113. We are to-day to examine the proper methods for the technical management of the most perfect of the arms of precision possessed by the artist. For you will at once understand that a line cut by a finely-pointed instrument upon the smooth surface of metal is susceptible of the utmost fineness that can be given to the definite work of the human hand. In drawing with pen upon paper, the surface of the paper is slightly rough; necessarily, two points touch it instead of one, and the liquid flows from them more or less irregularly, whatever the draughtsman's skill. But you cut a metallic surface with one edge only; the furrow drawn by a skater on the surface of ice is like it on a large scale. Your surface is polished, and your line may be wholly faultless, if your hand is. 114. And because, in such material, effects may be produced which no penmanship could rival, most people, I fancy, think that a steel plate half engraves itself; that the workman has no trouble with it, compared to that of a pen draughtsman. To test your feeling in this matter accurately, here is a manuscript book written with pen and ink, and illustrated with flourishes and vignettes. You will all, I think, be disposed, on examining it, to exclaim, How wonderful! and even to doubt the possibility of every page in the book being completed in the same manner. Again, here are three of my own drawings, executed with the pen, and Indian ink, when I was fifteen. They are copies from large lithographs by Prout; and I imagine that most of my pupils would think me very tyrannical if I requested 115. Yet you cannot suppose it is in reality easier to draw a line with a cutting point, not seeing the effect at all, or, if any effect, seeing a gleam of light instead of darkness, than to draw your black line at once on the white paper? You cannot really think 116. "But might not more have been done by three thousand lines to a square inch?" you will perhaps ask. Well, possibly. It may be with lines as with soldiers: three hundred, knowing their work thoroughly, may be stronger than three thousand less sure of their aim. We shall have to press Here is one just finished,—or, at least, finished to the eyes of ordinary mortals, though its fastidious master means to retouch it;—a quite pure line engraving, by Mr. Charles Henry Jeens; (in calling it pure line, I mean that there are no mixtures of mezzotint or any mechanical tooling, but all is steady hand-work,) from a picture by Mr. Armytage, which, without possessing any of the highest claims to admiration, is yet free from the vulgar vices which disgrace most of our popular religious art; and is so sweet in the fancy of it as to deserve, better than many works of higher power, the pains of the engraver to make it a common possession. It is meant to help us to imagine the evening of the day when the father and mother of Christ had been seeking Him through Jerusalem: they have come to a well where women are drawing water; St. Joseph passes on,—but the tired Madonna, leaning on the well's margin, asks wistfully of the women if they have seen such and such a child astray. Now will you just look for a while into the lines by which the expression of the weary and anxious face is rendered; see how unerring they are,—how calm and clear; and think how many questions have to be determined in drawing the most minute portion of any one,—its curve,—its thickness,—its distance from the next,—its own preparation for ending, invisibly, where it ends. Think what the precision must be in these that trace the edge of the lip, and make it look quivering with disappointment, or in these which have made the eyelash heavy with restrained tears. 117. Or if, as must be the case with many of my audience, it is impossible for you to conceive the difficulties here overcome, look merely at the draperies, and other varied sub You see, in the first place, that the ground, stones, and other coarse surfaces are distinguished from the flesh and draperies by broken and wriggled lines. Those broken lines cannot be executed with the burin, they are etched in the early states of the plate, and are a modern artifice, never used by old engravers; partly because the older men were not masters of the art of etching, but chiefly because even those who were acquainted with it would not employ lines of this nature. They have been developed by the importance of landscape in modern engraving, and have produced some valuable results in small plates, especially of architecture. But they are entirely erroneous in principle, for the surface of stones and leaves is not broken or jagged in this manner, but consists of mossy, or blooming, or otherwise organic texture, which cannot be represented by these coarse lines; their general consequence has therefore been to withdraw the mind of the observer from all beautiful and tender characters in foreground, and eventually to destroy the very school of landscape engraving which gave birth to them. Considered, however, as a means of relieving more delicate textures, they are in some degree legitimate, being, in fact, a kind of chasing or jagging one part of the plate surface in order to throw out the delicate tints from the rough field. 118. Next, however, you observe what difference of texture and force exists between the smooth, continuous lines themselves, which are all really engraved. You must take some pains to understand the nature of this operation. The line is first cut lightly through its whole course, by absolute decision and steadiness of hand, which you may endeavor to imitate if you like, in its simplest phase, by drawing a circle with your compass-pen; and then, grasping your penholder so that you can push the point like a plow, describing other circles inside or outside of it, in exact parallelism with the mathematical line, and at exactly equal distances. To approach, or depart, with your point at finely gradated intervals, may be your next exercise, if you find the first unexpectedly easy. 119. When the line is thus described in its proper course, it is plowed deeper, where depth is needed, by a second cut of the burin, first on one side, then on the other, the cut being given with gradated force so as to take away most steel where the line is to be darkest. Every line of gradated depth in the plate has to be thus cut eight or ten times over at least, with retouchings to smooth and clear all in the close. Jason has to plow his field ten-furrow deep, with his fiery oxen well in hand, all the while. When the essential lines are thus produced in their several directions, those which have been drawn across each other, so as to give depth of shade, or richness of texture, have to be farther enriched by dots in the interstices; else there would be a painful appearance of network everywhere; and these dots require each four or five jags to produce them; and 120. Now, observe, that, for every piece of shadow throughout the work, the engraver has to decide with what quantity and kind of line he will produce it. Exactly the same quantity of black, and therefore the same depth of tint in general effect, may be given with six thick lines; or with twelve, of half their thickness; or with eighteen, of a third of the thickness. The second six, second twelve, or second eighteen, may cross the first six, first twelve, or first eighteen, or go between them; and they may cross at any angle. And then the third six may be put between the first six, or between the second six, or across both, and at any angle. In the network thus produced, any kind of dots may be put in the severally shaped interstices. And for any of the series of superadded lines, dots, of equivalent value in shade, may be substituted. (Some engravings are wrought in dots altogether.) Choice infinite, with multiplication of infinity, is, at all events, to be made, for every minute space, from one side of the plate to the other. 121. The excellence of a beautiful engraving is primarily in the use of these resources to exhibit the qualities of the original picture, with delight to the eye in the method of translation; and the language of engraving, when once you begin to understand it, is, in these respects, so fertile, so ingenious, so ineffably subtle and severe in its grammar, that you may quite easily make it the subject of your life's investigation, as you would the scholarship of a lovely literature. But in doing this, you would withdraw, and necessarily withdraw, your attention from the higher qualities of art, precisely as a grammarian, who is that, and nothing more, loses command of the matter and substance of thought. And the exquisitely mysterious mechanisms of the engraver's method have, in fact, thus entangled the intelligence of the careful 122. This great and profoundly to be regretted influence I will prove and illustrate to you on another occasion. My object to-day is to explain the perfectness of the art itself; and above all to request you, if you will not look at pictures instead of photographs, at least not to allow the cheap merits of the chemical operation to withdraw your interest from the splendid human labor of the engraver. Here is a little vignette from Stothard, for instance, in Rogers' poems, to the lines, You would think, would you not? (and rightly,) that of all difficult things to express with crossed black lines and dots, the face of a young girl must be the most difficult. Yet here you have the face of a bright girl, radiant in light, transparent, mysterious, almost breathing,—her dark hair involved in delicate wreath and shade, her eyes full of joy and sweet playfulness,—and all this done by the exquisite order and gradation of a very few lines, which, if you will examine them through a lens, you find dividing and checkering the lip, and cheek, and chin, so strongly that you would have fancied they could only produce the effect of a grim iron mask. But the intelligences of order and form guide them into beauty, and inflame them with delicatest life. 123. And do you see the size of this head? About as large as the bud of a forget-me-not! Can you imagine the fineness of the little pressures of the hand on the steel, in that space, which at the edge of the almost invisible lip, fashioned its less or more of smile? My chemical friends, if you wish ever to know anything rightly concerning the arts, I very urgently advise you to throw all your vials and washes down the gutter-trap; and if you will ascribe, as you think it so clever to do, in your modern creeds, all virtue to the sun, use that virtue through your own heads and fingers, and apply your solar energies to draw a skillful line or two, for once or twice in your life. You may learn more by trying to engrave, like Goodall, the tip of an ear, or the curl of a lock of hair, than by photographing the entire population of the United States of America,—black, white, and neutral-tint. And one word, by the way, touching the complaints I hear at my having set you to so fine work that it hurts your eyes. You have noticed that all great sculptors—and most of the great painters of Florence—began by being goldsmiths. Why do you think the goldsmith's apprenticeship is so fruitful? Primarily, because it forces the boy to do small work, and mind what he is about. Do you suppose Michael Angelo learned his business by dashing or hitting at it? He laid the foundation of all his after power by doing precisely what I am requiring my own pupils to do,—copying German engravings in facsimile! And for your eyes—you all sit up at night till you haven't got any eyes worth speaking of. Go to bed at half-past nine, and get up at four, and you'll see something out of them, in time. 124. Nevertheless, whatever admiration you may be brought to feel, and with justice, for this lovely workmanship,—the more distinctly you comprehend its merits, the more distinctly also will the question rise in your mind, How is it that a performance so marvelous has yet taken no rank in the records of art of any permanent or acknowledged kind? 125. Here, for instance, I have enlarged the head of one of DÜrer's Madonnas for you out of one of his most careful plates. 126. You all know what a pretty thing a damask tablecloth is, and how a pattern is brought out by threads running one way in one space, and across in another. So, in lace, a certain delightfulness is given by the texture of meshed lines. Similarly, on any surface of metal, the object of the engraver is, or ought to be, to cover it with lovely lines, forming a lace-work, and including a variety of spaces, delicious to the eye. And this is his business, primarily; before any other matter can be thought of, his work must be ornamental. You know I told you a sculptor's business is first to cover a surface with pleasant bosses, whether they mean anything or not; so an engraver's is to cover it with pleasant lines, whether they mean anything or not. That they should mean something, and a good deal of something, is indeed desirable afterwards; but first we must be ornamental. 127. Now if you will compare Plate II. at the beginning of this lecture, which is a characteristic example of good Florentine engraving, and represents the Planet and power Let me pass to a more important example. 128. Three years ago, in the rough first arrangement of the copies in the Educational Series, I put an outline of the top of Apollo's scepter, which, in the catalogue, was said to be probably by Baccio Bandini of Florence, for your first real exercise; it remains so, the olive being put first only for its mythological rank. The series of engravings to which the plate from which that exercise is copied belongs, are part of a number, executed chiefly, I think, from early designs of Sandro Botticelli, and some in great part by his hand. He and his assistant, Baccio, worked together; and in such harmony, that Bandini probably often does what Sandro wants, better than Sandro could have done it himself; and, on the other hand, there is no design of Bandini's over which Sandro does not seem to have had influence. And wishing now to show you three examples of the finest work of the old, the renaissance, and the modern schools,—of the old, I will take Baccio Bandini's Astrologia, Plate III., opposite. Of the renaissance, DÜrer's Adam and Eve. And of the modern, this head of the daughter of Herodias, engraved from Luini by Beaugrand, which is as affection 129. Now observe the progress of the feeling for light and shade in the three examples. The first is nearly all white paper; you think of the outline as the constructive element throughout. The second is a vigorous piece of white and black—not of light and shade,—for all the high lights are equally white, whether of flesh, or leaves, or goat's hair. The third is complete in chiaroscuro, as far as engraving can be. Now the dignity and virtue of the plates is in the exactly inverse ratio of their fullness in chiaroscuro. Bandini's is excellent work, and of the very highest school. DÜrer's entirely accomplished work, but of an inferior school. And Beaugrand's, excellent work, but of a vulgar and non-classical school. And these relations of the schools are to be determined by the quality in the lines; we shall find that in proportion as the light and shade is neglected, the lines are studied; that those of Bandini are perfect; of DÜrer perfect, only with a lower perfection; but of Beaugrand, entirely faultful. 130. I have just explained to you that in modern engraving the lines are cut in clean furrow, widened, it may be, by successive cuts; but, whether it be fine or thick, retaining always, when printed, the aspect of a continuous line drawn with the pen, and entirely black throughout its whole course. Now we may increase the delicacy of this line to any extent by simply printing it in gray color instead of black. I obtained some very beautiful results of this kind in the later volumes of 'Modern Painters,' with Mr. Armytage's help, by using subdued purple tints; but, in any case, the line thus engraved must be monotonous in its character, and cannot be expressive of the finest qualities of form. Accordingly, the old Florentine workmen constructed the line itself, in important places, of successive minute touches, so that it became a chain of delicate links which could be 131. I am a little proud of having independently discovered, and had the patience to carry out, this Florentine method of execution for myself, when I was a boy of thirteen. My good drawing-master had given me some copies calculated to teach me freedom of hand; the touches were rapid and vigorous,—many of them in mechanically regular zigzags, far beyond any capacity of mine to imitate in the bold way in which they were done. But I was resolved to have them, somehow; and actually facsimiled a considerable portion of the drawing in the Florentine manner, with the finest point I could cut to my pencil, taking a quarter of an hour to forge out the likeness of one return in the zigzag which my master carried down through twenty returns in two seconds; and so successfully, that he did not detect my artifice till I showed it him,—on which he forbade me ever to do the like again. And it was only thirty years afterwards that I found I had been quite right after all, and working like Baccio Bandini! But the patience which carried me through that early effort, served me well through all the thirty years, and enabled me to analyze, and in a measure imitate, the method of work employed by every master; so that, whether you believe me or not at first, you 132. When lines are studied with this degree of care, you may be sure the master will leave room enough for you to see them and enjoy them, and not use any at random. All the finest engravers, therefore, leave much white paper, and use their entire power on the outlines. 133. Next to them come the men of the Renaissance schools, headed by DÜrer, who, less careful of the beauty and refinement of the line, delight in its vigor, accuracy, and complexity. And the essential difference between these men and the moderns is that these central masters cut their line for the most part with a single furrow, giving it depth by force of hand or wrist, and retouching, not in the furrow itself, but with others beside it. In the Astrology of Bandini,—and remember that the Astrologia of the Florentine meant what we mean by Astronomy, and much more,—he wishes you first to look at the face: the lip half open, faltering in wonder; the amazed, intense, dreaming gaze; the pure dignity of forehead, undisturbed by terrestrial thought. None of these things could be so much as attempted in DÜrer's method; he can engrave flowing hair, skin of animals, bark of trees, wreathings of metal-work, with the free hand; also, with labored chiaroscuro, or with sturdy line, he can reach expressions of sadness, or gloom, or pain, or soldierly strength,—but pure beauty,—never. 134. Lastly, you have the Modern school, deepening its lines in successive cuts. The instant consequence of the introduction of this method is the restriction of curvature; 135. Nevertheless, in landscape, there are two examples in your Reference series, of insuperable skill and extreme beauty: Miller's plate, before instanced, of the Grand Canal, Venice; and E. Goodall's of the upper fall of the Tees. The men who engraved these plates might have been exquisite artists; but their patience and enthusiasm were held captive in the false system of lines, and we lost the painters; while the engravings, wonderful as they are, are neither of them worth a Turner etching, scratched in ten minutes with the point of an old fork; and the common types of such elaborate engraving are none of them worth a single frog, pig, or puppy, out of the corner of a Bewick vignette. 136. And now, I think, you cannot fail to understand clearly what you are to look for in engraving, as a separate art from that of painting. Turn back to the 'Astrologia' as a perfect type of the purest school. She is gazing at stars, and crowned with them. But the stars are black instead of shining! You cannot have a more decisive and absolute proof that you must not look in engraving for chiaroscuro. Nevertheless, her body is half in shade, and her left foot; and she casts a shadow, and there is a bar of shade behind her. All these are merely so much acceptance of shade as may relieve the forms, and give value to the linear portions. The face, though turned from the light, is shadowless. Again. Every lock of the hair is designed and set in its place with the subtlest care, but there is no luster attempted,—no texture,—no mystery. The plumes of the wings are set studiously in their places,—they, also, lusterless. That even their filaments are not drawn, and that the broad curve embracing them ignores the anatomy of a bird's wing, are conditions of design, not execution. Of these in a future lecture. 137. The 'Poesia,' Plate IV., opposite, is a still more severe, though not so generic, an example; its decorative foreground reducing it almost to the rank of goldsmith's ornamentation. I need scarcely point out to you that the flowing water shows neither luster nor reflection; but notice that the observer's attention is supposed to be so close to every dark touch of the graver that he will see the minute dark spots which indicate the sprinkled shower falling from the vase into the pool. 138. This habit of strict and calm attention, constant in the artist, and expected in the observer, makes all the difference between the art of Intellect, and of mere sensation. For every detail of this plate has a meaning, if you care to understand it. This is Poetry, sitting by the fountain of Castalia, which flows first out of a formal urn, to show that it is not artless; but the rocks of Parnassus are behind, and on the top of them—only one tree, like a mushroom with a thick stalk. You at first are inclined to say, How very absurd, to put only one tree on Parnassus! but this one tree is the Immortal Plane Tree, planted by Agamemnon, and at once connects our Poesia with the Iliad. Then, this All which you may find out if you happen to know anything about Castalia, or about poetry; and pleasantly think more upon, for yourself. But the poor dunces, Sandro and Baccio, feeling themselves but 'goffi nell' arte,' have no hope of telling you all this, except suggestively. They can't engrave grass of Parnassus, nor sweet springs so as to look like water; but they can make a pretty damasked surface with ornamental leaves, and flowing lines, and so leave you something to think of—if you will. 139. 'But a great many people won't, and a great many more can't; and surely the finished engravings are much more delightful, and the only means we have of giving any idea of finished pictures, out of our reach.' Yes, all that is true; and when we examine the effects of line engraving upon taste in recent art, we will discuss these matters; for the present, let us be content with knowing what the best work is, and why it is so. Although, however, I do not now press further my cavils at the triumph of modern line engraving, I must assign to you, in few words, the reason of its recent decline. Engravers complain that photography and cheap wood-cutting have ended their finer craft. No complaint can be less grounded. They themselves destroyed their own craft, by vulgarizing it. Content in their beautiful mechanism, they ceased to learn, and to feel, as artists; they put themselves under the order of publishers and print-sellers; they worked indiscriminately from whatever was put into their hands,—from Bartlett as willingly as from Turner, and from Mulready as carefully as from Raphael. They filled the windows of print-sellers, the pages of gift books, with elaborate rubbish, and piteous abortions of delicate industry. They worked cheap, and cheaper,—smoothly, and 140. Such the fault of the engraver,—very pardonable; scarcely avoidable,—however fatal. Fault mainly of humility. But what has your fault been, gentlemen? what the patrons' fault, who have permitted so wide waste of admirable labor, so pathetic a uselessness of obedient genius? It was yours to have directed, yours to have raised and rejoiced in, the skill, the modesty, the patience of this entirely gentle and industrious race;—copyists with their heart. The common painter-copyists who encumber our European galleries with their easels and pots, are, almost without exception, persons too stupid to be painters, and too lazy to be engravers. The real copyists—the men who can put their soul into another's work—are employed at home, in their narrow rooms, striving to make their good work profitable to all men. And in their submission to the public taste they are truly national servants as much as Prime Ministers are. They fulfill the demand of the nation; what, as a people, you wish to have for possession in art, these men are ready to give you. And what have you hitherto asked of them?—Ramsgate Sands, and Dolly Vardens, and the Paddington Station,—these, I think, are typical of your chief demands; the cartoons of Raphael—which you don't care to see themselves; and, by way of a flight into the empyrean, the Madonna di San Sisto. And literally, there are hundreds of cities and villages in Italy in which roof and wall are blazoned with the noblest divinity and philosophy ever imagined by men; and of all this treasure, I can, as far as I know, give you not one example, in line engraving, by an English hand! Well, you are in the main matter right in this. You want Make yourselves, then, worthy to be seen forever, and let English engraving become noble as the record of English loveliness and honor. FOOTNOTES: |