METAL ENGRAVING—THE INVENTION—EARLY ENGRAVERS—NATIONAL CHARACTERISTICS—A PROGRESSIVE REVIEW

"The influence of the graver is so great and extensive that its productions have constantly been the delight of all countries of the world and of all seasons of life."

Metal Engraving—The Invention.—The engraving of metal plates for pictorial reproduction was a direct development of ornamental engraving. The Italian Niello work of the fourteenth and fifteenth centuries was chiefly applied to the embellishment of metal ornaments and utensils with elaborate engravings. To intensify their effect, the designs were filled in with a black pigment known as Niello, L. Nigellus—Black. Hence the name by which the process was generally known. Niello work was practised chiefly by gold and silversmiths, and it is recorded that one of these, Finiguerra by name, was filling up the lines of the engraving with black composition in the usual way when he accidentally spilled some hot wax over the plate. It rapidly cooled and hardened, and on scaling off bore a distinct black impression of the engraving. Quick to perceive the importance of his discovery, Finiguerra promoted a few experiments which ultimately led to a full realisation of his hopes. There is yet another account of the metamorphosis of metal engraving which, if true, reflects much more credit upon Finiguerra than the accidental discovery already described. To obtain a proof of their work, the Florentine metal-workers covered the ornamentation with some fine plastic material. It was then a simple matter to convert the impression into a mould, which they filled with melted sulphur. The casts, when hard, formed exact replicas of the engravings, and afterwards, when the incised lines were filled with a black pigment, probably Niello, they presented an effective record of the original work. It is not by any means improbable that Finiguerra made his discovery when making such a cast.

It is a noteworthy fact that the idea of producing impressions from engraved metal plates was not, as might readily be imagined, a development of wood engraving or of the then well-known method of printing from engraved wood blocks. It was a fortuitous discovery, and probably the direct result of an accident. The true importance of this transition, i.e. Niello work to engraving as a reproductive art, is seldom fully appreciated. It was a momentous change, bristling with possibilities, which subsequent developments amply proved. The time was peculiarly propitious. The beneficent influence of the Renaissance was at its flood, and a feverish spirit of progress swept over Europe. The imitative instinct inherent in mankind reasserted itself with an irresistible intensity, and new forms of pictorial expression were eagerly sought after. The art of engraving provided a medium for the extension of the artist's fame and the popularising of his creations. It rapidly gained favour, and its ultimate development and expansion fully justified the interest it aroused.

Early Engravers.—Baccio Baldine, another Florentine goldsmith, quickly realised the value of Finiguerra's discovery, and endeavoured to produce engraved plates for printing purposes. Being a somewhat indifferent designer, his first efforts were not very successful. He was afterwards assisted by Sandio Botticelli, and this partnership was the first clear indication of progress in the art. These two engravers undertook the illustration of an edition of Dante's works, in which the chief feature was to be an original headpiece for each canto. They accomplished some meritorious work in connection therewith, but never quite fulfilled their task.

Some impressions from engraved plates were exhibited in Rome about this time, and attracted the attention of the painter Andrea Mantegna. He was so impressed with these examples of the new art that he determined to reproduce some of his own pictures in a like manner. Mantegna's engravings were not in any way remarkable, yet they were received with considerable enthusiasm by his countrymen and by artists in various parts of Europe.

Marc Antonio Raimondi was another famous Italian engraver of this period. He first became notorious through copying some of A. Durer's designs in the exact style affected by that great artist. He also added Durer's signature to his piracies, and in other ways emphasised the imitation.

It is doubtful whether he ever realised the gravity of the deception he was guilty of, for he took no pains to conceal the fact from his fellow artists. Apart from this, however, Raimondi was a fine engraver. He reproduced a number of Raphael's pictures under that artist's direct supervision, all of which show distinct traces of the great master's influence. Raimondi engraved between three and four hundred plates.

It is a remarkable coincidence that the art of engraving in Italy, and printing in Germany, should each receive the stimulus of a new discovery about the same period. The art of printing was known to the ancient Chinese, but movable types were first used by Gutenberg about 1454.

National Characteristics.—Engraving is almost as old as the human race, yet its full value as a reproductive art was not discovered until 1452, when Finiguerra made his discovery. For at least half a century after this discovery engraving was held in the highest esteem in Italy. From that country it passed to Germany, and thence into France. In each of these countries it flourished for a time, until at last it claimed a place, and that a high one, amongst the fine arts of our own country.

The leading characteristics of Italian art, and particularly Italian engraving, were beautiful outlines and excellent drawing. "Nothing in any stage of Italian art was carelessly or incompletely done. There is no rough suggestion of design, no inexact record of artistic invention." The lines, and especially the outlines, of the early Italian engravings are indisputably exquisite in their expression of grace and beauty, though perhaps weak and unsuitable for the portrayal of vigour and strength.

The German engravers reached another extreme. Their drawings were frequently deficient, and even grotesque; but this was more than compensated for by a mingled force and freedom of delineation which, added to a rich imaginative symbolism, was in every respect remarkable. By means of flowing lines they indicated every fold of draperies, emphasised the varied contour of features, or produced an intricate and almost perplexing perspective in their pictures. They frequently sacrificed artistic power for a mere show of dexterous execution, and consequently the engravings of this period were rarely ever sublime in their conceptions. Remarkable for their technique, they were yet productive of a bewildering confusion of ideas and mannerisms. It was undoubtedly this superiority of technique which attracted so much attention to the old German engravers. Their portrait engravings display abundant insight into human character, and in this respect at least exhibit a rare power of pictorial expression. Indefatigable enthusiasm, one of the racial characteristics of the French nation, was exemplified in the reception accorded by her artists to the art of metal engraving. French engraving was distinguished by a felicitous combination of good drawing, skilful execution, and "an aptitude to imitate easily any impression." Outlines were frequently suggested rather than delineated, and although somewhat unconventional in style, French engravings of the seventeenth century displayed few traces of a perfunctory art. Certain vagaries of style, due no doubt to a natural vivacity, indicated an artistic quality of design and execution which was their peculiar inheritance. Of modern French engravers on metal, the Audran family were by far the most notable. For four or five generations that remarkable family showed artistic talent of a high standard of excellence. Gerard Audran, who was born in 1640, was the best known and most gifted member of this family. His productions were everywhere admired. His historical pictures especially were very fine. He was appointed engraver to Louis xiv. Died 1703.

A Progressive Review.—For a long period engraving was of the simplest possible character. About the beginning of the sixteenth century an effort was made to introduce perspective into the productions of both brush and graver, and until this important development obtained complete recognition, even the most skilful artists were guilty of faulty draughtsmanship. AËrial perspective, or the suggestion of distance, quickly followed this adoption of linear perspective. It is claimed for Lucas van Leyden, a Dutch engraver, that he was the first to thoroughly appreciate and give true value to foreground and distance; in other words, to fully recognise the artistic value of perspective.

It has been frequently suggested that the fame of Durer, van Leyden, and others of the same school, was so widespread as to create an artistic bias, which other engravers, who were their equals in technical skill, if not in fertility of design, found it difficult to overcome. One of these engravers, Henry Goltzius, was determined to obtain recognition of his merits, and engraved five plates in as many different styles, copying the mannerisms and artifices of Durer and others. They were at once accepted as productions of the great artists, and not until Goltzius had heard the unqualified praise of art critics and patrons did he reveal his purpose. His countrymen generously forgave him this deception, and he certainly gained much credit thereby. These pictures are now known as Goltzius' masterpieces.

During the seventeenth century Rembrandt's influence developed much of that technique which modern engravers have copied, and in some instances claimed to improve. He is also credited with the introduction of more expressive gradations of tone, for the production and emphatic suggestion of light and shade. The character of this, too, has been retained in present day engravings. Rembrandt was more directly associated with etching than with line engraving, but his influence was far from exclusive. Encouraged by the influence of his example, the line engraver endeavoured to add to the expressive power of his pictures by the introduction of more daring perspectives, more suggestive form, and infinitely greater diversity of texture.