baptist ,size of the original engraving1 #ac #i inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,giulio ,,and ,,domenico ,,campagnola4 ,,shepherds ,,in ,a ,,landscape ,size of the original engraving1 #e #aj inches ,in the ,museum of ,fine ,arts1 ,boston ,the last of ,campagnola's plates1 left unfinished at his death and completed by ,,domenico ,,campagnola1 is ,shepherds in a ,landscape or1 as it is sometimes called1 the ,musical ,shepherds4 ,the original drawing1 in reverse1 for the right-hand half of this print is in the ,louvre4 ,it is unquestionably by ,giulio ,campagnola2 but1 equally without question1 the left-hand portion of the engraving itself is by ,domenico4 ,whether ,domenico was a close relative or merely a pupil of ,giulio's has not been determined2 but the ,shepherds in a ,landscape conclusively proves that he was at least the artistic heir of the older master4 ,domenico's style is in marked contrast to that of ,giulio4 ,flick work is almost absent from his engravings1 which are executed in rather open lines1 more in the mode of an etcher than of an engraver working according to established tradition4 ,the skies1 in particular1 have a romantic quality which is all their own1 and which can be seen to advantage in the ,shepherd and the ,old ,warrior1 dated #aeag4 ,,marcantonio ,,raimondi1 born in ,bologna about #adhj1 for over three centuries enjoyed a reputation eclipsing that of any other ,italian master4 ,of recent years1 however1 upon insufficient grounds1 he has been somewhat pushed aside and belittled as a 8reproductive engraver10 his critics wilfully forgetting the fact that1 with the exception of ,pollaiuolo and ,mantegna1 the ,italian ,school is1 in the main1 derivative1 and cannot boast of any original engravers of world-wide fame1 such as ,schongauer or ,drer4 ,but ,marcantonio was far from being a mere translator of alien works4 8,he is like some great composer who borrows another's theme only to make it his own by the originality of his setting40#aa #aa ,marcantonio ,raimondi4 ,by ,arthur ,m4 ,hind4 ,the ,print-,collector's ,quarterly1 ,vol4 #c1 ,no4 #c4 p4 #bgf4 ,the earliest influence which we may trace in ,marcantonio's work is that of the famous goldsmith and painter1 ,francesco ,francia1 with whom ,marcantonio served his apprenticeship4 ,certain nielli1 among them ,pyramus and ,thisbe and ,arion on the ,dolphin1 have been assigned to the young ,marcantonio and attributed to this period of his life4 ,st4 ,george and the ,dragon is strongly reminiscent of the niello technique1 with its dark shadows1 against which the figures stand out in relief4 ,the landscape is clearly borrowed or adapted from engravings in ,drer's earlier period1 the trees at the left1 in particular1 recalling the ,hercules4 ,illustration3 ,,marcantonio ,,raimondi4 ,,st4 ,,george ,,and ,,the ,,dragon ,size of the original engraving1 #aa #h inches ,in the ,british ,museum ,illustration3 ,,marcantonio ,,raimondi4 ,,bathers ,size of the original engraving1 #aa #i inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,marcantonio ,,raimondi4 ,,st4 ,,cecilia ,size of the original engraving1 #aj #f inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,marcantonio ,,raimondi4 ,,death ,,of ,,lucretia ,size of the original engraving1 #h #e inches ,in the ,museum of ,fine ,arts1 ,boston ,to this early period likewise belongs ,pyramus and ,thisbe1 which bears the earliest date--#aeje--which we find upon any of his engravings4 ,it may well have been executed during his residence in ,venice1 between #aeje and #aeji4 ,the ,bathers1 of #aeaj1 is an artistic record of ,marcantonio's visit to ,florence1 on his way to ,rome4 ,the figures are taken from ,michelangelo's cartoon of the ,battle of ,pisa2 but the landscape1 including the thatched barn to the right1 is a faithful copy1 in reverse1 of ,lucas van ,leyden's plate of ,mahomet and the ,monk ,sergius2 for ,marcantonio1 like all great artists1 freely borrowed his material wherever he found it1 shaping it to his own ends4 ,according to ,vasari1 it was the ,death of ,lucretia1 engraved shortly after ,marcantonio's arrival in ,rome1 about #aeaj1 after a drawing by ,raphael1 which attracted the attention of that master and showed him how much he might benefit by the reproduction of his work4 ,one would be inclined to think that the ,death of ,dido rather than the ,death of ,lucretia might have been the means of bringing about this artistic collaboration2 for1 if ,vasari is correct1 the immediate result of ,raphael's personal influence upon ,marcantonio was harmful rather than helpful1 the ,lucretia by general consent being the finer plate of the two4 ,it is significant that none of ,marcantonio's engravings interprets any existing painting by ,raphael4 ,we may infer that the engraver worked entirely after drawings supplied to him by ,raphael--either drawings made for the purpose of being interpreted in terms of engraving1 or the original studies for paintings1 which1 in their elaboration1 were subjected to many modifications and changes4 ,among his most interesting engravings are ,saint ,cecilia1 which may be compared1 or rather contrasted1 with the famous painting in ,bologna2 the ,virgin and ,child in the ,clouds1 which later appears as the ,madonna di ,foligno2 and ,poetry1 based on a study by ,raphael for the fresco in the ,camera della ,segnatura1 in the ,vatican4 ,the ,massacre of the ,innocents1 usually accounted the engraver's masterpiece1 is one of several subjects of which two plates exist4 ,authorities disagree as to which is the 8original10 but some familiarity with both versions leads one to think that ,marcantonio may well have been his own interpreter4 ,at least one cannot name certainly any other engraver capable of producing either of the two versions of the ,massacre of the ,innocents1 in point of drawing or of technique4 ,among ,marcantonio's portrait plates one of the most attractive is that of ,philotheo ,achillini 78,the ,guitar ,player071 which is in his early manner and probably dates from his ,bolognese period4 ,it may be based upon a drawing by ,francia1 but the trees and distant landscape all show markedly the influence of ,drer4 ,illustration3 ,,marcantonio ,,raimondi4 ,,philotheo ,,achillini 78,the ,guitar ,player07 ,size of the original engraving1 #g #e inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,marcantonio ,,raimondi4 ,,pietro ,,aretino ,size of the original engraving1 #g #e inches ,in the ,british ,museum ,to a much later period1 and engraved in ,marcantonio's most mature manner1 belongs the portrait of ,pietro ,aretino4 ,vasari refers to this plate as 8engraved from life10 but its richness and color would seem to point to an original by ,titian or ,sebastiano del ,piombo4 ,after the death of ,raphael1 in #aebj1 ,marcantonio's engraving undergoes a change--a change for the worse1 as might be expected1 since a number of his plates are interpretations of designs by ,giulio ,romano4 ,there is less care in the drawing1 less delicacy in the management of the burin1 and1 although we may pity him for the loss of all that he possessed at the sack of ,rome1 in #aebg1 we cannot greatly regret that1 as an engraver1 ,marcantonio's active life terminates with that date4 ,,italian ,,engraving3 ,,mantegna ,,to ,,marcantonio ,,raimondi ,,bibliography ,,mantegna1 ,,andrea 7#adca-aejf7 ,d,,rer ,,and ,,mantegna4 ,by ,sidney ,colvin4 #e illustrations4 ,the ,portfolio1 ,vol4 #h1 pp4 #ed-fc4 ,london4 #ahgg4 ,,andrea ,,mantegna ,,and ,,the ,,italian ,,pre-,,raphaelite ,,engravers4 ,edited by ,arthur ,mayger ,hind4 #ge reproductions4 ,london and ,new ,york3 ,frederick ,a4 ,stokes ,company1 n4 d4 7,great ,engravers47 ,,andrea ,,mantegna4 ,by ,paul ,kristeller4 #bf plates and #afb text illustrations4 ,london3 ,longmans1 ,green ,co4 #aija4 ,chapter ,,xi1 ,mantegna as ,engraver4 ,,mantegna4 ,by ,h4 ,thode4 #aje illustrations4 ,bielefeld and ,leipzig3 ,velhagen ,klasing4 #ahig4 7,knstler ,monographien4 #bg47 ,,barbari1 ,,jacopo ,,de' 7c4 #addj-;c4 #aeae7 ,,engravings ,,and ,,woodcuts ,,by ,,jacopo ,,de' ,,barbari4 ,edited by ,paul ,kristeller4 #cc reproductions and #b text illustrations4 ,london4 #ahif4 7,international ,chalcographical ,society1 #ahif47 ,,lorenzo ,,lotto4 ,by ,bernhard ,berenson4 #cj plates4 ,new ,york3 ,putnam's ,sons4 #ahie4 pp4 #cd-ej4 ,,campagnola1 ,,giulio 7c4 #adhb-;c4 #aead7 ,,giulio ,,campagnola2 ,,kupferstiche ,,und ,,zeichnungen4 ,edited by ,paul ,kristeller4 #bg reproductions4 ,berlin3 ,bruno ,cassirer4 #aijg4 7,graphische ,gesellschaft4 ,publication #e47 ,,marcantonio ,,raimondi 7c4 #adhj-;c4 #aecj7 ,,marc-,,antoine ,,raimondi2 ,,tude ,,historique ,,et ,,critique ,,suivie ,d',,un ,,catalogue ,,raisonn ,,des ,,oeuvres ,,du ,,maitre4 ,by ,henri ,delaborde4 #fc illustrations4 ,paris3 ,librairie de l'art4 #ahhh4 ,,marcantonio ,,raimondi4 ,by ,arthur ,mayger ,hind4 #bb illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #c1 ,no4 #c1 pp4 #bdc-bgf4 ,boston4 #aiac4 ,,marcantonio ,,and ,,italian ,,engravers ,,and ,,etchers ,,of ,,the ,,sixteenth ,,century4 ,edited by ,arthur ,mayger ,hind4 #fe reproductions4 ,london and ,new ,york3 ,frederick ,a4 ,stokes ,company4 n4 d4 7,great ,engravers47 ,,some ,,masters ,,of ,,portraiture ,you will all remember how ,john ,evelyn1 writing to ,samuel ,pepys1 advised him to collect engraved portraits--since1 in his own words1 8,some are so well done to the life1 that they may stand comparison with the best paintings40 ,he then adds3 8,this were a cheaper1 and so much a more useful1 curiosity1 as they seldom are without their names1 ages and eulogies of the persons whose portraits they represent4 ,i say you will be exceedingly pleased to contemplate the effigies of those who have made such a noise and bustle in the world2 either by their madness and folly2 or a more conspicuous figure1 by their wit and learning4 ,they will greatly refresh you in your study and by your fireside1 when you are many years returned40 ,we know by his 8,diary0 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 more1 which he strongly desired4 ,from the time of ,evelyn and ,pepys in ,england1 and that prince of print-collectors in ,france1 the ,abb de ,marolles--who in #afff could boast of possessing over #abc1jjj prints1 8and all the portraits extant0--portraits have had1 for the student1 a peculiar fascination1 and it may be interesting to consider briefly the work of some six or eight of the acknowledged masters of the art4 ,aside from two unimportant plates by the ,master of the ,amsterdam ,cabinet1 which may1 or may not1 be portraits1 the earliest engraver to address himself to portraiture1 pure and simple1 is the anonymous ,german master with the monogram ,w caduceus ,b4 ,so far as we know1 he executed four plates only 7c4 #adhj-adhe74 ,in them the characterization is strong1 the drawing clear and vigorous4 ,the artist's technique may have owed something to ,martin ,schongauer1 but it is singularly lacking in the refinement and balance which mark the work of that engraver4 ,,daniel ,,hopfer1 who1 in #adic1 was already working in ,augsburg1 has left us an etching1 which certainly cannot be later than #aejd1 and may have been executed five1 or even ten1 years earlier4 ,it is a portrait of ,kunz von der ,rosen1 the ,jester-,adviser of the ,emperor ,maximilian ,i4 ,the etching is upon iron1 and the quality of the line is well adapted to the rugged character of the personage4 ,this plate was copied1 in reverse1 with some modifications1 by an anonymous ,north ,italian engraver and reappears as ,gonsalvo of ,cordova1 who was in ,italy1 in command of the army of ,ferdinand ,v of ,castile1 between #adid and #aejd1 when ,ferdinand's jealousy caused him to be superseded in the ,vice ,royalty of ,naples4 ,illustration3 ,,master ,w caduceus ,b4 ,,head ,,of ,a ,,young ,,woman ,size of the original engraving1 #d #c inches ,in the ,royal ,print ,room1 ,berlin ,illustration3 ,,albrecht ,d,,rer4 ,,albert ,,of ,,brandenburg ,size of the original engraving1 #e #c inches ,in the ,museum of ,fine ,arts1 ,boston ,the earliest in date of ,d,,rer',s engraved portraits is likewise the best4 ,albert of ,brandenburg was twenty-nine years of age1 in #aeai1 when ,drer engraved this plate4 ,there is a concentration upon the purely portrait element lacking in some of the later prints4 ,the burin work is singularly delicate and beautiful4 ,indeed1 nothing better1 from a technical standpoint1 has ever been done on copper than ,drer's six portrait plates2 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 itself1 he remains1 notwithstanding1 one of the greatest masters of the burin the world has seen4 ,drer engraved a second plate of ,albert of ,brandenburg1 in #aebc4 ,the intervening four years had left their mark upon the ,cardinal1 and neither as a portrait nor as an engraving is it as pleasing as the earlier one4 ,in the following year1 #aebd1 there are two portraits--,frederic the ,wise1 ,elector of ,saxony and ,wilibald ,pirkheimer4 ,the former was one of the earliest patrons of ,drer and likewise one of the most liberal-minded princes of his time4 ,the plate is executed in ,drer's painstaking and careful manner1 nor does it lack1 as a portrait1 the directness and immediacy of appeal of the silver-point drawing1 which may have served as its original4 ,wilibald ,pirkheimer1 the celebrated patrician and humanist1 was ,drer's life-long and most intimate friend1 and it is to him that ,drer's letters from ,venice were addressed4 ,philip ,melanchthon is the simplest in treatment and the most satisfying1 in its elimination of unnecessary detail1 of ,drer's portrait engravings1 and is the best likeness of the mild reformer4 ,the inscription reads3 8,drer could depict the features of the living ,philip1 but the skilled hand could not depict his mind40 ,here ,drer does himself less than justice1 for it is the portrait-like character which makes this engraving still noteworthy after the lapse of four centuries4 ,to the same year1 #aebf1 belongs ,erasmus of ,rotterdam4 ,it is a technical masterpiece4 ,drer has lavished all his skill upon this plate4 ,it is magnificent2 but from a purely portrait standpoint1 it is a magnificent failure4 ,illustration3 ,,albrecht ,d,,rer4 ,,philip ,,melanchthon ,size of the original engraving1 #f #e inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,anthony ,,van ,,dyck4 ,,portrait ,,of ,,himself 7,first ,state7 ,size of the original etching1 #i #f inches ,in the ,museum of ,fine ,arts1 ,boston ,for a full hundred years we have no portraits of note2 then there enters upon the scene one of the great princes of the art--,,van ,,dyck--whose etched portraits vie with those of ,rembrandt in vitality1 and surpass them in immediacy of appeal4 ,van ,dyck had not that deep humanity1 that profound reading of human character1 which raises ,rembrandt above all rivals2 but upon the purely technical side1 working within the truest traditions of etching1 with due regard to its possibilities and its limitations1 ,van ,dyck may claim precedence4 ,his fifteen original portrait etchings 7together with ,erasmus of ,rotterdam1 after ,holbein7 undoubtedly belong to the period between his return from ,italy to ,antwerp1 in #afbf1 and his settlement in ,london1 in #afcb4 ,from the very first1 ,van ,dyck seems to have been in possession of all his powers4 ,his etchings show various modes of treatment1 according to the character of the sitter1 and it would be difficult to speak of the development of his art1 since1 by the grace of ,god1 he seems to have been a born etcher4 ,van ,dyck's ,portrait of ,himself naturally interests us most1 on account of its subject4 ,so far as ,van ,dyck has seen fit to carry it1 it is a perfect work of art1 not the least remarkable feature being the splendid placing of the head upon the plate4 ,unfortunately1 the first state is of such excessive rarity that the majority of print students can know this superb portrait only through reproductions 7in which much of its delicacy is necessarily lost7 or1 in the later state1 where the plate is finished with the graver by ,jacob ,neefs--a distressing piece of work1 strangely enough1 countenanced by ,van ,dyck himself2 since in the ,british ,museum there is a touched counter-proof of the first state1 which proves that ,van ,dyck directed the elaboration of the plate1 no doubt with the intention of using it as a title page to the ,iconography1 a series of a hundred engraved portraits of his friends and contemporaries4 ,of even subtler beauty is ,snyders1 unfortunately--like the portrait of ,van ,dyck himself--of the greatest rarity and also1 like that plate1 finished with the graver by ,jacob ,neefs4 ,it is perfectly satisfying from every point of view1 combining1 as it does1 the greatest freedom with absolute certainty of hand4 ,the treatment of the face shows a thorough knowledge of all the technical resources of the art1 the high lights having been 8stopped out0 exactly where needed1 the etched dots and lines melting into a perfect harmony4 ,in marked contrast to the delicacy of ,snyders is the bolder and more rugged treatment of ,jan ,snellinx4 ,fortunately1 the plate has remained1 until our own day1 in essentially the same condition as when it left ,van ,dyck's hands1 and we can better realize what an artistic treasure-house the ,iconography might have been1 had the public possessed the intelligence to appreciate1 at their true worth1 these fine flowerings of ,van ,dyck's genius1 instead of demanding1 as they did1 that a plate be absolutely 8finished0 to the four corners by the professional engraver4 ,illustration3 ,,anthony ,,van ,,dyck4 ,,frans ,,snyders 7,first ,state7 ,size of the original etching1 #i #f inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,anthony ,,van ,,dyck4 ,,lucas ,,vorsterman 7,first ,state7 ,size of the original engraving1 #i #f inches ,in the ,collection of ,charles ,c4 ,walker1 ,esq4 ,lucas ,vorsterman is1 in some ways1 the most purely pictorial of ,van ,dyck's portrait etchings4 ,even the taste of the time demanded no further elaboration than an engraved background1 which1 judiciously added1 left undisturbed ,van ,dyck's original work4 ,it would be interesting to know whether ,,rembrandt was acquainted with the etched work of ,van ,dyck4 ,if so1 it is all the more astounding that his work should betray no trace of any outside influence4 ,rembrandt's earliest dated etching is also1 seemingly1 his first etching--a ,portrait of ,his ,mother1 of the year #afbh--;an unsurpassed little masterpiece4 ,in its own mode of simple1 direct1 open1 linear treatment1 there is nothing finer1 even in the work of ,rembrandt himself4 ,saskia with ,pearls in ,her ,hair1 of #afcd1 as also the ,young ,man in a ,velvet ,cap with ,books ,beside ,him1 which belongs to the year #afcg1 are in ,rembrandt's best manner1 but the crowning triumph of this period is unquestionably ,rembrandt ,leaning on a ,stone ,sill1 bearing the date #afci and showing ,rembrandt at the happiest period of his life--successful1 prosperous1 and perfect master of his medium4 ,the portrait of an ,old ,man in a ,divided ,fur ,cap1 of the following year1 is likewise admirable--not a line too much and every line full of significance4 ,jan ,cornelis ,sylvius1 of #afdf1 shows in a marked degree ,rembrandt's sympathy with1 and appreciation of the beauty of old age4 ,the face is treated in a delicate and sensitive manner1 and1 with the fewest possible strokes1 ,rembrandt has indicated the texture and growth of the sparse beard of his aged sitter4 ,sulphur-tint has been used to give additional modelling to the face1 while the background and costume are finished in a way which would have won the admiration of ,drer himself4 ,ephraim ,bonus1 ,jan ,asselyn1 and ,jan ,six are ,rembrandt's three portrait etchings for the year #afdg4 ,jan ,six is ,rembrandt's masterpiece1 so far as elaborate finish is concerned4 ,he has availed himself of all the resources of etching1 dry-point1 and of the burin--used freely as an etcher may use it--to carry forward this plate4 ,the center of the room is bathed in subdued light1 which melts into rich and mysterious shadows in the corners4 ,illustration3 ,,rembrandt4 ,,jan ,,cornelis ,,sylvius ,size of the original etching1 #aj #g inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,rembrandt4 ,,rembrandt ,,leaning ,,on ,a ,,stone ,,sill ,size of the original etching1 #h #f inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,rembrandt4 ,,clement ,,de ,,jonghe 7,first ,state7 ,size of the original etching1 #h #f inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,rembrandt4 ,,jan ,,lutma 7,first ,state7 ,size of the original etching1 #g #e inches ,in the ,museum of ,fine ,arts1 ,boston ,rembrandt ,drawing at a ,window is one of the most characterful of his portraits4 ,it shows him at the age of forty-two4 ,years of sorrow have left their mark upon his countenance1 but what a strong1 resolute face it is6 ,clement de ,jonghe 7which should be seen in the first state before the expression of the face was entirely changed7 is executed in ,rembrandt's open1 linear manner1 without strong contrasts of light and dark4 ,for beauty of drawing and subtlety of observation1 it is one of his finest plates4 ,old ,haaring1 of #afee1 is a magnificent dry-point1 in which ,rembrandt has built up1 with many lines1 a completely harmonious picture2 but for grip of character and straightforward presentation of the personality of his sitter1 it must yield precedence to the unsurpassed ,jan ,lutma1 of the following year4 ,this portrait1 in the first state1 before the introduction of the window in the background1 is one of ,rembrandt's most mature works1 in that the method is perfectly adapted to the result desired4 ,in ,france there is little of significance in portrait engraving during the sixteenth century4 ,,thomas ,,de ,,leu and ,l,,onard ,,gaultier based their style upon the miniature portrait engravers of the ,northern ,school1 such as the ,,wierix4 ,although their graver work is often quite beautiful1 it lacks originality1 and when1 as frequently happened1 they endeavored to interpret the wonderful drawings of the ,clouets or ,dumonstier1 they signally failed in capturing the charm of their originals4 ,,claude ,,mellan1 who was born at ,abbeville in #aeih1 is1 in a sense1 the fountain-head of ,french portrait engraving4 ,his work is characteristically ,french1 in that it is the result of a system carefully worked out to its logical conclusion4 ,in his desire to keep strictly within the limits of what he considered to be the proper province of engraving1 he carried his insistence upon line to a point which borders on mannerism and which1 for over two centuries1 has militated against his full recognition4 ,mellan's earliest engravings recall the work of ,lonard ,gaultier1 but his first teacher is not known4 ,dissatisfied with his instruction in ,paris1 in #afbd he went to ,rome where1 while studying engraving under ,villamena1 he came under the influence of the ,french painter1 ,simon ,vouet1 who not only provided his protg with drawings to engrave1 but persuaded him to base all his training upon a thorough ground-work of drawing4 ,it is this severe training as a draughtsman which lies at the foundation of ,mellan's style4 ,his original drawings were executed in pencil1 silver-point1 or chalk1 and in his engravings he preserves all the delicate and elusive charm of his originals4 ,illustration3 ,,claude ,,mellan4 ,,virginia ,,da ,,vezzo ,size of the original engraving1 #d #c inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,claude ,,mellan4 ,,fabri ,,de ,,peiresc ,size of the original engraving1 #h #e inches ,in the ,museum of ,fine ,arts1 ,boston ,his manner of engraving is peculiar to himself4 ,the inventor of a mode1 he so uses it as to exhaust its possibilities and leaves nothing for his successors to do along similar lines4 ,consequently1 although his influence on ,french portrait engraving was great and far-reaching1 he cannot1 in any true sense1 be considered as the founder of a 8school40 ,even in his early portrait plates 7incidentally1 among the most charming and perfect71 such as ,virginia de ,vezzo1 the wife of ,simon ,vouet1 engraved in ,rome in #afbf1 we find his style fully developed4 ,save for four little spots of deepest shadow1 the entire portrait is executed in single1 uncrossed lines1 indicating1 by their direction1 the contour of the face1 which is delicately modelled1 while the flow of the hair is realistically and beautifully expressed4 ,from this simple1 linear method1 adopted thus early1 ,mellan1 with few unimportant exceptions1 never departed2 and although he lived and worked until #afhh1 surviving ,morin by twenty-two years and ,robert ,nanteuil by ten1 he held to his own self-appointed course1 his work showing no trace whatever of the influence of his two most distinguished contemporaries4 ,among his many portraits choice is difficult1 but1 by general consent1 his style is seen at its very best in ,fabri de ,peiresc1 which excels in point of drawing1 grip of character1 and straightforwardness of presentation4 ,it is dated #afcg and was engraved on his way from ,rome to ,paris1 in which city he settled1 enjoying for many years a reputation and success second to none4 ,of his other portraits mention must be made of ,henriette-,marie de ,buade ,frontenac1 of a delightful silvery quality1 and of her husband1 ,henri-,louis ,habert de ,montmor1 the richest toned of all his works4 ,nicolas ,fouquet likewise is of peculiar interest1 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 dots1 in the manner of ,morin4 ,,jean ,,morin was ,mellan's junior by two years4 ,his style is in the greatest contrast to that of the older master1 not only technically1 but in that he was always a reproductive engraver1 never designing his own portraits1 the majority of his plates being after the paintings of ,philippe de ,champaigne4 ,his plates are executed almost entirely in pure etching1 with just sufficient burin work to give crispness and decision4 ,the heads are elaborately modelled1 with many minute dots1 recalling somewhat ,van ,dyck's manner in such a portrait as ,snyders4 ,antoine ,vitr1 the famous printer1 shows ,morin's method at its richest2 its brilliancy and color place it in the forefront of ,french portraits1 though for charm it may not rank with ,anne of ,austria or ,cardinal ,richelieu1 both after paintings by ,philippe de ,champaigne4 ,cardinal ,guido ,bentivoglio1 after ,van ,dyck1 well deserves the reputation which it has so long enjoyed4 ,it is1 furthermore1 significant as an example of ,morin's power of concentrating all the attention upon the countenance of his sitter4 ,he was primarily a portrait engraver and never allowed himself to be seduced1 as were such eighteenth century masters as the ,drevets1 into lavishing his skill upon the purely ornamental accessories1 to the detriment of the portrait itself4 ,fine though ,van ,dyck's full-length painting is1 ,morin is more than justified in taking from it the head and bust only1 since thereby he gives to his plate a vivid and compelling quality which otherwise would be lacking4 ,illustration3 ,,jean ,,morin4 ,,cardinal ,,guido ,,bentivoglio ,size of the original engraving1 #aa #i inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,robert ,,nanteuil4 ,,pompone ,,de ,,belli,,vre ,size of the original engraving1 #ab #i inches ,in the ,museum of ,fine ,arts1 ,boston ,,robert ,,nanteuil is not only the greatest of ,french portrait engravers2 he is one of the greatest portraitists in the history of ,french art4 ,in his work the clarity and logic of the ,french temperament is enriched by a study of the engravers of the ,flemish and ,dutch schools1 though in ,nanteuil's plates color is never sought at the expense of balance4 ,his technique is a fusion of the best elements of ,mellan and of ,morin4 ,from ,mellan he derived his carefully balanced system of open line work1 while ,morin doubtless suggested to him the use of graver flicks in modelling the face4 ,the date of ,nanteuil's birth is variously given as #afbc1 #afbe1 and #afcj1 the last-named date1 which is accepted by ,robert-,dumesnil1 corresponding best with what we know regarding the development of his work4 ,his first portrait plates were done in #afdh1 the year in which he came to ,paris1 and from that time onwards he devoted himself almost exclusively to portraiture1 until his death in #afgh4 ,his engravings form a gallery illustrating the reign of ,louis ,,xiv1 from the ,king himself1 whom he engraved no fewer than eleven times1 to the ,norman peasant and poet1 ,loret 7incidentally1 one of ,nanteuil's finest portrait plates71 whose 8,gazette0 satirized each day 8the intriguing nobles who were not afraid of bullets1 but who were in deadly fear of winter mud40 ,an interesting story is told of ,nanteuil's dbut in ,paris4 ,it is said that he received his first order by following some divinity students to a wine-shop1 where they were wont to take their meals4 ,there1 having chosen one of the portrait drawings he had brought from ,rheims1 he pretended to look for a sitter whose name and address he had forgotten4 ,it is superfluous to add that the picture was not recognized1 but it was passed from hand to hand1 the price was asked1 the artist was modest in his demands1 and before the end of the repast his career had begun4 ,one of the most interesting portraits1 in his early manner1 is that of ,cardinal de ,retz1 engraved in #afej4 ,morin has likewise left us a portrait of this personage1 and it is instructive to compare the two engravings4 ,in ,nanteuil's the background is still somewhat stiff1 but the costume is treated simply and directly1 while the face shows a judicious blending of line and dot work4 ,nothing could be finer and more reticent than ,marie de ,bragelogne of #afef4 ,the pale1 elderly1 and somewhat sad face of this old love of ,cardinal ,richelieu is treated with the greatest sympathy4 ,for the most part1 it is modelled with delicate flick work1 and where lines are employed1 they are so used as to blend perfectly into a harmonious whole4 ,in contrast to the face1 the collar is rendered in long1 flowing lines1 without cross-hatching1 entirely in the manner of ,claude ,mellan4 ,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 hand4 ,pompone de ,bellivre1 of #afeg1 after ,le ,brun's painting1 has enjoyed among collectors the reputation of being the most beautiful of all engraved portraits4 ,fine it undoubtedly is2 but it lacks that grip of character which is so conspicuously present in ,nanteuil's engravings from life1 and for compelling portrait quality it falls short of ,pierre ,seguier1 engraved in the same year1 likewise after ,le ,brun's painting4 ,jean ,loret certainly does not owe its fame to the beauty of the personage portrayed4 ,it is one of ,nanteuil's most convincing and vital plates4 ,the modelling of the face and the means employed are absolutely adequate4 ,this engraving alone would explain why1 in his day1 ,nanteuil's greatest fame rested upon the surprisingly life-like quality of his work1 whether it be pastel1 drawing1 or engraving4 ,to the year #afeh also belongs ,basile ,fouquet1 brother of ,nicolas ,fouquet1 the famous ,superintendent of ,finance4 ,not less beautiful than ,pompone de ,bellivre1 there is a vitality about the ,basile ,fouquet lacking in the better-known plate4 ,three years later1 in #affa1 ,nanteuil engraved the portrait of ,nicolas ,fouquet--one of his masterpieces of characterization4 ,nothing could be finer than the way in which he has portrayed the great finance minister1 whose ambition it was to succeed ,mazarin as virtual ruler of the kingdom4 ,it is a historical document of prime importance1 of the greatest beauty1 and preserves for all time the features of the then most powerful man in ,france1 gazing out upon the world with a half quizzical expression1 totally unaware of the sensational reversal of ,fortune already drawing near4 ,a plate not less admirable in its way--a little masterpiece--is ,franois de la ,mothe le ,vayer1 who was regarded as the ,plutarch of his time for his boundless erudition and his mode of reasoning4 ,nanteuil's engraving shows him at the age of seventy-five1 in full possession of all his intellectual powers and in the enjoyment of that good health which lasted until his death1 eleven years later1 at the ripe age of eighty-six4 ,illustration3 ,,robert ,,nanteuil4 ,,basile ,,fouquet ,size of the original engraving1 #ab #i inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,robert ,,nanteuil4 ,,jean ,,loret ,size of the original engraving1 #aj #g inches ,in the ,museum of ,fine ,arts1 ,boston ,the masterly portrait of ,turenne1 engraved in #affc1 after a painting by ,philippe de ,champaigne1 is one of the engraver's most vigorous plates1 of a size somewhat larger than had hitherto been his wont4 ,from this period date the life-size portraits1 thirty-six of which were completed before he died in #afgh1 the last four years of his life being devoted entirely to these large plates--seven of them of the ,king himself4 ,they were obviously intended to be framed and hung above the high wainscots used in those times1 and although they do not show ,nanteuil at his best1 and--in the majority of cases--are1 in part1 the work of assistants1 they are a remarkable performance4 ,nanteuil established the tradition of portrait engraving in ,france once and for all1 and although his successors1 profiting by his example1 have left us many superbly engraved plates1 none of them were able to combine the qualities of great engraver with great portraitist1 which make ,nanteuil supreme in the history of portrait engraving4 ,the nineteenth century has produced three master portrait etchers4 ,of what previous century can we say as much8 ,other portraits may possess more charm1 but none have a greater measure of dignity than those by ,,alphonse ,,legros4 ,he has been called a 8belated old master10 and in his portrait plates are combined the qualities which prove him to be a master indeed--not old1 in the sense of out of touch with his time1 but displaying the same qualities which make the portraits of ,rembrandt or ,van ,dyck so compelling and of such continuing interest4 ,cardinal ,manning--the triumph of spirit over flesh--simple1 austere2 ,g4 ,f4 ,watts1 in which the gravity and beauty of old age is portrayed as no one since ,rembrandt has portrayed it1 are plates which will assure his artistic immortality4 ,,mr4 ,,whistler1 when asked which of his etchings he considered the best1 is reported to have answered1 8,all40 ,fortunately for us1 in the case of his portraits he has indicated his preference4 8,one of my very best0 is written beneath a proof of ,annie ,haden1 now in the ,lenox ,library2 and ,whistler1 in the course of conversation with ,mr4 ,e4 ,g4 ,kennedy1 told him that if he had to make a decision as to which plate was his best1 he would rest his reputation upon ,annie ,haden4 ,it is the culmination of that wonderful series to which belong such masterpieces as ,becquet1 ,drouet1 ,finette1 ,arthur ,haden1 ,mr4 ,mann and ,riault1 the ,engraver4 ,whistler himself never surpassed this portrait1 which for perfect balance1 certainty of hand1 and sheer charm1 is not only one of the most delightful portrait plates in the history of the art1 but one of the few successful representations of the elusive charm of young girlhood4 ,illustration3 ,j4 ,a4 ,mc,n4 ,,whistler4 ,,annie ,,haden ,size of the original dry-point1 #ac #h inches ,in the ,collection of ,howard ,mansfield1 ,esq4 ,illustration3 ,j4 ,a4 ,mc,n4 ,,whistler4 ,,riault1 ,,the ,,engraver ,size of the original dry-point1 #h #e inches ,in the ,collection of ,howard ,mansfield1 ,esq4 ,hardly less beautiful are the portraits of ,florence ,leyland1 standing1 holding her hoop in her right hand1 every line of the slender figure rhythmic and beautiful2 or of ,fanny ,leyland1 seated1 the soft flounces of her white muslin dress indicated with the fewest and most delicate lines2 or ,weary1 lying back in her chair1 with hair outspread4 ,weary suggests the ,jenny of ,rossetti's poem1 but it is a portrait of 8,jo0--,joanna ,heffernan--whom ,whistler painted as ,the ,white ,girl and ,la ,belle ,irlandaise1 and of whom1 in #ahfa1 two years previously1 he had made a superb dry-point4 ,of ,whistler's portraits of men1 ,riault is assuredly one of the finest1 both in execution and in portrayal of character4 ,the concentration of the wood-engraver on his task is expressed with convincing power1 and those who mistakenly attribute to ,whistler grace at the expense of strength could hardly do better than study this dry-point4 ,could there be a greater contrast than the work of ,whistler and ,,zorn8 ,could anything better illustrate the infinite possibilities of the art1 the pliability of the medium to serve the needs of etchers as dissimilar in method as in point of attack8 ,with the fewest possible lines 7slashed1 one might almost say1 into the copper7 ,zorn evolves a portrait of compelling power1 vibrant with life4 ,mere speed counts for little1 and it is of small significance that a masterpiece such as ,ernest ,renan is the result of a single sitting of one hour only4 ,it was done in ,renan's studio in ,paris1 in ,april1 #ahib4 8,his friends10 the artist relates1 8came and asked me to make an etching of him4 ,he arranged for a sitting4 ,he was very ill1 but ,i sat studying him for a little while1 then took the plate and drew him4 ,i asked him if it was a characteristic pose and he replied1 #8,no1 ,i very seldom sit like this4' ,but his wife came in and said1 #8,you have caught him to perfection1 it is himself4 ,when he is not watched he is always like that4' ,she was really touched by it40 ,what is significant in the portrait of ,renan1 astounding1 one might say1 is that with lines so few ,zorn has given us not only the outer man1 but a character study of profound insight4 ,renan1 sunk in his chair1 the bulky body topped by the massive head1 the hair suggested with a mere handful of lines1 was like a bomb-shell to such print-collectors as previously were unacquainted with ,zorn's work4 ,it was1 however1 only one of a group of masterpieces with which the artist made his dbut in ,america1 in #ahib3 ,zorn and ,his ,wife1 ,faure1 ,the ,waltz1 ,the ,omnibus1 ,olga ,bratt1 with its elusive charm1 and the piquant ,girl with the ,cigarette1 and ,madame ,simon1 which still remains one of his most powerful portraits4 ,illustration3 ,,anders ,,zorn4 ,,ernest ,,renan ,size of the original etching1 #i #ac inches ,in the ,collection of the ,author ,illustration3 ,,anders ,,zorn4 ,,the ,,toast ,size of the original etching1 #ab #aj inches ,in the ,collection of ,albert ,w4 ,scholle1 ,esq4 ,illustration3 ,,anders ,,zorn4 ,,madame ,,simon ,size of the original etching1 #i #f inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,anders ,,zorn4 ,,miss ,,emma ,,rassmussen ,size of the original etching1 #g #e inches ,in the ,collection of the ,author ,the ,toast is etched from ,zorn's picture painted by him to celebrate the thirtieth anniversary of the ,society of the ,idun1 a scientific and artistic society in ,stockholm4 ,wieselgren1 the ,president of the ,society1 a ,viking-like figure1 is about to propose a toast2 beyond him1 characterized with the fewest lines1 are seen ,nordenskjld1 the ,arctic explorer2 ,hildebrand1 the archologist2 ,axel ,key1 professor of medicine2 and ,woern1 the ,minister of ,finance4 ,the plate has all the freshness1 all the spontaneity1 of an etching done directly from life and at a white heat4 ,among his many portraits of women1 it is difficult to make a selection4 ,miss ,anna ,burnett1 seated at the ,piano1 is charming4 ,annie1 ,mrs4 ,granberg1 and ,kesti--each1 in its own way1 fascinates us2 but if one were to express a personal preference1 it would be for ,miss ,emma ,rassmussen4 ,the blond beauty of her hair1 the fair1 tender flesh1 sparkling eyes1 and lips slightly open1 showing the firm1 small1 even teeth1 are in perfect harmony4 ,the line is more delicate than is the artist's wont1 and both as a portrait and as an etching it is a lasting delight4 ,,some ,,masters ,,of ,,portraiture ,,bibliography ,,prints ,,and ,,their ,,makers4 ,edited by ,fitz,roy ,carrington4 #bjj illustrations4 ,new ,york3 ,century ,co4 #aiab4 ,,etching ,,and ,,etchers4 ,by ,philip ,gilbert ,hamerton4 #ce original etchings4 ,london3 ,macmillan ,co4 #ahfh4 ----4 ,same4 #fth edition4 ,boston3 ,roberts ,brothers4 #ahib4 ,,the ,,golden ,,age ,,of ,,engraving4 ,by ,frederick ,keppel4 #afa illustrations4 ,new ,york3 ,the ,baker and ,taylor ,company4 #aiaj4 ,,the ,,best ,,portraits ,,in ,,engraving4 ,by ,charles ,sumner4 ,new ,york3 ,frederick ,keppel4 #ahge4 ,d,,rer1 ,,albrecht 7see ,bibliography under 8,the ,master of the ,amsterdam ,cabinet and ,albrecht ,drer10 page #acg74 ,,van ,,dyck1 ,,anthony 7#aeii-afda7 ,,eaux-,,fortes ,,de ,,antoine ,,van ,,dyck2 ,,reproduites ,,et ,,publi,,es ,,par ,,amand-,,durand4 ,edited by ,georges ,duplessis4 #ba reproductions4 ,paris3 ,amand-,durand4 #ahgd4 ,,van ,,dyck2 ,,his ,,original ,,etchings ,,and ,,his ,,iconography4 ,by ,arthur ,mayger ,hind4 #ch illustrations4 ,the ,print-,collector's ,quarterly1 #b parts4 ,part ,i4 ,vol4 #e1 ,no4 #a1 pp4 #c-cg4 ,part ,,ii4 ,vol4 #e1 ,no4 #b1 pp4 #bbj-bec4 ,boston4 #aiae4 ----4 ,reprinted in revised form4 #cf illustrations4 ,boston3 ,houghton ,mifflin ,company4 #aiae4 ,,van ,,dyck ,,and ,,portrait ,,engraving ,,and ,,etching ,,in ,,the ,,seventeenth ,,century4 ,edited by ,arthur ,mayger ,hind4 #fe reproductions4 ,london and ,new ,york3 ,frederick ,a4 ,stokes ,company1 n4 d4 7,great ,engravers47 ,,van ,,dyck4 ,by ,h4 ,knackfuss4 ,translated by ,campbell ,dodgson4 #ee illustrations4 ,bielefeld and ,leipzig3 ,velhagen ,klasing4 #ahii4 7,monographs on ,artists47 ,,etchings ,,of ,,van ,,dyck4 ,edited by ,frank ,newbolt4 #cd reproductions4 ,london3 ,george ,newnes4 n4 d4 ,,etchings ,,by ,,van ,,dyck4 ,by ,walter ,h4 ,sparrow4 ,with an introduction by ,h4 ,singer4 #bc reproductions of the first states4 ,london3 ,hodder ,stoughton4 #aije4 ,l',,iconographie ,d',,antoine ,,van ,,dyck1 ,d',,apr,s ,,les ,,recherches ,,de ,h4 ,,weber4 ,by ,friedrich ,wibiral4 #a reproduction and #f plates of watermarks4 ,leipzig3 ,a4 ,danz4 #ahgg4 ,,rembrandt ,,harmensz ,,van ,,rijn 7#afjf-affi7 ,,the ,,etched ,,work ,,of ,,rembrandt2 ,a ,,monograph 7,,written ,,as ,,introduction ,,to ,,the ,,burlington ,,club ,,exhibition1 #ahgg7 ,,with ,,an ,,appendix ,,respecting ,,appropriation ,,of ,,the ,,foregoing ,,in ,,middleton',s ,,descriptive ,,catalogue4 ,by ,francis ,seymour ,haden4 ,london3 ,macmillan ,co4 #ahgi4 ,,the ,,etchings ,,of ,,rembrandt4 ,by ,philip ,gilbert ,hamerton4 #d reproductions and #cf text illustrations4 ,london3 ,seeley ,co4 #aijb4 7,portfolio ,monographs47 ,,rembrandt',s ,,etchings2 ,,an ,,essay ,,and ,a ,,catalogue1 ,,with ,,some ,,notes ,,on ,,the ,,drawings4 ,by ,arthur ,mayger ,hind4 ,london3 ,methuen ,co4 #aiab4 ,volume #a1 ,text 7with #cd plates illustrating the drawings74 ,volume #b1 ,illustrations 7#ccj reproductions74 ,,etchings ,,of ,,rembrandt4 ,edited by ,arthur ,mayger ,hind4 #fb reproductions4 ,london and ,new ,york3 ,frederick ,a4 ,stokes ,company4 #aijg4 7,great ,engravers47 ,,rembrandt4 ,by ,h4 ,knackfuss4 ,translated by ,campbell ,dodgson4 #aei illustrations4 ,bielefeld and ,leipzig3 ,velhagen ,klasing4 #ahii4 7,monographs on ,artists47 ,,rembrandt',s ,,amsterdam4 ,by ,frits ,lugt4 #bg illustrations and map4 ,the ,print-,collector's ,quarterly1 ,vol4 #e1 ,no4 #b1 pp4 #aaa-afi4 ,boston4 #aiae4 ,,rembrandt2 ,,his ,,life1 ,,his ,,work1 ,,and ,,his ,,time4 ,by ,emile ,michel4 ,translated by ,florence ,simmonds4 ,edited by ,frederick ,wedmore4 #b volumes4 #cag illustrations4 ,london3 ,william ,heinemann4 #ahie4 ,l',,oeuvre ,,grav ,,de ,,rembrandt2 ,,reproductions ,,des ,,planches ,,dans ,,tout ,,leurs ,,tats ,,successifs1 ,,avec ,,un ,,catalogue ,,raisonn4 ,by ,dmitri ,rovinski4 #ajjj reproductions4 ,st4 ,petersburg3 ,l',acadmie ,impriale des ,sciences4 #ahij4 ,volume #a1 ,text4 ,volumes #b-d1 ,reproductions4 ---- ----4 ,supplement4 ,collected by ,d4 ,rovinski4 ,arranged and described by ,n4 ,tchtchouline4 #id reproductions4 ,st4 ,petersburg3 ,s4 ,n4 ,kotoff1 and ,leipzig3 ,karl ,w4 ,hiersemann4 #aiad4 ,,kritisches ,,verzeichnis ,,der ,,radierungen ,,rembrandts1 ,,zugleich ,,eine ,,anleitung ,,zu ,,deren ,,studium4 ,by ,woldemar von ,seidlitz4 ,leipzig3 ,e4 ,a4 ,seemann4 #ahie4 ,,rembrandt2 ,,des ,,meisters ,,radierungen ,,in #djb ,,abbildungen4 ,edited by ,hans ,wolfgang ,singer4 ,stuttgart and ,leipzig3 ,deutsche ,verlags-,anstalt4 #aijf4 7,klassiker der ,kunst4 ,vol4 #h47 ,,portrait ,,engraving ,,in ,,france ,,de ,,la ,,gravure ,,du ,,portrait ,,en ,,france4 ,by ,georges ,duplessis4 ,paris3 ,rapilly4 #ahge4 ,,le ,,peintre-,,graveur ,,fran,,ais2 ,,un ,,catalogue ,,raisonn ,d',,estampes ,,grav,,es ,,par ,,les ,,peintres ,,et ,,les ,,dessinateurs ,,de ,l',,cole ,,fran,,aise1 ,,ouvrage ,,faisant ,,suite ,,au ,,peintre-,,graveur ,,de ,m4 ,,bartsch4 ,by ,a4 ,p4 ,f4 ,robert-,dumesnil4 #aa volumes4 7,vol4 #aa4 ,supplement by ,georges ,duplessis47 ,paris3 ,mme4 ,huzard4 #ahce-ga4 ,,le ,,peintre-,,graveur ,,fran,,ais ,,continu 444 ,,ouvrage ,,faisant ,,suite ,,au ,,peintre-,,graveur ,,fran,,ais ,,de ,,robert-,,dumesnil4 ,by ,prosper de ,baudicour4 ,paris3 ,mme4 ,bouchard-,huzard4 #ahei-ahfa4 #b volumes4 ,,french ,,portrait ,,engraving ,,of ,,the ,,seventeenth ,,and ,,eighteenth ,,centuries4 ,by ,t4 ,h4 ,thomas4 #ci illustrations4 ,london3 ,george ,bell ,sons4 #aiaj4 ,,mellan1 ,,claude 7#aeih-afhh7 ,,claude ,,mellan4 ,by ,louis ,r4 ,metcalfe4 #ac illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #e1 ,no4 #c1 pp4 #beh-bib4 ,boston4 #aiae4 ,,catalogue ,,raisonn ,,de ,l',,oeuvre ,,de ,,claude ,,mellan ,d',,abbeville4 ,by ,anatole de ,montaiglon4 ,biography by ,p4 ,j4 ,mariette4 ,abbeville3 ,p4 ,briez4 #ahef4 ,,morin1 ,,jean 7before #aeij787-afej7 ,,jean ,,morin4 ,by ,louis ,r4 ,metcalfe4 #aa illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #b1 ,no4 #a1 pp4 #a-cj4 ,boston4 #aiab4 ,,nanteuil1 ,,robert 7#afbc7be87-afgh7 ,,robert ,,nanteuil4 ,by ,louis ,r4 ,metcalfe4 #ab illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #a1 ,no4 #e1 pp4 #ebe-efa4 ,boston4 #aiaa4 ,,nanteuil2 ,,sa ,,vie ,,et ,,son ,,oeuvre4 ,by ,abb ,porre4 ,rouen3 ,cagniard4 #ahij4 ,,the ,,drawings ,,and ,,pastels ,,of ,,nanteuil4 ,by ,t4 ,h4 ,thomas4 #ae illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #d1 ,no4 #d1 pp4 #cbg-cfa4 ,boston4 #aiad4 ,,legros1 ,,alphonse 7#ahcg-aiaa7 ,,alphonse ,,legros4 ,by ,elisabeth ,luther ,cary4 #aj illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #b1 ,no4 #d1 pp4 #dci-deg4 ,boston4 #aiab4 ,,catalogue ,,raisonn ,,de ,l',,uvre ,,grav ,,et ,,lithographi ,,de ,m4 ,,alphonse ,,legros1 #ahee-gg4 ,by ,paul ,auguste ,poulet-,malassis and ,a4 ,w4 ,thibaudeau4 #c plates4 ,paris3 ,j4 ,baur4 #ahgg4 ,,whistler1 ,,james ,,abbott ,mc,n,e,i,l,l 7#ahcd-aijc7 7see ,bibliography under 8,landscape ,etching10 p4 #bgg74 ,,zorn1 ,,anders 7#ahfj- 7 ,,das ,,radierte ,,werk ,,des ,,anders ,,zorn4 ,by ,fortunat von ,schubert-,soldern4 ,illustrated4 ,dresden3 ,ernst ,arnold4 #aije4 ,,anders ,,zorn4 ,by ,loys ,delteil4 #cbh reproductions4 ,paris3 ,l'auteur4 #aiji4 7,le ,peintre-graveur illustr1 ,,xix et ,,xx sicles4 ,vol4 #d47 ,,anders ,,zorn4 ,by ,mrs4 ,schuyler ,van ,rensselaer4 #e illustrations4 ,the ,century1 ,vol4 #bd1 p4 #ehb 7,new ,series74 ,new ,york4 #ahic4 ,,anders ,,zorn3 ,,painter-,,etcher4 ,by ,j4 ,nilsen ,laurvik4 #ah illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #a1 ,no4 #e1 pp4 #faa-fcg4 ,boston4 #aiaa4 ,,landscape ,,etching ,in landscape1 as in portraiture1 we are greeted on the threshold by ,,albrecht ,d,,rer4 ,from his many drawings1 water-colors1 and the beautifully engraved backgrounds in a number of his plates1 we know him to have been a profound student of natural forms and of atmospheric effects1 sensitive to the character of the country he portrays2 and it is a matter of regret that ,the ,cannon is the only plate in which the landscape element outweighs in interest the figures4 ,the ,cannon1 which is dated #aeah1 is etched upon an iron plate1 not necessarily because ,drer was unacquainted with a suitable mordant for copper1 but rather1 one is inclined to believe1 because1 etching having been used in the decoration of arms and armor1 iron would naturally suggest itself as the most appropriate metal for the purpose4 ,although the cannon 78,the ,nuremberg ,field ,serpent071 to the left1 and the five ,turks1 to the right1 are the main motives of the composition1 they are drawn and bitten with lines of exactly the same weight and character as the landscape itself1 and we can1 if we will1 consider them as accessory figures1 concentrating our attention upon the altogether delightful village1 its church spire pointing heavenwards1 while in the distance wooded hills rise towards the sombre sky1 and to the left a seaport is indicated4 ,drer either ignored or was unaware of the effects to be obtained by repeated rebitings1 and consequently the plate is of a uniform tone4 ,within his self-imposed limits he has thoroughly understood the possibilities of the medium and has availed himself of them1 adopting an open1 linear technique1 in marked contrast to his highly elaborate engravings on copper of this period4 ,,albrecht ,,altdorfer1 who was born in ,regensburg about #adhj and died in ,february1 #aech1 is notable as one of the earliest interpreters of landscape for its own sake4 ,he has left us ten landscape etchings4 ,none of them is dated1 but they clearly belong to his last period4 ,in them he has merely transferred to metal his mode of pen drawing1 an excellent style in a way1 since it is linear and suggestive1 but lacking distinction and that passionate1 dramatic quality which is so impressive in the painting1 ,st4 ,george1 in the ,munich ,gallery1 the engraving of the ,crucifixion2 or the ,agony in the ,garden1 a drawing in the ,berlin ,print ,room4 ,illustration3 ,,albrecht ,d,,rer4 ,,the ,,cannon ,size of the original etching1 #h #ab inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,augustin ,,hirschvogel4 ,,landscape ,size of the original etching1 #e #h inches ,in the ,museum of ,fine ,arts1 ,boston ,the etchings of ,,augustin ,,hirschvogel are even simpler in treatment than those by ,altdorfer4 ,they bear dates from #aede to #aedi4 ,the more one studies his landscape plates1 breathing the spirit of the true nature lover1 the more fascinating do they become4 ,he has eliminated all non-essentials1 concentrating his attention upon what were to him the most significant features1 and in this respect he may have influenced the work of more than one nineteenth century master4 ,,hans ,,sebald ,,lautensack1 who was some twenty years ,hirschvogel's junior1 was born in ,nuremberg about #aebd4 ,the greater number of his landscape plates fall within the years #aeea and #aeee4 ,he is neither so simple nor so direct as ,hirschvogel1 and his plates suffer from over-elaboration4 ,in an attempt to give a complete representation of the scene the value of the line is lost1 and1 in the majority of cases1 the composition is lacking in repose4 ,for almost a century we have no landscape etchings of prime importance4 ,then1 in #afdj1 ,rembrandt appears on the scene with his ,view of ,amsterdam1 the first of a series of twenty-seven masterpieces which1 beginning with this plate1 comes to an end with ,a ,clump of ,trees with a ,vista 7#afeb74 ,the ,view of ,amsterdam is1 among ,rembrandt's landscapes1 comparable to the portrait of himself leaning on a stone sill1 inasmuch as it is1 in its own simple linear mode1 a model of what etching can be at its best4 ,as in the case of all these etchings1 with the exception of the ,three ,trees and the ,landscape with a ,ruined ,tower and ,clear ,foreground1 the sky is left perfectly blank1 and our imagination must supply the quiet sunshine of a cloudless day or that delicate grayness which makes ,holland a perpetual delight to the painter4 ,the ,windmill 7#afda7 is ,rembrandt's first dated etching4 ,it is truly a portrait of a place1 not only in its outer aspect1 but in that inner spirit which1 if it be present1 moves us so profoundly1 as in the case of ,meryon's etchings of ,paris and ,piranesi's plates of ancient ,roman edifices2 or1 if it be absent1 leaves us disappointed and cold4 ,in the ,windmill1 8we feel the stains of weather1 the touch of time1 on the structure2 we feel the air about it and the quiet light that rests on the far horizon as the eye travels over dike and meadow2 we are admitted to the subtlety and sensitiveness of a sight transcending our own2 and even by some intangible means beyond analysis we partake of something of ,rembrandt's actual mind and feeling1 his sense of what the old mill meant1 not merely as a picturesque object to be drawn1 but as a human element in the landscape1 implying the daily work of human hands and the association of man and earth40#ab #ab ,rembrandt's ,landscape ,etchings4 ,by ,laurence ,binyon4 ,the ,print-,collector's ,quarterly4 ,vol4 #b1 ,no4 #d1 p4 #dad4 ,illustration3 ,,rembrandt4 ,,the ,,windmill ,size of the original etching1 #e #h inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,rembrandt4 ,,three ,,trees ,size of the original etching1 #h #aa inches ,in the ,museum of ,fine ,arts1 ,boston ,to the same year belong the ,landscape with a ,cottage and ,haybarn and ,landscape with a ,cottage and a ,large ,tree1 two delightfully spacious plates4 ,there is one etching in #afdb1 the ,cottage with a ,white ,paling1 in which dry-point is judiciously used to give richness to the shadows4 ,to the following year1 #afdc1 belongs the ,three ,trees1 the most famous of ,rembrandt's landscape etchings4 ,note how ,rembrandt has suggested the passing of a summer thunder-storm1 the rain-charged clouds rolling away to the left1 while from the right the returning sunshine bathes the composition in glory1 making each freshly washed leaf and blade of grass sparkle in its beams4 ,even the hard1 slanting lines of rain in the upper left portion of the plate have their purpose1 affording a needed contrast to the swiftly changing clouds1 which the freshening breeze drives before it over the peopled plain and the far-reaching sea in the distance4 ,in #afde there are five landscape etchings4 ,if the ,three ,trees is ,rembrandt's most elaborate plate1 ,six's ,bridge is1 in some ways1 his most learned performance4 ,according to tradition1 it was etched 8against time10 for a wager1 at the country house of ,rembrandt's friend1 ,jan ,six1 while the servant was fetching the mustard1 that had been forgotten1 from a neighboring village4 ,there is1 however1 nothing hasty or incomplete about it4 ,it is1 to use ,whistler's words1 8finished from the beginning10 beautifully balanced1 not a line wasted1 of its kind a perfect work of art4 ,there are no more landscapes until #afej1 a good year1 since it gives us eight plates1 every one worthy of the most serious consideration4 ,rembrandt by this time apparently had become dissatisfied with the relatively limited range of light and dark obtainable by the pure etched line1 and from now onwards he relies more and more upon dry-point to obtain his effects1 at times executing his plates entirely in that medium4 ,the ,landscape with a ,haybarn and a ,flock of ,sheep is one of the loveliest plates of this period4 ,there is a brilliancy in the first state1 a quiet harmony in the elaborated second state1 which makes a choice difficult4 ,each1 in its way1 is of compelling beauty4 ,hardly less delightful is the ,landscape with a ,milkman1 with a view of the sea to the right1 while at the left the cottages snuggle beneath their protecting trees4 ,illustration3 ,,rembrandt4 ,,six',s ,,bridge ,size of the original etching1 #e #h inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,rembrandt4 ,,landscape ,,with ,a ,,ruined ,,tower ,,and ,,clear ,,foreground ,size of the original etching1 #d #ab inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,rembrandt4 ,,landscape ,,with ,a ,,haybarn ,,and ,a ,,flock ,,of ,,sheep ,size of the original etching1 #c #g inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,rembrandt4 ,,three ,,cottages ,size of the original etching1 #f #h inches ,in the ,museum of ,fine ,arts1 ,boston ,the ,landscape with a ,ruined ,tower and ,clear ,foreground is1 perhaps1 of all these etchings the noblest and the most dramatic4 ,in the sky to the left are piled thunder clouds4 ,a faint breeze1 the precursor of a coming storm1 gently moves the upper branches of the trees4 ,there is an expectant hush1 a tenseness1 and we are made to feel that in a few minutes the first heavy raindrops will be driving through the over-charged air4 ,otherwise all is still1 the sky to the right being yet quiet and undisturbed4 ,with the fewest etched lines ,rembrandt has indicated the form and growth of the trees1 adding1 just where needed to give emphasis and enrichment1 touches of dry-point1 concentrating his richest blacks on the noble clump which shuts off the road leading toward the left4 ,with such simple means1 with black lines and white paper1 he has given us by his art a more convincing record of one of ,nature's noblest spectacles than most painters1 with a full palette at their command1 could achieve in a lifetime of labor4 ,in the ,three ,cottages dry-point is used with magnificent effect4 ,early impressions of this masterpiece have a richness1 a bloom1 which is unmatched among ,rembrandt's landscape plates4 ,a fine impression of the third state1 with the added shading on the gabled end of the first cottage1 represents the plate admirably4 ,to be seen at its best1 however1 it should not be too heavily charged with ink1 since the tree forms thereby are confused4 ,work such as this is so seemingly simple that one may readily overlook the power of analysis and the superb draughtsmanship it displays4 ,everyone who loves ,rembrandt's landscapes--and who that knows them does not love them8--must bitterly regret that at about this time1 in the very plenitude of his powers1 he saw fit to bring his landscape work to a close4 ,it is true that we have the ,goldweigher's ,field of #afea--;an unsurpassed masterpiece--and in the following year the ,landscape with a ,road ,beside a ,canal and ,a ,clump of ,trees with a ,vista2 but had he treated a landscape motive with the passion which breathes from the ,three ,crosses1 ,christ ,presented to the ,people1 or the ,presentation in the ,temple1 how much richer and fuller would landscape art have been6 ,the ,goldweigher's ,field1 by tradition the country seat of the ,receiver ,general1 ,uytenbogrt1 whose portrait ,rembrandt had etched in #afci 7,the ,goldweigher71 is1 in point of suggestiveness1 second to none of ,rembrandt's plates4 ,the eye is gently led from field to fertile field1 each with its own individual character and filled with interesting little details1 and finally rests upon the quiet sea which stretches to the horizon4 ,contemporary with ,rembrandt1 treating scenes essentially the same1 a whole school of etchers produced an enormous number of plates1 many of them charming1 but none to be classed with the permanently great work in the history of the art4 ,illustration3 ,,rembrandt4 ,,goldweigher',s ,,field ,size of the original etching1 #d #ab inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,jacob ,,ruysdael4 ,,wheat ,,field ,size of the original etching1 #d #f inches ,in the ,museum of ,fine ,arts1 ,boston ,,hercules ,,seghers is interesting because of his choice of wild1 rugged mountains for his subject-matter and of his experiments in color printing1 but as an etcher he is of historical importance only4 ,,jacob ,,ruysdael displays a knowledge of tree forms and an appreciation of their beauty1 rare at any time4 ,his work at its best recalls that of the great nineteenth century master1 ,thodore ,rousseau1 though the latter's few plates show a greater economy of means and an equal affection for ,nature in her wilder moods4 ,the ,wheat ,field is one of ,ruysdael's most satisfying plates4 ,the sky1 with its rolling clouds1 is simply treated and shows a knowledge and reticence in the use of line denied to the greater number of his more laborious contemporaries1 who1 in the main1 when they endeavored to 8finish0 a plate ended by leaving it fatigued and stiff4 ,claude ,gelle1 called ,claude ,lorrain1 is the one seventeenth century ,french landscape etcher4 ,born in the year #afjj in the ,diocese of ,toul and the ,duchy of ,lorraine 7whence he derives the name by which he is best known71 early orphaned1 at the age of thirteen1 after a varied and picturesque boyhood1 journeyed to ,rome1 thence to ,naples1 and later to ,venice4 ,in #afbg he settled permanently in ,rome1 where he remained until his death in #afhb4 ,his etchings are the fruit of that indefatigable study of nature which he pursued almost until the day of his death4 ,heedless of fatigue1 he would spend day after day1 from sunrise until nightfall1 noting every phase of dawn1 the glory of sunrise1 or the majesty of the sunset hours4 ,for him the modest nook held no charm and exerted no fascination4 ,he chose for his theme ,nature in her more spacious aspects--wide-stretching horizons and deep overarching skies1 with clumps of stately trees1 between and beyond which are to be seen castle-crowned hills1 or a half-ruined temple1 the relic of ,imperial ,rome1 a passionate love for which burned with a steady flame in ,claude1 more ,roman than the ,romans themselves in his worship of the ,eternal ,city and all that could recall her vanished glory4 ,claude's paintings are to be seen in nearly every ,european gallery of importance1 but his etchings are seldom met with4 ,really fine impressions 7by which alone they can be judged7 are unfortunately very rare4 ,his work would seem to divide itself into two periods3 #afcj to #afcg1 and #affb and #affc4 ,it is to the earlier period that his finest work belongs1 the later plates being heavy and stiff in treatment4 ,claude's etchings show none of that economy and suggestiveness of line which make of ,rembrandt's most summary sketch a continuous stimulus and delight4 ,they are highly wrought pictures1 as carefully and lovingly finished in all details as are the paintings themselves4 ,etching1 dry-point1 the burnisher1 and a tone produced by roughening the surface of the plate with pumice-stone or some similar material1 all are called into play to produce a harmonious result1 and of their kind there is nothing finer4 ,the ,dance ,under the ,trees shows ,claude in his most purely pastoral vein--classic pastoral--seen through ,virgilian eyes and interpreted in the spirit of the ,eclogues4 ,it is carefully composed and beautifully drawn2 and if1 to our more modern taste1 there seems a little too obvious an 8arrangement10 with the two vistas balancing one another at the right and left of the central group of trees1 we must remember that landscape1 no less than literature or costume1 has its fashions1 and that1 in ,claude's time1 balance and proportion were esteemed of greater value than the freedom and spontaneity which we today1 more insistent on the individual note1 esteem the chief charm of etching4 ,le ,bouvier1 etched in #afcf1 is accounted ,claude's masterpiece4 8,for technical quality of a certain delicate kind it is the finest landscape etching in the world4 ,its transparency and gradation have never been surpassed40#ac ,it is the work of a real nature lover and true poet1 and sums up in a few square inches all that is best of ,claude's art when it has shaken itself free from the 8set scene0 and theatricalities4 ,technically it is not less admirable4 ,the copper has been caressed1 so to speak1 with the needle1 until it responds by yielding all those elusive half lights and luminous shadows which play among the leaves of the noble trees to the left1 while on the right the landscape fairly swims in light and air4 ,for this same quality of sunlight ,claude tries again and again in his etchings1 in ,sunrise with complete success4 ,when he essays to interpret ,nature in her sterner moods1 as in the ,flock in ,stormy ,weather 7his one plate of the year #afea71 he is far less happy4 ,the clouds1 which should be heavy with rain1 are unconvincing1 though the suggestion of movement in the trees is excellent1 and in no other plate has he treated architecture with a firmer touch or in a more picturesque manner4 #ac ,etching and ,etchers4 ,by ,philip ,gilbert ,hamerton4 ,london2 ,macmillan ,co4 #ahfh4 p4 #agh4 ,after the middle of the seventeenth century1 etching1 as an original1 creative art1 is increasingly neglected for almost two hundred years1 though it grows in popularity as an easy and expeditious mode of 8forwarding0 a plate to be finished with the burin4 ,illustration3 ,,claude ,,lorrain4 ,,le ,,bouvier ,size of the original etching1 #e x #g inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,charles ,,jacque4 ,,troupeau ,,de ,,porcs ,size of the original etching1 #e #h inches ,in the ,museum of ,fine ,arts1 ,boston ,to ,,charles ,,jacque1 in the early 8forties10 belongs the honor of having restored etching to its proper and legitimate place as a suggestive and linear art4 ,his method is based on a thorough understanding of its limitations and qualities as exemplified by ,rembrandt and his lesser contemporaries in ,holland2 and both by his work 7he has left between five and six hundred plates7 and by his influence1 he is the father of the nineteenth century revival of etching1 not only in ,france1 where its possibilities were appreciated at once by the ,romantic group and the 8,men of #ahcj10 but in ,england1 through ,seymour ,haden and ,whistler4 ,charles ,jacque was born in ,paris on ,may #bc1 #ahac1 and to the last 7he died at the ripe age of #ha1 in the year #ahid7 he retained1 in country life1 something of the city man's point of view1 the love of the 8picturesque10 the anecdotic1 in marked contrast to his greater contemporary1 ,jean-,franois ,millet1 whose few etchings form an epic of the soil even more powerful than his paintings4 ,for all that1 ,jacque is a true etcher1 working along the soundest lines and safest traditions4 ,he is unequal3 his work suffers at times from a hankering for 8finish02 but at his best his little plates are delightfully suggestive1 every line being there for a purpose1 and not a line too much4 ,up to #ahdh he had completed some three hundred etchings and dry-points1 and it is among this group that many 8masterpieces in little0 are to be found4 ,it would be hard to find a better model of style than the ,wheat ,field4 ,the print is scarcely larger than a visiting card1 but it conveys a sense of spaciousness and 8out of doors0 sadly lacking in many a painting in full color and of a hundred times its size4 ,the ,truffle ,gatherers is likewise of modest size1 but the landscape with its leafless trees is full of air1 and the sense of life and movement1 as well as the effective composition of the 8rooters0 accompanied by their herdsman1 is1 from many points of view1 unexcelled4 ,the ,storm--,landscape with a ,white ,horse is one of ,jacque's finest interpretations of wind and rough weather4 ,this dry-point1 unfortunately very rare1 recalls the work of ,rembrandt in his mature period4 ,the sky1 slashed with driving showers1 the trees swayed this way and that by the gusty wind1 the white horse with legs firmly braced1 its mane and tail matted by the rain against its neck and flank1 all combine to heighten and intensify the effect4 ,younger than ,jacque by four years 7he was born ,february #ae1 #ahag71 ,,charles-,,fran,,ois ,,daubigny differs from him in that it is the lyric1 the spiritual aspect of nature1 rather than the incidental and picturesque details of country life1 which moved him4 ,illustration3 ,,charles ,,jacque4 ,,storm--,,landscape ,,with ,a ,,white ,,horse ,size of the original dry-point1 #f #h inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,charles-,,fran,,ois ,,daubigny4 ,,deer ,,in ,a ,,wood ,size of the original etching1 #f #d inches ,in the ,museum of ,fine ,arts1 ,boston ,none of the other ,barbizon men has so successfully interpreted the freshness of early morning1 the sparkle of sunrise on tender young leaves or dew-bespangled grass1 the tranquility of the quiet pool hidden in the depth of the forest4 ,his first plate1 etched in collaboration with his friend ,meissonier1 is dated #ahch1 and all through the 8forties0 ,daubigny continued to etch either original motives or such as were commissioned by editors for the embellishment of various publications1 in many cases poems and songs of a pastoral nature4 ,it is1 however1 to the following decade that his finest work belongs--a series of little masterpieces which1 in their way1 remain unequalled4 ,his plates1 small in size1 are as carefully worked out as those of ,claude but with a truer feeling for the elusive charm of still1 untroubled places4 ,later his style grows broader and bolder4 ,less is actually said1 more is suggested4 ,there is a freedom in his line work which these etchings of his middle period had hardly led us to expect but for which1 in truth1 they were the finest preparation4 ,he has learned to eliminate the non-essential2 and in etching the art of omission is the supreme virtue4 ,one of the most suggestive plates of his middle period is ,deer in a ,wood4 ,the treatment is perfectly simple and straightforward1 truly linear1 as all good etching should be1 but the spirit of the scene is captured and portrayed in these few1 seemingly careless1 lines4 ,deer ,coming ,down to ,drink is another altogether delightful plate in the same series4 ,the early morning air is vibrant with the glory of sunrise1 and the little leaves clap their hands in joy4 8,has it not often occurred to you1 in your explorations as a tourist1 to see suddenly open before you a break in the landscape1 a little valley1 calm1 in repose1 full of elegant and tranquil forms1 of discreet and harmonious colors1 of softened shadows and lights1 bordered by hillsides with rounded and retiring forms and where no step seems to have troubled the poetic silence8 ,a pond1 placed there like a mirror1 reflects the picture1 and bears on its cup-like edge sheaves of rushes1 coltsfoot1 arrow-heads1 water-strawberries and the white and yellow flowers of the water lily1 amid which swarm a buzzing world of insects and gnats4444 ,as you approach1 some heron1 occupied in dressing its plumage1 flies off1 snapping its beak2 the snipe runs away1 piping its little cry2 then everything falls again into silence1 and the valley1 welcoming you as its guest1 takes up under your eyes its mysterious work40#ad ,all this and more ,daubigny gives us by his art4 #ad ,count ,clment de ,ris4 ,l',artiste4 ,june1 #ahec4 ,illustration3 ,,charles-,,fran,,ois ,,daubigny4 ,,deer ,,coming ,,down ,,to ,,drink ,size of the original etching1 #f #d inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,charles-,,fran,,ois ,,daubigny4 ,,moonlight ,,on ,,the ,,banks ,,of ,,the ,,oise ,size of the original etching1 #d #f inches ,in the ,museum of ,fine ,arts1 ,boston ,daubigny's success as a painter1 the constantly increasing demand for his work1 left him little time1 as years went by1 for etching4 8,if only ,i could paint a picture that wouldn't sell10 he once said in sheer desperation1 and1 momentarily1 his superb renderings of the mystery of evening and night accomplished his object1 though now they are jealously guarded in some of the world's finest collections4 ,but to etch night1 to suggest moonlight--there was a problem indeed6 ,whistler in his 8,nocturnes0 paints1 so to speak1 on his plate with printer's ink4 ,daubigny relies on lines alone1 to produce his result4 8,night cannot be etched0 is the dictum of more than one authority4 ,no1 nor sunlight either1 nor clouds6 ,none of these things can be pictured so that blind eyes can see them4 ,but to those who will meet the etcher half way1 who are content with a suggestion and are capable of reconstructing from it the artist's mood1 these simple linear plates of ,daubigny's last period are a revelation and a delight4 ,moonlight on the ,banks of the ,oise measures scant four by six inches1 yet what a feeling of space there is in it6 ,only a born etcher could have succeeded by means so simple1 and seemingly inadequate1 in capturing the very spirit of such a scene4 ,corot's etched work comprises fourteen plates4 ,it was not until #ahde1 when he was in his fiftieth year1 that he made his first experiment4 8,corot took a prepared copper-plate and drew in the outlines and masses of the well-known ,souvenir of ,tuscany1 but did not proceed to the #8biting in' process4 ,some years later ,flix ,bracquemond discovered the plate in a nail-box at ,corot's studio and begged the master to complete it1 offering to take charge of the #8biting in4' ,corot then took the plate and added the tones and details of the final state4444 ,there was something in the use of mordants and acids that seemed to frighten ,corot1 and he always called in some good friend such as ,bracquemond1 ,michelin or ,delaunay to assist in this delicate process40#ae #ae ,le ,pre ,corot4 ,by ,robert ,j4 ,wickenden4 ,the ,print-,collector's ,quarterly4 ,vol4 #b1 ,no4 #c4 p4 #chb4 ,in etching his method is as personal as in his painting4 ,he entirely disregards all the accepted canons of the art4 ,line1 as line1 hardly exists in his plates2 it is scribble1 scribble1 everywhere4 ,the tree trunks1 the rocks1 foreground and distance1 often the foliage itself1 all are as 8wrong as wrong can be10 so far as accurate representation is concerned4 ,yet ,corot1 great artist and great nature poet1 can transgress every rule and still succeed in conveying his message4 ,in the best of his etchings he does succeed admirably4 ,souvenir of ,italy and ,environs of ,rome of #ahfe 7,corot was then nearly seventy years of age7 are among the most interesting prints of the period4 ,in these plates1 and others like them1 ,corot has given free rein to his poetic and imaginative powers and has drawn upon his memory of the ,italy of his youth4 ,in method1 in their disregard of line1 form and texture1 they are shining examples of what etching should not be4 ,in decorative quality1 poetic suggestion1 and sentiment they are altogether delightful4 ,illustration3 ,,camille ,,corot4 ,,souvenir ,,of ,,italy ,size of the original etching1 #aa #h inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,jean-,,fran,,ois ,,millet4 ,,the ,,gleaners ,size of the original etching1 #g #aj inches ,in the ,museum of ,fine ,arts1 ,boston ,in ,,millet',s etchings the landscape and the figures are so inter-related as to make any separate study of them unavailing4 ,they are models of significant draughtsmanship and profound feeling1 in which nothing is introduced that does not bear directly upon the main theme4 ,shepherdess ,knitting1 ,peasants ,going to ,work1 ,two ,men ,digging1 and above all the ,gleaners1 have each their perfect setting4 ,the wide-stretching plain1 slightly undulating1 shimmers in the hot summer sunshine1 which bathes in a golden glow the three women gleaning1 the harvesters gathering in the rich fruits of their toil1 and the little village1 snuggling amid its trees in the far distance to the right4 ,etchers1 like poets1 are 8born1 not made40 ,but1 as also in the case of poets1 natural gifts will avail little if they are not reinforced by that capacity for taking infinite pains1 through which alone a man may so master his medium as to shape it readily to his artistic needs4 ,the etched work of ,,seymour ,,haden is no chance happening4 ,it is the fruit of close and analytical study1 by a man of forceful character and scientific attainments1 of the best model of style1 the etchings of ,rembrandt2 supplemented by a familiarity with the work of his contemporaries in ,france1 the land of clear and logical thinking2 and in no art is clarity and brevity of speech more essential than in etching4 ,from the beginning1 ,seymour ,haden was in possession of all his powers1 both in etching and in dry-point4 ,there is no uncertainty in that which he wishes to say1 no fumbling in his manner of saying it4 ,the reticences and half-hesitations of ,daubigny are not for him2 there is no place for ,corot's scribbled poetry4 ,he will give us a strong man's interpretation of the lovely ,english landscape1 in which he takes a pride1 as in any other personal possession--,god's visible and abounding bounty to a superior people4 ,it is 8the bones of things0 7his own phrase7 that he wishes1 above all else1 to give4 ,at his best he succeeds magnificently1 but in much of his work1 structurally fine though it be1 it is the frame rather than the spirit that he portrays4 ,illustration3 ,,seymour ,,haden4 ,,cardigan ,,bridge ,size of the original etching1 #d #e inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,seymour ,,haden4 ,,by-,,road ,,in ,,tipperary ,size of the original etching1 #g #aa inches ,illustration3 ,,seymour ,,haden4 ,,sunset ,,in ,,ireland ,size of the original dry-point1 #e #h inches ,in the ,museum of ,fine ,arts1 ,boston ,illustration3 ,,seymour ,,haden4 ,,sawley ,,abbey ,size of the original etching1 #aj #ad inches ,in the ,collection of the ,author ,a ,water ,meadow 7incidentally1 a plate which the artist himself liked7 is a fine transcript of a sudden shower in the ,hampshire lowlands4 ,it is bold and painter-like1 admirable from every point of view1 though some may prefer ,on the ,test1 with its truly noble sky1 etched later in the day from a somewhat different point of view4 ,cardigan ,bridge is a model of what a sketch should be1 free1 suggestive1 spontaneous1 yet full of knowledge4 ,it is one of five similar plates1 etched in a single day1 ,august #ag1 #ahfd1 a 8good day0 indeed1 such as rarely comes to etchers or to painters6 ,the more one sees of modern etching1 the more one is inclined to value work of this order4 ,it is so easy1 so fatally easy1 to make wriggles in the water and scribbles in the sky2 but to suggest1 by these seeming careless loops and latchets1 the flow of the river1 the movement of clouds1 the splendor of the setting sun--that indeed is another matter6 ,yet all this1 and more1 ,seymour ,haden has done in a magisterial manner4 ,by-road in ,tipperary is the largest and most highly prized of his woodland plates and well deserves the reputation it so long has enjoyed4 ,structurally the trees are very fine1 both as to branch and stem drawing2 and1 as in the two plates of ,kensington ,gardens1 the suggestion of foliage with the light filtering through the leaves is quite beautiful4 ,sunset in ,ireland is a plate which the artist1 the collector1 and the general public all unite in praising4 8,that is the plate10 said ,seymour ,haden1 shortly before his death1 8which1 in years to come1 will fetch the enormous prices60 ,and his prophecy has come true4 ,both in its earlier states1 less rich in burr1 with a luminous evening effect1 and in the later and darker impressions1 it is 8a thing of beauty0--one of the most remarkable landscape plates of modern times1 wherein the artist has captured1 for once1 all the poetry and melancholy sentiment of the twilight hour4 ,sawley ,abbey1 on the ,river ,ribble in ,lancashire1 has1 to some of us1 however1 a 8swing0 and pattern1 which make of it a better and more manly plate4 ,it must be seen in an early state to be adequately judged4 ,for some inexplicable reason the artist saw fit later to 8clean up0 the sky and all the foreground to the right1 leaving the plate cold1 empty1 and almost meaningless4 ,nine ,barrow ,down1 a dry-point1 is in ,haden's happiest vein4 ,it is instinct with that priceless quality1 the 8art which conceals art10 and is so seeming simple that one may readily forget that its 8simplicity0 is the result of a most rigid selection of the essential lines1 guided by the knowledge of a lifetime4 ,there is a growing tendency among the younger and more 8advanced0 collectors to belittle ,seymour ,haden and his work4 ,unquestionably there are many etchings which fall far short of his best2 but at his best1 in the dozen or two plates of which he himself approved1 he towers far above any of his contemporaries1 and there seems little likelihood of his supremacy in landscape being seriously threatened4 ,illustration3 ,j4 ,a4 ,mc,n4 ,,whistler4 ,,zaandam 7,first ,state7 ,size of the original etching1 #e #h inches ,in the ,collection of ,howard ,mansfield1 ,esq4 ,illustration3 ,,rembrandt4 ,,view ,,of ,,amsterdam ,,from ,,the ,,east ,size of the original etching1 #d #e inches ,in the ,museum of ,fine ,arts1 ,boston ,,whistler1 8the greatest etcher and the most accomplished lithographer who ever lived0 7according to ,mr4 ,joseph ,pennell71 seems to have interested himself in landscape hardly at all4 ,not even his most ardent disciples would assert that the master's few purely landscape plates contribute greatly to the pyramid of his fame4 ,but even here one must tread softly4 ,whistlerium tremens is still a highly contagious disease2 and has not his official biographer written 8,all his work is alike perfect08 ,how then may a modest lecturer presume to praise or compare8 ,let ,mr4 ,pennell speak3 8,look at ,rembrandt's prints made1 ,i do not know whether with ,amsterdam or ,zaandam in the background1 and then at ,whistler's of the same subjects4 ,rembrandt drew and bit and printed these little plates as no one had up to his time4 ,but ,whistler is as much in advance of ,rembrandt as that great artist was of his predecessors4 ,in these little distant views of absolutely the same subject1 ,whistler has triumphed4 ,it is not necessary to explain how3 you have only to see the prints to know it4444 ,the older master is conservative and mannered2 the modern master1 respecting all the great art of the past1 is gracious and sensitive1 and perfectly free40 8,you have only to see the prints to know it40 ,well1 let us look at two of them3 ,rembrandt's ,view of ,amsterdam1 of #afdj1 and ,whistler's ,zaandam4 8,why drag in ,velasquez80 the master of the gentle art of making enemies is reported to have said1 upon one historic occasion4 ,this time1 so far as landscape etching is concerned1 may it not be ,rembrandt's turn to say1 8,why drag in ,whistler80 ,,landscape ,,etching ,,bibliography ,,fine ,,prints4 ,by ,frederick ,wedmore4 #ae illustrations4 ,edinburgh3 ,john ,grant4 #aije4 ,,the ,,great ,,painter-,,etchers ,,from ,,rembrandt ,,to ,,whistler4 ,by ,malcolm ,c4 ,salaman4 ,edited by ,charles ,holme4 #aia illustrations4 ,london1 ,paris1 ,new ,york3 ,the ,studio4 #aiad4 ,,four ,,masters ,,of ,,etching4 ,haden1 ,jacquemart1 ,whistler1 ,legros4 ,by ,frederick ,wedmore4 ,original etchings by ,haden1 ,jacquemart1 ,whistler1 and ,legros4 ,london3 ,fine ,art ,society4 #ahhc4 ,,dutch ,,etchers ,,of ,,the ,,seventeenth ,,century4 ,by ,laurence ,binyon4 #d reproductions and #bi text illustrations4 ,london3 ,seeley ,co4 #ahie4 7,portfolio ,artistic ,monographs4 ,no4 #ba47 ,,altdorfer1 ,,albrecht 7c4 #adhj-aech7 ,,albrecht ,,altdorfer4 ,by ,t4 ,sturge ,moore4 ,edited by ,laurence ,binyon4 #be illustrations4 ,new ,york3 ,longmans1 ,green ,co42 ,london3 ,the ,unicorn ,press4 #aija4 ,,albrecht ,,altdorfers ,,landschafts ,,radierungen4 ,edited by ,max ,j4 ,friedlnder4 #i reproductions and #a text illustration4 ,berlin3 ,bruno ,cassirer4 #aijf4 7,graphische ,gesellschaft4 ,publication #c47 ,,albrecht ,,altdorfer ,,and ,,wolf ,,huber4 ,by ,hermann ,voss4 #afj reproductions on #fc plates4 ,leipzig3 ,klinkhardt ,biermann4 #aiaj4 7,meister der ,graphik4 ,vol4 #c47 ,,gell,e1 ,,claude1 called ,,lorrain 7#afjj-afhb7 ,,claude ,,lorrain2 ,,painter ,,and ,,etcher4 ,by ,george ,graham4 #d reproductions and #bc text illustrations4 ,london3 ,seeley ,co4 #ahie4 7,the ,portfolio ,artistic ,monographs47 ,,rembrandt ,,harmensz ,,van ,,rijn 7,see also ,bibliography under 8,some ,masters of ,portraiture10 p4 #bbd47 ,,rembrandt',s ,,landscape ,,etchings4 ,by ,laurence ,binyon4 #h illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #b1 ,no4 #d1 pp4 #djg-dcb4 ,boston4 #aiab4 ,,jacque1 ,,charles ,,mile 7#ahac-ahid7 ,l',,oeuvre ,,de ,,ch4 ,,jacque2 ,,catalogue ,,de ,,ses ,,eaux-,,fortes ,,et ,,pointes ,s,,ches4 ,by ,jules ,marie ,joseph ,guiffrey4 ,with an original etching4 ,paris3 ,mlle4 ,lemaire4 #ahff4 ----4 ,,nouvelles ,,eaux-,,fortes ,,et ,,pointes ,s,,ches4 ,supplement au catalogue4 ,paris3 ,jouaust ,sigaux4 #ahhd4 ,,charles ,,jacque4 ,by ,robert ,j4 ,wickenden4 #ah illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #b1 ,no4 #a1 pp4 #gd-aja4 ,boston4 #aiab4 ---- ----4 ,reprinted4 ,boston3 ,houghton ,mifflin ,co4 #aiad4 7,print-,collectors' ,booklets47 ,,daubigny1 ,,charles ,,francois 7#ahag-ahgh7 ,c4 ,,daubigny ,,et ,,son ,,oeuvre ,,grav4 ,by ,frdric ,henriet4 #e original etchings and #d reproductions4 ,paris3 ,a4 ,levy4 #ahge4 ,,daubigny4 ,by ,jean ,laran4 #dh reproductions4 ,paris3 ,librairie centrale des ,beaux-,arts4 n4 d4 7,l',art de ,notre ,temps47 ,,charles-,,fran,,ois ,,daubigny2 ,,painter ,,and ,,etcher4 ,by ,robert ,j4 ,wickenden4 #ae illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #c1 ,no4 #b1 pp4 #agg-bjf4 ,boston4 #aiac4 ---- ----4 ,reprinted4 ,boston3 ,houghton ,mifflin ,co4 #aiad4 7,print-,collectors' ,booklets47 ,,corot1 ,,jean ,,baptiste ,,camille 7#agif-ahge7 ,,corot4 ,by ,loys ,delteil4 ,an original etching and #ajb reproductions4 ,paris3 ,l'auteur4 #aiaj4 7,le peintre-graveur illustr1 ,,xix et ,,xx sicles4 ,vol4 #e47 ,,corot ,,and ,,millet4 ,with critical essays by ,gustave ,geffroy and ,arsne ,alexandre4 ,edited by ,charles ,holme4 #abj illustrations4 ,london1 ,paris1 ,new ,york3 ,john ,lane4 #aijb4 7,the ,studio47 8,,le ,p,,re ,,corot40 ,by ,robert ,j4 ,wickenden4 #i illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #b1 ,no4 #c1 pp4 #cfe-chf4 ,boston4 #aiab4 ---- ----4 ,reprinted4 ,boston3 ,houghton ,mifflin ,co4 #aiad4 7,print-,collectors' ,booklets47 ,,millet1 ,,jean-,,fran,,ois 7#ahad-ahge7 ,,jean-,,fran,,ois ,,millet4 ,by ,arsne ,alexandre4 ,,the ,,etchings ,,of ,j4 ,f4 ,,millet4 ,by ,frederick ,keppel4 #he illustrations4 ,london and ,new ,york3 ,john ,lane4 #aijc4 7,the ,studio47 ,,jean-,,fran,,ois ,,millet4 ,by ,loys ,delteil4 ,illustrated4 ,paris3 ,l'auteur4 #aijf4 7,le peintre-graveur illustr1 ,,xix et ,,xx sicles4 ,vol4 ,i47 ,,alfred ,,lebrun',s ,,catalogue ,,of ,,the ,,etchings1 ,,heliographs1 ,,lithographs ,,and ,,woodcuts ,,done ,,by ,,jean-,,fran,,ois ,,millet4 ,translated from the ,french by ,frederick ,keppel4 ,with additional notes and a sketch of the artist's life4 #g reproductions4 ,new ,york3 ,frederick ,keppel ,co4 #ahhg4 ,,jean-,,fran,,ois ,,millet2 ,,painter-,,etcher4 ,by ,mrs4 ,schuyler ,van ,rensselaer4 ,with a biographical sketch of ,millet by ,frederick ,keppel4 #aa illustrations4 ,new ,york3 ,frederick ,keppel ,co4 #aija4 7,the ,keppel ,booklets4 #ast series47 ,,the ,,art ,,and ,,etchings ,,of ,,jean-,,fran,,ois ,,millet4 ,by ,robert ,j4 ,wickenden4 #ad illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #b1 ,no4 #b1 pp4 #bbe-bej4 ,boston4 #aiab4 ---- ----4 ,reprinted4 ,boston3 ,houghton ,mifflin ,company4 #aiad4 7,print-,collectors' ,booklets47 ,,millet',s ,,drawings ,,in ,,the ,,museum ,,of ,,fine ,,arts1 ,,boston4 ,by ,robert ,j4 ,wickenden4 #aa illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #d1 ,no4 #a1 pp4 #c-cj4 ,boston4 #aiad4 ,,haden1 ,,francis ,,seymour 7#ahah-aiaj7 ,a ,,descriptive ,,catalogue ,,of ,,the ,,etched ,,work ,,of ,,francis ,,seymour ,,haden4 ,by ,sir ,william ,richard ,drake4 ,london3 ,macmillan ,co4 #ahhj4 ,,the ,,engraved ,,work ,,of ,,sir ,,francis ,,seymour ,,haden1 ,p4 ,r4 ,e4 ,by ,h4 ,nazeby ,harrington4 #bej reproductions on #aji plates4 ,liverpool3 ,henry ,young ,sons4 #aiaj4 ,,the ,,water-,,colors ,,and ,,drawings ,,of ,,sir ,,seymour ,,haden1 ,p4 ,r4 ,e4 ,by ,h4 ,nazeby ,harrington4 #h illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #a1 ,no4 #d1 pp4 #dje-dai4 ,boston4 #aiaa4 ,,sir ,,seymour ,,haden1 ,,painter-,,etcher4 ,by ,frederick ,keppel4 #e illustrations4 ,new ,york3 ,frederick ,keppel ,co4 #aija4 7,the ,keppel ,booklets4 #ast series47 ,,personal ,,characteristics ,,of ,,sir ,,seymour ,,haden1 ,p4 ,r4 ,e4 ,by ,frederick ,keppel4 #bg illustrations4 ,the ,print-,collector's ,quarterly4 #b parts4 ,part ,i4 ,vol4 #a1 ,no4 #c1 pp4 #bia-caf4 ,part ,,ii4 ,vol #a1 ,no4 #d1 pp4 #dba-ddb4 ,boston4 #aiaa4 ,,whistler1 ,,james ,,abbott ,mc,n,e,i,l,l ,,the ,,etched ,,work ,,of ,,whistler4 ,,illustrated ,,by ,,reproductions ,,in ,,collotype ,,of ,,the ,,different ,,states ,,of ,,the ,,plates4 ,compiled1 arranged1 and described by ,edward ,g4 ,kennedy4 ,with an introduction by ,royal ,cortissoz4 #ajjb reproductions4 ,new ,york3 ,the ,grolier ,club4 #aiaj4 ,a ,,descriptive ,,catalogue ,,of ,,the ,,etchings ,,and ,,drypoints ,,of ,,james ,,abbott ,mc,n,e,i,l,l ,,whistler4 ,by ,howard ,mansfield4 #a portrait4 ,chicago3 ,caxton ,club4 #aiji4 ,,whistler ,,as ,a ,,critic ,,of ,,his ,,own ,,prints4 ,by ,howard ,mansfield4 #ab illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #c1 ,no4 #d1 pp4 #cfg-cic4 ,boston4 #aiac4 ,,the ,,life ,,of ,,james ,mc,n,e,i,l,l ,,whistler4 ,by ,elizabeth ,robins ,pennell and ,joseph ,pennell4 #ig illustrations4 #eth edition4 ,philadelphia3 ,j4 ,b4 ,lippincott ,company4 #aiaa4 ,,mr4 ,,whistler',s ,,lithographs2 ,,the ,,catalogue4 ,by ,thomas ,r4 ,way4 #a lithograph4 ,london3 ,george ,bell ,sons4 #ahif4 ,,whistler',s ,,lithographs4 ,by ,thomas ,r4 ,way4 #ah illustrations4 ,the ,print-,collector's ,quarterly1 ,vol4 #c1 ,no4 #c1 pp4 #bgi-cji4 ,boston4 #aiac4 ,,the ,,lithographs ,,by ,,whistler1 ,,illustrated ,,by ,,reproductions ,,in ,,photogravure ,,and ,,lithography1 ,,arranged ,,according ,,to ,,the ,,catalogue ,,by ,,thomas ,r4 ,,way1 ,,with ,,additional ,,subjects ,,not ,,before ,,recorded4 #aff reproductions4 ,new ,york3 ,kennedy ,co4 #aiad4 ,,the ,,art ,,of ,,james ,mc,n,e,i,l,l ,,whistler4 ,by ,t4 ,r4 ,way and ,g4 ,r4 ,dennis4 #aa portraits and #da plates4 ,london3 ,george ,bell ,sons4 #aijd4 ,,whistler',s ,,etchings2 ,a ,,study ,,and ,a ,,catalogue4 ,by ,frederick ,wedmore4 ,london3 ,a4 ,w4 ,thibaudeau4 #ahhf4 ----4 ,same4 #bnd edition4 ,london3 ,p4 ,d4 ,colnaghi ,co4 #ahii4 ,,the ,,gentle ,,art ,,of ,,making ,,enemies4 ,by ,j4 ,a4 ,mc,n4 ,whistler4 ,london3 ,william ,heinemann4 #ahij4 ----4 ,same4 #bnd edition4 #ahib4 ----4 ,same4 #crd edition4 #aijd4 ,,the ,,gentle ,,art ,,of ,,making ,,enemies4 ,edited by ,sheridan ,ford4 ,paris3 ,delabrosse ,compagnie4 #ahij4 ,,cameron1 ,,david ,,young 7#ahfe- 7 ,d4 ,y4 ,,cameron2 ,,an ,,illustrated ,,catalogue ,,of ,,his ,,etched ,,work2 ,,with ,,an ,,introductory ,,essay ,,and ,,descriptive ,,notes ,,on ,,each ,,plate4 ,by ,frank ,rinder4 #ddd reproductions4 ,glasgow3 ,j4 ,mac,lehose ,sons4 #aiab4 ,,cameron',s ,,etchings2 ,a ,,study ,,and ,a ,,catalogue4 ,by ,frederick ,wedmore4 ,london3 ,r4 ,gutekunst4 #aijc4 ,,bone1 ,,muirhead 7#ahgf- 7 ,,etchings ,,and ,,drypoints ,,by ,,muirhead ,,bone4 ,by ,campbell ,dodgson4 ,portrait4 ,london3 ,obach ,co4 #aiji4 ,transcriber's ,notes3 ,italics are shown thus3 sloping4 ,small capitals have been capitalised4 ,variations in spelling and hyphenation are retained4 ,punctuation has been retained as published4